True Romance#reservoir dogs#pulpfiction....

True Romance
by Quentin Tarantino

When you are tired of relationships, try a romance.



INT. BAR - NIGHT

A smoky cocktail bar downtown Detroit.

CLARENCE WORLEY, a young hipster hepcat, is trying to pick up an older lady named LUCY. She isn't bothered by him, in fact, she's alittle charmed. But, you can tell, that she isn't going to leave her barstool.

CLARENCE
In "Jailhouse Rock" he's everything rockabilly's about. I mean he is
rockabilly: mean, surly, nasty, rude. In that movie he couldn't give a fuck
about anything except rockin' and rollin', livin' fast, dyin' young, and
leaving a good-looking corpse. I love that scene where after he's made it
big he's throwing a big cocktail party, and all these highbrows are there,
and he's singing, "Baby You're So Square... Baby, I Don't Care". Now, they
got him dressed like a dick. He's wearing these stupid-lookin' pants, this
horrible sweater. Elvis ain't no sweater boy. I even think they got him
wearin' penny loafers. Despite all that shit, all the highbrows at the
party, big house, the stupid clothes, he's still a rude-lookin'
motherfucker. I'd watch that hillbilly and I'd want to be him so bad. Elvis
looked good. I'm no fag, but Elvis was good-lookin'. He was fuckin'
prettier than most women. I always said if I ever had to fuck a guy... I
mean had too 'cause my life depended on it... I'd fuck Elvis.

Lucy takes a drag from her cigarette.

LUCY
I'd fuck Elvis.

CLARENCE
Really?

LUCY
When he was alive. I wouldn't fuck him now.

CLARENCE
I don't blame you.
(they laugh)
So we'd both fuck Elvis. It's nice to meet people with common interests,
isn't it?

Lucy laughs.

CLARENCE
Well, enough about the King, how 'bout you?

LUCY
How 'bout me what?

CLARENCE
How 'bout you go to the movies with me tonight?

LUCY
What are we gonna see?

CLARENCE
A Donny Chiba triple feature. "The Streetfighter", "Return of the
Streetfighter", and "Sister Streetfighter".

LUCY
Who's Sonny Chiba?

CLARENCE
He is, bar none, the greatest actor working in martial arts movies ever.

LUCY
(not believing this)
You wanna take me to a kung fu movie?

CLARENCE
(holding up three fingers)
Three kung fu movies.

Lucy takes a drag from her cigarette.

LUCY
(laughing)
I don't think so, not my cup of tea.


INT. DINGY HOTEL ROOM - DAY

The sounds of the city flow in through an open window: car horns, gun shots and violence. Paint is peeling off the walls and the once green carpet is stained black.

On the bed nearby is a huge open suitcase filled with clear plastic bags of cocaine. Shotguns and pistols have been dropped carelessly around the suitcase. On the far end of the room, against the wall, is a TV. "Bewitched" is playing.

At the opposite end of the room, by the front, is a table. DREXL SPIVEY and FLOYD DIXON sit around. Cocaine is on the table as well as little plastic bags and a weigher. Floyd is black, Drexl is a white boy, though you wouldn't know it listen to him.

DREXL
Nigger, get outta my face with that bullshit.

FLOYD
Naw man, I don't be eatin' that shit.

DREXL
That's bullshit.

BIG DON WATTS, a stout, mean-looking black man who's older than Drexl and Floyd. Walks through the door carrying hamburgers and french fries in two greasy brown-paper bags.

FLOYD
Naw man, that's some serious shit.

DREXL
Nigger, you lie like a big dog.

BIG D
What the fuck are you talkin' about?

DREXL
Floyd say he don't be eatin' pussy.

BIG D
Shit, any nigger say he don't eat pussy is lyin' his ass off.

DREXL
I heard that.

FLOYD
Hold on a second, Big D. You sayin' you eat pussy?

BIG D
Nigger, I eat everything. I eat pussy. I eat the butt. I eat every
motherfuckin' thang.

DREXL
Preach on, Big D.

FLOYD
Look here. If I ever did eat some pussy - I would never eat any pussy -
but, if I did eat some pussy, I sure as hell wouldn't tell no goddamn body.
I'd be ashamed as a motherfucker.

BIG D
Shit! Nigger you smoke enough sherm your dumb ass'll do a lot a crazy ass
things. So you won't eat pussy? Motherfucker, you be up there suckin'
niggers' dicks.

DREXL
Heard that.

Drexl and Big D bump fists.

FLOYD
Yeah, that's right, laugh. It's so funny, oh it's so funny.
(he takes a hit off of a joint)
There used to be a time when sisters didn't know shit about gettin' their
pussy licked. Then the sixties came an' they started fuckin' around with
white boys. And white boys are freaks for that shit -

DREXL
- Because it's good!

FLOYD
Then, after a while sisters use to gettin' their little pussy eat. And
because you white boys had to make pigs out of yourselves, you fucked it up
for every nigger in the world everywhere.

BIG D
Drexl. On behalf of me and all the brothers who aren't here, I'd like to
express our gratitude -

Drexl and Big D bust up.

FLOYD
Go on pussy-eaters... laugh. You look like you be eatin' pussy. You got
pussy-eatin' mugs. Now if a nigger wants to get his dick sucked he's got to
do a bunch of fucked-up shit.

BIG D
So you do eat pussy!

FLOYD
Naw naw!

BIG D
You don't like it, but you eat that shit.
(to Drexl)
He eats it.

DREXL
Damn skippy. He like it, too.

BIG D
(mock English accent)
Me thinketh he doth protest too much.

FLOYD
Well fuck you guys then! You guys are fucked up!

DREXL
Why you trippin'? We jus' fuckin' with ya. But I wanna ask you a question.
You with some fine bitch, I mean a brick shithouse bitch - you're with
Jayne Kennedy. You're with Jayne Kennedy and you say "Bitch, suck my dick!"
and then Jayne Kennedy says, "First things first, nigger, I ain't suckin'
shit till you bring your ass over here and lick my bush!" Now, what do you
say?

FLOYD
I tell Jayne Kennedy, "Suck my dick or I'll beat your ass!"

BIG D
Nigger, get real. You touch Jayne Kennedy she'll have you ass in Wayne
County so fast -

DREXL
Nigger, back off, you ain't beatin' shit. Now what would you do.

FLOYD
I'd say fuck it!

Drexl and Big D get up from the table disgusted and walk away, leaving Floyd sitting all alone.

Big D sits on the bed, his back turned to Floyd, watching "Bewitched".

FLOYD
(yelling after them)
Ain't no man have to eat pussy!

BIG D
(not even looking)
Take that shit somewhere else.

DREXL
(marching back)
You tell Jayne Kennedy to fuck it?

FLOYD
If it came down to who eats who, damn skippy.

DREXL
With that terrible mug of yours if Jayne Kennedy told you to eat her pussy,
kiss her ass, lick her feet, chow on her shit, and suck her dog's dick,
nigger, you'd aim to please.

BIG D
(glued on TV)
I'm hip.

DREXL
In fact, I'm gonna show you what I mean with a little demonstration. Big D,
toss me that shotgun.

Without turning away from "Bewitched" he picks up the shotgun and tosses it to Drexl.

DREXL
(to Floyd)
All right, check this out.
(referring to shotgun)
Now, pretend this is Jayne Kennedy. And you're you.

Then, in a blink, he points the shotgun at Floyd and blows him away.

Big D leaps off the bed and spins toward Drexl.

Drexl, waiting for him, fires from across the room.

The blast hits the big man in the right arm and shoulder, spinning him around.

Drexl makes a beeline for his victim and fires again.

Big D is hit with a blast, full in the back. He slams into the wall and drops.

Drexl collects the suitcase full of cocaine and leaves. As he gets to the front door he surveys the carnage, spits and walks out.


EXT. CLIFF'S MOVING CAR - MORNING

A big white Chevy Nova is driving down the road with a sunrise sky as a backdrop. The song "Little Bitty Tear" is heard a capella.


INT. CLIFF'S MOVING CAR - MORNING

Cliff Worley is driving his car home from work, singing this song gently to the sunrise. He's a forty-five-years-old ex-cop, at present a security guard. In between singing he takes sips from a cup of take-out coffee. He's dressed in a security guard uniform.


EXT. TRAILER PARK - MORNING

Cliff's Nova pulls in as he continues crooning. He pulls up to his trailer to see something that stops him short.


Cliff's POV Through windshield

Clarence and a nice-looking YOUNG WOMAN are watching for him in front of his trailer.


CLOSEUP - CLIFF

Upon seeing Clarence, a little bitty tear rolls down Cliff's cheek.

BACK TO:


CLIFF'S POV

Clarence and the Young Woman walk over to the car. Clarence sticks his face through the driver's side window.

CLARENCE
Good Morning, Daddy. Long time no see.


INT. TRAILER HOME - MORNING

All three enter the trailer home.

CLIFF
Excuse the place, I haven't been entertaining company as of late. Sorry if
I'm acting a little dense, but you're the last person in the world I
expected to see this morning.

Clarence and the Young Girl walk into the living room.

CLARENCE
Yeah, well, tha's OK, Daddy, I tend to have that effect on people. I'm
dyin' on thirst, you got anything to drink?

He moves past Cliff and heads straight for his refridgerator.

CLIFF
I think there's a Seven-Up in there.

CLARENCE
(rumaging around the fridge)
Anything stronger?
(pause)
Oh, probably not. Beer? You can drink beer, can't you?

CLIFF
I can, but I don't.

CLARENCE
(closing the fridge)
That's about all I ever eat.

Cliff looks at the Girl. She smiles sweetly at him.

CLIFF
(to Girl)
I'm sorry... I'm his father.

YOUNG GIRL
(sticking her hand out)
That's OK, I'm his wife.
(shaking his hand vigorously)
Alabama Worley, pleased to meetcha.

She is really pumping his arm, just like a used-car salesman. However, that's where the similarities end; Alabama's totally sincere.

Clarence steps back into the living room, holding a bunch of little ceramic fruit magnets in his hand. He throws his other arm around Alabama.

CLARENCE
Oh yeah, we got married.
(referring to the magnets)
You still have these.
(to Alabama)
This isn't a complete set; when I was five I swallowed the pomegranate one.
I never shit it out, so I guess it's still there. Loverdoll, why don't you
be a sport and go get us some beer. I want some beer.
(to Cliff)
Do you want some beer? Well, if you want some it's here.

He hands her some money and his car keys.

CLARENCE
Go to the liquor store -
(to Cliff)
Where is there a liquor store around here?

CLIFF
Uh, yeah... there's a party store down 54th.

CLARENCE
(to Alabama)
Get a six-pack of something imported. It's hard to tell you what to get
'cause different places have different things. If they got Fosters, get
that, if not, ask the guy at the thing what the strongest imported beer he
has. Look, since you're making a beer run, would you mind too terribly if
you did a foot run as well. I'm fuckin' starvin' to death. Are you hungry
too?

ALABAMA
I'm pretty hungry. When I went to the store I was gonna get some
Ding-Dongs.

CLARENCE
Well, fuck that shit, we'll get some real food. What would taste good.
(to Cliff)
What do you think would taste good?

CLIFF
I'm really not very -

CLARENCE
You know what would taste good? Chicken. I haven't had chicken in a while.
Chicken would really hit the spot about now. Chicken and beer, definitly,
absolutely, without a doubt.
(to Cliff)
Where's a good chicken place around here?

CLIFF
I really don't know.

CLARENCE
You don't know the chicken places around where you live?
(to Alabama)
Ask the guy at the place where a chicken place is.

He gives her some more money.

CLARENCE
This should cover it, Auggie-Doggie.

ALABAMA
Okee-dokee, Doggie-Daddy.

She opens the door and starts out. Clarence turns to his dad as the door shuts.

CLARENCE
Isn't she the sweetest goddamned girl you ever saw in your whole life? Is
she a four alarm fire, or what?

CLIFF
She seems very nice.

CLARENCE
Daddy. Nice isn't the word. Nice is an insult. She's a peach. That's the
only word for it, she's a peach. She even tastes like a peach. You can tell
I'm in love with her. You can tell by my face, can't ya? It's a dead
giveaway. It's written all over it. Ya know what? She loves me back. Take a
seat, Pop, we gotta talk -

CLIFF
Clarence, just shut up, you're giving me a headache! I can't believe how
much like your mother you are. You're your fuckin' mother through and
through. I haven't heard from ya in three years. Then ya show up all of a
sudden at eight o'clock in the morning. You walk in like a goddamn
bulldozer... don't get me wrong, I'm happy to see you... just slow it down.
Now, when did you get married?

CLARENCE
Daddy, I'm in big fuckin' trouble and I really need your help.

BLACK TITLE CARD: "HOLLYWOOD"


INT. OUTSIDE OF CASTING DIRECTOR'S OFFICER - DAY

FOUR YOUNG ACTORS are sitting on a couch with sheets of paper in their hands silently mouthing lines. One of the actors is DICK RITCHIE. The casting director, MARY LOUISE RAVENCROFT, steps into the waiting room, clip board in hand.

RAVENCROFT
Dick Ritchie?

Dick pops up from the pack.

DICK
I'm me... I mean, that's me.

RAVENCROFT
Step inside.


INT. CASTING DIRECTOR'S OFFICE - DAY

She sits behind a large desk. Her name-plate rests on the desktop. Several posters advertising "The Return of T.J. Hooker" hang on the wall.

Dick sits in a chair, holding his sheets in his hands.

RAVENCROFT
Well, the part you're reading for is one of the bad guys. There's Brian and
Marty. Peter Breck's already been cast as Brian. And you're reading for the
part of Marty. Now in this scene you're both in a car and Bill Shatner's
hanging on the hood. And what you're trying to do is get him off.
(she picks a up a copy of the script)
Whenever you're ready.

DICK
(reading and miming driving)
Where'd you come from?

RAVENCROFT
(reading from the script lifelessly)
I don't know. He just appeared as magic.

DICK
(reading from script)
Well, don't just sit there, shoot him.

She puts her script down, and smiles at him.

RAVENCROFT
That was very good.

DICK
Thank you.

RAVENCROFT
If we decided on making him a New York type, could you do that?

DICK
Sure. No problem.

RAVENCROFT
Could we try it now?

DICK
Absolutely.

Dick picks up the script and begins, but this time with a Brooklyn accent.

DICK
Where'd he come from?

RAVENCROFT
(monotone, as before)
I don't know. He just appeared as magic.

DICK
Well, don't just sit there, shoot him.

Ravencroft puts her script down.

RAVENCROFT
Well, Mr. Ritchie, I'm impressed. You're a very fine actor.

Dick smiles.


INT. TRAILER HOME - DAY

Cliff's completely aghast. He just stares, unable to come to grips with what Clarence has told him.

CLARENCE
Look, I don't know this is pretty heavy-duty, so if you wanna explode, feel
free.

CLIFF
You're always making jokes. That's what you do, isn't it? Make jokes.
Making jokes is the one thing you're good at, isn't it? But if you make a
joke about this -
(raising his voice)
- I'm gonna go completely out of my fuckin' head!

Cliff pauses and collects himself.

CLIFF
What do you want from me?

CLARENCE
What?

CLIFF
Stop acting like an infant. You're here because you want me to help you in
some way. What do you need from me? You need money?

CLARENCE
Do you still have friends on the force?

CLIFF
Yes, I still have friends on the force.

CLARENCE
Could you find out if they know anythin'? I don't know they know shit about
us. But I don't wanna think, I wanna know. You could find out for sure
what's goin' on.
(pause)
Daddy?

CLIFF
What makes you think I could do that?

CLARENCE
You were a cop.

CLIFF
What makes you think I would do that?

CLARENCE
I'm your son.

CLIFF
You got it all worked out, don't you?

CLARENCE
Look, goddamnit, I never asked you for a goddamn thing! I've tried to make
your parental obligation as easy as possible. After Mom divorced you, did I
ask you for anything? When I wouldn't see ya for six months to a year at a
time, did you ever get your shit about it? No, it was always "OK", "No
problem", "You're a busy guy, I understand". The whole time you were a
drunk, did I ever point my finger at you and talk shit? No! Everybody else
did. I never did. You see, I know that you're just a bad parent. You're not
really very good at it. But I know you love me. I'm basically a pretty
resourceful guy. If I didn't really need it I wouldn't ask. And if you say
no, don't worry about it. I'm gone. No problems.

Alabama walks in through the door carrying a shopping bag.

ALABAMA
The forager's back.

CLARENCE
Thank God. I could eat a horse if you slap enough catsup on it.

ALABAMA
I didn't get any chicken.

CLARENCE
How come?

ALABAMA
It's nine o'clock in the morning. Nothing's open.


INT. TRAILER HOME - BEDROOM - DAY

Cliff's on the telephone in his bedroom, pacing as he talks. The living room od the trailer can be seen from his doorway, where Clarence and Alabama are horsing around. They giggle and cut up throughout the scene. As Cliff talks, all the noise and hubbub of a police station comes through over the line. He's talking to DETECTIVE WILSON, an old friend of his from the force.

We see both inside the conversation.

CLIFF
It's about that pimp that was shot a couple of days ago, Drexl Spivey.

WILSON
What about him?

CLIFF
Well, Ted, to tell you the truth, I found out through the grapevine that it
might be, and I only said might be, the Drexl Spivey that was responsible
for that restaurant break-in on Riverdale.

WILSON
Are you still working security for Foster & Langley?

CLIFF
Yeah, and the restaurant's on my route. And you know, I stuck my nose in
for the company to try to put a stop to some of these break-ins. Now, while
I have no proof, the name Drexl Spivey kept comin' up Who's case is it?

WILSON
McTeague.

CLIFF
I don't know him. Is he a nice guy? You think he'll help me out?

WILSON
I don't see why not. When you gonna come round and see my new place?

CLIFF
You and Robin moved?

WILSON
Shit, are you behind. Me and Robin got a divorce six months ago. Got myself
a new place - mirrors all over the bedroom, ceiling fans above the bed.
Guy'd have to look as ugly as King Kong not to get laid in this place. I'm
serious, a guy'd have to look like a gorilla.

CUT TO:


EXT. TRAILER HOME - DAY

Clarence and Cliff stand by Clarence's 1965 red Mustang. Alabama's amusing herself by doing cartwheels and handstands in the background.

CLIFF
They have nothing. In fact, they think it's drug related.

CLARENCE
Do tell. Why drug related?

CLIFF
Apparently, Drexl had a big toe stuck in shit like that.

CLARENCE
No shit?

CLIFF
Yeah. Drexl had an association with a fella named Blue Lou Boyle. Name mean
anything to you?

CLARENCE
Nope.

CLIFF
If you don't hang around in this circle, no reason it should.

CLARENCE
Who is he?

CLIFF
Gangster. Drug Dealer. Somebody you don't want on your ass. Look, Clarence,
the more I hear about this Drexl fucker, the more I think you did the right
thing. That guy wasn't just some wild flake.

CLARENCE
That's what I've been tellin' ya. The guy was like a mad dog. So the cops
aren't looking for me?

CLIFF
Naw, until they hear something better they'll assume Drexl and Blue Lou had
a falling out. So, once you leave twon, I wouldn't worry about it.

Clarence sticks his hand out to shake. Cliff takes it.

CLARENCE
Thanks a lot, Daddy. You really came through for me.

CLIFF
I got some money I can give you -

CLARENCE
Keep it.

CLIFF
Well, son, I want you to know I hope everything works out with you and
Alabama. I like her. I think you make a cute couple.

CLARENCE
We do make a cute couple, don't we?

CLIFF
Yeah, well, just stay outta trouble. Remeber, you got a wife to think
about. Quit fuckin' around.
(pause)
I love you son.

They hug each other,

Clarence takes a pice of paper out and puts it into Cliff's hand.

CLARENCE
This is Dick's number in Hollywood. We don't know where we'll be, but you
can get a hold of me through him.

Clarence turns toward Alabama and yells to her.

CLARENCE
Bama, we're outta here. Kiss Pops goodbye,

Alabama runs across from where she was and throws her arms around Cliff and gives him a big smackeroo on the lips. Cliff's a little startled. Alabama's bubbling like a Fresca.

ALABAMA
Bye, Daddy! Hope to see you again real soon.

CLARENCE
(mock anger)
What kind of daughterly smackeroo was that?

ALABAMA
Oh, hush up.

The two get into the Mustang.

CLARENCE
(to Cliff)
We'll send you a postcard as soon as we get to Hollywood.

Clarence starts the engine. The convertible roof opens as they talk.

CLIFF
Bama, you take care of that one for me. Keep him out of trouble.

ALABAMA
Don't worry, Daddy, I'm keepin' this fella on a short leash.

Clarence, slowly, starts driving away.

CLARENCE
(to Cliff)
As the sun sets slowly in the west we bid a fond farewell to all the
friends we've made... and, with a touch of melancholy, we look forward to
the time when we will all be together again.

Clarence peels out, shooting a shower of gravel up in the air.

As the Mustang disappears Cliff runs his tongue over his lips.

CLIFF

The-son-of-a-bitch was right... she does taste like a peach.


INT. DICK'S APARTMENT - DAY

Dick's apartment is standard issue for a young actor. Things are pretty neat and clean. A nice stereo unit sits on the shelf. A framed picture of a ballet dancer's feet hangs on the wall.

The phone rings, Dick answers.

DICK
Hi, Dick here.


INT. HOTEL SUITE - LAS VEGAS - SUNSET

Top floor, Las Vegas, Nevada hotel room with a huge picture window overlooking the neon-filled strip and the flaming red and orange sunset sky.

Clarence paces up and down with the telephone in his hand.

CLARENCE
(big bopper voice)
Heeeellllloooo baaaabbbbbyyyy!!!

Note: We intercut both sides of the conversation.

DICK
(unsure)
Clarence?

CLARENCE
You got it.

DICK
It's great to hear from you.

CLARENCE
Well, you're gonna be seein' me shortly.

DICK
You comin' to L.A.? When?

CLARENCE
Tomorrow.

DICK
What's up? Why're leavin' Detroit?

Clarence sits down on the hotel room bed. Alabama, wearing only a long T-shirt with a big picture of Bullwinkle on it, crawls behind him.

CLARENCE
Well, there's a story behind all that. I'll tell you when I see you. By the
way, I won't be alone. I'm bringing my wife with me.

DICK
Get the fuck outta here!

CLARENCE
I'm a married man.

DICK
Get the fuck outta here!

CLARENCE
Believe it or not, I actually tricked a girl into falling in love with me.
I'm not quite sure how I did it. I'd hate to have to do it again. But I did
it. Wanna say hi to my better half?

Before Dick can respond Clarence puts Alabama on the phone.

ALABAMA
Hi, Dick. I'm Alabama Worley.

DICK
Hello, Alabama.

ALABAMA
I can't wait to meet you. Clarence told me all about you. He said you were
his best friend. So, I guess that makes you my best friend, too.

Clarence start dictating to her what to say.

CLARENCE
Tell him we gotta go.

ALABAMA
Clarence says we gotta be hittin' it.

DICK
What?

CLARENCE
Tell him we'll be hittin' his area some time tomorrow.

ALABAMA
He said don't go nowhere. We'll be there some time tomorrow.

DICK
Wait a minute -

CLARENCE
Tell him not to eat anything. We're gonna scarf when we get there.

ALABAMA
Don't eat anything.

DICK
Alabama, could you tell Clar -

CLARENCE
Ask him if he got the letter.

ALABAMA
Did you get the letter?

DICK
What letter?

ALABAMA
(to Clarence)
What letter?

CLARENCE
The letter I sent.

ALABAMA
(to Dick)
The letter he sent.

DICK
Clarence sent a letter?

CLARENCE
Has he gotten his mail today?

ALABAMA
Gotten your mail yet?

DICK
Yeah, my room-mate leaves it on the TV.

ALABAMA
(to Clarence)
Yes.

CLARENCE
Has he looked through it yet?

ALABAMA
(to Dick)
Ya looked through it?

DICK
Not yet.

ALABAMA
(to Clarence)
Nope.

CLARENCE
Tell him to look through it.

ALABAMA
(to Dick)
Get it.

DICK
Let me speak to Clarence.

ALABAMA
(to Clarence)
He wants to speak with you.

CLARENCE
No time. Gotta go. Just tell him to read the letter, the letter explains
all. Tell him I love him. And tell him, as of tomorrow, all his money
problems are over.

ALABAMA
(to Dick)
He can't. We gotta go, but he wants you to read the letter. The letter
explains it all. He wants you to know he loves you. And he wants you to
know that as of tomorrow, all of your money problems are over.

DICK
Money problems?

CLARENCE
Now tell him goodbye.

ALABAMA
Bye-bye.

CLARENCE
Now hang up.

She hangs up the phone.


INT. DICK'S APARTMENT - DAY

Dick hears the click on the other end.

DICK
Hello, hello, Clarence? Clarence's wife?... I mean Alabama... hello?

Extremely confused, Dick jangs up the phone. He goes over to the TV and picks up the day's mail. He goes through it.

BILL: Southern California Gas Company.

BILL: Group W.

BILL: Fossenkemp Photography.

BILL: Columbia Record and Tape Club.

LETTER: It's obviously from Clarence. Addressed to Dick. Dick opens it.


EXT. TRAILER - DAY

A lower-middle-class trailer park named Astro World, which has a neon sign in front of it in the shape of a planet.

A big, white Chevy Nova pulls into the park. It parks by a trailer that's slightly less kept up than the others. Cliff gets out of the Chevy. He's drinking out of a fast-food soda cup as he opens the door to his trailer.


INT. TRAILER - DAY

He steps inside the doorway and then, before he knows it, a gun is pressed to his temple and a big hand grabs his shoulder.

GUN CARRIER (DARIO)
Welcome home, alchy. We're havin' a party.

Cliff is roughly shoved into his living room. Waiting for him are four men, standing: VIRGIL, FRANKIE (young Wise-guy) LENNY (an old Wise-guy), and Tooth-pick Vic (a fireplug pitbull type).

Sitting in Cliff's recliner is VINCENZO COCCOTTI, the Frank Nitti to Detroid mob leader Blue Lou Boyle.

Cliff is knocked to his knees. He looks up and sees the sitting Coccotti. Dario and Lenny pick him up and roughly drop him in a chair.

COCCOTTI
(to Frankie)
Tell Tooth-pick Vic to go outside and do you-know-what.

In Italian Frankie tells Tooth-pick Vic what Coccotti said. He nods and exits.

Cliff's chair is moved closer to Coccotti's. Dario stands on one side of Cliff. Frankie and Lenny ransack the trailer. Virgil has a bottle of Chivas Regal in his hand, but he has yet to touch a drop.

COCCOTTI
Do you know who I am, Mr. Worley?

CLIFF
I give up. Who are you?

COCCOTTI
I'm the Anti-Christ. You get me in a vendetta kind of mood, you will tell
the angels in heaven that you had never seen pure evil so singularly
personified as you did in the face of the man who killed you. My name is
Vincenzo Coccotti. I work as a counsel for Mr. Blue Lou Boyle, the man your
son stole from. I hear you were once a cop so I assume you've heard od us
before. Am I correct?

CLIFF
I've heard of Blue Lou Boyle.

COCCOTTI
I'm glad. Hopefully that will clear up the how-full-of-shit-I-am question
you've been asking yourself. Now, we're gonna have a little Q and A, and,
at the risk of sounding redundant, please make your answers genuine.
(taking out a pack of Chesterfields)
Want a Chesterfield?

CLIFF
No.

COCCOTTI
(as he lights up)
I have a son of my own. About you boy's age. I can imagine how painful this
must be for you. But Clarence and that bitch-whore girlfriend of his
brought this all on themselves. And I implore you not to go down the road
with 'em. You can always take comfort in the fact that you never had a
choice.

CLIFF
Look, I'd help ya if I could, but I haven't seen Clarence -

Before Cliff can finish his sentence, Coccotti slams him hard in the nose with his fist.

COCCOTTI
Smarts, don't it? Gettin' slammed in the nose fucks you all up. You got
that pain shootin' through your brain. Your eyes fill up with water. It
ain't any kind of fun. But what I have to offer you. That's as good as it's
ever gonna get, and it won't ever get that good again. We talked to your
neighbors. They saw a Mustang, a red Mustang, Clarence's red Mustang,
parked in front of your trailer yesterday. Mr. Worley, have you seen your
son?

Cliff's defeated.

CLIFF
I've seen him.

COCCOTTI
Now I can't be sure of how much of what he told you. So in the chance
you're in the dark about some of this, let me shed some light. That whore
your boy hangs around with, her pimp is an associate of mine, and I don't
just mean pimpin', in other affairs he works for me in a courier capacity.
Well, apparently, that dirty little whore found out when we're gonna do
some business, 'cause your son, the cowboy and his flame, came in the room
blastin' and didn't stop till they were pretty sure everybody was dead.

CLIFF
What are you talkin' about?

COCCOTTI
I'm talkin' about a massacre. They snatched my narcotics and hightailed it
outta there. Wouldda gotten away with it, but your son, fuckhead that he
is, left his driver's license in a dead guy's hand. A whore hiding in the
commode filled in all the blanks.

CLIFF
I don't believe you.

COCCOTTI
That's of minor importance. But what's of major fuckin' importance is that
I believe you. Where did they go?

CLIFF
On their honeymoon.

COCCOTTI
I'm gettin' angry askin' the same question a second time. Where did they
go?

CLIFF
They didn't tell me.

Coccotti looks at him.

CLIFF
Now, wait a minute and listen. I haven't seen Clarence in three years.
Yesterday he shows up here with a girl, sayin' he got married. He told me
he needed some quick cash for a honeymoon, so he asked if he could borrow
five hundred dollars. I wanted to help him out so I wrote out a check. We
went to breakfast and that's the last I saw of him. So help me God. They
never thought to tell me where they were goin'. And I never thought to ask.

Coccotti looks at him for a long moment. He then gives Virgil a look. Virgil, quick as greased lightning, grabs Cliff's hand and turns it palm up. He then whips out a butterfly knife and slices Cliff's palm open and pours Chivas Regal on the wound. Cliff screams.

Coccotti puffs on a Chesterfield.

Tooth-pic Vic returns to the trailer, and reports in Italian that there's nothing in the car.

Virgil walks into the kitchen and gets a dishtowel. Cliff holds his bleeding palm in agony. Virgil hands him the dishtowel. Cliff uses it to wrap up his hand.

COCCOTTI
Sicilians are great liars. The best in the world. I'm a Sicilian. And my
old man was the world heavyweight champion of Sicilian liars. And from
growin' up with him I learned the pantomime. Now there are seventeen
different things a guy can do when he lies to give him away. A guy has
seventeen pantomimes. A woman's got twenty, but a guy's got seventeen. And
if you know 'em like ya know your own face, they beat lie detectors to
hell. What we got here is a little game of show and tell. You don't wanna
show me nothin'. But you're tellin' me everything. Now I know you know
where they are. So tell me, before I do some damage you won't walk away
from.

The awful pain in Cliff's hand is being replaced by the awful pain in his heart. He looks deep into Coccotti's eyes.

CLIFF
Could I have one of those Chesterfields now?

COCCOTTI
Sure.

Coccotti leans over and hands him a smoke.

CLIFF
Got a match?

Cliff reaches into his pocket and pulls out a lighter.

CLIFF
Oh, don't bother. I got one.
(he lights the cigarette)
So you're a Sicilian, huh?

COCCOTTI
(intensly)
Uh-huh.

CLIFF
You know I read a lot. Especially things that have to do with history. I
find that shit fascinating. In fact, I don't know if you know this or not,
Sicilians were spawned by niggers.

All the men stop what they were doing and look at Cliff, except for Tooth-pic Vic who doesn't speak English and so isn't insulted. Coccotti can't believe what he's hearing.

COCCOTTI
Come again?

CLIFF
It's a fact. Sicilians have nigger blood pumpin' through their hearts. If
you don't believe me, look it up. You see, hundreds and hundreds of years
ago the Moors conquered Sicily. And Moors are niggers. Way back then,
Sicilians were like the wops in northern Italy. Blond hair, blue eyes. But,
once the Moors moved in there, they changed the whole country. They did so
much fuckin' with the Sicilian women, they changed the blood-line for ever,
from blond hair and blue eyes to black hair and dark skin. I find it
absolutely amazing to think that to this day, hundreds of years later,
Sicilians still carry that nigger gene. I'm just quotin' history. It's a
fact. It's written. Your ancestors were niggers. Your great, great, great,
great, great-grandmother was fucked by a nigger, and had a half-nigger kid.
That is a fact. Now tell me, am I lyin'?

Coccotti looks at him for a moment then jumps up, whips out an automatic, grabs hold of Cliff's hair, puts the barrel to his temple, and pumps three bullets through Cliff's head.

He pushes the body violently aside. Coccotti pauses. Unable to express his feelings and frustrated by the blood in his hands, he simply drops his weapon, and turns to his men.

COCCOTTI
I haven't killed anybody since 1974. Goddamn his soul to burn for eternity
in fuckin' hell for makin' me spill blood on my hands! Go to this
comedian's son's apartment and come back with somethin' that tells me where
that asshole went so I can wipe this egg off of my face and fix this
fucked-up family for good.

Tooth-pick Vic taps Frankie's shoulder and, in Italianm asks him what that was all about.

Lenny, who has been going through Cliff's refridgerator, has found a beer. When he closes the refridgerator door he finds a note held on by a ceramic banana magnet that says: "Clarence in L.A.: Dick Ritchie (number and address)".

LENNY
Boss, get ready to get happy.

TITLE CARD: "CLARENCE AND ALABAMA HIT L.A."


INT. DICK'S APARTMENT- MORNING

Dick's asleep in a recliner. He's wearing his clothes from the night before. His room-mate FLOYD is lying on the sofa watching TV.

The sound of our hands knocking on his door wakes Dick up. He shakes the bats out of his belfry, opens the door, and finds the cutest couple in Los Angeles standing in his doorway.

Clarence and Alabama immediately start singing "Hello My Baby" like the frog in the old Chuck Jones cartoon.

CLARENCE/ALABAMA
Hello my baby,
Hello my honey,
Hello my ragtime gal -

DICK
Hi guys.

Alabama throws her arms around Dick, and gives him a quick kiss. After she breaks, Clarence does the same. Clarence and Alabama walk right past Dick and into his apartment.

CLARENCE
Wow. Neat place.


INT. PINK'S HOT-DOG STAND - DAY

The Pink's employees work like skilled Benihana chefs as they assemble the ultimate masterpiece hot-dog.


EXT. PINK'S HOT-DOG STAND - PATIO - DAY

Clarence, Alabama, and Dick are sitting at an outdoor table chowing down on chili dogs. Alabama is in the middle of a story.

ALABAMA
... when my mom went into labor, my dad panicked. He never had a kid
before, and crashed the car. Now, picture this: their car's demolished,
crowd is starting to gather, my mom is yelling, going into contractions,
and my dad, who was losing it before, is now completely screaming yellow
zonkers. Then, out of nowhere, as if from thin air, this big giant bus
appears, and the bus-driver says, "Get her in here.". He forgot all about
his route and just drove straight to the hospital. So, because he was such
a nice guy, they wanted to name the baby after him, as a sign of gratitude.
Well, his name was Waldo, and no matter how grateful they were, even if
I'da been a boy, they would't call me Waldo. So they asked Waldo where he
was from. And, so there you go.

CLARENCE
And here we are.

DICK
That's a pretty amazing story.

CLARENCE
Well, she's a pretty amazing girl. What are women like out here?

DICK
Just like in Detroit, only skinnier.

CLARENCE
You goin' out?

DICK
Well, for the past couple of years I've been goin' out with girls from my
acting class.

CLARENCE
Good for you.

DICK
What's so fuckin' good about it? Actresses are the most fucked-in-the-head
bunch of women in the world. It's like they gotta pass a test of emotional
instability before they can get their SAG card. Oh, guess what? I had a
really good reading for "T.J. Hooker" the other day.

ALABAMA
You're gonna be on "T.J. Hooker"?

DICK
Knock wood.

He knocks the table and then looks at it.

DICK
... formica. I did real well. I think she liked me.

CLARENCE
Did you meet Captain Kirk?

DICK
You don't meet him in the audition. That comes later. Hope, hope.

ALABAMA
(finishing her hot-dog)
That was so good I am gonna have another.

DICK
You can't have just one.

Alabama leaves to get another hot-dog. Clarence never takes his eyes off her.

DICK
How much of that letter was on the up and up?

CLARENCE
Every word of it.

Dick sees where Clarence's attention is.

DICK
You're really in love, aren't you?

CLARENCE
For the very first time in my life.
(pause)
Do you know what that's like?

Clarence is so intense Dick doesn't know how to answer.

DICK
(regretfully)
No, I don't
(he looks at Alabama)
How did you two meet?

Clarence leans back thoughtfully and takes a sip from his Hebrew cream soda.

CLARENCE
Do you remember The Lyric?


INT. THE LYRIC THEATER - NIGHT

Sonny Chiba, as "Streetfighter" Terry Surki, drives into a group of guys, fists and feet flying and whips ass on the silver screen.

Clarence sits, legs over the back of the chair in front of him, nibbling on popcorn, eyes big as sourcers, and a big smile on his face.


EXT. THE LYRIC THEATER - NIGHT

A cab pulls up to the outside of The Lyric. The marquee carries the names of the triple feature: "The Streetfighter", "Return of the Streetfighter" and "Sister Streetfighter". Alabama steps out of the taxi cab and walks up to the box office.

A box office girl reading comic looks at her.

ALABAMA
One please.

BOX OFFICE GIRL
Ninety-nine cents.

ALABAMA
Which one is on now?

BOX OFFICE GIRL
"Return of the Streetfighter". It's been on about forty-five minutes.


INT. THE LYRIC THEATER - LOBBY - NIGHT

Alabama walks into the lobby and goes over to the concession stand. A young usher takes care of her.

ALABAMA
Can I have a medium popcorn? A super-large Mr. Pibb, and a box of Goobers.


INT. THE LYRIC THEATER - NIGHT

It's still assholes and elbows on the screen with Sonny Chiba taking on all-comers.

Alabama walks through the doors with her bounty of food. She makes a quick scan of the theater. Not many people are there. She makes a beeline for the front whick happens to be Clarence's area of choice. She picks the row of seats just behind Clarence and starts asking her way down it.

Clarence turns and sees this beautiful girl all alone moving towards him. He turns his attention back to the screen, trying not to be so obvious.

When Alabama gets right behind Clarence, her foot thunks a discarded wine bottle, causing her to trip and spill her popcorn over Clarence.

ALABAMA
Oh, look what happened. Oh god, I'm so sorry. Are you OK?

CLARENCE
Yeah. I'm fine. It didn't hurt.

ALABAMA
I'm the clumsiest person in the world.

CLARENCE
(picking popcorn out of his hair)
It's OK. Don't worry about it. Accidents happen.

ALABAMA
(picking popcorn out of his hair)
What a wonderful philosophy. Thanks for being such a sweetheart. You could
have been a real dick.

Alabama sits back in her seat to watch the movie.

Clarence tries to wipe her out of his mind, which isn't easy, and get back into the movie.

They both watch the screen for a moment. Then, Alabama leans forward and taps Clarence on the shoulder.

ALABAMA
Excuse me... I hate to bother you again. Would you mind too terribly
filling me in on what I missed?

Jumping on this opportunity.

CLARENCE
Not at all. I, this guy here, he's Sonny Chiba.

ALABAMA
The oriental.

CLARENCE
The oriental in black. He's an assasin. Now, at the beginning he was hired
to kill this guy the cops had. So he got himself arrested. They take him
into the police station. And he starts kickin' all the cops' asses. Now,
while keepin' them at bay, he finds the guy he was supposed to kill. Does a
number on him. Kicks the cops' asses some more. Kicks the bars out of the
window. And jumps out into a getaway car that was waiting for him.

ALABAMA
Want some Goobers?

CLARENCE
Thanks a lot.

ALABAMA
I thought Sonny was the good guy.

CLARENCE
He ain't so much good guy as he's just a bad motherfucker. Sonny don't be
bullshittin'. He fucks dudes up for life. Hold on, a fight scene's coming
up.

They both watch, eyes wide, as Sonny Chiba kicks asses.


TIME CUT:

On the screen, Sonny Chiba's all jacked up. Dead bodies lie all around him. THE END (in Japanese) flashes on the screen.

The theater light go up. Alabama's now sitting in the next seat to Clarence. They're both applauding.

ALABAMA
Great movie. Action-packed!

CLARENCE
Does Sonny kick ass or does Sonny kick ass?

ALABAMA
Sonny kicks ass.

CLARENCE
You shoulda saw the first original uncut version of the "Streetfighter". It
was the only movie up to that time rated X for violence. But we just saw
the R.

ALABAMA
If that was the R, I'd love to see the X.

CLARENCE
My name is Clarence, and what is yours?

ALABAMA
Alabama Whitman. Pleased to meet ya.

CLARENCE
Is that your real name? Really?

ALABAMA
That's my real name, really. I got proof. See.

She shows Clarence her driver's license.

CLARENCE
Well, cut my legs off and call me Shorty. That's a pretty original moniker
there, Alabama. Sounds like a Pam Grier movie.
(announcer voice)
She's a sixteen-calibre kitten, equally equipped for killin' an' lovin'!
She carried a sawed-off shotgun in her purse, a black belt around her
waist, and the white-hot fire of hate in her eyes! Alabama Whitman is Pam
Grier! Pray for forgiveness, Rated R... for Ruthless Revenge!


EXT. THE LYRIC THEATER - NIGHT

Clarence and Alabama are outside the theater. With the marquee lit up in the background they both perform unskilled martial arts moves. Clarence and Alabama break up laughing.

CLARENCE
Where's your car? I'll walk you to it.

ALABAMA
I took a cab.

CLARENCE
You took a cab to see three kung fu movies?

ALABAMA
Sure. Why not?

CLARENCE
Nothing. It's just you're a girl after my own heart.

ALABAMA
What time is it?

CLARENCE
'Bout twelve.

ALABAMA
I suppose you gotta get up early, huh?

CLARENCE
No. Not particularly.
(pause)
How come?

ALABAMA
Well, it's just when I see a really good movie I really like to go out and
get some pie, and talk about it. It's sort of tradition. Do you like to eat
pie after you've seen a good movie?

CLARENCE
I love to get pie after a movie.

ALABAMA
Would you like to get some pie?

CLARENCE
I'd love some pie.


INT. DENNY'S RESTAURANT - NIGHT

Clarence and Alabama are sitting in a booth at an all-night Denny's. It's about 12:40 a.m. Clarence is having a piece of chocolate cream pie and a coke. Alabama's nibbling on a peace of heated apple pie and sipping on a large Tab.

CLARENCE
Well, enough about the King. How about you?

ALABAMA
How 'bout me what?

CLARENCE
Tell me about yourself.

ALABAMA
There's nothing to tell.

CLARENCE
C'mon. What're ya tryin' to be? The Phantom Lady?

ALABAMA
What do you want to know?

CLARENCE
Well, for starters, what do you do? Where're ya from? What's your favorite
color? Who's your favorite movie star? What kinda music do you like? What
are your turn-ons and turn-offs? Do you have a fella? What's the story
behind you takin' a cab to the most dangerous part of town alone? And, in a
theater full of empty seats, why did you sit by me?

Alabama takes a bite of pie, puts down her fork, and looks at Clarence.

ALABAMA
Ask me them again. One by one.

CLARENCE
What do you do?

ALABAMA
I don't remember.

CLARENCE
Where are you from.

ALABAMA
Might be from Tallahassee. But I'm not sure yet.

CLARENCE
What's your favorite color?

ALABAMA
I don't remember. But off the top of my head, I'd say black.

CLARENCE
What's your favorite movie star?

ALABAMA
Burt Reynolds.

CLARENCE
Would you like a bite of my pie?

ALABAMA
Yes, I would.

Clarence scoops up a piece on his fork and Alabama bites it off.

CLARENCE
Like it?

ALABAMA
Very much. Now, where were we?

CLARENCE
What kinda music do you like?

ALABAMA
Phil Spector. Girl group stuff. You know, like "He's a Rebel".

CLARENCE
What are your turn-ons?

ALABAMA
Mickey Rourke, somebody who can appreciate the finer things in life, like
Elvis's voice, good kung fu, and a tasty piece of pie.

CLARENCE
Turn-offs?

ALABAMA
I'm sure there must be something, but I don't really remember. The only
thing that comes to mind are Persians.

CLARENCE
Do you have a fella?

She looks at Clarence and smiles.

ALABAMA
I'm not sure yet. Ask me again later.

CLARENCE
What's the story behind you takin' a cab to the most dangerous part of town
alone?

ALABAMA
Apparently, I was hit on the head with something really heavy, giving me a
form of amnesia. When I came to, I didn't know who I was, where I was, or
where I came from. Luckily, I had my driver's license or I wouldn't even
know my name. I hoped it would tell me where I lived but it had a
Tallahassee address on it, and I stopped somebody on the street and they
told me I was in Detroit. So that was no help. But I did have some money on
me, so I hopped in a cab until I saw somethin' that looked familiar. For
some reason, and don't ask me why, that theater looked familiar. So I told
him to stop and I got out.

CLARENCE
And in a theater full of empty seats, why did you sit by me?

ALABAMA
Because you looked like a nice guy, and I was a little scared. And I sure
couldda used a nice guy about that time, so I spilled my popcorn on you.

Clarence looks at her closely. He picks up his soda and sucks on the straw until it makes that slurping sound. He puts it aside and stares into her soul.

A smile cracks on her face and develops into a big wide grin.

ALABAMA
Aren't you just dazzled by my imagination, lover boy?
(eats her last piece of pie)
Where to next?


INT. COMIC BOOK STORE - NIGHT

It's about 1:30 a.m. Clarence has taken Alabama to where he works. It's a comic book store called Heroes For Sale. Alabama thinks this place is super-cool.

ALABAMA
Wow. What a swell place to work.

CLARENCE
Yeah, I got the key, so I come here at night, hang out, read comic books,
play music.

ALABAMA
How long have you worked here?

CLARENCE
Almost four years.

ALABAMA
That's a long time.

CLARENCE
I'm hip. But you know, I'm comfortable here. It's easy work. I know what
I'm doing. Everybody who works here is my buddy. I'm friendly with most of
the customers. I just hang around and talk about comic books all day.

ALABAMA
Do you get paid a lot?

CLARENCE
That's where trouble comes into paradise. But the boss let's you borrow
some money if you need it. Wanna see what "Spiderman" number one looks
like?

ALABAMA
You bet. How much is that worth?

Clarence gets a box off the shelf.

CLARENCE
Four hundred bucks.

ALABAMA
I didn't even know they had stores that just sold comic books.

CLARENCE
Well, we sell other things too. Cool stuff. "Man from U.N.C.L.E." Lunch
boxes. "Green Hornet" board games. Shit like that. But comic books are main
business. There's a lot of collectors around here.

She holds up a little GI Joe sized action figure of a black policeman.

ALABAMA
What's that?

CLARENCE
That's a "Rookies" doll. George Sanford Brown. We gotta lotta dolls.
They're real cool. Did you know they came out with dolls for all the actors
in "The Black Hole"? I always found it funny somewhere there's a kid
playin' with a little figure of Earnest Borgnine.

He pulls a plastic-cased "Spiderman" comic form the box.

CLARENCE
"Spiderman", number one. The one that started it all.

Clarence shows the comic book to Alabama.

ALABAMA
God, Spiderman looks different.

CLARENCE
He was just born, remember? This is the first one. You know that guy, Dr.
Gene Scott? He said that the story of Spiderman is the story of Christ,
just disguised. Well, I thought about that even before I heard him say it.
Hold on, let me show you my favorite comic book cover of all time.

He pulls out another comic.

CLARENCE
"Sgt. Fury and His Howling Commandos". One of the coolest series known to
man. They're completely worthless. You can get number one for about four
bucks. But that's one of the cool things about them, they're so cheap.
(he opens one up)
Just look at that artwork, will ya. Great stories. Great Characters. Look
at this one.

We see the "Sgt. Fury" panels.

CLARENCE
Nick's gotten a ring from his sweetheart and he wears it around his neck on
a chain. OK, later in the story he gets into a fight with a Nazi bastard on
a ship. He knocks the guy overboard, but the Kraut grabs ahold of his chain
and the ring goes overboard too. So, Nick dives into the ocean to get it.
Isn't that cool?

She's looking into Clarence's eyes. He turns and meets her gaze.

CLARENCE
Alabama, I'd like you to have this.

Clarence hands her the "Sgt. Fury and His Howling Commandos" comic book that he loves so much.


INT. CLARENCE'S APARTMENT - BEDROOM - NIGHT

Clarence's bedroom is a pop culture explosion. Movie posters, pictures of Elvis, anything you can imagine. The two walk through the door.

ALABAMA
What a cool room!

She runs and does a jumping somersault into his bed.

Later. Alabama's sitting Indian-style going through Clarence's photo album. Clarence is behind her planting little kisses on her neck and shoulders.

ALABAMA
Oooooh, you look so cute in your little cowboy outfit. How old were you
then?

CLARENCE
Five.

She turns the page.

ALABAMA
Oh, you look so cute as little Elvis.

CLARENCE
I finally knew what I wanted when I grew up.


LATER - LIVING ROOM

Clarence and Alabama slow dance in the middle of his room to Janis Joplin's "Piece of My Heart".

CLARENCE
You know when you sat behind me?

ALABAMA
At the movies?

CLARENCE
Uh-huh, I was tryin' to think of somethin' to say to you, then I thought,
she doesn't want me bothering her.

ALABAMA
What would make you think that?

CLARENCE
I dunno. I guess I'm just stupid.

ALABAMA
You're not stupid. Just wrong.

They move to the music. Alabama softly, quietly sings some of the words to the song.

ALABAMA
I love Janis.

CLARENCE
You know, a lot of people have misconceptions of how she died.

ALABAMA
She OD'd, didn't she?

CLARENCE
Yeah, she OD'd. But wasn't on her last legs or anythin'. She didn't take
too much. It shouldn't have killed her. There was somethin' wrong with what
she took.

ALABAMA
You mean she got a bad batch?

CLARENCE
That's what happened. In fact, when she died, it was considered to be the
happiest time of her life. She'd been fucked over so much by men she didn't
trust them. She was havin' this relationship with this guy and he asked her
to marry him. Now, other people had asked to marry her before, but she
couldn't be sure whether they really loved her or were just after her
money. So, she said no. And the guy says, "Look, I really love you, and I
wanna prove it. So have your lawyers draw up a paper that says no matter
what happens, I can never get any of your money, and I'll sign it." So she
did, and he asked her, and she said yes. And once they were engaged he told
her a secret about himself that she never knew: he was a millionaire.

ALABAMA
So he really loved her?

CLARENCE
Uh-huh.

They kiss.


INT. CLARENCE'S APARTMENT - BEDROOM - DAY

It's the next day, around 1 p.m. Clarence wakes up in his bed, alone. He looks around, and no Alabama. Then he hears crying in the distance. He puts on a robe and investigates.


INT. CLARENCE'S APARTMENT - LIVING ROOM - DAY

Alabama's wearing one of Clarence's old shirts. She's curled up in a chair crying. Clarence approaches her. She tries to compose herself.

CLARENCE
What's wrong, sweetheart? Did I do something? What did I do?

ALABAMA
You didn't do nothing.

CLARENCE
Did you hurt yourself?
(he takes her foot)
Whatd'ya do? Step on a thumbtack?

ALABAMA
Clarence, I've got something to tell you. I didn't just happen to be at the
theater. I was paid to be there.

CLARENCE
What are you, a theater checker? You check up on the box office girls. Make
sure they're not rippin' the place off.

ALABAMA
I'm not a theater checker. I'm a call girl.

Pause.

CLARENCE
You're a whore?

ALABAMA
I'm a call girl. There's a difference, ya know.
(pause)
I don't know. Maybe there's not. That place you took me to last night, that
comic book place.

CLARENCE
"Heroes For Sale"?

ALABAMA
Yeah, that one. Somebody who works there arranged to have me meet you.

CLARENCE
Who?

ALABAMA
I don't know. I didn't talk with them. The plan was for me to bump into
you, pick you up, spend the night, and skip out after you fell asleep. I
was gonna write you a note and say that this was my last day in America.
That I was leaving on a plane this morning up to Ukraine to marry a rich
millionaire, and thank you for making my last day in America my best day.

CLARENCE
That dazzling imagination.

ALABAMA
It's over on the TV. All it says is: "Dear Clarence." I couldn't write
anymore. I didn't not want to ever see you again. In fact, it's stupid not
to ever see you again. Las night... I don't know... I felt... I hadn't had
that much fun since Girl Scouts. So I just said, "Alabama, come clean, Let
him know what's what, and if he tells you to go fuck yourself then go back
to Drexl and fuck yourself."

CLARENCE
Who and what is a Drexl?

ALABAMA
My pimp.

CLARENCE
You have a pimp?

ALABAMA
Uh-huh.

CLARENCE
A real live pimp?

ALABAMA
Uh-huh.

CLARENCE
Is he black?

ALABAMA
He thinks he is. He says his mother was Apache, but I suspect he's lying.

CLARENCE
Is he nice?

ALABAMA
Well, I wouldn't go so far as to call him nice, but he's treated me pretty
decent. But I've only been there about four days. He got a little rough
with Arlene the other day.

CLARENCE
What did he do to Arlene?

ALABAMA
Slapped her around a little. Punched her in the stomch. It was pretty
scary.

CLARENCE
This motherfucker sounds charming!

Clarence is on his feet, furious.

CLARENCE
Goddamn it, Alabama, you gotta get the fuck outta there! How much longer
before he's slappin' you around? Punchin' you in the stomach? How the fuck
did you get hooked up with a douche-bag like this in the first place?

ALABAMA
At the bus station. He said I'd be a perfect call girl. And that he knew an
agency in California that, on his recommendation, would handle me. They
have a very exclusive clientele: movie stars, big businessmen, total
white-collar. And all the girls in the agency get a grand a night. At least
five hundred. They drive Porsches, live in condos, have stockbrokers, carry
beepers, you know, like Nancy Allen in "Dressed to Kill". And when I was
ready he'd call 'em, give me a plane ticket, and send me on my way. He says
he makes a nice finder's fee for finding them hot prospects. But no one's
gonna pay a grand a night for a girl who doesn't know whether to shit or
wind her watch. So what I'm doin' for Drexl now is just sorta learnin' the
ropes. It seemed like a lotta fun, but I don't really like it much, till
last night. You were only my third trick, but you didn't feel like a trick.
Since it was a secret, I just pretended I was on a date. An, um, I guess I
want a second date.

CLARENCE
Thank you. I wanna see you again too. And again, and again, and again.
Bama, I know we haven't known each other long, but my parents went together
all throughout high school, and they still got a divorce. So, fuck it, you
wanna marry me?

ALABAMA
What?

CLARENCE
Will you be my wife?

When Alabama gives her answer, her voice cracks.

ALABAMA
Yes.

CLARENCE
(a little surprised)
You will?

ALABAMA
You better not be fucking teasing me.

CLARENCE
You better not be fuckin' teasin' me.

They seal it with a kiss.


LATER - THAT NIGHT

CLOSEUP - Alabama's wedding ring.

The newlyweds are snuggling up together onthe couch watching TV. The movie they're watching is "The Incredible One-Armed Boxer vs. the Master of the Flying Guillotine". Alabama watches the screen, but every so often she looks down to admre the ring on her hand.

CLARENCE
Did ya ever see "The Chinese Professionals"?

ALABAMA
I don't believe so.

CLARENCE
Well, that's the one that explains how Jimmy Wang Yu became the Incredible
One-Armed Boxer.

We hear, off screen, the TV Announcer say:

TV ANNOUNCER
(off)
We'll return to Jimmy Wang Yu in... "The Incredible One-Armed Boxer vs. the
Master of the Flying Guillotine", tonight's eight o'clock movie, after
these important messages...

Clarence looks at the TV. He feels the warmth of Alabama's hand holding his. We see commercials playing.

He turns in her direction. She's absent-mindedly looking at her wedding ring.

He smiles and turns back to the TV.

More commercials.

Dolly close on Clarence's face


FLASH ON:

Alabama, right after he proposed.

ALABAMA
You better not be fucking teasing me.


FLASH ON:

In a cute, all-night wedding chapel. Clarence dressed in a rented tuxedo and Alabama in a rented white wedding gown.

ALABAMA
I do.

CLARENCE
Thank you.


FLASH ON:

Clarence and Alabama, dressed in tux and gown, doing a lover's waltz on a ballroom dance floor.


FLASH ON:

Clarence and Alabama in a taxi cab.

CLARENCE
Hello, Mrs. Worley.

ALABAMA
How do you do, Mr. Worley?

CLARENCE
Top o' the morning, Mrs. Worley.

ALABAMA
Bottom of the ninth . Mr. Worley. Oh, by the by, Mr. Worley, have you seen
your lovely wife today?

CLARENCE
Oh, you're speaking of my charming wife Mrs. Alabama Worley.

ALABAMA
Of course. Are there others, Mr. Worley?

Moving on top of her.

CLARENCE
Not for me.

He starts kissing her and moving her down on the seat. She resists.

ALABAMA
(playfully)
No no no no no no no no no...

CLARENCE
(playfully)
Yes yes yes yes yes yes yes yes...


FLASH ON:

A big mean-looking black man in pimp's clothes.

PIMP
Bitch, you better git yo ass back on the street an' git me my money.

Pimp on street corner with his arm around Alabama, giving her a sales pitch to a potential customer.

PIMP
I'm tellin' you, my man, this bitch is fine. This girl's a freak! You can
fuck 'er in the ass, fuck 'er in the mouth. Rough stuff, too. She's a freak
for it. Jus' try not to fuck 'er up for life.


FLASH ON:

Pimp beating Alabama.

PIMP
You holdin' out on me, girl? Bitch, you never learn!


FLASH ON:

Alabama passionately kissing the uninterested pimp.

PIMP
Hang it up, momma. I got no time for this bullshit.


BACK TO:

TV showing kung fu film.


BACK TO:

Clarence's face. There's definitely something different about his eyes.

Clarence springs off the couch and goes into his bedroom. Alabama's startled by his sudden movement.

ALABAMA
(yelling after him)
Where you goin', honey?

CLARENCE
(off)
I just gotta get somethin'.


INT. CLARENCE'S APARTMENT - BATHROOM - NIGHT

Clarence splashes water on his face, trying to wash away the images that keep polluting his mind. Then, he hears a familiar voice.

FAMILIAR VOICE
(off)
Well? Can you live with it?

Clarence turns and sees that the voice belongs to Elvis Presley. Clarence isn't surprised to see him.

CLARENCE
What?

ELVIS
Can you live with it?

CLARENCE
Live with what?

ELVIS
With that son-of-a-bitch walkin' around breathin' the same air as you? And
gettin' away with it every day. Are you haunted?

CLARENCE
Yeah.

ELVIS
You wanna get unhaunted?

CLARENCE
Yeah.

ELVIS
Then shoot 'em. Shoot 'em in the face. And feed that boy to the dogs.

CLARENCE
I can't believe what you're tellin' me.

ELVIS
I ain't tellin' ya nothin'. I'm just sayin' what I'd do.

CLARENCE
You'd really do that?

ELVIS
He don't got no right to live.

CLARENCE
Look, Elvis, he is hauntin' me. He doesn't deserve to live. And I do want
to kill him. But I don't wanna go to jail for the rest of my life.

ELVIS
I don't blame you.

CLARENCE
If I thought I could get away with it -

ELVIS
Killin' 'em's the hard part. Gettin' away with it's the easy part. Whaddaya
think the cops do when a pimp's killed? Burn the midnight oil tryin' to
find who done it? They couldn't give a flyin' fuck if all the pimps in the
whole wide world took two in the back of the fuckin' head. If you don't get
caught at the scene with the smokin' gun in your hand, you got away with
it.

Clarence looks at Elvis.

ELVIS
Clarence, I like ya. Always have, always will.


INT. CLARENCE'S APARTMENT - BEDROOM - NIGHT

CLOSEUP - A snub-nosed .38, which Clarence loads and sticks down his heavy athletic sock.


INT. CALRENCE'S APARTMENT - LIVING ROOM - NIGHT

Clarence returns.

CLARENCE
Sweetheart, write down your former address.

ALABAMA
What?

CLARENCE
Write down Drexl's address.

ALABAMA
Why?

CLARENCE
So I can go over there and pick up your things.

ALABAMA
(really scared)
No, Clarence. Just forget it, babe. I just wanna disappear from there.

He kneels down before her and holds her hand.

CLARENCE
Look, sweetheart, he scares you. But I'm not scared of that motherfucker.
He can't touch you now. You're completely out of his reach. He poses
absolutely no threat to us. So, if he doesn't matter, which he doesn't, it
would be stupid to lose your things, now wouldn't it?

ALABAMA
You don't know him -

CLARENCE
You don't know me. Not when it comes to shit like this. I have to do this.
I need for you to know you can count on me to protect you. Now write down
the address.

TITLE CARD: "CASS QUARTER, HEART OF DETROIT"


EXT. DOWNTOWN DETROIT STREET - NIGHT

It's pretty late at night. Clarence steps out of his red Mustang. He's right smack dab in the middle of a bad place to be in daytime. He checks the pulse on his neck; it's beating like a race horse. To pump himself up he does a quick Elvis Presley gyration.

CLARENCE
(in Elvis voice)
Yeah... Yeah...

He makes a beeline for the front door of a large, dark apartment building.


INT. DARK BUILDING - NIGHT

He's inside. His heart's really racing now. He has the TV guide that Alabama wrote the address on in his hand. He climbs a flight of stairs and makes his way down a dark hallway to apartment 22, the residence of Drexl Spivey. Clarence knock on the door.

A Young Black Man, about twenty years old, answers the door. He has really big biceps and is wearing a black and white fishnet football jersey.

YOUNG BLACK MAN
You want somethin'?

CLARENCE
Drexl?

YOUNG BLACK MAN
Naw, man, I'm Marty. Watcha want?

CLARENCE
I gotta talk to Drexl.

MARTY
Well, what the fuck you wanna tell him?

CLARENCE
It's about Alabama.

A figure jumps in the doorway wearing a yellow Farah Fawcett T-shirt. It's our friend, Drexl Spivey.

DREXL
Where the fuck is that bitch?

CLARENCE
She's with me.

DREXL
Who the fuck are you?

CLARENCE
I'm her husband.

DREXL
Well. That makes us practically related. Bring your ass on in.


INT. DREXL'S LIVING ROOM - NIGHT

Drexl and Marty about-face and walk into the room, continuing a conversation they were having and leaving Clarence standing in the doorway. This is not the confrontation Clarence expected. He trails in behind Drexl and Marty.

DREXL
(to Marty)
What was I sayin'?

MARTY
Rock whores.

DREXL
You ain't seen nothin' like these rock whores. They ass be young man. They
got that fine young pussy. Bitches want the rock they be a freak for you.
They give you hips, lips, and fingertips.

Drexl looks over his shoulder at Clarence.

DREXL
(to Clarence)
You know what I'm talkin' about.

Drexl gestures to one of the three stoned Hookers lounging about the apartment.

DREXL
(to Marty)
These bitches over here ain't shit. You stomp them bitches to death to get
the kind of pussy I'm talkin' about.

Drexl sits down at a couch with a card table in front of it, scattered with take-out boxes of Chinese food. A black exploitation movie is playing on TV.

DREXL
Looky here, you want the bitches to really fly high, make your rocks with
Cherry Seven-Up.

MARTY
Pussy love pink rocks.

This is not how Clarence expected to confront Drexl, but this is exactly what he expected Drexl to be like. He positions himself in front of the food table, demanding Drexl's attention.

DREXL
(eating with chopsticks, to Clarence)
Grab a seat there, boy. Want some dinner? Grab yourself an egg roll. We got
everything here from a diddle-eyed-Joe to a damned-if-I-know.

CLARENCE
No thanks.

DREXL
No thanks? What does that mean? Means you ate before you came down here?
All full. Is that it? Naw, I don't think so. I think you're too scared to
be eatin'. Now, see we're sittin' down here, ready to negotiate, and you've
already given up your shit. I'm still a mystery to you. But I know exactly
where your ass is comin' from. See, if I asked you if you wanted some
dinner and you grabbed an egg roll and started to chow down, I'd say to
myself, "This motherfucker's carryin' on like he ain't got a care in the
world. Who know? Maybe he don't. Maybe this fool's such a bad motherfucker,
he don't got to worry about nothin', he just sit down, eat my Chinese,
watch my TV." See? You ain't even sat down yet. On that TV there, since you
been in the room, is a woman with her titties hangin' out, and you ain't
even bothered to look. You just been starin' at me. Now, I know I'm pretty,
but I ain't as pretty as a couple of titties.

Clarence takes out an envelope and throws it on the table.

CLARENCE
I'm not eatin' 'cause I'm not hungry. I'm not sittin' 'cause I'm not
stayin'. I'm not lookin' at the movie 'cause I saw it seven years ago. It's
"The Mack" with Max Julian, Carol Speed, and Richard Pryor, written by
Bobby Poole, directed by Michael Campus, and released by Cinerama Releasing
Company in 1984. I'm not scared of you. I just don't like you. In that
envelope is some payoff money. Alabama's moving on to some greener
pastures. We're not negotiatin'. I don't like to barter. I don't like to
dicker. I never have fun in Tijuana. That price is non-negotiable. What's
in that envelope is for my peace of mind. My peace of mind is worth that
much. Not one penny more, not one penny more.

You could hear a pin drop. Once Clarence starts talking Marty goes on full alert. Drexl stops eating and the Whores stop breathing. All eyes are on Drexl. Drexl drops his chopsticks and opens the envelope. It's empty.

DREXL
It's empty.

Clarence flashes a wide Cheshire cat grin that says, "That's right, asshole."

Silence.

DREXL
Oooooooooh weeeeeeee! This child is terrible. Marty, you know what we got
here? Motherfuckin' Charles Bronson. Is that who you supposed to be? Mr.
Majestyk? Looky here, Charlie, none of this shit is necessary. I ain't got
no hold on Alabama. I just tryin' to lend the girl a helpin' hand -

Before Drexl finishes his sentence he picks up the card table and throws it at Clarence, catching him of guard.

Marty comes up behind Clarence and throws his arm around his neck, putting him in a tight choke hold.

Clarence, with his free arm, hits Marty hard with his elbow in the solar plexus. We'll never know if that blow had any effect because at just that moment Drexl takes a flying leap and tackles the two guys.

All of them go crashing into the stereo unit and a couple of shelves that hold records, all of which collapse to the floor in a shower of LPs.

Marty, who's on the bottom of the pile, hasn't let go of Clarence.

Since Drexl's on top, he starts slamming fists into Clarence's face.

Clarence, who's sandwiched between these two guys, can't do a whole lot about it.

DREXL
Ya wanna fuck with me?
(hits Clarence)
Ya wanna fuck with me?
(hits Clarence)
I'll show ya who you're fuckin' wit!

He hits Clarence hard in the face with both fists.

Clarence, who has no leverage whatsoever, grabs hold of Drexl's face and digs his nails in. He sticks his thumb in Drexl's mouth, grabs a piece of cheek, and starts twisting.

Marty, who's in an even worse position, can do nothing but tighten his grip aroud Clarence's neck, until Clarence feels like his eyes are going to pop out of his head.

Drexl's face is getting torn up, but he's also biting down hard on Clarence's thumb.

Clarence raises his head and brings it down fast, crunching Marty's face, and busting his nose.

Marty loosens his grip around Clarence's neck. Clarence wiggles free and gets up on his knees.

Drexl and Clarence are now on an even but awkward footing. The two are going at each other like a pair of alley cats, not aiming their punches, keeping them coming fast and furious. They're not doing much damage to each other because of their positions, it's almost like a hockey fight.

Marty sneaks up behind Clarence and smashes him in the head with a stack of LPs. This disorients Clarence. Marty grabs him from behind and pulls him to his feet.

Drexl socks him in the face: one, two three! Then he kicks him hard in the balls.

Marty lets go and Clarence hits the ground like a sack of potatoes. He curls up into a fetal position and holds his balls, tears coming out of his eyes.

Drexl's face is torn up from Clarence's nails.

Marty has blood streaming down his face frim his nose and on to his shirt.

DREXL
(to Marty)
You OK? That stupid dumb-ass didn't break your nose, did he?

MARTY
Naw. It don't feel too good but it's alright.

Drexl kicks Clarence, who's still on the ground hurting.

DREXL
(to Clarence)
You see what you get when you fuck wit me, white boy? You're gonna walk in
my goddamn house, my house! Gonna come in here and tell me! Talkin' smack,
in my house, in front of my employees. Shit! Your ass must be crazy.
(to Marty)
I don't think that white boy's got good sense. Hey, Marty.
(laughing)
He must of thought it was white boy day. It ain't white boy day, is it?

MARTY
(laughing)
Naw, man, it ain't white boy day.

DREXL
(to Clarence)
Shit, man, you done fucked up again. Next time you bogart your way into a
nigger's crib, an' get all his face, make sure you do it on white boy day.

CLARENCE
(hurting)
Wannabee nigger...

DREXL
Fuck you! My mother was Apache.

Drexl kicks him again. Clarence curls up.

Drexl bends down and looks for Clarence's wallet in his jacket.

Clarence still can't do much. The kick to his balls still has him down.

Drexl finds it and pulls it out. He flips it open to driver's license.

DREXL
Well, well, well, looky what we got here. Clarence Worley. Sounds almost
like a nigger name.
(to Clarence)
Hey, dummy.

He puts his foot on Clarence's chest. Clarence's POV as he looks up.

DREXL
Before you bought your dumb ass through the door, I didn't know shit. I
just chalked it up to au revoir Alabama. But, because you think you're some
macho motherfucker, I know who she's with. You. I know who you are,
Clarence Worley. And, I know where you live, 4900 116th street, apartment
48. And I'll make a million-dollar bet, Alabama's at the same address.
Marty, take the car and go get 'er. Bring her dumb ass back here.

He hands Marty the driver's license. Maty goes to get the car keys and a jacket.

DREXL
(to Marty)
I'll keep lover boy here entertained.
(to Clarence)
You know the first thing I'll do when she gets here. I think I'll make her
suck my dick, and I'll come all in her face. I mean it ain't nuttin' new.
She's done it before. But I want you as a audience.
(hollering to Marty)
Marty, what the fuck are you doin'?

MARTY
(off)
I'm tryin' to find my jacket.

DREXL
Look in the hamper. Linda's been dumpin' everybody's stray clothes there
lately.

While Drexl has his attention turned to Marty, Clarence reaches into his sock and pulls out the .38. he stick the barrel between Drexl's legs. Drexl, who's standing over Clarence, looks down just in time to see Clarence pull the trigger and blow his balls to bits. Tiny spots of blood speckle Clarence's face.

Drexl shrieks in horror and pain, and falls to the ground.

MARTY
(off)
What's happening?

Marty steps into the room.

Clarence doesn't hesitate, he shoots Marty four times in the chest.

Two of three Hookers have run out of the front door, screaming. The other Hooker is curled up in the corner. She's too stoned to run, but stoned enough to be terrified.

Drexl, still alive, is laying on the ground howling, holding what's left of his balls and his dick.

Clarence points the gun at the remaining Hooker.

CLARENCE
Get a bag and put Alabama's thing in it!

She doesn't move.

CLARENCE
You wanna get shot? I ain't got all fuckin' day, so move it!

The Hooker, tears of fear ruining her mascara, grabs a suitcase from under the bed, and, on her hands and knees, pushes it along the floor to Clarence.

Clarence takes it by the handle and wobbles over to Drexl, who's curled up like a pillbug.

CLOSEUP - Clarence's forgotten driver's license in Marty's bloody hand.

Clarence puts his foot on Drexl's chest.

CLARENCE
(to Drexl)
Open you eyes, laughing boy.

He doesn't. Clarence gives him a kick.

CLARENCE
Open your eyes!

He does. It's now Drexl's POV from the floor.

CLARENCE
You thought it was pretty funny, didn't you?

He fires.

CLOSEUP - The bullet comes out of the gun and heads right toward us. When it reaches us, the screen goes awash in red.


INT. CLARENCE'S APARTMENT - NIGHT

The front swings open and Clarence walks in. Alabama jumps off the couch and runs toward Clarence, before she reaches him he blurts out:

CLARENCE
I killed him.

She stops short.

CLARENCE
I've got some food in the car, I'll be right back.

Clarence leaves. Except for the TV playing, the room is quiet. Alabama sits on the couch.

Clarence walks back into the room with a whole bounty of take-out food. He heaps it on to the coffee table and starts to chow down.

CLARENCE
Help yourself. I got enough. I am fuckin' starvin'. I think I ordered one
of everythin'.

He stops and looks at here.

CLARENCE
I am so hungry.

He starts eating french fries and hamburgers.

ALABAMA
(in a daze)
Was it him or you?

CLARENCE
Yeah. But to be honest, I put myself in that position. When I drove up
there I said to myself, "If I can kill 'em and get away with it, I'll do
it." I could. So I did.

ALABAMA
Is this a joke?

CLARENCE
No joke. This is probably the best hamburger I've ever had. I'm serious,
I've never had a hamburger taste this good.

Alabama starts to cry. Clarence continues eating, ignoring her.

CLARENCE
Come on, Bama, eat something. You'll feel better.

She continues crying. He continues eating and ignoring her. Finally he spins on her, yelling:

CLARENCE
Why are you crying? He's not worth one of your tears. Would you rather it
had been me? Do you love him?
(no answer)
Do you love him?
(no answer)
Do you love him?

She looks at Clarence, having a hard time getting a word out.

ALABAMA
I think what you did was...

CLARENCE
What?

ALABAMA
I think what you did...

CLARENCE
What?

ALABAMA
... was so romantic.

Clarence is completely taken back. They meet in a long, passionate lovers' kiss. Their kiss breaks and slowly the world comes back to normal.

CLARENCE
I gotta get outta these clothes.

He picks up the suitcase and drops it on the table in front of them.

ALABAMA
(comically)
Clean clothes. There is a god,

Clarence flips open the suitcase. Alabama's and her husband's jaws drop.

ALABAMA
Clarence. Those aren't my clothes.

CUT TO:


EXT. HOLLYWOOD HOLIDAY INN - DAY

We see the Hollywood Holiday Inn sign. Pan to the parking lot where Clarence's empty red Mustang is parked.


INT. HOLLYWOOD HOLIDAY INN - CALRENCE'S ROOM - DAY

CLOSEUP - Dick's jaw drops. His hand reaches out of shot.

CLOSEUP - The reason for all the jaw dropping... the suitcase is full of cocaine!

Clarence smiles, holding a bottle of wine.

Alabama's watching the cable TV.

DICK
Holy Mary, Mother of God.

ALABAMA
This is great, we got cable.

CLARENCE
(to Alabama)
Bama, you got your blade?

Keeping her eyes on the TV, she pulls out from her purse a Swiss army knife with a tiny dinosaur on it and tosses it to Clarence. Clarence takes off the corkscrew and opens the wine.

He pours some wine into a couple of hotel plastic cups, a big glass for Dick, a little one for himself. He hands it to Dick. Dick takes it and drinks.

DICK
This shit can't be real.

CLARENCE
It'll get ya high.

He tosses the knife.

CLARENCE
Do you want some wine, sweetheart?

ALABAMA
Nope. I'm not really a wine gal.

Using the knife, Dick snorts some of the cocaine. He jumps back.

DICK
It's fuckin' real!
(to Clarence)
It's fuckin' real!

CLARENCE
I certainly hope so.

DICK
You've got a helluva lotta coke there, man!

CLARENCE
I know.

DICK
Do you have any idea how much fuckin' coke you got?

CLARENCE
Tell me.

DICK
I don't know! A fuckin' lot!

He downs his wine. Clarence fills his glass.

DICK
This is Drexl's coke?

CLARENCE
Drexl's dead. This is Clarence's coke and Clarence can do whatever he wants
with it. And what Clarence wants to do is sell it. Then me and Bama are
gonna leave on a jet plane and spend the rest of our lives spendin'. So,
you got my letter, have you lined up any buyers?

DICK
Look, Clarence, I'm not Joe Cocaine.

Dick gulps half of his wine. Clarence fills up.

CLARENCE
But you're an actor. I hear these Hollywood guys have it delivered to the
set.

DICK
Yeah, they do. And maybe when I start being a successful actor I'll know
those guys. But most of the people I know are like me. They ain't got a pot
to piss in or a window to throw it out of. Now, if you want to sell a
little bit at a time -

CLARENCE
No way! The whole enchilada in one shot.

DICK
Do you have any idea how difficult that's gonna be?

CLARENCE
I'm offering a half a million dollars worth of white for two hundred
thousand. How difficult can that be?

DICK
It's difficult because you're sellin' it to a particular group. Big shots.
Fat cats. Guys who can use that kind of quantity. Guys who can afford two
hundred thousand. Basically, guys I don't know. You don't know. And, more
important, they don't know you. I did talk with one guy who could possibly
help you.

CLARENCE
Is he big league?

DICK
He's nothing. He's in my acting class. But he works as an assistant to a
very powerful movie producer named Lee Donowitz. I thought Donowitz could
be interested in a deal like this. He could use it. He could afford it.

CLARENCE
What'd'ya tell 'em?

DICK
Hardly anything. I wasn't sure from your letter what was bullshit, and what
wasn't.

CLARENCE
What's this acting class guy's name?

DICK
Elliot.

CLARENCE
Elliot what?

DICK
Elliot Blitzer.

CLARENCE
OK, call 'im up and arrange a meeting, so we can get through all the
getting to know you stuff.

DICK
Where?

CLARENCE
(to Alabama)
The zoo.

CLARENCE
(to Dick)
The zoo.
(pause)
What are you waiting for?

DICK
Would you just shut up a minute and let me think?

CLARENCE
What's to think about?

DICK
Shut up! First you come waltzing into my life after two years. You're
married. You killed a guy.

CLARENCE
Two guys.

DICK
Two guys. Now you want me to help you with some big drug deal. Fuck,
Clarence, you killed somebody and you're blowin' it off like it don't mean
shit.

CLARENCE
Don't expect me to be all broken up over poor Drexl. I think he was a
fuckin', freeloadin', parasitic scumbag, and he got exactly what he
deserved. I got no pity for a mad dog like that. I think I should get a
merit badge or somethin'.

Dick rests his head in his hands.

CLARENCE
Look, buddy, I realize I'm layin' some pretty heavy shit on ya, but I need
you to rise to the occasion. So, drink some more wine. Get used to the
idea, and get your friend to the phone.


EXT. LOS ANGELES ZOO - DAY

CLOSEUP - A black panther, the four-legged kind, paces back and forth.

Clarence, Alabama, Dick and Elliot Blitzer are walking through the zoo. One look at Elliot and you can see what type of actor he is, a real GQ, blow-dry boy. As they walk and talk, Clarence is eating a box of animal crackers and Alabama is blowing soap bubbles.

ELLIOT
So you guys got five hundred thousand dollars worth of cola that you're
unloading -

CLARENCE
Want an animal cracker?

ELLIOT
Yeah, OK.

He takes one.

CLARENCE
Leave the gorillas.

ELLIOT
- that you're unloading for two hundred thousand dollars -

CLARENCE
Unloading? That's a helluva way to describe the bargain of a lifetime.

DICK
(trying to chill him out)
Clarence...

ELLIOT
Where did you get it?

CLARENCE
I grow it on my window-sill. The lights really great there and I'm up high
enough so you can't see it from the street.

ELLIOT
(forcing a laugh)
Ha ha ha. No really, where does it come from?

CLARENCE
Coco leaves. You see, they take the leaves and mash it down until it's kind
of a paste -

ELLIOT
(turning to Dick)
Look, Dick, I don't -

CLARENCE
(laughing)
No problem, Elliot. I'm just fuckin' wit ya, that's all. Actually, I'll
tell you but you gotta keep it quiet. Understand, if Dick didn't assure me
you're good people I'd just tell ya, none of your fuckin' business. But, as
a sign of good faith, here it goes: I gotta friend in the department.

ELLIOT
What department?

CLARENCE
What do you think, eightball?

ELLIOT
The police department?

CLARENCE
Duh. What else would I be talking about? Now stop askin' stupid doorknob
questions. Well, a year and a half ago, this friend of mine got access to
the evidence room for an hour. He snagged this coke. But, he's a good cop
with a wife and a kid, so he sat on it for a year and a half until he found
a guy he could trust.

ELLIOT
He trusts you?

CLARENCE
We were in Four H together. We've known each other since childhood. So, I'm
handling the sales part. He's my silent partner and he knows if I get
fucked up, I won't drop dime on him. I didn't tell you nothin' and you
didn't hear nothin'.

ELLIOT
Sure. I didn't hear anything.

Elliot is more than satisfied. Clarence makes a comical face at Dick when Elliot's not looking. Dick is wearing I-don't-believe-this-guy expresion. Alabama is forever blowing bubbles.

CUT TO:


EXT. LOS ANGELES ZOO - SNACK BAR - DAY

We're in the snack bar area of the zoo. Alabama, Dick, and Elliot are sitting around a plastic outdoor table. Clarence is pacing around the table as he talks. Alabama is still blowing bubbles.

CLARENCE
(to Elliot)
Do I look like a beautiful blond with big tits and an ass that tastes like
French vanilla ice-cream?

Elliot hasn't the slightest idea what that is supposed to mean.

ELLIOT
What?

CLARENCE
Do I look like a beautiful blond with big tits and an ass that tastes like
French vanilla ice-cream?

ELLIOT
(with conviction)
No. No, you don't.

CLARENCE
Then why are you telling me all this bullshit just so you can fuck me?

DICK
Clarence...

CLARENCE
(to Dick)
Let me handle this.

ELLIOT
Get it straight, Lee isn't into taking risks. He deals with a couple of
guys, and he's been dealing with them for years. They're reliable. They're
dependable. And, they're safe.

CLARENCE
Riddle me this, Batman. If you're all so much in love with each other, what
the fuck are you doing here? I'm sure you got better things to do with your
time than walk around in circles starin' up a panther's ass. Your guy's
interested because with that much shit at his fingertips he can play Joe
fuckin' Hollywood till the wheels come off. He can sell it, he can snort
it, he can play Santa Claus with it. At the price he's payin', he'll be
everybody's best friend. And, you know, that's what we're talkin' about
here. I'm not puttin' him down. Hey, let him run wild. Have a ball, it's
his money. But, don't expect me to hang around forever waitin' for you guys
to grow some guts.

Elliot has been silenced. He nods his head in agreement.


INT. PORSCHE - MOVING - MULHOLLAND DRIVE - DAY

Movie producer, Lee Donowitz, is driving his Porsche through the winding Hollywood hills, just enjoying being rich and powerful. His cellular car phone rings, he answers.

LEE
Hello.
(pause)
Elliot, it's Sunday. Why am I talkin' to you on Sunday? I don't see enough
of you during the week I gotta talk to you on Sunday? Why is it you always
call me when I'm on the windiest street in L.A.?


BACK TO:


ELLIOT

Elliot is on the zoo payphone. Clarence is next to him. Dick is next to Clarence. Alabama is next to Dick, blowing bubbles.

ELLIOT
(on phone)
I'm with that party you wanted me to get together with. Do you know what
I'm talking about, Lee?

BACK TO:

LEE

Store-fronts whiz by in the background.

LEE
Why the hell are you calling my phone to talk about that?

BACK TO:

ELLIOT

ELLIOT
Well, he'd here right now, and he insists on talking to you.

BACK TO:


LEE

In the 7th street tunnel. Lee's voice echoes.

LEE
Are you outta your fuckin' mind?

BACK TO:

ELLIOT

ELLIOT
You said if I didn't get you on the -

Clarence takes the receiverout of Elliot's hand.

CLARENCE
(into phone)
Hello, Lee, it's Clarence. At last we meet.


EXT. DICK'S APARTMENT - DAY

Virgil's knocking on Dick's door. Floyd (Dick's room-mate) answers.

VIRGIL
Hello, is Dick Ritchie here?

FLOYD
Naw, he ain't home right now.

VIRGIL
Do you live here?

FLOYD
Yeah, I live here.

VIRGIL
Sorta room-mates?

FLOYD
Exactly room-mates.

VIRGIL
Maybe you can help me. Actually, who I'm looking for is a friend of ours
from Detroit. Clarence Worley? I heard he was in town. Might be travelling
with a pretty girl named Alabama. Have you seen him? Are they stayin' here?

FLOYD
Naw, they ain't stayin' here. But, I know who you're talkin' about. They're
stayin' at the Hollywood Holiday Inn.

VIRGIL
How do you know? You been there?

FLOYD
No, I ain't been there. But I heard him say. Hollywood Holiday Inn. Kinda
easy to remember.

VIRGIL
You're right. It is.


EXT. LOS ANGELES ZOO - PAYPHONE - DAY

Clarence is still on the phone with Lee.

CLARENCE
Lee, the reason I'm talkin' with you is I want to open "Doctor Zhivago" in
L.A. And I want you to distribute it.

BACK TO:


LEE

Stopped in the traffic on Sunset Boulevard.

LEE
I don't know, Clarence, "Doctor Zhivago" is a pretty big movie.

BACK TO:

CLARENCE
The biggest. The biggest movie you've ever dealt with, Lee. We're talkin' a
lot of film. A man'd have ta be an idiot not to be a little cautious about
a movie like that. And Lee, you're no idiot.

BACK TO:


LEE

He's still on Sunset Boulevard, the traffic's moving better now.

LEE
I'm not sayin' I'm not interested. But being a distributer's not what I'm
all about. I'm a film producer, I'm on this world to make good movies.
Nothing more. Now, having my big toe dipped into the distribution end helps
me on many levels.

Traffic breaks and Lee speeds along. The background whizzes past him.

LEE
(continuing)
But the bottom line is: I'm not Paramount. I have a select group of
distributers I deal with. I buy their little movies. Accomplish what I
wanna accomplish, end of story. Easy, business-like, very little risk.

BACK TO:

CLARENCE

CLARENCE
Now that's bullshit, Lee. Every time you buy one of those little movies
it's a risk. I'm not sellin' you something that's gonna play two weeks, six
weeks, then go straight to cable. This is "Doctor Zhivago". This'll be
packin' 'em in for a year and a half. Two years! That's two years you don't
have to work with anybody's movie but mine.

BACK TO:


LEE

Speeding down a benchside road.

LEE
Well, then, what's the hurry? Is it true the rights to "Doctor Zhivago" are
in arbitration?

BACK TO:


CLARENCE
I wanna be able to announce this deal at Cannes. If I had time for a
courtship, Lee, I would. I'd take ya out, I'd hold your hand, I'd kiss you
on the cheek at the door. But, I'm not in that position. I need to know if
we're in bed together, or not. If you want my movie, Lee, you're just gonna
have to come to terms with your Fear and Desire.

Pause. Clarence hands the phone to Elliot.

CLARENCE
(to Elliot)
He wants to talk ya.

ELLIOT
(into phone)
Mr. Donowitz?
(pause)
I told you, through Dick.
(pause)
He's in my acting class.
(pause)
About a year.
(pause)
Yeah, he's good.
(pause)
They grew up together.
(pause)
Sure thing.

Elliot hangs up the phone.

ELLIOT
He says Wednesday at three o'clock at the Beverly Wilshire. He wants
everybody there.
(pointing to Clarence)
He'll talk to you. If after talkin' to you he's convinced you're OK, he'll
do business. If not, he'll say fuck it and walk out the door. He also wants
a sample bag.

CLARENCE
No problems on both counts.

He offers Elliot the animal crackers.

CLARENCE
Have a cookie.

Elliot takes one.

ELLIOT
Thanks.

He puts it in the mouth.

CLARENCE
That wasn't a gorilla, was it?


EXT. HOLIDAY INN - DAY

The red Mustang with Clarence and Alabama pulls up to the hotel. Alabama hops out. Clarence stays in.

ALABAMA
You did it, Quickdraw. I'm so proud of you. You were like a ninja. Did I do
my part OK?

CLARENCE
Babalouey, you were perfect, I could hardly keep from busting up.

ALABAMA
I felt so stupid just blowing those bubbles.

CLARENCE
You were chillin', kind of creepy even. You totally fucked with his head.
I'm gonna go grab dinner.

ALABAMA
I'm gonna hop in the tub and get all wet, and slippery, and soapy. Then I'm
gonna lie in the waterbed, not even both to dry off, and watch X-rated
movies till you get your ass back to my lovin' arms.

They kiss.

CLARENCE
We now return to "Bullit" already in progress.

He slams the Mustang in reverse and peels out of the hotel. Alabama walks her little walk from the parking lot to the pool area. Somebody whistles at her, she turns to them.

ALABAMA
Thank you.

She gets to her door, takes out the key, and opens the door.


INT. HOLLYWOOD HOLIDAY INN - CALRENCE'S ROOM - DAY

She steps in only to find Virgil sitting on a chair placed in front of the door with a sawed-off shotgun aimed right at her.

VIRGIL
(calmly)
Step inside and shut the door.

She doesn't move, she's frozen. Virgil leans forward.

VIRGIL
(calmly)
Lady. I'm gonna shoot you in the face.

She does exactly as he says. Virgil rises, still aiming the sawed-off.

VIRGIL
Step away from the door, move into the bathroom.

She does. He puts the shotgun down on the chair, then steps closer to her.

VIRGIL
OK, Alabama, where's our coke, where's Clarence, and when's he coming back.

ALABAMA
I think you got the wrong room, my name is Sadie. I don't have any Coke,
but there's a Pepsi machine downstairs. I don't know any Clarence, but
maybe my husband does. You might have heard of him, he plays football. Al
Lylezado. He'll be home any minute, you can ask him.

Virgil can't help but smile.

VIRGIL
You're cute.

Virgil jumps up and does a mid-air kung fu kick which catches Alabama square in the face, lifting her off the ground and dropping her flat on her back.


INT. MOVING RED MUSTANG - DAY

Clarence, in his car, driving to get something to eat, singing to himself.

CLARENCE
(singing)
"Land of stardust, land of glamour,
Vistavision and Cinema,
Everything about it is a must,
To get to Hollywood, or bust..."


INT. HOLLYWOOD HOLIDAY INN - CLARENCE'S ROOM - DAY

Alabama's laying flat. She actually blacks out for a moment, but the salty taste of the blood in her mouth wakes her up. She opens her eyes and sees Virgil standing there, smiling. She closes them, hoping it's a dream. They open again to the same sight. She has never felt more helpless in her life.

VIRGIL
Hurts, don't it? It better. Took me a long time to kick like that. I'm
third-degree blackbelt, you know? At home I got trophies. Tournaments I was
in. Kicked all kinds of ass. I got great technique. You ain't hurt that
bad. Get on your feet, Fruitloop.

Alabama wobbily complies.

VIRGIL
Where's our coke? Where's Clarence? And when he's comin' back?

Alabama looks in Virgil's eyes and realizes that without a doubt she's going to die, because this man is going to kill her.

ALABAMA
Go take a flying fuck and a rolling donut.

Virgil doesn't waste a second. He gives her a sidekick straight to the stomach. The air is sucked out of her lungs. She falls to her knees. She's on all fours gasping for air that's just not there.

Virgil whips out a pack of Lucky Strikes. He lights one up with a Zippo lighter. He takes a long, deep drag.

VIRGIL
Whatsamatta? Can't breathe? Get used to it.


INT. HAMBURGER STAND - DAY

Clarence walks through the door of some mom and pop fast-food restaurant.

CLARENCE
Woah! Smells like hamburgers in here! What's the biggest, fattest hamburger
you guys got?

The Iranian Guy at the counter says:

IRANIAN GUY
That would be Steve's double chili cheeseburger.

CLARENCE
Well, I want two of them bad boys. Two large orders of chili fries. Two
large Diet Cokes.
(looking at a menu at the wall)
And I'll tell you what, why don't you give me a combination burrito as
well.


INT. HOLLYWOOD HOLIDAY INN - CLARENCE'S ROOM - DAY

Alabama is violently thrown into a corner of the room. She braces herself against the wall. She is very punchy. Virgil steps in front of her.

VIRGIL
You think your boyfriend would go through this kind of shit for you? Dream
on, cunt. You're nothin' but a fuckin' fool. And your pretty face is gonna
turn awful goddamn ugly in about two seconds. Now, where's my fuckin' coke?

She doesn't answer. He delivers a spinning roundhouse kick on the head. Her head slams into the left side of the wall.

VIRGIL
Where's Clarence?!

Nothing. He gives her another kick to the head, this time from the other side. Her legs start to give way. He catches her and throws her back. He slaps her lightly in the face to revive her, she looks at him.

VIRGIL
When's Clarence getting back?

She can barely raise her arm, but she somehow manages, and she gives him the middle finger. Virgil can't help but smile.

VIRGIL
You gotta lot of heart, kid.

He gives her a spinning roadhouse kick to the head that sends her to the floor.


INT. HAMBURGER STAND - DAY

CLOSEUP - Burgers sizzling on a griddle, Chili and cheese is put on them.

Clarence is waiting for his order. He notices a CUSTOMER reading a copy of "Newsweek" with Elvis on the cover.

CLARENCE
That's a great issue.

The Customer lowers his magazine a little bit.

CUSTOMER
Yeah, I subscribe. It's a pretty decent one.

CLARENCE
Have you read the story on Elvis?

CUSTOMER
No. Not yet.

CLARENCE
You know, I saw it on the stands, my first inclination was to buy it. But,
I look at the price and say forget it, it's just gonna be the same old
shit. I ended up breaking down and buying it a few days later. Man, I was
ever wrong.

CUSTOMER
That good, huh?

He takes the magazine from the Customer's hands and starts flipping to the Elvis article.

CLARENCE
It tried to pin down what the attraction is after all these years. It
covers the whole spectrum of fans, the people who love his music, the
people who grew up with him, the artists he inspired - Bob Dylan, Bruce
Springsteen, and the fanatics, like these guys. I don't know about you, but
they give me the creeps.

CUSTOMER
I can see what you mean.

CLARENCE
Like, look at her. She looks like she fell off an ugly tree and hit every
branch on the way down. Elvis wouldn't fuck her with Pat Boone's dick.

Clarence and the Customer laugh.


INT. HOLLYWOOD HOLIDAY INN - CLARENCE'S ROOM - DAY

Alabama's pretty beat up. She has a fat lip and her face is black and blue. She's crawling around on the floor. Virgil is tearing the place apart looking for the cocaine. He's also carrying on a running commentary.

VIRGIL
Now the first guy you kill is always the hardest. I don't care if you're
the Boston Strangler or Wyatt Earp. You can bet that Texas boy, Charles
Whitman, the fella who shot all them guys from that tower, I'll bet you
green money that that first little black dot that he took a bead on, was
the bitch of the bunch. No foolin' the first one's a tough row to hoe. Now,
the second one, while it ain't no Mardi Gras, it ain't half as tough row to
hoe. You still feel somethin' but it's just so deluted this time around.
Then you completely level off on the third one. The third one's easy. It's
gotten to the point now I'll do it just to watch their expressions change.

He's tearing the motel room up in general. Then he flips the matress up off the bed, and the black suitcase is right there.

Alabama's crawling, unnoticed to where her purse is lying. Virgil flips open the black case and almost goes snow blind.

VIRGIL
Well, well, well, looky here. I guess I just reached journey's end. Great.
One less thing I gotta worry about.

Virgil closes the case. Alabama sifts through her purse.

She pulls out her Swiss army knife, opens it up. Virgil turns toward her.

VIRGIL
OK, Sugarpop, we've come to what I like to call the moment of truth -

Alabama slowly rises clutching the thrust-out knife in both hands. Mr. Karate-man smiles.

VIRGIL
Kid, you got a lotta heart.

He moves toward her.

Alabama's hands are shaking.

VIRGIL
Tell you what I'm gonna do. I'm gonna give you a free swing. Now, I only do
that for people I like.

He moves close.

Alabama's eyes study him. He grabs the front of his shirt and rips it open. Buttons fly everywhere.

VIRGIL
Go ahead, girl, take a stab at it.
(giggling)
You don't have anything to lose.

CLOSEUP - Alabama's face. Virgil's right, she doesn't have anything to lose. Virgil's also right about his being the moment of truth. The ferocity in women that comes out at certain times, and is just here under the surface in many women all of the time, is unleashed. The absolute feeling of helplessness she felt only a moment ago has taken a one hundred and eighty degree turn into "I'll take this motherfucker with me if it's the last thing I do" seething hatred.

Letting out a bloodcurling yell, she raises the knfe high above her head, then drops to her knees and plunges it deep into Virgil's right foot.


CLOSEUP - VIRGIL'S FACE

Talk about bloodcurling yells.

Virgil bends down and carefully pulls the knife from his foot, tears running down his face.

While Virgil's bent down, Alabama smashes an Elvis Presley whiskey decanter that Clarence bought her in Oklahoma over his head. It's only made of plaster, so it doesn't kill him.

Virgil's moving toward Alabama, limping on his bad foot.

VIRGIL
OK, no more Mr. Nice-guy.

Alabama picks up the hotel TV and tosses it to him. He instinctively catches it and, with his arms full of television, Alabama cold-cocks him with her fist in the nose, breaking it.

Her eyes go straight to the door, then to the sawed-off shotgun by it. She runs to it, bends over the chair for the gun. Virgil's left foot kicks her in the back, sending her flying over the chair and smashing into the door.

Virgil furiously throws the chair out of the way and stands over Alabama. Alabama's lying on the ground laughing. Virgil has killed a lot of people, but not one of them has ever laughed before he did it.

VIRGIL
What's so fuckin' funny?!!

ALABAMA
(laughing)
You look so ridiculous.

She laughs louder. Virgil's insane. He picks her off the floor, then lifts her off the ground and throws her through the glass shower door in the bathroom.

VIRGIL
Laugh it up, cunt. You were in hysterics a minute ago. Why ain't you
laughing now?

Alabama, lying in the bathtub, grabs a small bottle of hotel shampoo and squeezes it out in her hand.

Virgil reaches in the shower and grabs hold of her hair.

Alabama rubs the shampoo in his face. He lets go of her and his hands go to his eyes.

VIRGIL
Oh Jesus!

She grabs hold of a hefty piece of broken glass and plunges it into his face.

VIRGIL
Oh Mary, help me!

The battered and bruised and bloody Alabama emerges from the shower. She's clutching a big, bloody piece of broken glass. She's vaguely reminiscent of a Tasmanian devil. Poor Virgil can't see very well, but he sees her figure coming toward him. He lets out a wild haymaker that catches her in the jaw and knocks her into the toilet.

He recovers almost immediately and takes the porcelain lid off the back of the toilet tank.

Virgil whips out a .45 automatic from his shoulder holster, just as Alabama brings the lid down on his head. He's pressed up against the wall with this toilet lid hitting him. He can't get a good shot in this tight environment, but he fires anyway, hitting the floor, the all, the toilet, and the sink.

The toilet lid finally shatters against Virgil's head. He falls to the ground.

Alabama goes to the medicine cabinet and whips out a big can of Final Net hairspray. She pulls a Bic lighter out of her pocket, and, just as Virgil raises his gun at her, she flicks the Bic and sends a stream of hairspray through the flame, which results in a big ball of fire that hits Virgil right in the face.

He fires off two shots. One hits the wall, another hits the sink pipe, sending water spraying.

Upon getting his face fried Virgil screams and jumps up, knocking Alabama down, and runs out of the bathroom.

Virgil collapses on the floor of the living room. Then, he sees the sawed-off laying on the ground. He crawls toward it.

Alabama, in the bathroom, sees where he's heading. She picks up the .45 automatic and fires at him. It's empty. She's on her feet and into the room.

He reaches the shotgun, his hands grasp it.

Alabama spots and picks up the bloody Swiss army knife. She takes a knife-first-running-dive at Virgil's back. She hits him.

He arches up, firing the sawed-off into the ceiling, dropping the gun, and sending a cloud of plaster and stucco all over the room.

Alabama snatches the shotgun.

Arched over on his back Virgil and Alabama make eye contact.

The first blast hits him in the shoulder, almost tearing his arm off. The second hits him in the knee. The third plays hell with his chest.

Alabama then runs at him, hitting him in the head with the butt of the shotgun.

Ever since he's been firing it's as if some other part of her brain has been functioning independently. She's been absent-mindedly saying the prayer of Saint Francis of Assisi.

ALABAMA
Lord, make me an instrument of Thy peace;
where there is hatred, let me sow love;
where there is injury, pardon;
where there is doubt, faith;
where there is despair, hope;
where there is darkness, light;
and where there is sadness, joy.
O Divine Master, grant that I may not
so much seek to be consoled as to console;
to be understood as to understand;
to be loved as to love;
for it is in giving that we receive,
it is pardoning that we are pardoned,
and it is in dying that we are born
to eternal life.

Clarence, who's been hearing gunshots, bursts through the door, gun drawn, only to see Alabama, hitting a dead guy on the head, with a shotgun.

CLARENCE
Honey?

She continues. He puts his gun away.

CLARENCE
Sweetheart? Cops are gonna be here any minute,

She continues. He takes the gun away from her, and she falls to the ground. She lies on the floor trembling, continuing with the downward swings of her arms.

Clarence grabs the shotgun and the cocaine, and tosses Alabama over his shoulder.

CUT TO:


EXT. HOLLYWOOD HOLIDAY INN - DAY

Everybody is outside their rooms watching as Clarence walks through the pool area with his bundle. Sirens can be heard.


EXT. MOVING RED MUSTANG - DAY

Clarence is driving like mad. Alabama's passed out in the passenger seat. She's muttering to herself. Clarence has one hand on the steering wheel and the other strokes Alabama's hair.

CLARENCE
Sleep baby. Don't dream. Don't worry. Just sleep. You deserve better than
this. I'm so sorry. Sleep my angel. Sleep peacefully.


EXT. MOTEL 6 - NIGHT

A new motel. Clarence's red Mustang is parked outside.


INT. MOTEL 6 - CLARENCE'S ROOM - NIGHT

Alabama, with a fat lip and a black and blue face, is asleep in bed.


INT. NOWHERE

Clarence is in a nondescript room speaking directly to the camera. He's in a headshot.

CLARENCE
I feel so horrible about what she went through. That fucker really beat the
shit out of her. She never told him where I was. It's like I always felt
that the way she felt about me was a mistake. She couldn't really care that
much. I always felt in the back of my mind, I don't know, she was jokin'.
But, to go through that and remain loyal, it's very easy to be unraptured
with words, but to remain loyal when it's easier, even excusable, not to -
that's a test of oneself. That's a true romance. I swear to God, I'll cut
off my hands and gouge out my eyes before I'll every let anything happen to
that lady again.

CUT TO:


EXT. HOLLYWOOD HILLS - NIGHT

A wonderful, gracefully flowing shot of the Hollywood Hills. Off in the distance we hear the roar of a car engine.


EXT. MULLHOLLAND DRIVE - NIGHT

Vaaarrroooooommmm!!! A silver Porsche is driving hells bells, taking quick corners, pushing it to the edge.


INT. MOVING PORSCHE - NIGHT

Elliot Blitzer is the driver, standing on it. A blond, glitzy Coke Whore is sitting next to him. They're having a ball. Then they're seeing a red and blue light flashing in the rear-view window. It's the cops.

ELLIOT
Fuck! I knew it! I fucking knew it! I should have my head examined, driving
like this!
(he pulls over)
Kandi, you gotta help me.

KANDI
What can I do?

He pulls out the sample bag of cocaine that Clarence gave him earlier.

ELLIOT
You gotta hold this for me.

KANDI
You must be high. Uh-huh. No way.

ELLIOT
(frantically)
Just put it in your purse.

KANDI
I'm not gonna put that shit in my purse.

ELLIOT
They won't search you. I promise. You haven't done anything.

KANDI
No way, JosÈ.

ELLIOT
Please, they'll be here any minute. Just put it in your bra.

KANDI
I'm not wearing a bra.

ELLIOT
(pleading)
Put it in your pants.

KANDI
No.

ELLIOT
You're the one who wanted to drive fast.

KANDI
Read my lips.

She mouths the word "no".

ELLIOT
After all I've done for you, you fuckin' whore!!

She goes to slap him, she hits the bag of cocaine instead. It rips open. Cocaine completely covers his blue suit. At that moment Elliot turns to face a flashing beam. Tears fill his eyes.


INT. POLICE STATION - INTERROGATION ROOM - DAY

Elliot is sitting in a chair at the table. Two young, good-looking, casually dressed, Starsky and Hutch-type POLICE DETECTIVES are questioning him. They're known in the department as Nicholson and Dimes. The dark-haired one is Cody Nicholson, and the blond is Nicky Dimes.

NICHOLSON
Look, sunshine, we found a sandwich bag of uncut cocaine -

DIMES
Not a tiny little vial -

NICHOLSON
But a fuckin' baggie.

DIMES
No don't sit here and feed us some shit.

NICHOLSON
You got caught. It's all fun and fuckin' games till you get caught. But now
we gotcha. OK, Mr. Elliot actor, you've just made the big time -

DIMES
You're no longer an extra -

NICHOLSON
Or a bit player -

DIMES
Or a supporting actor -

NICHOLSON
You're a fuckin' star! And you're gonna be playin' your little one-man show
nightly for the next two fuckin' years for a captive audience -

DIMES
But there is a bright side though. If you ever have to play a part of a guy
who gets fucked in the ass on a daily basis by throat-slitting niggers,
you'll have so much experience to draw on -

NICHOLSON
And just think, when you get out in a few years, you'll meet some girl, get
married, and you'll be so understanding to your wife's needs, because
you'll know what it's like to be a woman.

DIMES
'Course you'll wanna fuck her in the ass. Pussy just won't feed right
anymore -

NICHOLSON
That is, of course, if you don't catch Aids from all your anal intrusions.

Elliot starts crying. Nicholson and Dimes exchange looks and smile. Mission accomplished.


INT. POLICE STATION - CAPTAIN KRINKLE'S OFFICE - DAY

CAPTAIN BUFFORD KRINKLE is sitting behind his desk, where he spends about seventy-five percent of his day. He's you standard rough, gruff, no-nonsense, by-the-book-type police captain.

KRINKLE
Nicholson! Dimes! Het in here!

The two casually dressed, sneaker-wearing cops rush in, both shouting at once.


DIMES
Krinkle, this is it. We got it, man. And it's all ours. I mean talk about
fallin' into somethin'. You shoulda seen it, it was beautiful. Dimes is
hittin' him from the left about being fucked in the ass by niggers, I'm
hittin' him form the right about not likin' pussy anymore, finally he
starts cryin', and then it was all over -

NICHOLSON
Krinkle, you're lookin' at the two future cops of the month. We have it,
and if I say we, I don't mean me and him, I'm referring to the whole
department. Haven't had a decent bust this whole month. Well, we mighta
come in like a lamb, but we're goin' out like a lion -

KRINKLE
Both you, idiots shut up, I can't understand shit! Now, what's happened,
what's going on, and what are you talking about?

DIMES
Okee-dokee. It's like this, Krinkle; a patrol car stops this dork for
speeding, they walk up to window and the guy's covered in coke. So they
bring his ass in and me an' Nicholson go to work on him.

NICHOLSON
Nicholson and I.

DIMES
Nicholson and I go to work on him. Now er know somthing's rotten in
Denmark, 'cause this dickhead had a big bag, and it's uncut, too, so we're
sweatin' him, trying to find out where he got it. Scarin' the shit outta
him.

NICHOLSON
Which wasn't too hard, the guy was a real squid.

DIMES
So we got this guy scared shitless and he starts talkin'. And, Krinkle, you
ain't gonna fuckin' believe it.

CUT TO:


INT. RESTAURANT - DAY

Detroit. Very fancy restaurant. Four wise-guy Hoods, one older, the other three, youngsters, are seated at the table with Mr. Coccotti.

COCCOTTI
- And so, tomorrow morning comes, and no Virgil. I check with Nick
Cardella, who Virgil was supposed to leave my narcotics with, he never
shows. Now, children, somebody is stickin' a red-hot poker up my asshole
and what I don't know is whose hand's on the handle.

YOUNG WISE-GUY #1 (FRANKIE)
You think Virgil started gettin' big ideas?

COCCOTTI
It's possible. Anybody can be carried away with delusions of grandeur. But
after that incident in Ann Arbor, I trust Virgil.

YOUNG WISE-GUY #2 (DARIO)
What happened?

OLD WISE-GUY(LENNY)
Virgil got picked up in a warehouse shakedown. He got five years, he served
three.

COCCOTTI
Anybody who clams up and does hid time, I don't care how I feel about him
personally, he's OK.

BACK TO:


KRINKLE'S OFFICE

NICHOLSON
It seems a cop from some department, we don't know where, stole a half a
million dollars of coke from the property cage and he's been sittin' on it
for a year and a half. Now the cops got this weirdo -

DIMES
Suspect's words -

NICHOLSON
To front for him. So Elliot is workin' out the deal between them and his
boss, a big movie producer named Lee Donowitz.

DIMES
He produced "Coming Home in a Body Bag".

KRINKLE
That Vietnam movie?

DIMES
Uh-huh.

KRINKLE
That was a good fuckin' movie.

DIMES
Sure was.

KRINKLE
Do you believe him?

DIMES
I believe he believes him.

NICHOLSON
He's so spooked he'd turn over his momma, his daddy, his two-panny granny,
and Anna and the King of Siam if he had anything on him.

DIMES
This rabbit'll do anything not to do time, including wearing a wire.

KRINKLE
He'll wear a wire?

DIMES
We talked him into it.

KRINKLE
Dirty cops. We'll have to bring in internal affairs on this.

DIMES
Look, we don't care if you bring in the state milita, the volunteer fire
department, the L.A. Thunderbirds, the ghost of Steve McQueen, and the
twelve Roman gladiators, so long as we get credit for the bust.

NICHOLSON
Cocaine. Dirty cops. Hollywood. This is Crocket and Tubbs all the way. And
we found it, so we want the fuckin' collar.

BACK TO:


INT. RESTAURANT - DAY

YOUNG WISE-GUY #3 (MARVIN)
Maybe Virgil dropped it off at Cardella's. Cardella turns Virgil's switch
off, and Cardella decides to open up his own fruit stand.

LENNY
Excuse me, Mr. Coccotti.
(to Marvin)
Do you know Nick Cardella?

MARVIN
No.

LENNY
Then where the hell do you get off talkin' that kind of talk?

MARVIN
I didn't mean -

LENNY
Shut your mouth. Nick Cardella was provin' what his words was worth before
you were in your daddy's nutsack. What sun do you walk under you can throw
a shadow on Nick Cardella? Nick Cardella's a stand-up guy.

COCCOTTI
Children, we're digressing. Another possibility is that rat-fuck whore and
her wack-a-doo cowboy boyfriend out-aped Virgil. Knowing Virgil, I find
that hard to believe. But they sent Drexl to hell, and Drexl was no faggot.
So you see, children, I got a lot of questions and no answers. Find out who
this wing-and-a-prayer artist is and take him off at the neck.

TITLE CARD: "THE BIG DAY"


EXT. IMPERIAL HIGHWAY - SUNRISE

Clarence's red Mustang is parked on top of a hill just off of Imperial Highway. As luck would have it, somebody has abandoned a ratty old sofa on the side of the road. Clarence and Alabama sit on the sofa, sharing a Jumbo Java, and enjoying the sunrise and wonderful view of the LAX Airport runways, where planes are taking off and landing. A plane takes off, and they stop and watch.

CLARENCE
Ya know, I used to fuckin' hate airports.

ALABAMA
Really?

CLARENCE
With a vengeance, I hated them.

ALABAMA
How come?

CLARENCE
I used to live by one back in Dearborn. It's real frustratin' to be
surrounded by airplanes when you ain't got shit. I hated where I was, but I
couldn't do anythin' about it. I didn't have enough money. It was tough
enough just tryin' to pay my rent every month, an' here I was livin' next
to an airport. Whenever I went outside, I saw fuckin' planes take off
drownin' out my show. All day long I'm seein', hearin' people doin' what I
wanted to do most, but couldn't.

ALABAMA
What?

CLARENCE
Leavin' Detroit. Goin' off on vacations, startin' new lives, business
trips. Fun, fun, fun, fun.

Another plane takes off.

CLARENCE
But knowin' me and you gonna be nigger-rich gives me a whole new outlook. I
love airports now. Me 'n' you can get on any one of those planes out there,
and go anywhere we ant.

ALABAMA
You ain't kiddin', we got lives to start over, we should go somewhere where
we can really start from scatch.

CLARENCE
I been in America all my life. I'm due for a change. I wanna see what TV in
other countries is like. Besides, it's more dramatic. Where should we fly
off to, my little turtledove?

ALABAMA
Cancoon.

CLARENCE
Why Cancoon?

ALABAMA
It's got a nice ring to it. It sounds like a movie. "Clarence and Alabama
Go to Cancoon". Don't 'cha think?

CLARENCE
But in my movie, baby, you get the top billing.

They kiss.

CLARENCE
Don't you worry 'bout anything. It's all gonna work out for us. We deserve
it.


INT. DICK'S APARTMENT - DAY

Dick, Clarence and Alabama are just getting ready to leave for the drug deal. Floyd lays on the couch watching TV. Alabama's wearing dark glasses because of the black eye she has.

CLARENCE
(to Floyd)
You sure that's how you get to the Beverly Wilshire?

FLOYD
I've partied there twice. Yeah, I'm sure.

DICK
Yeah, well if we got lost, it's your ass.
(to Clarence)
Come on, Clarence, lets go. Elliot's going to meet us in the lobby.

CLARENCE
I'm just makin' sure we got everything.
(pointing to Alabama)
You got yours?

She holds up the suitcase. The phone rings. The three pile out the door. Floyd picks up the phone.

FLOYD
Hello?

He puts his hand over the receiver.

FLOYD
Dick, it's for you. You here?

DICK
No. I left.

He starts to close the door then opens it again.

DICK
I'll take it.
(he takes the receiver)
Hello.
(pause)
Hi, Catherine, I was just walkin' out the -
(pause)
Really?
(pause)
I don't believe it.
(pause)
She really said that?
(pause)
I'll be by first thing.
(pause)
No, thank you for sending me out.
(pause)
Bye-bye.

He hangs up and looks to Clarence.

DICK
(stunned)
I got the part on "T.J. Hooker".

CLARENCE
No shit? Dick, that's great!

Clarence and Alabama are jumping around. Floyd even smiles.

DICK
(still stunned)
They didn't even want a callback. They just hired me like that. Me and
Peter Breck are the two heavies. We start shooting Monday. My call is for
seven o'clock in the morning.

CLARENCE
Ah, Dick, let's talk about it in the car. We can't be late.

Dick looks at Clarence. He doesn't want to go.

DICK
Clarence.

CLARENCE
Yeah?

DICK
Um, nothing, let's go?

They exit.


EXT. LAX AIRPORT - HOTEL - DAY

We see the airport and move in closer on a hotel on a landscape.


INT. LAX AIRPORT - HOTEL ROOM - DAY

Lenny can be seen putting a shotgun together. He is sitting on a bed.

Dario enters the frame with his own shotgun. He goes over to Lenny and gives him some shells.

Marvin walks through the frame cocking his own shotgun.

The bathroom door opens behind Lenny and Frankie walks out twirling a couple of .45 automatics in his hands.


INT. BEVERLY WILSHIRE - COP S' HOTEL ROOM - DAY

Nicholson and Dimes and FOUR DETECTIVES from internal affairs are in a room on the same floor as Donowitz. They have just put a wire on Elliot.

DIMES
OK, say something.

ELLIOT
(talking loud into the wire)
Hello! Hello! Hello! How now brown cow!

NICHOLSON
Just talk regular.

ELLIOT
(normal tone)
"But soft! What light through yonder window breaks?
It is the east and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief -"

DIMES
Are you gettin' this shit?

DETECTIVE BY TAPE MACHINE
Clear as a bell.

Nicholson, Dime, and the head IA Officer, Wurlitzer, huddle by Elliot.

DIMES
Now, remember, we'll be monitoring just down the hall.

ELLIOT
And if there's any sign of trouble you'll come in.

NICHOLSON
Like gang-busters. Now, remember, if you don't want to go to jail, we gotta
put your boss in jail.

DIMES
We have to show in court that, without a doubt, a successful man, an important figure in the Hollywood community, is also dealing cocaine.

NICHOLSON
So you gotta get him to admit on tape that he's buying this coke.

WURLITZER
And this fellow Clarence?

ELLIOT
Yeah, Clarence.

WURLITZER
You gotta get him name the police officer behind all this.

ELLIOT
I'll try.

DIMES
You do more than try.

NICHOLSON
You do.

DIMES
Hope you're a good actor, Elliot.


INT. MOVING RED MUSTANG - DAY

Clarence, Dick and Alabama en route.

DICK
You got that playing basketball?

ALABAMA
Yeah. I got elbowed right in the eye. And if that wasn't enough, I got
hurled the ball when I'm not looking. Wam! Right in my face.

They stop at a red light. Clarence looks at Alabama.

CLARENCE
Red light means love, baby.

He and Alabama start kissing.


INT. MOVING CADILLAC - DAY

Marvin, Frankie, Lenny and Dario in a rented Caddy.


INT. BEVERLY WILSHIRE PARKING LOT - DAY

Clarence, Alabama, and Dick get out of the red Mustang. Dick takes the suitcase.

CLARENCE
I'll take that. Now, remember, both of you, let me do the talking.

Clarence takes out his .38. Dick reacts. They walk and talk.

DICK
What the fuck did you bring that for.

CLARENCE
In case.

DICK
In case of what?

CLARENCE
In case they try to kill us. I don't know, what do you want me to say?

DICK
Look, Dillinger, Lee Donowitz is not a pimp -

CLARENCE
I know that Richard. I don't think I'll need it. But something this last
week has taught me, it's better to have a gun and not to need it than to
need a gun and not to have it.

Pause. Clarence stops walking.

CLARENCE
Hold it, guys. I don't know about the rest of you, but I'm pretty scared.
What say we forget the whole thing.

Dick and Alabama are both surprised and relieved.

DICK
Do you really mean it?

CLARENCE
No, I don't really mean it. Well, I mean, this is our last chance to think
about it. How 'bout you, Bama?

ALABAMA
I thought it was what you wanted, Clarence.

CLARENCE
It is what I want. But I don't want to spend the next ten years in jail. I
don't want you guys to go to jail. We don't know what could be waiting for
us up there. It'll probably be just what it's supposed to be. The only
thing that's waiting for us is two hundred thousand dollars. I'm just
looking at the downside.

DICK
Now's a helluva time to play "what if".

CLARENCE
This is our last chance to play "what if". I want to do it. I'm just scared
of getting caught.

ALABAMA
It's been fun thinking about the money but I can walk away from it, honey.

CLARENCE
That rhymes.

He kisses her.

DICK
Well, if we're not gonna do it, let's just get in the car and get the fuck
outta here.

CLARENCE
Yeah, let's just get outta here.

The three walk back to the car. Clarence gets behind the wheel. The other two climb in. Clarence hops back out.

CLARENCE
I'm sorry guys, I gotta do it. As petrified as I am, I just can't walk
away. I'm gonna be kicking myself in the ass for the rest of my life if I
don't go in there. Lee Donowitz isn't a gangster lookin' to skin us, and
he's not a cop, he's a famous movie producer lookin' to get high. And I'm
just the man who can get him there. So what say we throw caution to the
wind and let the chips fall where they may.

Clarence grabs the suitcase and makes a beeline for the hotel. Dick and Alabama exchange looks and follow.


INT. BEVERLY WILSHIRE - LOBBY - DAY

Elliot's walking around the lobby. He's very nervous, so he's singing to himself.

ELLIOT
(singing)
There's a man who leads a life of danger,
To everyone he meets
he stays a stranger.
Be careful what you say,
you'll give yourself away...


INT. BEVERLY WILSHIRE - COPS' HOTEL ROOM - DAY

Nicholson, Dimes, Wurlitzer, and the three other Detectives surround the tape machine. Coming from the machine:

ELLIOT'S VOICE
(off)
... odds are you won't live
to see tomorrow,
secret agent man,
secret agent man....

Nicholson looks at Dimes.

DIMES
Why, all of the sudden, have I got a bad feeling?

BACK TO:


LOBBY

Clarence enters the lobby alone, he's carrying the suitcase. He spots Elliot and goes in his direction. Elliot sees Clarence approaching him. He says to himself, quietly:

ELLIOT
Elliot, your motivation is to stay out of jail.

Clarence walks up to Elliot, they shake hands.

ELLIOT
Where's everybody else?

CLARENCE
They'll be along.

Alabama and Dick enter the lobby, they join up with Clarence and Elliot.

ELLIOT
Hi, Dick.

DICK
How you doin', Elliot?

CLARENCE
Well, I guess it's about that time.

ELLIOT
I guess so. Follow me.


INT. BEVERLY WILSHIRE - ELEVATOR - DAY

The four of them are riding in the elevator. As luck would have it, they have the car to themselves. Rinky-drink elevator Muzak is playing. They are all silent.

CLARENCE
Elliot.

ELLIOT
Yeah?

CLARENCE
Get on your knees.

Not sure he heard him right.

ELLIOT
What?

Clarence hits the stop button on the elevator panel and whips out his .38.

CLARENCE
I said get on your fuckin' knees.

Elliot does it immediately. Dick and Alabama react.

CLARENCE
Shut up, both of you, I know what I'm doin'.

BACK TO:


COPS' ROOM

Pandemonium.

DIMES
He knows.

NICHOLSON
How the fuck could he know?

DIMES
He saw the wire.

NICHOLSON
How's he supposed to see the wire?

DIMES
He knows something's up.

BACK TO:


ELEVATOR

Clarence puts the .38 against Elliot's forehead.

CLARENCE
You must think I'm pretty stupid, don't you?

No answer.

CLARENCE
Don't you?

ELLIOT
(petrified)
No.

CLARENCE
(yelling)
Don't lie to me, motherfucker. You apparently think I'm the dumbest
motherfucker in the world! Don't you? Say: Clarence, you are without a
doubt, the dumbest motherfucker in the whole wide world. Say it!

BACK TO:


COPS' ROOM

NICHOLSON
We gotta get him outta there.

DIMES
Whatta we gonna do? He's in an elevator.

BACK TO:


ELEVATOR

CLARENCE
Say it, goddamn it!

ELLIOT
You are the dumbest person in the world.

CLARENCE
Apparently I'm not as dumb as you thought I am.

ELLIOT
No. No you're not.

CLARENCE
What's waiting for us up there. Tell me or I'll pump two right in your
face.

BACK TO:


COPS

NICHOLSON
He's bluffin ya, Elliot. Can't you see that? You're an actor, remember, the
show must go on.

DIMES
This guy's gonna kill him.

BACK TO:


ELEVATOR

CLARENCE
Stand up.

Elliot does. The .38 is still pressed against his forehead.

CLARENCE
Like Nick Carter used to say: I I'm wrong, I'll apologize. I want you to
tell me what's waiting for us up there. Something's amiss. I can feel it.
If anything out of the ordinary goes down, believe this, you're gonna be
the first one shot. Trust me, I am AIDS, you fuck with me, you die. Now
quit making me mad and tell me why I'm so fucking nervous.

BACK TO:


COPS' ROOM

DIMES
He's bluffin', I knew it. He doesn't know shit.

NICHOLSON
Don't blow it, Elliot. He's bluffin'. He just told you so himself.

DIMES
You're an actor, so act, motherfucker.

BACK TO:


ELEVATOR

Elliot still hasn't answered.

CLARENCE
OK.

With the .38 up against Elliot's head Clarence puts his palm over the top of the gun to shield himself from the splatter. Alabama and Dick can't believe what he's gonna do.

Elliot, tears running down, starts talking for the benefit of the people at the other end of the wire. He sounds like a little boy.

ELLIOT
I don't wanna be here. I wanna go home. I wish somebody would just come and
get me 'cause I don't like this. This is not what I thought it would be.
And I wish somebody would just take me away. Just take me away Come and get
me. 'Cause I don't like this anymore. I can't take this. I'm sorry but I
just can't. So, if somebody would just come to my rescue, everything would
be alright.

BACK TO:


COPS' ROOM

Nicholson and Dimes shake their hands, They have a "well, that's that" expression an their faces.

BACK TO:


ELEVATOR

Clarence puts down the gun and hugs Elliot.

CLARENCE
Sorry, Elliot. Nothing personal. I just hadda make sure you're all right.
I'm sure. I really apologize for scaring you so bad, but believe me, I'm
just as scared as you. Friends?

Elliot, in a state of shock, takes Clarence's hand. Dick and Alabama are relieved.

BACK TO:


COPS' ROOM

Nicholson and Dimes listen open-mouthed, not believing what they're hearing.


INT. DICK'S APARTMENT - DAY

Floyd still lying on the couch watching TV. He hasn't moved since we last saw him.

There is a knock from the door.

FLOYD
(not turning away from TV)
It's open.

The front door flies open and the four Wise-guys rapidly enter the room. The door slams shut. All have their sawed-offs drawn and pointing at Floyd.

FLOYD
Yes.

LENNY
Are you Dick Ritchie?

FLOYD
No.

LENNY
Do you know a Clarence Worley?

FLOYD
Yes.

LENNY
Do you know where we can find him?

FLOYD
He's at the Beverly Wilshire.

LENNY
Where's that?

FLOYD
Well, you go down Beechwood...


INT. BEVERLY WILSHIRE - LEE'S HOTEL ROOM - DAY

The door opens and reveals an extremely muscular guy with an Uzi strapped to his shoulder standing in the doorway, his name is Monty.

MONTY
Hi, Elliot. Are these your friends?

ELLIOT
You could say that. Everybody, this is Monty.

MONTY
C'mon in. Lee's in the can. He'll be out in a quick.

They all move into the room, it is very luxurious.

Another incredibly muscular GUY, Boris, is sitting on the sofa, he too has an Uzi. Monty begins patting everybody down.

MONTY
Sorry, nothin personal.

He starts to search Clarence. Clarence back away.

CLARENCE
No need to search me, daredevil. All you'll find is a .38 calibre.

Boris gets up from the couch.

BORIS
What compelled you to bring that along?

CLARENCE
The same thing that compelled you, Beastmaster, to bring rapid-fire weaponry to a business meeting.

BORIS
I'll take that.

CLARENCE
You'll have to.

The toilet flushes in the bathroom. The door swings open and Lee Donowitz emerges.

LEE
They're here. Who's who?

ELLIOT
Lee, this is my friend Dick, and these are his friends, Clarence and
Alabama.

BORIS
(pointing at Clarence)
This guy's packin'.

LEE
Really?

CLARENCE
Well, I have to admit, walkin' through the door and seein' these "Soldier
of Fortune" poster boys made me a bit nervous. But, Lee, I'm fairly
confident that you came here to do business, not to be a wise-guy. So, if
you want, I'll put the gun on the table.

LEE
I don't think that'll be necessary. Let's all have a seat. Boris, why don't
you be nice and get coffee for everybody.

They all sit around a fancy glass table except for Boris, who's getting the coffee, and Monty, who's standing behind Lee's chair.

CLARENCE
Oh, Mr. Donowitz -

LEE
Lee, Clarence . Please don't insult me. Call me Lee.

CLARENCE
OK, sorry, Lee. I just wanna tell you "Coming Home in a Body Bag" is one of
my favorite movies. After "Apocalypse Now" I think it's the best Vietnam
movie ever.

LEE
Thank you very much, Clarence.

CLARENCE
You know, most movies that win a lot of Oscars, I can't stand. "Sophie's
Choice", "Ordinary People", "Kramer vs. Kramer", "Gandhi". All that stuff
is safe, geriatric, coffee-table dog shit.

LEE
I hear you talkin' Clarence. We park our cars in the same garage.

CLARENCE
Like that Merchant-Ivory clap-trap. All those assholes make are unwatchable
movies from unreadable books.

Boris starts placing clear-glass coffee cups in front of everybody and fills everybody's cup from a fancy coffee pot that he handles like an expert.

LEE
Clarence, there might be somebody somewhere that agrees with you more than
I do, but I wouldn't count on it.

Clarence is on a roll and he knows it.

CLARENCE
They ain't plays, they ain't books, they certainly ain't movies, they're
films. And do you know what films are? They're for people who don't like
movies. "Mad Max", that's a movie. "The Good, the Bad, and the Ugly",
that's a movie. "Rio Bravo", that's a movie. "Rumble Fish", that's a
fuckin' movie. And, "Coming Home in a Body Bag", that's a movie. It was the
first movie with balls to win a lot of Oscars since the "The Deer Hunter".

BACK TO:


COPS' ROOM

They're all listening to this.

DIMES
What's this guy doin'? Makin' a drug deal or gettin' a job on the "New
Yorker"?

BACK TO:


LEE'S ROOM

CLARENCE
My uncle Roger and uncle Cliff, both of which were in Nam, saw "Coming Home
in a Body Bag" and thought it was the most accurate Vietnam film they'd
ever seen.

LEE
You know, Clarence, when a veteran of that bullshit wars says that, it
makes the whole project worthwhile. Clarence, my friend, and I call you my
friend because we have similar interests, let's take a look at what you
have for me.

BACK TO:


COPS' ROOM

DIMES
Thank God.

BACK TO:


LEE'S ROOM

Clarence puts the suitcase on the table.

CLARENCE
Lee, when you see this you're gonna shit.

BACK TO:


LOBBY

The four Wise-guys are at the desk.

LENNY
(quietly to the others)
What was the Jew-boy's name?

MARVIN
Donowitz, he said.

FRONT-DESK GUY
How can I help you, Gentlemen?

LENNY
Yeah, we're from Warner Bros. What room is Mr. Donowitz in?

BACK TO:


LEE'S ROOM

Lee's looking over the cocaine and sampling it.

CLARENCE
Now, that's practically uncut. You could, if you so desire, cut it a
helluva lot more.

LEE
Don't worry, I'll desire. Boris, could I have some more coffee.

CLARENCE
Me too, Boris.

Boris fills both of their cups. They both, calm as a lake, take cream and sugar. All eyes are on them. Lee uses light cream and sugar, he begins stirring this cup. Clarence uses very heavy cream and sugar.

LEE
(stirring loudly)
You like a little coffee with your cream and sugar?

CLARENCE
I'm not satisfied till the spoon stands straight up.

Both are cool as cucumbers.

LEE
I have to hand it to you, this is not nose garbage, this is quality. Can
Boris make anybody a sandwich? I got all kinds of sandwich shit from
Canters in there.

ALABAMA
No thank you.

DICK
No. But thanks.

CLARENCE
No thanks, my stomach's a little upset. I ate somethin' at a restaurant
that made me a little sick.

LEE
Where'd you go?

CLARENCE
A Norms in Van Nuys.

LEE
Bastards. That's why I always eat at Lawreys.

Lee continues looking at the merchandise.

Alabama writes something in her napkin with a pencil. She slides the napkin over to Clarence. It says: "You're so cool" with a tiny heart drawn on the bottom of it. Clarence takes the pencil and draws an arrow through the heart. She takes the napkin and puts it in her pocket.

Lee looks up.

LEE
OK, Clarence, the merchandise is perfect. But, whenever I'm offered a deal
that's too good to be true, it's because it's a lie. Convince me you're on
the level.

BACK TO:


COPS' ROOM

DIMES
If he don't bite, we ain't got shit except posession.

NICHOLSON
Convince him.

BACK TO:


LEE'S ROOM

CLARENCE
Well, Lee, it's like this. You're getting the bargain of a lifetime because
I don't know what the fuck I'm doing. You're used to dealin' with
professionals. I'm not a professional. I'm a rank amateur. I could take
that, and I could cut it, and I could sell it a little bit at a time, and
make a helluva lot more money. But, in order to do that, I'd have to become
a drug dealer. Deal with cut-throat junkies, killers, worry about getting
busted all of the time. Just meeting you here today scares the shit outta
me, and you're not a junkie, a killer or a cop, you're a fucking
movie-maker. I like you, and I'm still scared. I'm a punk kid who picked up
a rock in the street, only to find out it's the Hope Diamond. It's worth a
million dollars, but I can't get the million dollars for it. But, you can.
So, I'll sell it to you for a couple a hundred thousand. You go to make a
million. It's all found money to me anyway. Me and my wife are minimum wage
kids, two hundred thousand is the world.

LEE
Elliot tells me you're fronting for a dirty cop.

CLARENCE
Well, Elliot wasn't supposed to tell you anythin'.
(to Elliot)
Thanks a lot, bigmouth. I knew you were a squid the moment I laid eyes on
you. In my book, buddy, you're a piece of shit.
(to Lee)
He's not a dirty cop, he's a good cop. He just saw his chance and he took
it.

LEE
Why does he trust you?

CLARENCE
We grew up together.

LEE
If you don't know shit, why does he think you can sell it?

CLARENCE
I bullshitted him.

Lee starts laughing.

LEE
That's wild. This fucking guy's a madman. I love it. Monty, go in the other
room and get the money.

Clarence, Alabama and Dick exchange looks.

BACK TO:


COPS' ROOM

Nicholson and Dimes exchange looks.

DIMES & NICHOLSON
Bingo!

BACK TO:


ELEVATOR

The four Wise-guys are coming up.

BACK TO:


LEE'S ROOM

LEE
(pointing to Alabama)
What's your part in this?

ALABAMA
I'm his wife.

LEE
(referring to Dick)
How 'bout you?

DICK
I know Elliot.

LEE
And Elliot knows me. Tell me, Clarence, what department does you friend
work in?

Dick and Alabama panic.

CLARENCE
(without missing a beat)
Carson County Sheriffs.

BACK TO:


COPS' ROOM

The internal affairs officers high five.

BACK TO:


LEE'S ROOM

Monty brings in a briefcase of money and puts it down on the table.

LEE
Wanna count your money?

CLARENCE
Actually, they can count it. I'd like to use the little boy's room.

BACK TO:


COPS' ROOM

They all stand.

DIMES
OK, boys. Let's go get 'em.


INT. BEVERLY WILSHIRE - LEE'S HOTEL ROOM - BATHROOM - DAY

Clarence steps inside the bathroom and shuts the door. As soon as it's shut he starts doing the twist. He can't believe he's pulled it off. He goes to the toilet and starts taking a piss. He turns and sees Elvis sitting on the sink.

ELVIS
Clarence, I gotta hand it to ya. You were cooler than cool.

CLARENCE
I was dying. I thought for sure everyone could see it on my face.

ELVIS
All anybody saw was Clint Eastwood drinkin' coffee.

CLARENCE
Can you develop an ulcer in two minutes? Being cool is hard on your body.

ELVIS
Oh, and your line to Charles Atlas in there: "I'll take that gun", "You'll
have to".

CLARENCE
That was cool, wasn't it? You know, I don't even know where that came from.
I just opened my mouth and it came out. After I said it I thought, that's a
cool line, I gotta remember that.

BACK TO:


LEE'S ROOM

Everything's just as it was.

Sudenly, Nicholson, Dimes and the four Detectives break into the room with guns drawn.

DIMES & NICHOLSON
Police! Freeze, you're all under arrest!

Everybody at the table stands up. Boris and Monty stand ready with the Uzis.

DIMES
You two! Put the guns on the floor and back away.

MONTY
Fuck you! All you pigs put your guns on the floor and back away.

LEE
Monty, what are you talking about? So what they say.

DIMES
This is your last warning! Drop those fuckin' guns!

BORIS
This is your last warning! We could kill all six of ya and ya fuckin' know
it! Now get on the floor!

DICK
What the fuck am I doing here?

LEE
Boris! Everybody's gonna get killed! They're cops!

MONTY
So they're cops. Who gives a shit?

BORIS
Lee, something I never told you about me. I don't like cops.

NICHOLSON
OK, let's everybody calm down and get nice. Nobody has to die. We don't
want it, and you don't want it.

LEE
We don't want it.

The four Wise-guys burst through the door, shotguns drawn, except for Frankie, who has two .45 automatics, one in each hand.

Half of the cops spin around.

WURLITZER
Freeze!

LENNY
Who are you guys?

WURLITZER
Police.

DARIO
(to Lenny)
Do we get any extra if we have to kill cops?

BACK TO:


BATHROOM

Clarence and Elvis.

CLARENCE
How do you think I'm doin' with Lee?

ELVIS
Are you kiddin'? He loves you.

CLARENCE
You don't think I'm kissin' his ass, do you?

ELVIS
You're tellin' him what he wants to hear, but that ain't the same thing as
kissin' his ass.

CLARENCE
I'm not lyin' to him. I mean it. I loved "Coming Home in a Body Bag".

ELVIS
That's why it doesn't come across as ass-kissin', because it's genuine, and
he can see that.

Elvis fixes Clarence's collar.

ELVIS
I like ya, Clarence. Always have.

BACK TO:


LEE'S ROOM

This is a Mexican stand-off if there ever was one. Gangsters on one end with shotguns. Bodyguards with machine guns on the other. And cops with handguns in the middle.

Dick's ready to pass out.

Alabama's so scared she pees on herself.

For Elliot, this has been the worst day of his life, and he's just about had it.

ELLIOT
Officer Dimes? Officer Dimes.

Dimes looks at Elliot.

ELLIOT
This has nothing to do with me anymore. Can I just leave and you guys just
settle it by yourselves?

DIMES
Elliot, shut the fuck up and stay put!

LEE
(to Elliot)
How did you know his name? How the fuck did he know your name? Why, you
fuckin' little piece of shit!

ELLIOT
Lee, understand, I didn't want to -

DIMES
Shut the fuck up!

LEE
Well, I hope you're not planning on acting any time in the next twenty
years 'cause your career is over as of now! You might as weel burn your SAG
card! To think I treated you as a son! And you stabbed me in the heart!

Lee can't control his anger any more. He grabs the coffee pot off the table and flings hot coffee into Elliot's face. Elliot screams and falls to his knees,

Instinctively, Nicholson shoots Lee twice.

Alabama screams.

Boris lets loose with his Uzi, pinting Nicholson red with bullets.

DIMES
(screaming)
Cody!!!

Nicholson flies backwards.

Marvin fires his shotgun, hits Nicholson in the back, Nicholson's body jerks back and forth then on the floor.

Clarence opens the bathroom door.

Dimes hits the ground firing.

A shot catches Clarence in the forehead.

Alabama screams.

Dario fires his sawed-off. It catches Clarence in the chest, hurling him on the bathroom sink, smashing the mirror.

It might have been a stand-off before, but once the firing starts everybody either hits the ground or runs for cover.

Dimes, Alabama, Dick, Lenny, an IA Officer and Wurtlitzer hit the ground.

Boris dives into the kitchen area.

Monty tips the table over.

Marvin dives behind the sofa.

Dario runs out of the door and down the hall.

With bullets flying this way and that, some don't have time to anything. Two IA Officers are shot right away.

Frankie takes an Uzi hit. He goes down firing both automatics.

Elliot gets it from both sides.

Alabama is crawling across the floor, like a soldier in war, towards the bathroom.

Clarence, still barely alive, lays on the sink, twitching. He moves and falls off.

Alabama continues crawling.

Marvin brings his sawed-off from behind the sofa and fires. The shotgun blast hits the glass table and Monty. Monty stands up screaming.

The Cops on the ground let loose, firing into Monty.

As Monty gets hit, his finger hits the trigger of the Uzi, spreading fire all over the apartment.


EXT. BEVERLY WILSHIRE - DAY

Cop cars start arriving in twos in front of the hotel.

BACK TO:


GUNFIGHT

Alabama crawling.

The suitcase full of cocaine is by Dick. Dick grabs it and tosses it in the air. Marvin comes from behind the sofa and fires. The suitcase is hit in mid-air. White powder goes everywhere. The room is enveloped in cocaine.

Dick takes this cue and makes a dash out the door.

An IA Officer goes after him.

Lenny makes a break for it.

Wurlitzer goes after him but is pinned down by Marvin.

Alabama reaches the bathroom and finds Clarence.

ALABAMA
Sweety?

Clarence's face is awash with blood.

CLARENCE
I... I can't see you... I've got blood in my eyes...

He dies.

Alabama tries to give him outh-to-mouth resuscitation.


INT. BEVERLY WILSHIRE - HALLWAY - DAY

Dario runs down the hall, right into a cluster of uniformed police.

He fires his shotgun, hitting two, just before the others chop him to ribbons.


INT. BEVERLY WILSHIRE - ANOTHER HALLWAY

The hallway's empty but we hear footsteps approaching fast. Dick comes around the corner, running as if on fire. Then we see the IA Officer turn the same corner.

IA OFFICER
(aiming gun)
Freeze!

Dick does.

DICK
I'm unarmed!

IA OFFICER
Put your hands on your head, you son-of-a-bitch!

He does. Then, from off screen, a shotgun blast tears into the IA Officer, sending him to the wall.

DICK
Oh shit.

He starts running again and runs out of frame, then Lenny turns around the corner and runs down the hall.

Dick runs into the elevator area, he hits the buttons, he's trapped, it's like a box.

Lenny catches up. Dick raises his hands. Lenny aimes his sawed-off.

DICK
Look, I don't know who you are, but whatever it was that I did to you, I'm
sorry.

Two elevator doors on either side of them open.

Lenny looks at Dick. He drops his aim and says:

LENNY
Lotsa luck.

Lenny dives into one elevator car. Dick jumps into the other, just as the doors close.

BACK TO:


HOTEL ROOM

The Mexican stand-off has become two different groups of two pinning each other down.

Wurlitzer has Marvin pinned down behind the sofa and Dimes has Boris pinned down in the kitchen.

In the bathroom, Alabama's pounding on Clarence's bloody chest, trying to get his heart started. It's not working. She slaps him hard in the face a couple of times.

ALABAMA
Wake up, goddamn it!

Dimes discards his handgun and pulls one of the sawed-off shotguns from the grip of a dead Wise-guy.

Boris peeks around the wall to fire.

Dimes lets loose with a blast. A scream is heard.

BORIS
(off)
I'm shot! Stop!

DIMES
Throw out your gun, asshole!

The Uzi's tossed out.

Dimes goes to where Wurlitzer is.

DIMES
(to Marvin)
OK, black jacket! It's two against one now! Toss the gun and lie face down
on the floor or die like all you friends.

The shotgun's tossed out from behind the sofa.


INT. BEVERLY WILSHIRE - ELEVATOR - DAY

Dick's sitting on the ground, he can't believe any of this. The doors open on the fourth floor. He runs out into the hallway.


HALLWAY

He starts trying the room doors for an open one.

DICK
Oh, God, if you just get me outta this I swear to God I'll never fuck up
again. Please, just let me get to "T.J. Hooker" on Monday.


STEWARDESS'S ROOM - DAY

Dick steps in. Three gorgeous girls are doing a killer aerobics workout to a video on TV. The music is so loud they're so into their exercises, they don't hear Dick tiptoe behind them and crawl underneath the bed.


LEE'S ROOM

Boris has caught a lot of buckshots, but he'll live. He's lying on the kitchen floor. Dimes stands over him. He has the sawed-off in his hand.

DIMES
Don't even give me an excuse, motherfucker.

Dimes pats him down for other weapons, there are none.

Wurlitzer puts the cuffs on Marvin and sits him down on the couch.

Dimes looks in the bathroom and sees the dead Clarence with Alabama crying over him.

Dimes walks over to Wurlitzer.

DIMES
Everything's under control here.

WURLITZER
Sorry about Nicholson.

DIMES
Me too.

WURLITZER
I'm gonna go see what's goin' on outside.

DIMES
You do that.

Wurlitzer exits. Dimes grabs the phone.


LOBBY

Shotgun in hand, Lenny moves hurriedly down the lobby.

A Cop yells out.

COP
You! Stop!

Lenny brings up his sawed-off and lets him have it. Other cops rush forward. Lenny grabs a woman standing by.

LENNY
Get back or I'll blow this bitch's brains to kingdom come!


LEE'S ROOM

Dimes on the phone talking with the department. Boris is still moving on the floor. Marvin is sitting on the couch with his hands cuffed behind his back. Alabama is crying over Clarence, then she feels something in his jacket. She reaches in and pulls out his .38. She wipes her eyes. She holds the gun in her hand and remembers Clarence saying:

CLARENCE
(off)
She's a sixteen-calibre kitten, equally equipped for killin' an' lovin'!
She carried a sawed-off shotgun in her purse, a black belt around her
waist, and the white-hot fire of hate in her eyes! Alabama Whitman is Pam
Grier! Pray for forgiveness, Rated R... for Ruthless Revenge!

Alabama steps out of the bathroom, gun in hand.

Marvin turns his head toward her. She shoots him twice.

Dimes, still on the phone, spins around in time to see her raise her gun. She fires. He's hit in the head and flung to the floor.

She sees Boris on the kitchen floor.

ALABAMA
Bye-bye, Boris. Good luck.

BORIS
You too, cutie.

She starts to leave and then spots the briefcase full of money. She takes it and walks out the door.


HALLWAY

The elevator opens and Wurlitzer steps out.

Alabama comes around the corner.

WURLITZER
Hey, you!

Alabama shoots him three times in the belly. She steps into the elevator, the doors close.


LOBBY

Alabama enters the lobby and proceeds to walk out. In the background, cops are all over the place and Lenny is still yelling with the woman hostage.

LENNY
I wanna car here, takin' me to the airport, with a plane full of gas ready
to take me to Kilimanjaro and... and a million bucks!
(pause)
Small bills!


EXT. BEVERLY WILSHIRE - PARKING LOT - DAY

Alabama puts the briefcase in the trunk. She gets into the Mustang and drives away.


INT. MUSTANG - MOVING - DAY

Alabama's driving fast down the freeway. The DJ on the radio is trying to be funny. She's muttering to herself.

ALABAMA
I could have walked away. I told you that. I told you I could have walked
away. This is not my fault. I did not do this. You did this one hundred
percent to yourself. I'm not gonna give you the satisfaction of feeling
bad. I should laugh 'cause you don't deserve any better. I could get
another guy like that. I'm hot lookin'. What are you? Dead! Dumb jerk.
Asshole. You're a asshole, you're a asshole, you're a asshole. You wanted
it all, didn't ya? Didn't ya? Well watcha got now? You ain't got the money.
You ain't got me. You ain't even got your body anymore. You got nothin'.
Nada. Zip. Goose egg. Nil. Donut.

The song "Little Arrows" by Leapy Lee comes on the radio. Alabama breaks down and starts crying. She pulls the car over to the side. The song continues. She wipes her eyes with a napkin that she pulls out her jacket. She tosses it on the dashboard. She picks up the .38 and sticks it in her mouth.

She pulls back hammer. She looks up and sees her reflection in the rear-view mirror. She turns it the other way. She looks straight ahead. Her finger tightens on the trigger. She sees the napkin on the dashboard. She opens it up and reads it: "You're so cool".

She tosses the gun aside, opens up the trunk, and takes out the briefcase. She looks around for, and finally finds, the "Sgt. Fury" comic book Clarence bought her.

And with comic book in one hand, and briefcase in the other, Bama walks away from the Mustang forever.

FADE OUT



THE END







Screenplay by Quentin Tarantino

Produced by Samuel Hadida
Steve Perry
Bill Unger

Directed by Tony Scott

Cast List:

Christian Slater Clarence Worley
Patricia Arquette Alabama Whitman
Dennis Hopper Clifford Worley
Michael Rapaport Dick Ritchie
Bronson Pinchott Elliot Blitzer
Christopher Walken Vincenzo Coccotti
Saul Rubinek Lee Donowitz
Samuel L. Jackson Big Don
Brad Pitt Floyd
Val Kilmer Elvis (Mentor)


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Quentin Tarantino's

R E S E R V O I R D O G S








October 22, 1990

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


This movie is dedicated to these following sources of

inspiration:


TIMOTHY CAREY

ROGER CORMAN

ANDRE DeTOTH

CHOW YUEN FAT

JEAN LUC GODDARD

JEAN PIERRE MELVILLE

LAWRENCE TIERNEY

LIONEL WHITE

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

RESERVOIR DOGS

1 INT. UNCLE BOB'S PANCAKE HOUSE - MORNING

Eight men dressed in BLACK SUITS, sit around a table at a
breakfast cafe. They are MR. WHITE, MR. PINK, MR. BLUE,
MR. BLONDE, MR. ORANGE, MR. BROWN, NICE GUY EDDIE CABOT,
and the big boss, JOE CABOT. Most are finished eating and
are enjoying coffee and conversation. Joe flips through a
small address book. Mr. Pink is telling a long and
involved story about Madonna.

MR. PINK
"Like a Virgin" is all about a
girl who digs a guy with a big
dick. The whole song is a
metaphor for big dicks.

MR. BLUE
No it's not. It's about a girl
who is very vulnerable and she's
been fucked over a few times.
Then she meets some guy who's
really sensitive--

MR. PINK
--Whoa...whoa...time out Greenbay.
Tell that bullshit to the
tourists.

JOE
(looking through his
address book)
Toby...who the fuck is Toby?
Toby...Toby...think...think...
think...

MR. PINK
It's not about a nice girl who
meets a sensitive boy. Now
granted that's what "True Blue" is
about, no argument about that.

MR. ORANGE
Which one is "True Blue?"

NICE GUY EDDIE
You don't remember "True Blue?"
That was a big ass hit for
Madonna. Shit, I don't even
follow this Tops In Pops shit, and
I've at least heard of "True
Blue."

MR. ORANGE
Look, asshole, I didn't say I
ain't heard of it. All I asked
was how does it go? Excuse me
for not being the world's biggest
Madonna fan.

MR. BROWN
I hate Madonna.

MR. BLUE
I like her early stuff. You know,
"Lucky Star," "Borderline" - but
once she got into her "Papa Don't
Preach" phase, I don't know, I
tuned out.

MR. PINK
Hey, fuck all that, I'm
making a point here. You're gonna
make me lose my train
of thought.

JOE
Oh fuck, Toby's that little china
girl.

MR. WHITE
What's that?

JOE
I found this old address book in a
jacket I ain't worn in a coon's
age. Toby what? What the fuck
was her last name?

MR. PINK
Where was I?

MR. ORANGE
You said "True Blue" was about a
nice girl who finds a sensitive
fella. But "Like a Virgin" was a
metaphor for big dicks.

MR. PINK
Let me tell ya what "Like a
Virgin"'s about. It's about some
cooze who's a regular fuck
machine.
I mean all the time, morning, day,
night, afternoon, dick, dick,
dick, dick, dick,
dick, dick, dick, dick, dick,
dick.

MR. BLUE
How many dicks was that?

MR. WHITE
A lot.

MR. PINK
Then one day she meets a John
Holmes motherfucker, and it's
like, whoa baby. This mother
fucker's like Charles Bronson in
"The Great Escape." He's diggin
tunnels. Now she's gettin this
serious dick action, she's feelin
something she ain't felt since
forever. Pain.

JOE
Chew? Toby Chew? No.

MR. PINK
It hurts. It hurts her. It
shouldn't hurt. Her pussy should
be Bubble-Yum by now. But when
this cat fucks her, it hurts. It
hurts like the first time. The
pain is reminding a fuck machine
what is was like to be a virgin.
Hence, "Like a Virgin."

The fellas crack up.

JOE
Wong?

MR. PINK
Fuck you, wrong. I'm right! What
the fuck do you know about it
anyway? You're still listening to
Jerry-fucking-Vale.

JOE
Not wrong, dumb ass, Wong! You
know, like the Chinese name?

Mr. White snatches the address book from Joe's hand. They
fight, but they're not really mad at each other.

MR. WHITE
Give me this fucking thing.

JOE
What the fuck do you think you're
doin? Give me my book back!

MR. WHITE
I'm sick of fuckin hearin it Joe,
I'll give it back when we leave.

JOE
Whaddaya mean, give it to me when
we leave, give it back now.

MR. WHITE
For the past fifteen minutes now,
you've just been droning on with
names. "Toby...Toby...Toby...
Toby Wong...Toby Wong...Toby
Chung...fuckin Charlie Chan." I
got Madonna's big dick outta my
right ear, and Toby Jap I-don't-
know-what, outta my left.

JOE
What do you care?

MR. WHITE
When you're annoying as hell, I
care a lot.

JOE
Give me my book.

MR. WHITE
You gonna put it away?

JOE
I'm gonna do whatever I wanna do
with it.

MR. WHITE
Well, then, I'm afraid I'm gonna
have to keep it.

MR. BLONDE
Joe, you want me to shoot him for
you?

MR. WHITE
Shit, you shoot me in a dream, you
better wake up and apologize.

NICE GUY EDDIE
Have you guys been listening to K-
BILLY's super sounds of the
seventies weekend?

MR. PINK
Yeah, it's fuckin great isn't it?

NICE GUY EDDIE
Can you believe the songs they
been playin?

MR. PINK
No, I can't. You know what I
heard the other day? "Heartbeat -
It's Lovebeat," by little Tony
DeFranco and the DeFranco Family.
I haven't heard that since I was
in fifth fuckin grade.

NICE GUY EDDIE
When I was coming down here, I was
playin it. And "The Night the
Lights Went Out in Georgia" came
on. Now I ain't heard that song
since it was big, but when it was
big, I heard it a million-
trillion times. I'm listening to
it this morning, and this was the
first time I ever realized that
the lady singing the song, was the
one who killed Andy.

MR. BLUE
You didn't know Vicki Lawrence
killed the guy?

NICE GUY EDDIE
I thought the cheatin wife shot
Andy.

MR. BLONDE
They say it in the song.

NICE GUY EDDIE
I know, I heard it. I musta zoned
out whenever that part came on
before. I thought when she said
that little sister stuff, she was
talkin about her sister- in-law,
the cheatin wife.

JOE
No, she did it. She killed the
cheatin wife, too.

MR. PINK
You know the part in "Gypsies,
Tramps and Theives," when she says
"Poppa woulda shot his if he knew
what he'd done?" I could never
figure out what he did.

The table laughs. The WAITRESS comes over to the table.
She has the check, and a pot of coffee.

WAITRESS
Can I get anybody more
coffee.

JOE
No, we're gonna be hittin it.
I'll take care of the check.

She hands the bill to him.

WAITRESS
Here ya go. Please pay at the
register, if you wouldn't mind.

JOE
Sure thing.

WAITRESS
You guys have a wonderful day.

They all mutter equivalents. She exits and Joe stands up.

JOE
I'll take care of this, you guys
leave the tip.
(to Mr. White)
And when I come back, I want my
book back.

MR. WHITE
Sorry, it's my book now.

JOE
Blonde, shoot this piece of shit,
will ya?

Mr. Blonde shoots Mr. White with his finger. Mr White
acts shot. Joe exits.

NICE GUY EDDIE
Okay, everybody cough up green for
the little lady.

Everybody whips out a buck, and throws it on the table.
Everybody, that is, except Mr. White.

NICE GUY EDDIE
C'mon, throw in a buck.

MR. WHITE
Uh-uh. I don't tip.

NICE GUY EDDIE
Whaddaya mean you don't tip?

MR. WHITE
I don't believe in it.

NICE GUY EDDIE
You don't believe in tipping?

MR. PINK
(laughing)
I love this kid, he's a madman,
this guy.

MR. BLONDE
Do you have any idea what these
ladies make? They make shit.

MR. WHITE
Don't give me that. She don't
make enough money, she can quit.

Everybody laughs.

NICE GUY EDDIE
I don't even know a Jew who'd have
the balls to say that. So let's
get this straight. You never ever
tip?

MR. WHITE
I don't tip because society says I
gotta. I tip when somebody
deserves a tip. When somebody
really puts forth an effort, they
deserve a little something extra.
But this tipping automatically,
that shit's for the birds. As far
as I'm concerned, they're just
doin their job.

MR. BLUE
Our girl was nice.

MR. WHITE
Our girl was okay. She didn't do
anything special.

MR. BLONDE
What's something special, take ya
in the kitchen and suck your dick?

They all laugh.

NICE GUY EDDIE
I'd go over twelve percent for
that.

MR. WRITE
Look, I ordered coffee. Now we've
been here a long fuckin time, and
she's only filled my cup three
times. When I order coffee, I
want it filled six times.

MR. BLONDE
What if she's too busy?

MR. WHITE
The words "too busy" shouldn't be
in a waitress's vocabulary.

NICE GUY EDDIE
Excuse me, Mr. White, but the last
thing you need is another cup of
coffee.

They all laugh.

MR. WHITE
These ladies aren't starvin to
death. They make minimum wage.
When I worked for minimum wage, I
wasn't lucky enough to have a job
that society deemed tipworthy.

NICE GUY EDDIE
Ahh, now we're getting down to it.
It's not just that he's a cheap
bastard--

MR. ORANGE
--It is that too--

NICE GUY EDDIE
--It is that too. But it's also
he couldn't get a waiter job. You
talk like a pissed off dishwasher:
"Fuck those cunts and their
fucking tips."

MR. BLONDE
So you don't care that they're
counting on your tip to live?

Mr. White rubs two of his fingers together.

MR. WHITE
Do you know what this is? It's
the world's smallest violin,
playing just for the waitresses.

MR. BLONDE
You don't have any idea what
you're talking about. These
people bust their ass. This
is a hard job.

MR. WHITE
So's working at McDonald's, but
you don't feel the need to tip
them. They're servin ya food, you
should tip em. But no, society
says tip these guys over here, but
not those guys over there. That's
bullshit.

MR. ORANGE
They work harder than the kids at
McDonald's.

MR. WHITE
Oh yeah, I don't see them cleaning
fryers.

MR. BROWN
These people are taxed on the tips
they make. When you stiff 'em,
you cost them money.

MR. BLONDE
Waitressing is the number one
occupation for female non-college
graduates in this country. It's
the one jab basically any woman
can get, and make a living on.
The reason is because of tips.

MR. WHITE
Fuck all that.

They all laugh.

MR. WHITE
Hey, I'm very sorry that the
government taxes their tips.
That's fucked up. But that ain't
my fault. it would appear that
waitresses are just one of the
many groups the government fucks
in the ass on a regular basis.
You show me a paper says the
government shouldn't do that, I'll
sign it. Put it to a vote, I'll
vote for it. But what I won't do
is play ball. And this non-
college bullshit you're telling
me, I got two words for that:
"Learn to fuckin type." Cause if
you're expecting me to help out
with the rent, you're in for a big
fuckin surprise.

MR. ORANGE
He's convinced me. Give me my
dollar back.

Everybody laughs. Joe's comes back to the table.

JOE
Okay ramblers, let's get to
rambling. Wait a minute, who
didn't throw in?

MR. ORANGE
Mr. White.

JOE
(to Mr. Orange)
Mr. White?
(to Mr. White)
Why?

MR. ORANGE
He don't tip.

JOE
(to Mr. Orange)
He don't tip?
(to Mr. White)
You don't tip? Why?

MR. ORANGE
He don't believe in it.

JOE
(to Mr. Orange)
He don't believe in it?
(to Mr. White)
You don't believe in it?

MR. ORANGE
Nope.

JOE
(to Mr. Orange)
Shut up!
(to Mr. White)
Cough up the buck, ya cheap
bastard, I paid for your goddamn
breakfast.

MR. WHITE
Because you paid for the
breakfast, I'm gonna tip.
Normally I wouldn't.

JOE
Whatever. Just throw in your
dollar, and let's move.
(to Mr. Blonde)
See what I'm dealing with here.
Infants. I'm fuckin dealin with
infants.

The eight men get up to leave. Mr. White's waist is in
the F.G. As he buttons his coat, for a second we see he's
carrying a gun. They exit Uncle Bob's Pancake House,
talking amongst themselves.


2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY

CREDIT SEQUENCE:

When the credit sequence is finished, we FADE TO BLACK:

Over the BLACK we hear the sound of SOMEONE SCREAMING in
agony.

Under the screaming, we hear the sound of a car HAULING
ASS, through traffic.

Over the screams and the traffic noise, we hear SOMEBODY
ELSE SAY:

SOMEBODY ELSE (OS)
Just hold on buddy boy.

Somebody stops screaming long enough to say:

SOMEBODY (OS)
I'm sorry. I can't believe
she killed me. Who would've
fuckin thought that?

CUT TO:

3 INT. GETAWAY GAR (MOVING) - DAY

The Somebody screaming is Mr. Orange. He lies in the
backseat. He's been SHOT in the stomach. BLOOD covers
both him and the backseat.

Mr. White is the Somebody Else. He's behind the wheel of
the getaway car. He's easily doing 80 mph, dodging in and
out of traffic. Though he's driving for his life, he
keeps talking to his wounded passenger in the backseat.

They are the only two in the car.

MR. WHITE
Hey, just cancel that shit right
now! You're hurt. You're hurt
really fucking bad, but you ain't
dying.

MR. ORANGE
(crying)
All this blood is scaring the shit
outta me. I'm gonna die, I know
it.

MR. WHITE
Oh excuse me, I didn't realize you
had a degree in medicine. Are you
a doctor? Are you a doctor?
Answer me please, are you a
doctor?

MR. ORANGE
No, I'm not!

MR. WRITE
Ahhhh, so you admit you don't know
what you're talking about. So if
you're through giving me your
amateur opinion, lie back and
listen to the news. I'm taking
you back to the rendezvous, Joe's
gonna get you a doctor, the
doctor's gonna fix you up, and
you're gonna be okay. Now say it:
you're gonna be okay. Say it:
you're gonna be okay!

Mr. Orange doesn't respond. Mr. White starts pounding on
the steering wheel.

MR. WHITE
Say-the-goddamn-words: you're
gonna be okay!

MR. ORANGE
I'm okay.

MR. WHITE
(softly)
Correct.

4 INT. WAREHOUSE - DAY

The CAMERA does a 360 around an empty warehouse. Then the
door swings open, and Mr. White carries the bloody body of
Mr. Orange inside.

Mr. Orange still is MOANING loudly from his bullet hit.

Mr. White lays him down upon a mattress on the floor.

MR. WHITE
Just hold on buddy boy. Hold on,
and wait for Joe. I can't do
anything for you, but when Joe
gets here, which should be anytime
now, he'll be able to help you.
We're just gonna sit here, and
wait for Joe. Who are
we waiting for?

MR. ORANGE
Joe.

MR. WHITE
Bet your sweet ass we are.

Mr. White gets up from over Mr. Orange and starts to prowl
around the warehouse.

MR. ORANGE
(yelling)
Don't leave me!

Mr White bends back over him and takes his hand.

MR. WHITE
I ain't going anywhere. I'm right
here. I'm not gonna leave ya.

MR. ORANGE
Larry, I'm so scared, would you
please hold me.

Mr. White very gently embraces the bloody Mr. Orange.
Cradling the young man, Mr. White whispers to him.

MR. WHITE
(whispering)
Go ahead and be scared, you've
been brave enough for one day. I
want you to just relax now.
You're not gonna die, you're gonna
be fine. When Joe gets here,
he'll make ya a hundred percent
again.

Mr. White lays Mr. Orange back down on the mattress. He's
still holding his hand. Mr. Orange looks up at his
friend.

MR. ORANGE
Look, I don't wanna be a fly in
the ointment, but if help doesn't
come soon, I gotta see a doctor.
I don't give a fuck about jail, I
just don't wanna die.

MR. WHITE
You're not gonna fucking die, all
right?

MR. ORANGE
I wasn't born yesterday. I'm
hurt, and I'm hurt bad.

MR. WHITE
It's not good...

MR. ORANGE
Hey, bless your heart for what
you're trying to do. I was
panicking for a moment, but I've
got my senses back now. The
situation is, I'm shot in the
belly. And without medical
attention, I'm gonna die.

MR. WHITE
I can' take you to a hospital.

MR. ORANGE
Fuck jail! I don't give a shit
about jail. But I can't die. You
don't have to take me in. Just
drive me up to the front, drop me
on the sidewalk. I'll take care
of myself. I won't tell them
anything. I swear to fucking god,
I won't tell 'em anything. Look
in my eyes, look right in my eyes.
(Mr. White does)
I-won't-tell-them-anything.
You'll be safe.

MR. WHITE
Lie back down, and try to--

MR. ORANGE
I'm going to die! I need a
doctor! I'm begging you,
take me to a doctor.

Mr. Orange lays his head back on the mattress. Spent from
his outburst, he quietly mutters to himself:

MR. ORANGE
Take me to a doctor, take me to a
doctor, please.

Suddenly, the warehouse door BURSTS open and Mr.
Pink steps inside.

MR. PINK
Was that a fucking set-up or what?

Mr. Pink sees Mr. Orange on the floor, shot and bloody.

MR. PINK
Oh fuck, Orange got tagged.

Throughout this scene, we hear Mr. Orange moaning.

MR. WHITE
Gun shot.

MR. PINK
Oh that's just fucking great!
Where's Brown?

MR. WHITE
Dead.

MR. PINK
Goddamn, goddamn! How did he die?

MR. WHITE
How the fuck do you think? The
cops shot him.

MR. PINK
Oh this is bad, this is so bad.
(referring to Mr.
Orange)
Is it bad?

MR. WHITE
As opposed to good?

MR. PINK
This is so fucked up. Somebody
fucked us big time.

MR. WHITE
You really think we were set up?

MR. PINK
You even doubt it? I don't think
we got set up, I know we got set
up! I mean really, seriously,
where did all those cops come
from, huh? One minute they're not
there, the next minute
they're there. I didn't hear any
sirens. The alarm went off, okay.
Okay, when an alarm goes off, you
got an average of four minutes
response time. Unless a patrol
car is cruising that street, at
that particular moment, you got
four minutes before they can
realistically respond. In one
minute there were seventeen blue
boys out there. All loaded for
bear, all knowing exactly what the
fuck they were doing, and they
were all just there! Remember
that second wave that showed up in
the cars? Those were the ones
responding to the alarm. but
those other motherfuckers were
already there, they were waiting
for us.
(pause)
You haven't thought about this?

MR. WHITE
I haven't had a chance to think.
First I was just trying to get the
fuck outta there. And after we
got away, I've just been dealin
with him.

MR. PINK
Well, you better start thinking
about it. Cause I, sure as fuck,
am thinking about it. In fact,
that's all I'm thinking about. I
came this close to just driving
off. Whoever set us up, knows
about this place. There could've
been cops sitting here waiting for
me. For all we know, there's
cops, driving fast, on their way
here now.

MR. WHITE
Let's go in the other room...

The camera creeps along a wall, coming to a corner. We
move past it, and see down a hall.

5 INT. BATHROOM HALLWAY - DAY

At the end of the hall is a bathroom. The bathroom door
is partially closed, restricting our view. Mr. Pink is
obscured, but Mr. White is in view.

MR. PINK (OS)
What the fuck am I doing here? I
felt funny about this job right
off. As soon as I felt it I
should said "No thank you", and
walked. But I never fucking
listen. Every time I ever got
burned buying weed, I always knew
the guy wasn't right. I just felt
it. But I wanted to believe him.
If he's not lyin to me, and it
really is Thai stick, then whoa
baby. But it's never Thai stick.
and I always said if I felt that
way about a job, I'd walk. And I
did, and I didn't, because of
fuckin money!

MR. WHITE
What's done is done, I need you
cool. Are you cool?

MR. PINK
I'm cool.

MR. WHITE
Splash some water on your face.
Take a breather.

We hear the sink running, and Mr. Pink splashing water on
his face.

MR. WHITE
I'm gonna get me my smokes.

Mr White opens the bathroom door, walks down the hall, and
OUT OF FRAME. We see Mr. Pink, his back turned towards
us, bent over the sink. Then he grabs a towels, and dries
his face. Mr White ENTERS FRAME with a pack of
Chesterfields in his hand.

MR. WHITE
Want a smoke?

MR. PINK
Why not?

The two men light up.

MR. WHITE
Okay, let's go through what
happened. We're in the place,
everything's going fine. Then the
alarm gets tripped. I turn around
and all these cops are outside.
You're right, it was like, bam! I
blink my eyes are they're there.
Everybody starts going apeshit.
Then Mr. Blonde starts shootin all
the--

MR. PINK
--That's not correct.

MR. WHITE
What's wrong with it?

MR. PINK
The cops didn't show up after the
alarm went off. They didn't show
till after Mr. Blonde started
shooting everyone.

MR. WHITE
As soon as I heard the alarm, I
saw the cops.

MR. PINK
I'm telling ya, it wasn't that
soon. They didn't let their
presence be known until after Mr.
Blonde went off. I'm not sayin
they weren't there, I'm sayin they
were there. But they didn't move
in till Mr. Blonde became a
madman. That's how I know we were
set up. You can see that,
can't you, Mr. White?

MR. WHITE
Look, enough of this "Mr White"
shit--

MR. PINK
--Don't tell me your name, I don't
want to know! I sure as hell
ain't gonna tell ya
mine.

MR. WHITE
You're right, this is bad.
(pause)
How did you get out?

MR. PINK
Shot my way out. Everybody was
shooting, so I just blasted my way
outta there.

CUT TO:


6 EXT. CROWDED CITY STREET - DAY

Mr. Pink is hauling ass down a busy city sidewalk. He has
a canvas bag with a shoulder strap in one hand, and a .357
MAGNUM in the other. If any BYSTANDERS get in his way, he
just knocks them down. We DOLLY at the same speed, right
along side of him.

FOUR POLICEMEN are running after Mr. Pink. We DOLLY with
them.

We DOLLY with a young woman on roller skates. ROLLERGIRL
is plugged into a walkman. We hear the song she's
listening to LOUD over the SOUNDTRACK. She's twirling and
skating backwards to the beat of the song.

Rollergirl turns a corner and COLLIDES with Mr. Pink. The
man and woman CRASH to the ground.

Mr. Pink rolls into the street, in front of a moving car
that SCREECHES to a stop, narrowly avoiding running over
him.


7 INT. CAR (STOPPED) - DAY

The CAMERA is in the backseat. A SHOCKED WOMAN is the
car's driver. Mr. Pink pulls himself up from the hood,
shakes it off, and points his magnum at the driver.

MR. PINK
Get outta the car! Get the fuck
outta the car!

The Shocked Woman starts screaming.

Mr. Pink tries to open the driver's side door, but it's
locked.

MR. PINK
Open the fucking door!

EXTREME C.U. DRIVER'S SIDE WINDOW

Mr. Pink SMASHES it in our face.


8 EXT. STREET - DAY

DOLLY with Cops coming up fast.

Mr. Pink DRAGS the Shocked Woman out of the car.

The Cops reach the corner, guns aimed.

Using the car as a shield, Mr. Pink FIRES three shots at
the Cops.

Everybody HITS the ground, or scatters.

Mr. Pink HOPS in the car.

Cops FIRE.


9 INT. CAR (MOVING) - DAY

CAMERA in the backseat, Mr. Pink FLOORS it. SPEEDING down
the street, with the Cops FIRING after him.

BACK TO:


10 INT. BATHROOM - DAY

Mr. Pink and Mr. White still talking in the bathroom.

MR. PINK
Tagged a couple of cops. Did you
kill anybody?

MR. WHITE
A few cops.

MR. PINK
No real people?

MR. WHITE
Uh-uh, just cops.

MR. PINK
Could you believe Mr. Blonde?

MR. WHITE
That was one of the most insane
fucking things I've ever seen.
Why the fuck would Joe hire
somebody like that?

MR. PINK
I don't wanna kill anybody. But
if I gotta get out that door, and
you're standing in my way, one way
of the other, you're gettin outta
my way.

MR. WHITE
That's the way I look at it. A
choice between doin ten years, and
takin out some stupid
motherfucker, ain't no choice at
all. But I ain't no madman
either. What the fuck was Joe
thinkin? You can't work with a
guy like that. That mother-
fucker's unstable. What do you
think? Do you think he panicked,
or ya think he's just trigger-
happy?

MR. PINK
I think he's a sick fuckin maniac!
We're awful goddamn lucky he
didn't tag us, when
he shot up the place. I came this
fucking close--
(hold up two fingers
and makes a tiny
space between them)
--to taking his ass out myself.
Everybody panics. When things get
tense, everybody panics.
Everybody. I don't care what your
name is, you can't help it. It's
human nature. But ya panic on the
inside.
Ya panic in your head. Ya give
yourself a couple a seconds of
panic, then you get a grip and
deal with the situation. What you
don't do, is shoot up the place
and kill everybody.

MR. WHITE
What you're supposed to do is act
like a fuckin professional. A
psychopath is not a professional.
You can't work with a psychopath,
'cause ya don't know what those
sick assholes are gonna do next.
I mean, Jesus Christ, how old do
you think that black girl was?
Twenty, maybe twenty-one?

MR. PINK
Did ya see what happened to
anybody else?

MR. WHITE
Me and Mr. Orange jumped in the
car and Mr. Brown floored it.
After that, I don't know what went
down.

MR. PINK
At that point it became every man
for himself. As far as Mr. Blonde
or Mr. Blue are concerned, I ain't
got the foggiest. Once
I got out, I never looked back.

MR. WHITE
What do you think?

MR. PINK
What do I think? I think the cops
caught them, or killed 'em.

MR. WHITE
Not even a chance they punched
through? You found a hole.

MR. PINK
Yeah, and that was a fucking
miracle. But if they did get
away, where the fuck are they?

MR. WHITE
You don't think it's possible, one
of them got ahold of the diamonds
and pulled a--

MR. PINK
Nope.

MR. WHITE
How can you be so sure?

MR. PINK
I got the diamonds.

MR. WHITE
Where?

MR. PINK
I got 'em, all right?

MR. WHITE
Where? Are they out in the car?

MR. PINK
No, they're not in the car. No, I
don't have them on me. Ya wanna
go with me and get 'em? Yes, we
can go right now. But first
listen to what I'm telling you.
We were fuckin set up! Somebody
is in league with the cops. We
got a Judas in our midst. And I'm
thinkin we should have our fuckin
heads examined for waiting around
here.

MR. WHITE
That was the plan, we meet here.

MR. PINK
Then where is everybody? I say
the plan became null and void once
we found out we got a rat in the
house. We ain't got the slightest
fuckin idea what happened to Mr.
Blonde or Mr. Blue. They could
both be dead
or arrested. They could be
sweatin 'em, down at the station
house right now. Yeah they don't
know the names, but they can sing
about this place.
I mean, that could be happening
right now. As we speak, the cops
could be in their cars, drivin
here this minute.

MR. WHITE
I swear to god I'm fuckin jinxed.

MR. PINK
What?

MR. WHITE
Two jobs back, it was a four man
job, we discovered one of the team
was an undercover cop.

MR. PINK
No shit?

MR. WHITE
Thank god, we discovered in time.
We hadda forget the whole fuckin
thing. Just walked away from it.

MR. PINK
So who's the rat this time? Mr.
Blue? Mr. Blonde? Joe? It's
Joe's show, he set this whole
thing up. Maybe he set it up to
set it up.

MR. WHITE
I don't buy it. Me and Joe go
back a long time. I can tell ya
straight up, Joe definitely didn't
have anything to do with this
bullshit.

MR. PINK
Oh, you and Joe go back a long
time. I known Joe since I was a
kid. But me saying Joe definitely
couldn't have done it is
ridiculous. I can say I
definitely didn't do it, cause I
know what I did or didn't do. But
I can't definitely say that about
anybody else, 'cause I don't
definitely know. For all I know,
you're the rat.

MR. WHITE
For all I know, you're the rat.

MR. PINK
Now you're using your head. For
all we know, he's the rat.

Mr. Pink points OFFSCREEN to Mr. Orange. Mr. White's
expression changes.

MR. WHITE
Jesus Christ!


11 INT. WAREHOUSE - DAY

They run over to Mr. Orange, who's unconscious. The
CAMERA hovers over the action. Mr. Pink reaches him
first.

MR. PINK
Is he dead?

Mr. White pushes him out of the way. He feels the pulse
on Mr. Orange's neck.

MR. PINK
So, is he dead or what?

MR. WHITE
He ain't dead.

MR. PINK
So what is it?

MR. WHITE
I think he's just passed out.

MR. PINK
He scared the fuckin shit outta
me. I thought he was dead fer
sure.

Mr. White stands up and walks over to a table.

MR. WHITE
He will be dead fer sure, if we
don't get him to a hospital.

MR. PINK
We can't take him to a hospital.

MR. WHITE
Without medical attention, this
man won't live through the night.
That bullet in his belly is my
fault. Now while that might not
mean jack shit to you, it means a
helluva lot to me. And I'm not
gonna just sit around and watch
him die.

MR. PINK
Well, first things first, staying
here's goofy. We gotta book up.

MR. WHITE
So what do you suggest, we go to a
hotel? We got a guy who's shot in
the belly, he can't walk, he
bleeds like a stuck pig, and when
he's awake, he screams in pain.

MR. PINK
You gotta idea, spit it out.

MR. WHITE
Joe could help him. If we can get
in touch with Joe, Joe could get
him to a doctor, Joe could get a
doctor to come and see him.

During Mr. Pink's dialog, we slowly ZOOM in to a
C.U. of Mr. White.

MR. PINK (OS)
Assuming we can trust Joe, how we
gonna get in touch with him? He's
supposed to be here, but he ain't,
which is making me nervous about
being here. Even if Joe is
on the up and up, he's probably
not gonna be that happy with us.
Joe planned a robbery, but he's
got a blood bath on his hands now.
Dead cops, dead robbers, dead
civilians...Jesus Christ! I tend
to doubt he's gonna have a lot of
sympathy for our plight. If I was
him, I'd try and put as much
distance between me and this mess
an humanly possible.

MR. WHITE
Before you got here, Mr. Orange
was askin me to take him to a
hospital. Now I don't like
turning him over to the cops, but
if we don't, he's dead. He begged
me to do it. I told him to hold
off till Joe got here.

MR. PINK (OS)
Well Joe ain't gettin here. We're
on our own. Now, I don't know a
goddamn body who can help him, so
if you know somebody, call 'em.

MR. WHITE
I don't know anybody.

MR. PINK (OS)
Well, I guess we drop him off at
the hospital. Since he don't know
nothin about us, I say it's his
decision.


MR. WHITE'S POV:

C.U. OF MR. PINK.

MR. WHITE (OS)
Well, he knows a little about me.

MR. PINK
You didn't tell him your name, did
ya?

MR. WHITE (OS)
I told him my first name, and
where I'm from.

There is a long silence and a blank look from Mr. Pink,
then he SCREAMS:

MR. PINK
Why!

MR. WHITE (OS)
I told him where I was from a few
days ago. It was just a casual
conversation.

MR. PINK
And what was tellin him your name
when you weren't supposed to?

MR. WHITE (OS)
He asked.

Mr. Pink looks at Mr. White like he's retarded.

MR. WHITE (OS)
We had just gotten away from the
cops. He just got shot. It was
my fuckin fault he got shot. He's
a fuckin bloody mess - he's
screaming. I swear to god, I
thought we was gonna die right
then and there. I'm tryin to
comfort him, telling him not to
worry, he's gonna be okay, I'm
gonna take care of him. And he
asked me what my name was. I
mean, the man was dyin in my arms.
What the fuck was I supposed to
tell him, "Sorry, I can't give out
that information, it's against the
rules. I don't trust you
enough."? Maybe I shoulda, but I
couldn't.

MR. PINK
Oh, I don't doubt is was quite
beautiful--

MR. WHITE (OS)
Don't fuckin patronize me.

MR. PINK
One question: Do they have a sheet
on you, where you told him you're
from?

MR. WHITE (OS)
Of course.

MR. PINK
Well that's that, then. I mean, I
was worried about mug shot
possibilities already. But now he
knows: (a) what you look like, (b)
what your first name is,
(i) where you're from and (d) what
your specialty is.
They ain't gonna hafta show him a
helluva lot of pictures for him to
pick you out. That's it right,
you didn't tell him anything else
that could narrow down the
selection?

MR. WHITE (OS)
If I have to tell you again to
back off, me an you are gonna go
round and round.

Mr. Pink walks out of the C.U. and turns his back on Mr.
White. Mr. White's POV PANS over to him.

MR. PINK
We ain't taking him to a hospital.

MR. WHITE (OS)
If we don't, he'll die.

MR. PINK
And I'm very sad about that. But
some fellas are lucky, and some
ain't.

MR. WHITE (OS)
That fuckin did it!

Mr. White's POV CHARGES toward Mr. Pink.

Mr. Pink turns toward him in time to get PUNCHED hard in
the mouth.

END OF POV

Mr. White and Mr. Pink have a very ungraceful and
realistic fight. They go at each other like a couple of
alley cats.

As Mr. White SWINGS and PUNCHES, he SCREAMS:

MR. WHITE

You little motherfucker!

Mr. Pink YELLS as he HITS:

MR. PINK
Ya wanna fuck with me?! You wanna
fuck with me?! I'll show you who
you're fuckin with!

The two men end up on the floor KICKING and SCRATCHING.

Mr. White gets Mr. Pink in a HEADLOCK.

Mr. Pink reaches in his jacket for his gun, and pulls it
out.

Mr. White sees this, immediately lets go of Mr. Pink,
and goes for his own weapon.

The two men are on the floor, on their knees, with their
guns outstretched, aiming at one another.

MR. WHITE
You wanna shoot me, you little
piece of shit? Take a shot!

MR. PINK
Fuck you, White! I didn't create
this situation, I'm just dealin
with it. You're acting like a
first-year fuckin thief. I'm
actin like a professional. They
get him, they can get you, they
get you, they get closer to me,
and that can't happen. And you,
you motherfucker, are looking at
me like it's my fault. I didn't
tell him my name. I didn't tell
him where I was from. I didn't
tell him what I knew better than
to tell him. Fuck, fifteen
minutes ago, you almost told me
your name. You, buddy, are stuck
in a situation you created. So if
you wanna throw bad looks
somewhere, throw 'em at a mirror.

Mr. Pink lowers his gun and walks towards White.

MR. PINK
So if you wanna shoot somebody,
put that gun in your mouth and
shoot yourself.

Then from OFF SCREEN we hear:

VOICE (OS)
You kids don't play so rough.
Somebody's gonna start crying.


12 INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE

The Voice belongs to the infamous Mr. Blonde.

Mr. Blonde sits on a counter, drinking a fast food coke
and eating a hot dog.

MR. PINK
Mr. Blonde! You okay? We thought
you might've gotten caught. What
happened?

Mr. Blonde doesn't answer, he just hops off the counter
and starts walking around the warehouse, checking the
place out.

He doesn't look at either Mr. Pink or Mr. White, he
just eats his hot dog and sips his coke.

This is making Pink and White nervous as hell. But Mr.
Pink tries to talk through it.

We HANDHOLD follow Mr. Blonde around the warehouse.

MR. PINK
Really, how did you get away?

Mr. Blonde walks the loft. Silent.

MR. PINK
You saw what happened to me,
I found a hole and booked.

Silence.

MR. PINK
Where's Mr. Blue?

Blonde looks in the bathroom.

MR. PINK
We were hopin you two would be
together.

Blonde looks out the window.

MR. PINK
That was the big question we had,
what happened to Mr.
Blue and you?

Blonde walks away from the window.

MR. PINK
We were worried the cops got ya.

Blonde bends down over Mr. Orange.

MR. PINK
He got it in the belly. He's
still alive, but won't be for
long.

MR. WHITE
Enough! You better start talkin
to us, asshole, cause we got shit
we need to talk about. We're
already freaked out, we need you
actin freaky like we need a fuckin
bag on our hip.

Mr. Blonde looks at his two partners in crime, then moves
towards them.

MR. BLONDE
So, talk.

MR. WHITE
We think we got a rat in the
house.

MR. PINK
I guarantee we got a rat in the
house.

MR. BLONDE
What would ever make you think
that?

MR. WHITE
Is that supposed to be funny?

MR. PINK
We don't think this place is safe.

MR. WHITE
This place just ain't secure
anymore. We're leaving, and you
should go with us.

MR. BLONDE
Nobody's going anywhere.

Silence takes over the room. Mr. Blonde stops moving.

After a few beats the silence is broken.

MR. WHITE
(to Mr. Pink)
Piss on this turd, we're outta
here.

Mr. White turns to leave.

MR. BLONDE
Don't take another step, Mr.
White.

Mr. White explodes, raising his gun and charging towards
Mr. Blonde.

MR. WHITE
Fuck you, maniac! It's your
fuckin fault we're in so much
trouble.

Mr. Blonde calmly sits down. He looks to Mr. Pink.

MR. BLONDE
(referring to Mr.
White)
What's this guy's problem?

MR. WHITE
What's my problem? Yeah, I gotta
problem. I gotta big problem with
any trigger-happy madman who
almost gets me shot!

MR. BLONDE
What're you talkin about?

MR. WHITE
That fuckin shooting spree in the
store.

MR. BLONDE
Fuck 'em, they set off the alarm,
they deserve what they got.

MR. WHITE
You almost killed me, asshole! If
I had any idea what type of guy
you were, I never would've agreed
to work with you.

MR. BLONDE
You gonna back all day, little
doggie, or are you gonna bite?

MR. WHITE
What was that? I'm sorry, I
didn't catch it. Would you repeat
it?

MR. BLONDE
(slowly)
I said: "Are you gonna bark all
day, dog, or are you gonna bite."

MR. PINK
Both of you two assholes knock it
the fuck off and calm down!

MR. WHITE
(to Mr. Blonde)
So you wanna git bit, huh?

MR. PINK
Cut the bullshit, we ain't on a
fuckin playground!
(pause)
I don't believe this shit, both of
you got ten years on me, and I'm
the only one actin like a
professional. You guys act like a
bunch of fuckin niggers. You ever
work a job with a bunch of
niggers? They're just like you
two, always fightin, always sayin
they're gonna kill one another.

MR. WHITE
(to Mr. Pink)
You said yourself, you
thought about takin him out.

MR. PINK
Then. That time has passed.
Right now, Mr. Blonde is the only
one I completely trust. He's too
fuckin homicidal to be workin with
the cops.

MR. WHITE
You takin his side?

MR. PINK
Fuck sides! What we need is a
little solidarity here.
Somebody's stickin a red hot poker
up our asses and we gotta find out
whose hand's on the handle. Now I
know I'm no piece of shit...
(referring to Mr.
White)
And I'm pretty sure you're a good
boy...
(referring to Mr.
Blonde)
And I'm fuckin positive you're on
the level. So let's figure out
who's the bad guy.

Mr. White calms down and puts his gun away.

Mr. Blonde returns to the persona we saw at the beginning,
talking about Madonna.

MR. BLONDE
Well, that was sure exciting.
(to Mr. White)
You're a big Lee Marvin fan,
aren't you? Me too. I don't know
about the rest of you fellas, but
my heart's
beatin fast.
(pause for a beat)
Okay you guys, follow me.

Mr. Blonde hops out of his chair and heads for the door.

The other two men just follow him with their eyes.

MR. WHITE
Follow you where?

MR. BLONDE
Down to my car.

MR. WHITE
Why?

MR. BLONDE
It's a surprise.

Mr. Blonde walks out.


13 EXT. WAREHOUSE - DAY

Three cars are parked out front. Mr. Blonde is walking
towards the car he drove. Mr. White and Mr. Pink are
walking behind. The Camera is HANDHELD following behind
them.

MR. PINK
We still gotta get out of here.

MR. BLONDE
We're gonna sit here and wait.

MR. WHITE
For what, the cops?

MR. BLONDE
Nice Guy Eddie.

MR. PINK
Nice Guy Eddie? What makes you
think Nice Guy's anywhere but on a
plane half way to Costa Rica?

MR. BLONDE
Cause I just talked to him. He's
on his way down here, and nobody's
going anywhere till be gets here.

MR. WHITE
You talked to Nice Guy Eddie? Why
the fuck didn't you say that in
the first place?

MR. BLONDE
You didn't ask.

MR. WHITE
Hardy-fuckin-har. What did he
say?

MR. BLONDE
Stay put. Okay, fellas, take a
look at the little surprise I
brought you.

Mr. Blonde opens up the truck of his car. A handcuffed,
uniformed POLICEMAN is curled up inside the trunk.

MR. BLONDE
So while we're waitin for Nice Guy
Eddie, what say we have a little
fun finding out who the rat is.


INSERT: TITLE CARD "MR. BLONDE".


14 INT. JOE CABOT'S OFFICE - DAY

We're inside the office of Joe Cabot. Joe's on the phone,
sitting behind his desk.

JOE
(into phone)
Sid, I'm tellin you don't worry
about it. You had a bad couple of
months, it happens.
(pause)
Sid, Sid, Sid...Stop, you're
embarrassing me. I don't need to
be told what I already know. When
you have bad months, you do what
every business man in the
worlds does, I don't care if he's
Donald Trump or Irving the tailor.
Ya ride it out.

There's a KNOCK on Cabot's office door.

JOE
Come in.

One of Cabot's goons, TEDDY, opens the door and steps
inside. Cabot covers the receiver with his hand and looks
towards the man.

TEDDY
Vic Vega's outside.

JOE
Tell him to come in.

Teddy leaves.

JOE
(into phone)
Sid, a friend of mine's here. I
gotta go.
(pause)
Good enough, bye.

He hangs up the phone, stands, and walks around to the
front of the desk.

Teddy opens the office door, and TOOTHPICK VIC VEGA walks
in.

Toothpick Vic Vega is none other than our very own Mr.
Blonde. Vic is dressed in a long black leather seventies
style jacket.

Joe stands in front of his desk with his arms open.

The two men embrace each other. Teddy leaves, closing the
door behind him.

JOE
How's freedom kid, pretty fuckin
good, ain't it?

VIC
It's a change.

JOE
Ain't that a sad truth. Remy
Martin?

VIC
Sure.

JOE
Take a seat.

Joe goes over to his liquor cabinet. Vic sits in a chair
set in front of Joe's desk.

JOE
(while he pours the
drink)
Who's your parole officer?

VIC
A guy named Koons. Craig Koons.

JOE
How is he?

VIC
Fuckin asshole, won't let me leave
the halfway house.

JOE
Never ceases to amaze me. Fuckin
jungle bunny goes out there, slits
some old woman's throat for
twenty-five cents. Fuckin nigger
gets Doris Day as a parole
officer. But a good fella like
you gets stuck with a ball-bustin
prick.

Joe walks back around his desk and sits in his chair.

Vic swallows some Remy.

VIC
I just want you to know, Joe, how
much I appreciate your care
packages on the inside.

JOE
What the hell did you expect me to
do? Just forget about you?

VIC
I just wanted you to know, they
meant a lot.

JOE
It's the least I could do Vic. I
wish I coulda done more.
(Joe flashes a side
grin at Vic)
Vic. Toothpick Vic. Tell me a
story? What're your plans?

VIC
Well, what I wanna do is go back
to work. But I got this Koons
prick deep up my ass. He won't
let me leave the halfway house
till I get some piece of shit job.
My plans have always been to be
part of the team again.

There's a KNOCK at the door.

JOE
Come in.

The door opens and in walks Joe's son, Nice Guy Eddie.
Vic turns around in his seat and sees him.

EDDIE
(to Vic)
I see ya sittin here, but I don't
believe it.

Vic gets out of his seat and hugs Eddie.

EDDIE
How ya doin, Toothpick?

VIC
Fine, now.

EDDIE
I'm sorry man, I shoulda picked
you up personally at the pen.
This whole week's just been crazy.
I've had my head up my ass the
entire time.

VIC
Funny you should mention it.
That's what your father and I been
talkin about.

EDDIE
That I should've picked you up?

VIC
No. That your head's been up your
ass. I walk through the door and
Joe says "Vic, you're back, thank
god. Finally somebody who knows
what the fuck he's doing. Vic,
Vic, Vic, Eddie, my son, is a fuck
up." And I say "Well, Joe, I
coulda told you that." "I'm
ruined! He's ruining me! My son,
I love him, but he's taking my
business and flushing it down the
fuckin toilet!"
(to Joe)
I'm not tellin tales out of
school. You tell 'im Joe.
Tell 'im yourself.

JOE
Eddie, I hate like hell for you to
hear it this way. But when Vic
asked me how's business, well, you
don't lie to a man who's just done
four years in the slammer for ya.

Eddie bobs his head up and down.

EDDIE
Oh really, is that a fact?

Eddie JUMPS Vic and they fall to the floor.

The two friends, laughing and cussing at each other,
wrestle on the floor of Joe's office.

Joe's on his feet yelling at them.

JOE
(yelling)
Okay, okay, enough, enough!
Playtime's over! You wanna roll
around on the floor, do it in
Eddie's office, not mine!

The two men break it up. They are completely disheveled,
hair a mess, shirttails out. As they get themselves
together, they continue to taunt one another.

EDDIE
Daddy, did ya see that?

JOE
What?

EDDIE
Guy got me on the ground, tried to
fuck me.

VIC
You fuckin wish.

EDDIE
You tried to fuck me in my
father's office, you sick bastard.
Look, Vic, whatever you wanna do
in the privacy of your own home,
go do it. But don't try to fuck
me. I don't think of you that
way. I mean, I like you a lot--

VIC
Eddie, if I was a pirate, I
wouldn't throw you to the crew.

EDDIE
No, you'd keep me for yourself.
Four years fuckin punks in the ass
made you appreciate prime rib when
you get it.

VIC
I might break you, Nice Guy, but
I'd make you my dog's bitch.
You'd be suckin the dick and going
down on a mangy T-bone hound.

EDDIE
Now ain't that a sad sight, daddy,
walks into jail a white man, walks
out talkin like a nigger. It's
all that black semen been shootin
up his butt. It's backed up into
his brain and comes out of his
mouth.

JOE
Are you two finished? We were
talkin about some serious shit
when you came in Eddie. We got a
big problem we're tryin to solve.
Now Eddie, would you like to sit
down and help us solve it, or do
you two wanna piss fart around?

Playtime is over and Vic and Eddie know it. So they both
take seats in front of Joe's desk.

JOE
Now Vic was tellin me, he's got a
parole problem.

EDDIE
Really? Who's your P.O.?

VIC
Craig Koons.

EDDIE
Koons? Oh shit, I hear he's a
motherfucker.

VIC
He is a motherfucker. He won't
let me leave the halfway house
till I get some piece of shit job.

EDDIE
You're coming back to work for us,
right?

VIC
I wanna. But I gotta show this
asshole I got an honest-to-
goodness job before he'll let me
move out on my own. I can't work
for you guys and be worried about
gettin back before ten o'clock
curfew.

JOE
(to Eddie)
We can work this out, can't we?

EDDIE
This isn't all that bad. We can
give you a lot of legitimate jobs.
Put you on the rotation at Long
Beach as a dock worker.

VIC
I don't wanna lift crates.

EDDIE
You don't hafta lift shit. You
don't really work there. But as
far as the records are concerned,
you do. I call up Matthews, the
foreman, tell him he's got a new
guy. You're on the schedule. You
got a timecard, it's clocked in
and out for you everyday, and you
get a pay check at the end of the
week. And ya know dock workers
don't do too bad. So you can move
into a halfway decent place
without Koons thinkin "what the
fuck." And if Koons ever wants to
make a surprise visit, you're gone
that day. That day we sent you to
Tustin. We gotta bunch of shit
you needed to unload there.
You're at the Taft airstrip pickin
up a bunch of shit and bringing it
back. Part of your jab is goin
different places - and we got
places all over the place.

JOE
(to Vic)
Didn't I tell ya not to worry?
(to Eddie)
Vic was worried.

EDDIE
Me and you'll drive down to Long
Beach tomorrow. I'll introduce
you to Matthews, tell him what's
going on.

VIC
That's great, guy, thanks a bunch.
(pause)
When do you think you'll need me
for real work?

JOE
Well, it's kinda a strange time
right now. Things are kinda--

EDDIE
--Nuts. We got a big meeting in
Vegas coming up. And we're kinda
just gettin ready for that right
now.

JOE
Let Nice Guy set you up at Long
Beach. Give ya some cash, get
that Koons fuck off your back, and
we'll be talking to ya.

EDDIE
Daddy, I got an idea. Now just
hear it out. I know you don't
like to use any of the boys on
these jobs, but technically, Vic
ain't one of the boys. He's been
gone for four years. He ain't on
no one's list. Ya know he can
handle himself, ya know you can
trust him.

Joe looks at Vic.

Vic has no idea what they're talking about.

JOE
How would you feel about pullin a
heist with about five other guys?

VIC
What's the exposure like?

JOE
Two minutes, tops. It's a tough
two minutes. It's a hold up,
daylight, during business hours,
dealing with a crowd. But you
have the fellas to deal with the
crowd. It's a jewelry store.
They're getting a big shipment of
South African diamonds on a
certain day. They're like a way
station. It's gonna get picked up
the next day and sent to Hamburg.
When you walk through the door,
you'll know right where to go for
the rich stones.
The fellas are good, me and Nice
Guy picked em. Nobody knows
anybody else. Nobody's connected.
I don't use connected guys for
this shit.

VIC
What's the cut?

JOE
Juicy, man, real juicy.

Toothpick Vic smiles.

So does Nice Guy Eddie.

CUT TO:


15 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Nice Guy Eddie is driving to the rendezvous talking on his
portable car phone. The sounds of the seventies are
coming out of his car radio in the form of "Love Goes
Where My Rosemary Goes" by Edison Lighthouse.

EDDIE
(into phone)
Hey Dov, we got a major situation
here.
(pause)
I know you know that. I gotta
talk with daddy and find out what
he wants done.


FLASH ON

16 INT. WAREHOUSE - DAY

The Cop is standing in the warehouse with his hands cuffed
behind his back. Mr. White, Mr. Pink and Mr. Blonde
surround him and proceed to beat the shit out of him.
"Love Grows .." PLAYS over the soundtrack.


17 BACK TO NICE GUY EDDIE

EDDIE
(into phone)
All I know is what Vic told me.
He said the place turned into a
fuckin bullet festival. He took a
cop as hostage, just to get the
fuck out of there.


FLASH ON

18 WAREHOUSE

The three men are stomping the cop into the ground.


19 BACK TO EDDIE

EDDIE
(into phone)
Do I sound like I'm jokin? He's
fuckin driving around with the cop
in his trunk.
(pause)
I don't know who did that. I
don't know who has the loot, if
anybody has the loot. Who's dead,
who's alive, who's caught, who's
not...
I will know, I'm practically
there. But what do I tell these
guys about daddy?
(pause)
You sure that's what he said?
(pause)
Okay, that's what I'll tell em.

CUT TO:


20 EXT. WAREHOUSE - DAY

Three cars belonging to the other guys are parked outside
the warehouse.

Eddie drives his car up to the warehouse. He gets out of
the car, looks at the other cars parked outside.

EDDIE
(to himself)
Fucking assholes.

Eddie makes a beeline for the front door, BANGS it open,
and steps inside the warehouse.


21 INT. WAREHOUSE - DAY

The robbers have the cop tied to a chair and are still
WAILING on him.

Nice Guy Eddie walks in and everybody jumps.

EDDIE
What in Sam Hill is goin on?

Mr. Pink and Mr. White speak together.

MR. PINK MR. WHITE
Hey, Nice Guy, we got a You're askin what's goin
cop. on? Where the fuck is
Joe?

Nice Guy sees Mr. Orange.

EDDIE
Holy shit, this guy's all fucked
up!

MR. WHITE
No shit, he's gonna fuckin die on
us if we don't get him taken care
of.

MR. PINK
We were set up, the cops were
waiting for us.

EDDIE
What? Nobody set anybody up.

MR. PINK
The cops were there waitin for us!

EDDIE
Bullshit.

MR. PINK
Hey, fuck you man, you weren't
there, we were. And I'm tellin
ya, the cops had that store staked
out.

EDDIE
Okay, Mr. Detective, who did it?

MR. PINK
What the fuck d'you think we've
been askin each other?

EDDIE
And what are your answers? Was it
me? You think I set you up?

MR. PINK
I don't know, but somebody did.

EDDIE
Nobody did. You assholes turn the
jewelry store into a wild west
show, and you wonder why cops show
up.

MR. BLONDE
Where's Joseph?

EDDIE
I ain't talked to him. I talked
to Dov. Dov said he's comin out
here, and he's fucking pissed.

MR. PINK
(to Mr. White)
I told ya he'd be pissed.

MR. WHITE
(pointing to Mr.
Orange)
What are you gonna do about him?

EDDIE
Jesus Christ, give me a fuckin
chance to breathe. I got a few
questions of my own, ya know.

MR. WHITE
You ain't dying, he is.

EDDIE
I'll call somebody.

MR. WHITE
Who?

EDDIE
A snake charmer, what the fuck
d'you think. I'll call a doctor,
take care of him, fix 'm right up.
No, where's Mr. Brown and Mr.
Blue?

MR. PINK
Brown's dead, we don't know about
Blue.

EDDIE
Nobody saw what happened to Mr.
Blue?

MR. BLONDE
Well, he's either dead or he's
alive or the cops got him or they
don't.

DOLLY to MEDIUM on the cop.

EDDIE (OS)
I take it this is the bastard you
told me about.
(referring to the
cop)
Why the hell are you beating on
him?

MR. PINK
So he'll tell us who the fuck set
us up.

EDDIE
Would you stop it with that shit!
You beat on this prick enough,
he'll tell ya he started the
Chicago fire. That don't
necessarily make it so. Okay,
first things fucking last, where's
the shit? Please tell me somebody
brought something
with them.

MR. PINK
I got a bag. I stashed it till I
could be sure this place wasn't a
police station.

EDDIE
Well, let's go get it. We also
gotta get rid of all those cars.
It looks like Sam's hot car lot
outside.
(pointing to Mr.
Blonde)
You stay here and babysit Orange
and the cop.
(referring to Mr.
Pink and Mr. White)
You two take a car each, I'll
follow ya. You ditch it, I'll
pick you up, then we'll pick up
the stones. And while I'm
following you, I'll arrange for
some sort of a doctor for our
friend.

MR. WHITE
We can't leave these guys with
him.

Meaning Mr. Blonde.

EDDIE
Why not?

Mr. White crosses to Mr. Blonde.

MR. WHITE
Because this guy's a fucking
psycho. And if you think
Joe's pissed at us, that
ain't nothing compared to how
pissed off I am at him, for puttin
me in the same room as this
bastard.

MR. BLONDE
(to Eddie)
You see what I been puttin up
with? As soon as I walk through
the door I'm hit with this shit.
I tell 'm what you told me about
us stayin put and Mr. White whips
out his gun, sticks it in my face,
and starts screaming "You
motherfucker, I'm gonna blow you
away, blah, blah, blah."

MR. WHITE
He's the reason the place turned
into a shooting gallery.
(to Mr. Pink)
What are you, a silent partner?
Fuckin tell him.

MR. PINK
He seems all right now, but he
went crazy in the store.

MR. WHITE
This is what he was doin.

Mr. White acts out Mr. Blonde shooting everybody in the
store.

MR. BLONDE
I told 'em not to touch the alarm.
They touched it. I blew 'em full
of holes. If they hadn't done
what I told 'em not it, they'd
still be alive.

MR. WHITE
That's your excuse for going on a
kill crazy rampage?

MR. BLONDE
I don't like alarms.

EDDIE
What does it matter who stays with
the cop? We ain't lettin him go.
Not after he's seen everybody.
You should've never took him outta
your trunk in the first place.

MR. PINK
We were trying to find out what he
knew about the set up.

EDDIE
There is no fuckin set up!
(Eddie takes charge)
Look, this is the news. Blondie,
you stay here and take care of
them two. White and Pink come
with me, 'cuz if Joe gets here and
sees all those fucking cars
parked out front, he's going to be
as mad at me as he is at you.

Eddie, Mr. White and Mr. Pink walk out of the warehouse
talking amongst themselves.


22 INT. WAREHOUSE - DAY - MR. BLONDE AND COP

Mr. Blonde closes the door after them. He then slowly
turns his head towards the cop.

MR. BLONDE
Alone at last.


C.U. COP'S FACE.

MR. BLONDE (OS)
Now where were we?

COP
I told you I don't know anything
about any fucking set up. I've
only been on the force eight
months, nobody tells me anything!
I don't know anything! You can
torture me if you want--

MR. BLONDE (OS)
--Thanks, don't mind if I do.

COP
Your boss even said there wasn't a
set up.

MR. BLONDE (OS)
First off, I don't have a boss.
Are you clear about that?

He SLAPS the cop's face.

MR. BLONDE (OS)
I asked you a question. Are you
clear about that?

COP
Yes.

MR. BLONDE (OS)
Now I'm not gonna bullshit you. I
don't really care about what you
know or don't know. I'm gonna
torture you for awhile regardless.
Not to get information, but
because torturing a cop amuses me.
There's nothing you can say,
there's nothing you can do.
Except pray for death.

He puts a piece of tape over the cop's mouth.


COP'S POV

Mr. Blonde walks away from the cop.

MR. BLONDE
Let's see what's on K-BILLY'S
"super sounds of the seventies"
weekend.

He turns on the radio.

Stealer's Wheel's hit "Stuck in the Middle with You" PLAYS
over the speaker.

NOTE: This entire sequence is timed to the music.

Mr. Blonde slowly walks toward the cop.

He opens a large knife.

He grabs a chair, places it in front of the cop and sits
in it.

Mr. Blonde just stares into the cop's/our face, holding
the knife, singing along with the song.

Then, like a cobra, he LASHES out.

A SLASH across the face.

The cop/camera moves around wildly.

Mr. Blonde just stares into the cop's/our face, singing
along with the seventies hit.

Then he reaches out and CUTS OFF the cop's/our ear.

The cop/camera moves around wildly.

Mr. Blonde holds the ear up to the cop/us to see.

Mr. Blonde rises, kicking the chair he was sitting on out
of the way.


23 INT./EXT. WAREHOUSE - DAY - HANDHELD SHOT

We follow Mr Blonde as he walks out of the warehouse...

...to his car. He opens the trunk, pulls out a large can
of gasoline.

He walks back inside the warehouse...


24 INT. WAREHOUSE - DAY

...carrying the can of gas.

Mr. Blonde POURS the gasoline all over the cop, who's
BEGGING him not to do this.

Mr. Blonde just sings along with Stealer's Wheel.

Mr. Blonde LIGHTS up a match and, while mouthing:

MR. BLONDE
"Clowns to the left of me,
Jokers to the right. Here I am,
stuck in the middle with you."

He moves the match up to the cop...

...When a bullet EXPLODES in Mr. Blonde's chest.

The HANDHELD camera WHIPS to the right and we see the
bloody Mr. Orange FIRING his gun.

We cut back and forth between Mr. Blonde taking BULLET
HITS and Mr. Orange emptying his weapon.

Mr. Blonde FALLS down dead.

Mr. Orange crawls to where the cop is, leaving a bloody
trail behind him.

When he reaches the cop's feet he looks up at him.

MR. ORANGE
(feebly)
What's your name?

COP
Jeffrey.

MR. ORANGE
Jeffrey what?

COP
Jeffrey Andrews.

MR. ORANGE
Listen to me, Jeffrey
Andrews. I'm a cop.

JEFFREY
I know.

MR. ORANGE
(surprised)
You do?

JEFFREY
Your name's Freddy something.

MR. ORANGE
Freddy Newendyke.

JEFFREY
Frankie Ferchetti introduced us
once, about five months ago.

MR. ORANGE
Shit. I don't remember that at
all.

JEFFREY
I do.
(pause)
How do I look?

The gun-shot Mr. Orange looks at the kid's GASHED face and
the hole in the side of his head where his ear used to be.

MR. ORANGE
I don't know what to tell you
Jeffrey.

Jeffrey starts to weep.

JEFFREY
That fucking bastard! That
fucking sick fucking bastard!

MR. ORANGE
Jeffrey, I need you to hold on.
There's officers positioned and
waiting to move in a block away.

JEFFREY
(screaming)
What the fuck are they waiting
for? That motherfucker cut off my
ear! He slashed my face! I'm
deformed!

MR. ORANGE
And I'm dying. They don't know
that. All they know is they're
not to make a move until Joe Cabot
shows up. I was sent undercover
to get Cabot. You heard 'em, they
said he's on his way. Don't pussy
out on me now, Jeffrey. We're
just gonna sit here and bleed
until Joe
Cabot sticks his fuckin head
through that door.

CUT TO:


INSERT: TITLE CARD "MR. ORANGE & MR. WHITE"


25 INT. DENNY'S - NIGHT

A tough-looking black man named HOLDAWAY, who sports a
Malcom X beard, a green Chairman Mao cap with a red star
on it, and a military flack jacket, digs into a Denny
bacon, cheese and avocado burger. He sits in a booth all
alone. He's waiting for somebody. As he waits, he
practically empties an entire bottle of ketchup on his
french fries, not by mistake either--that's just how he
likes it.

We see Mr. Orange, now known as FREDDY NEWENDYKE, wearing
a high school letterman jacket, enter the coffee shop,
spot Holdaway, and head his way. Holdaway sees Freddy bop
towards him with a wide-ass alligator grin plastered
across his face.

CAMERA DOLLIES FAST down AISLE to MEDIUM SHOT of Holdaway.
We fear Freddy OFF SCREEN.

FREDDY (O.S.)
Say "hello" to a motherfucker
who's inside. Cabot's doing a job
and take a big fat guess who he
wants on the team?

HOLDAWAY
This better not be some Freddy
joke.

LOW ANGLE

looking up at Freddy, who's standing at the table.

FREDDY
It ain't no joke, I'm in there.
I'm up his ass.

CU ON HOLDAWAY

Holdaway just looks at his pupil for a moment, then
smiles.

HOLDAWAY
Congratulations.


26 EXT. DENNY'S - NIGHT

We see through the window of the restaurant Freddy slide
into the booth across from Holdaway. Freddy's doing a lot
of talking, but we can't hear what they're saying.


27 INT. DENNY'S - NIGHT

FREEZE FRAME ON HOLDAWAY

We are frozen on a MEDIUM CU of Holdaway listening to
Freddy. We HEAR RESTAURANT NOISE and Freddy OFF SCREEN.

FREDDY (O.S.)
Nice Guy Eddie tells me Joe wants
to meet me. He says I should just
hang around my apartment and wait
for a phone call. Well after
waiting three goddamn days by the
fuckin phone, he calls me last
night and says Joe's ready, and
he'll pick me up in fifteen
minutes.

The freeze frame ENDS. Holdaway comes suddenly up to
speed and says:

HOLDAWAY
Woo all picked you up?

From here to end we cut back and forth.

FREDDY
Nice Guy. When we got to the
bar...

HOLDAWAY
...What bar?

FREDDY
The Boots and Socks in Gardena.
When we got there, I met Joe and a
guy named Mr. White. It's a phony
name. My name's Mr. Orange.

HOLDAWAY
You ever seen this motherfucker
before?

FREDDY
Who, Mr. White?

HOLDAWAY
Yeah.

FREDDY
No, he ain't familiar. He ain't
one of Cabot's soldiers either.
He's gotta be from outta town.
But Joe knows him real well.

HOLDAWAY
How can you tell?

FREDDY
The way they talk to each other.
You can tell they're buddies.

HOLDAWAY
Did the two of you talk?

FREDDY
Me and Mr. White?

HOLDAWAY
Yeah.

FREDDY
A little.

HOLDAWAY
What about?

FREDDY
The Brewers.

HOLDAWAY
The Milwaukee Brewers?

FREDDY
Yeah. They had just won the night
before, and he made a killing off
'em.

HOLDAWAY
Well, if this crook's a Brewers
fan, his ass has gotta be from
Wisconsin. And I'll bet you
everything from a diddle-eyed Joe
to a damned-if-I-know, that in
Milwaukee they got a sheet on this
Mr. White motherfucker's ass. I
want you to go through the mugs of
guys from old Milwaukee with a
history of armed robbery, and put
a name to that face.

Holdaway takes a big bite out of his burger.

HOLDAWAY
(with his mouth full)
What kinds questions did Cabot
ask?

FREDDY
Where I was from, who I knew, how
I knew Nice Guy, had I done time,
shit like that.

Holdaway's talked enough, he's eating his burger now. He
motions for Freddy to elaborate.

FREDDY
He asked me if I ever done armed
robbery before. I read him my
credits. I robbed a few gas and
sips, sold some weed, told him
recently I held the shotgun while
me and another guy pulled down a
poker game in Portland.

CAMERA MOVES from a MEDIUM on Freddy to a CU.

HOLDAWAY (O.S.)
Didja use the commode story?

FREDDY
Fuckin-A. I tell it real good,
too.


28 INT. MEN'S ROOM - L.A. TRAIN STATION - NIGHT

Freddy and Holdaway at one of their many rendezvous.
Holdaway wears an extra large Lakers sweatshirt. Freddy
sits on one of the sinks, wearing his high school jacket,
looking at pieces of paper stapled together.

FREDDY
What's this?

HOLDAWAY
It's a scene. Memorize it.

FREDDY
What?

HOLDAWAY
A undercover cop has got to be
Marlon Brando. To do this job you
got to be a great actor. You got
to be naturalistic. You got to be
naturalistic as hell. If you
ain't a great actor you're a bad
actor, and bad acting is bull shit
in this job.

FREDDY
(referring to the
papers)
But what is this?

HOLDAWAY
It's a amusing anecdote about a
drug deal.

FREDDY
What?

HOLDAWAY
Something funny that happened to
you while you were doing a job.

FREDDY
I gotta memorize all this shit?

HOLDAWAY
It's like a joke. You remember
what's important, and the rest you
make your own. The only way to
make it your own is to keep sayin
it, and sayin it, and sayin it,
and sayin it, and sayin it.

FREDDY
I can do that.

HOLDAWAY
The things you gotta remember are
the details. It's the details
that sell your story. Now this
story takes place in this men's
room. So you gotta know the
details about this men's room.
You gotta know they got a blower
instead of a towel to dry your
hands. You gotta know the stalls
ain't got no doors. You gotta
know whether they got liquid or
powdered soap, whether they got
hot water or not, 'cause if you do
your job when you tell your story,
everybody should believe it. And
if you tell your story to somebody
who's actually taken a piss in
this men's room, and you get one
detail they remember right,
they'll swear by you.


29 INT. FREDDY'S APARTMENT - DAY

Freddy paces back and forth, in and out of frame,
rehearsing the anecdote. He's reading it pretty good, but
he's still reading it from the page, and every once in a
while he stumbles over his words.

FREDDY
...this was during the Los Angeles
marijuana drought of '86. I still
had a connection. Which was
insane, 'cause you couldn't get
weed anyfuckinwhere then. Anyway,
I had a connection with this
hippie chick up in Santa Cruz.
All and my friends knew it. And
they'd give me a call and say,
"Hey, Freddy, you buyin some, you
think you could buy me some too?"
They knew I smoked, so they'd ask
me to buy a little for them when I
was buyin. But it got to be
everytime I bought some weed, I
was buyin for four or five
different people. Finally I said,
"Fuck this shit." I'm makin this
bitch rich. She didn't have to do
jack shit, she never even had to
meet these people. I was fuckin
doin all the work. So I got
together with her and told her,
"Hey, I'm sick of this shit. I'm
comin through for everybody, and
nobody's comin through for me.
So, either I'm gonna tell all my
friends to find their own source,
or you give me a bunch of weed,
I'll sell it to them, give you the
money, minus ten percent, and I
get my pot for free." So, I did
if for awhile...

Freddy exits frame

CUT TO:


30 EXT. PARKING LOT - DAY

Another empty frame, except obviously outside. Freddy
enters frame from the same direction he exited in the
previous scene, finishing his sentence. When we move to a
wider shot we see Freddy performing his monolog to
Holdaway in a parking lot. Holdaway sits on the hood of
his beat-up car. Freddy paces back and forth as he
performs his story.

FREDDY
...but then that got to be a pain
in the ass. People called me on
the phone all the fuckin time. I
couldn't rent a fuckin tape
without six phone calls
interrupting me. "Hey, Freddy,
when's the next time you're gettin
some?" "Motherfucker, I'm tryin
to watch 'Lost Boys'-- when I have
some, I'll let you know." And
then these rinky-dink pot heads
come by--there's my friends and
everything, but still. I got all
my shit laid out in sixty dollar
bags. Well, they don't want sixty
dollars worth. They want ten
dollars worth. Breaking it up is
a major fuckin pain in the ass. I
don't even know how much ten
dollars worth is. "Well, fuck,
man, I don't want that much
around. If I have that much
around I'll smoke it." "Hey, if
you guys can't control your
smokin, that's not my problem.
You motherfuckers been smokin for
five years, be a adult about it."
Finally I just told my connection,
count me out. But as it turns
out, I'm the best guy she had, and
she depended alot on my business.
But I was still sick to death of
it. And she's trying to talk me
into not quitin.
Now this was a very weird
situation, 'cause I don't know if
you remember back in '86, there
was a major fuckin drought.
Nobody and anything. People were
livin on resin and smokin the wood
in their pipes for months. And
this chick had a bunch, and was
beggin me to sell it. So I told
her I wasn't gonna be Joe the Pot
Man anymore. But I would take a
little bit and sell it to my
close, close, close friends. She
agreed to that, and said we'd keep
the same arrangement as before,
ten percent and free pot for me,
as long as I helped her out that
weekend. She had a brick of weed
she was sellin, and she didn't
want to go to the buy alone...

CUT TO:


31 INT. BOOTS AND SOCKS BAR - NIGHT

Freddy, Joe, Nice Guy Eddie and Mr. White all sit around a
table in a red-lighted smokey bar. Freddy continues his
story. The crooks are enjoying the hell out of it.

FREDDY
...Her brother usually goes with
her, but he's in county
unexpectedly.

MR. WHITE
What for?

FREDDY
Traffic tickets gone to warrant.
They stopped him for something,
found the warrants on 'im, took
'im to jail. She doesn't want to
walk around alone with all that
weed. Well, I don't wanna do
this, I have a bad feeling about
it, but she keeps askin me, keeps
askin me, finally I said okay
'cause I'm sick of listening to
it. Well, we're picking this guy
up at the train station.

JOE
You're picking the buyer up at the
train station? You're carrying
the weed on you?

FREDDY
Yeah, the guy needed it right
away. Don't ask me why. So we
get to the train station, and
we're waitin for the guy. Now I'm
carrying the weed in one of those
carry-on bags, and I gotta take a
piss. So I tell the connection
I'll be right back, I'm goin' to
the little boys room...

CUT TO:


32 INT. MEN'S ROOM - TRAIN STATION - DAY

MEDIUM ON FREDDY

He walks through the door with a carry-on bag over his
shoulder. Once he's inside, he stops in his tracks. We
move into a CU.

FREDDY (V.O.)
...So I walk into the men's room,
and who's standing there?

FREEZE FRAME

on Freddy standing in front of six Los Angeles County
Sheriffs and one German Shepherd. All of their eyes are
on Freddy. Everyone is frozen.

FREDDY (V.O.)
...six Los Angeles County Sheriffs
and a German Shepherd.

NICE GUY EDDIE (V.O.)
They were waiting for you?

FREDDY (V.O.)
No. They were just a bunch of
cops hangin out in the men's room,
talkin. When I walked through the
door they all stopped what they
were talking about and looked at
me.


33 BACK TO BAR

ECU MR. WHITE

MR. WHITE
That's hard, man. That's a fuckin
hard situation.


34 BACK TO MEN'S ROOM

ECU GERMAN SHEPHERD

barking his head off.

FREDDY (V.O.)
The German Shepherd starts
barkin'. He's barkin' at me. I
mean it's obvious he's barkin' at
me.

We do a slow 360 around Freddy in the men's room. We can
hear the dog barking.

FREDDY (V.O.)
Every nerve ending, all of my
senses, the blood in my veins,
everything I has was screaming,
"Take off, man, just take off, get
the fuck outta there!" Panic hit
me like a bucket of water. First
there was the shock of it--BAM,
right in the face! Then I'm just
standin there drenched in panic.

SLOW MOTION

CAMERA does a PAN from face to face of the sheriffs.

FREDDY (V.O.)
And all those sheriffs are lookin
at me and they know. They can
smell it. As sure as that fuckin
dog cam, they can smell it on me.

FREEZE FRAME

Back to the same freeze frame shot of Freddy standing in
front of the sheriffs. It suddenly jerks to life, and
moves to speed. The dog is barking. Freddy moves to his
right, out of frame. We stay on the sheriffs. One
sheriff yells at the dog.

SHERIFF #1
Shut up!

The dog quiets down. Sheriff #2 continues with his story.
A couple of the sheriffs look over at Freddy off screen,
but as Sheriff #2 talks, turn their attention to him.

SHERIFF #2
So my gun's drawn, right? I got
it aimed right at him. I tell
'em, "Freeze, don't fuckin move."
And the little idiot's lookin at
me, nodding his head "Yes," sayin
"I know...I know...I know."
Meanwhile his right hand is
creepin towards his glove box. So
I scream at him, "Asshole, you
better fuckin freeze right now!"
And he's still lookin right at me,
saying
"I know...I know...I know." And
his right hand's still going for
the glove box.

The CAMERA PANS away from the sheriffs to Freddy, up
against the urinal, playing possum, pretending to piss.

SHERIFF #2 (O.S.)
I tell 'im, "Buddy, I'm gonna
shoot you in the face right now if
you don't put your hands on the
fuckin dash." And the guy's
girlfriend, a real sexy Oriental
bitch, starts screamin at him,
"Chuck, are you out of your mind?
Put your hands on the dash like
the officer said." And then like
nothing, the guy snaps out of it
and casually puts his hands on the
dash.

Freddy finishes his playing possum piss, and walks past
the sheriffs over to the sink. The CAMERA PANS with him.
A sheriff is sitting on a sink. He looks down and watches
Freddy wash his hands.

SHERIFF #1
What was he goin for?

SHERIFF #2
His registration. Stupid fuckin
citizen, doesn't have the
slightest idea how close he came
to gettin shot.

Freddy finishes washing his hands. He goes to dry them,
but there's only those hand drying machines. Freddy turns
on the drying machine. He can't hear anything the
sheriffs say now. The sound of the machine dominates the
sound track.

These following shots are SLOW MOTION.

CU OF FREDDY

CU of his HANDS, rubbing each other getting blown dry

SHOT OF SHERIFFS talking. We can't hear them because of
the machine.

CU OF MACHINE

MEDIUM OF SHERIFF ON SINK, smoking a cigarette, glancing
over at Freddy.

CU OF GERMAN SHEPHERD

Machine turns off.

CUT TO:


35 INT. OFFICE - DAY

CU MUG SHOT OF MR. WHITE

FREDDY (OS)
That's him, that's Mr. White.

FULL SCENE

An office upstairs in the undercover division of the
police station.


TWO SHOT OF FREDDY AND HOLDAWAY

look at mug shot.

HOLDAWAY
Lawrence Dimick. Let's see what
we got on him.

CU OF COMPUTER SCREEN

the name DIMICK, LAWRENCE is typed in.


C.U. ENTER BUTTON IS PRESSED


C.U. OF FEMALE COMPUTER OPERATOR, JODIE SEIGEL.

JODIE
This is your life, Lawrence
Dimick!


C.U. OF COMPUTER PRINTER

printing out sheet. The noise of the printer plays loud
over the soundtrack. Jodie's hand comes into FRAME and
tears sheet from the printer.

CUT TO:


36 INT. HOLDAWAY'S OFFICE - DAY

Holdaway sits behind his desk. Freddy sits on the edge of
the desk eating a Double-Double with cheese. They look
into the CAMERA.

We hear Jodie's voice OFFSCREEN.

JODIE (OS)
Lawrence "Larry" Dimick. Also
known as Lawrence Jacobs and Alvin
"Al" Jacobs. This guy is Mr. Joe-
Armed-Robbery. He's
a pro and he makes it a habit not
to get caught.


MEDIUM SHOT OF JODIE

DOLLY slowly into C.U.

JODIE
He's only been convicted twice,
which is pretty good for somebody
living a life of crime. Once for
armed robbery, when he was twenty-
one, in Milwaukee.


C.U. FREDDY

FREDDY
What was it?


JODIE

JODIE
Payroll office at a lumber yard.
First offense - he got eighteen
months. He didn't get busted
again until he was thirty-two.
And then it was a backdoor bust.
A routine vice squad roust. They
roust this bar, out buddy Lawrence
is in there knocking down a few.
He gets picked up. He's wearing
on his person an outlaw .45
automatic, apparently his weapon
of choice. Also, on his finger is
a diamond ring from a jewelry
store robbery a year earlier. He
got two years back inside for
that.


TWO SHOT OF HOLDAWAY AND FREDDY

Freddy winces.

FREDDY
Goddamn, that's hard time.


JODIE

JODIE
So far, it's the only time he's
ever done.


CU HOLDAWAY

HOLDAWAY
Was this vice squad bullshit in
Milwaukee?


JODIE

JODIE
No. The vice squad roust was in
L.A. He's been in Los Angeles
since '77.


DOLLY BEHIND HOLDAWAY'S DESK

from left to right.

FREDDY
When did he do this time?

JODIE
Back in '83, got out late '86. I
found something else out I think
you two should be aware of.
About a year and a half ago, up in
Sacramento, an undercover cop,
John Dolenz, worked his way into a
bank job. Apparently before the
job they found out he was a cop.
Now picture this: It's Dolenz's
birthday, a bunch of cops are
waiting in his apartment for a
surprise party. The door opens,
everyone yells "Surprise!", and
standing in the doorway is Dolenz
and this other guy sticking a gun
in Dolenz's ribs. Before anybody
knows what's going on, this
stranger shoots Dolenz dead and
starts firing two .45 automatics
into the crowd.

HOLDAWAY
What happened?

The DOLLY moves behind Jodie.

JODIE
It was a mess. Cops got hit,
wives got hit, girlfriends got
hit, his dog got hit. People got
glass in their faces. Three were
killed, six were wounded.

FREDDY
They couldn't pin the killing on
one of the bank robbers?

JODIE
They tried, but they didn't have a
positive I.D. and all those guys
had alibis. Besides, we really
didn't have anything on them. We
had the testimony of a dead man
that they were talking
about committing a robbery. They
never went ahead with the bank
job.

The DOLLY completes its circle.

FREDDY
And Larry Dimick was one of the
boys?

JODIE
He was probably the one.


ON HOLDAWAY

HOLDAWAY
Just how sure are you with your
cover?

PAN to C.U. on Freddy.

FREDDY
Today they may know something,
tomorrow they may know something
else. But yesterday they didn't
know anything.


C.U. OF MR. WHITE'S MUG SHOT

FREDDY (OS)
What's the next step?

HOLDAWAY (OS)
Do what they told ya. Sit in your
apartment and wait for 'em to call
you. We'll have guys posted
outside who'll follow you when
they pick you up.


35 INT. FREDDY'S APARTMENT - DAY

C.U. TELEPHONE

It RINGS. Freddy answers it, we FOLLOW the receiver up to
his face.

FREDDY
Hello.

NICE GUY EDDIE (OS)
(through phone)
It's time. Grab your jacket--


36 INT. NICE GUY EDDIE'S CAR (PARKED) - DAY

C.U. of Nice Guy Eddie speaking into the car phone.

EDDIE
--We're parked outside.

FREDDY (OS)
(through phone)
I'll be right down.

We hear the CLICK of Freddy hanging up through the phone.
Nice Guy places the receiver back in its cradle.

EDDIE
He'll be right down.


39 INT. FREDDY'S APARTMENT - DAY

The CAMERA follows Freddy as he hops around the
apartment getting everything he needs. He puts on
his jacket and slips on some sneakers.

DOLLY fast toward the front door knob. Freddy's hand
comes into FRAME, grabs the knob, then lets go. We MOVE
UP to his face.

Fear.

FREDDY
(to himself)
Don't pussy out on me now. They
don't know. They don't know shit.
(pause)
You're not gonna get hurt. You're
fucking Baretta and they believe
every word, cuz
you're super cool.

He exits FRAME. We stay put and hear the door open and
close OFF SCREEN.


40 EXT. FREDDY'S APARTMENT - DAY

COPS' POV

From inside an unmarked car across the street, the TWO
COPS watching Freddy see him walk out of his building and
up to Eddie's parked car.

COP #1 (OS)
There goes our boy.

COP #2 (OS)
I swear, a guy has to have rocks
in his head the size of Gibraltar
to work undercover.

COP #1 (OS)
Do you want one of these?

COP #2 (OS)
Yeah, gimme the bear claw.

Freddy gets into the car and it pulls into traffic.

Cop #1 starts the engine and follows.


41 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Nice Guy Eddie is behind the wheel. Mr. Pink is
in the passenger seat. Freddy and Mr. White are in the
backseat together.

MR. PINK
...Hey, I know what I'm talkin
about, black women ain't the same
as white women.

MR. WHITE
(sarcastically)
There's a slight difference.

The car laughs.

MR. PINK
Go ahead and laugh, you know what
I mean. What a while bitch will
put up with, a black bitch won't
put up with for a minute. They
got a line, and if you cross it,
they fuck you up.

EDDIE
I gotta go along with Mr. Pink on
this. I've seen it happen.

MR. WHITE
Okay, Mr. Expert. If this is such
a truism, how come every nigger I
know treats his woman like a piece
of shit?

MR. PINK
I'll make you a bet that those
same damn niggers who were showin
their ass in public, when their
bitches get 'em home, they chill
the fuck out.

MR. WHITE
Not these guys.

MR. PINK
Yeah, those guys too.

EDDIE
Let me tell you guys a story. In
one of daddy's clubs there was
this black cocktail waitress named
Elois.

MR. WHITE
Elois?

EDDIE
Yeah, Elois. E and Lois. We
called her Lady E.

MR. WHITE
Where was she from, Compton?

EDDIE
No. She was from Ladora Heights.

MR. PINK
The black Beverly Hills. I knew
this lady from Ladora Heights
once.
(in a stuck up black
female voice)
"Hi, I'm from Ladora Heights, it's
the black Beverly Hills."
EDDIE
It's not the black Beverly Hills,
it's the black Palos Verdes.
Anyway, this chick, Elois, was a
man-eater-upper. I bet every guy
who's ever met her has jacked off
to her at least once. You know
who she looked like? Christie
Love. 'Member that TV show "Get
Christie Love"? She was a black
female cop. She always used to
say "You're under arrest, sugar."

MR. PINK
I was in the sixth grade when that
show was on. I totally dug it.
What the fuck was the name of the
chick who played Christie
Love?

EDDIE
Pam Grier.

MR. PINK
No, it wasn't Pan Grier, Pan Grier
was the other one. Pan Grier made
the movies. Christie Love was
like a Pam Grier TV show, without
Pam Grier.

MR. PINK
What the fuck was that chick's
name? Oh this is just great, I'm
totally fuckin tortured now.

EDDIE
Well, whoever she was, Elois
looked like her. So one night I
walk into the club, and no Elois.
Now the bartender was a wetback,
he was a friend of mine, his name
was Carlos.
So I asked him "Hey, Carlos,
where's Lady E tonight?" Well
apparently Lady E was married to
this real piece of dog shit. I
mean a real animal. And
apparently he would so things to
her.

FREDDY

Do things? What would he do? You
mean like beat her up?

EDDIE
Nobody knows for sure what he did.
We just know he did something.
Anyway, Elois plays it real cool.
And waits for the next time this
bag of shit gets drunk. So one
night the guy gets drunk and
passes out on the couch. So while
the guy's
inebriated, she strips him naked.
Then she takes some crazy glue and
glues his dick to his belly.

The car reacts to how horrible that would be.

EDDIE
I'm dead fuckin serious. She put
some on his dick and some on his
belly, then stuck 'em together.
The paramedics had to come and cut
it loose.

The car reacts badly.

MR. WHITE
Jesus Christ!

FREDDY
You can do some crazy things with
it.

EDDIE
I don't know what he did to her,
but she got even.

MR. WHITE
Was he all pissed off?

MR. PINK
How would you feel if you had to
do a handstand every time you took
a piss.

The car laughs.


42 EXT. WAREHOUSE - DAY

Nice Guy Eddie pulls up outside the warehouse.
The four men climb out of the car and follow Eddie inside.


43 INT. WAREHOUSE - DAY

The four men enter the building.

At the other end of the warehouse, sitting in chairs, are
Mr. Blonde, Mr. Brown, Mr. Blue and Joe Cabot.

We shoot this from OVERHEAD, looking down on the men.

JOE
(to everybody)
...So they're talkin about how
they get their wives off, and the
French guys says:
(in a bad French
accent)
"All I gotta do is take my pinky
and tickle my Fifi's little oo la
la and she rises a foot off the
bed."

Back to Joe.

So the dago says:


CU ON JOE

JOE
(in a good Brooklyn
accent)
"That's nothin. When I take the
tip of my tongue and wiggle it
against my Mary Louise's little
fun pimple, she rises two feet off
da bed." Then our friend from
Poland says:
(in dumb voice)
"You guys ain't no cocksmen. When
I get through fuckin my Sophie, I
wipe my dick on the curtains and
you know what? She hits the
roof!"

Joe laughs like a crazy man.

JOE
Ha, ha, ha, ha, ha, ha!

We hear a lot of laughing OFF SCREEN.

JOE
Ain't that a masterpiece? Stupid
fuckin Polack, wipes his dick on
the drapes.

Joe's eyes greet the new arrivals.

JOE
You're here, great!

Joe EXITS C.U.

We now have everybody from the Uncle Bob's Pancake House
scene together again. Some sit on folding chairs, some
stand. Joe sits in front of them on the edge of a table.
A blackboard with a layout of the jewelry store is off to
the right.

We do a 360 around the men.

EDDIE
We woulda gotten here sooner, but
we got backed up around La Brea
and Pico.

JOE
No hurry.
(to the boys)
All right, let's get to know one
another. With the exception of
Eddie and myself, who you already
know, you'll be using aliases.
Under no circumstances are you to
tell one another your real name or
anything else about yourself.
That includes where you're from,
your wife's name, where you
might've done time, about a bank
in St. Petersburg you might've
robbed. You guys don't say shit
about who you are, where you been
or what you've done. Only thing
you guys can talk about is what
you're going to do. This way the
only ones who know who the members
of the team are are Eddie and
myself. And that's the way I like
it. Because in the unlikely event
of one of you getting apprehended
by the cops, not that I expect
that to happen - it most
definitely should not happen - it
hasn't happened, you don't have
anything to deal with. You don't
know any names. You know my name,
you know Eddie's name. That I
don't care about. You gotta prove
it. I ain't worried. Besides,
this way you gotta trust me. I
like that. I set this up and
picked the men I wanted for it.
None of you came to me, I
approached all of you. I know
you. I know your work, I know
your reputation. I know you as
men. Except for this guy.

Joe points a finger at Freddy.

Freddy shits a brick.

JOE
But he's OK. If he wasn't OK, he
wouldn't be here. Okay, let me
introduce everybody to everybody.
But once again, at the risk of
being redundant, if I even think I
hear somebody telling or referring
to somebody by their Christian
name...
(Joe searches for the
right words)
...you won't want to be you.
Okay, quickly.
(pointing at the men
as he gives them a
name)
Mr. Brown, Mr. White, Mr. Blonde,
Mr. Blue, Mr. Orange, and Mr.
Pink.

MR. PINK
Why am I Mr. Pink?

JOE
Cause you're a faggot.

Everybody laughs.

MR. PINK
Why can't we pick out our own
colors?

JOE
I tried that once, it don't work.
You get four guys fighting over
who's gonna be Mr. Black. Since
nobody knows anybody else, nobody
wants to back down. So forget it,
I pick. Be thankful you're not
Mr. Yellow.

MR. BROWN
Yeah, but Mr. Brown? That's too
close to Mr. Shit.

Everybody laughs.

MR. PINK
Yeah, Mr. Pink sounds like Mr.
Pussy. Tell you what, let me be
Mr. Purple. That sounds good to
me, I'm Mr. Purple.

JOE
You're not Mr. Purple, somebody
from another job's Mr. Purple.
You're Mr. Pink.

MR. WHITE
Who cares what your name is? Who
cares if you're Mr. Pink, Mr.
Purple, Mr. Pussy, Mr. Piss...

MR. PINK
Oh that's really easy for you to
say, you're Mr. White. You gotta
cool-sounding name. So tell me,
Mr. White, if you think "Mr. Pink"
is no big deal, you wanna trade?

JOE
Nobody's trading with anybody!
Look, this ain't a goddamn fuckin
city counsel meeting! Listen up
Mr. Pink. We got two ways here,
my way or the highway. And you
can go down either of 'em. So
what's it gonna be, Mr. Pink?

MR. PINK
Jesus Christ, Joe. Fuckin forget
it. This is beneath me. I'm Mr.
Pink, let's move on.

CAMERA leaves the team and goes to the blackboard
with the layout of the jewelry store on it.

JOE (OS)
Okay fellas, let's get into this.

CUT TO:


44 EXT. BLEACHERS - DAY

Freddy and Holdaway sit on some bleachers in an empty
little league baseball field.

HOLDAWAY
Okay, we're gonna station men
across the street from Karina's
Fine Jewelry. But their orders
will be not to move in unless the
robbery gets out of control. You
gotta make sure they don't have to
move in. You're inside to make
sure that everything goes
according to Hoyle. We have men
set up a block away from the
warehouse rendezvous. They got
complete visibility of the
exterior. So as soon as Joe Cabot
shows up, we'll see it.

FREDDY
What's your visibility of the
interior?

HOLDAWAY
We can't see shit on the inside.
And we can't risk gettin any
closer for fear they'll spot us.

FREDDY
This is bullshit, Jim. I get all
the fuckin danger of having you
guys in my back pocket but none of
the safety.

HOLDAWAY
What's the matter, Newendyke? Job
too tough for ya? No one lied to
you. You always knew we'd hang
back until Joe Cabot showed up.

FREDDY
Oh this is great. You ain't
giving me no fuckin protection
whatsoever. But you are giving me
an attitude.

HOLDAWAY
Since when does an undercover cop
have protection? Freddy, you came
into this thing with your eyes
wide open, so don't start screamin
blind man now. I understand
you're nervous. I wish the
warehouse had more visible
windows, but it doesn't. We have
to make do with the cards we're
dealt.

FREDDY
I didn't say I wasn't gonna do it.
I'm just remarking on how shitty
the situation is!

HOLDAWAY
I don't mean to be harsh with ya,
but I've found tough love works
best in these situations. We have
to get Joe Cabot in the company of
the thieves and in the same
vicinity as the loot.
We don't care about these other
bastards. We're willing to offer
them good deals to testify against
Cabot.

FREDDY
Isn't this risk unorthodox?

HOLDAWAY
What?

FREDDY
Letting them go ahead with the
robbery?

HOLDAWAY
The whole idea behind this
operation is to catch Joe Cabot
red-handed. We bust these hired
hands, we ain't accomplished shit.
Letting them go through with the
heist is a risk, but Cabot's jobs
are very clean. We got people
surrounding the perimeter. We got
a guy and a gal on the inside
posing as a couple shopping for
rings. We could replace the
employees with cops, but we'd run
the risk of tipping 'em off.

FREDDY
That's out. They know the faces
of who works what shift.

HOLDAWAY
These guys are professionals.
We're professionals. It's a risk,
but I think it's a calculated
risk.


45 EXT. KARINA'S FINE JEWELRY - DAY

We see MOS SHOTS of the outside of the jewelry store.

CUSTOMERS coming and going. STORE CLERKS waiting on
customers through the windows.

While we look at this we HEAR over the soundtrack Mr.
White and Freddy talking OFF SCREEN.

MR. WHITE (VO)
Let's go over it. Where are you?

FREDDY (VO)
I stand outside and guard the
door. I don't let anybody come in
or go out.

MR. WHITE (VO)
Mr. Brown?

FREDDY (VO)
Mr. Brown stays in the car. He's
parked across the street till I
give him the signal, then he pulls
up in front of the store.

MR. WHITE (VO)
Mr. Blonde and Mr. Blue?

FREDDY (VO)
Crowd control. They handle
customers and employees in the
display area.


46 INT. MR. WHITE'S CAR (PARKED) - DAY

Mr. White and Freddy sit in a car parked across the street
from the jewelry store, staking it out.

MR. WHITE
Myself and Mr. Pink?

FREDDY
You two take the manager in the
back and make him give you the
diamonds. We're there for those
stones, period. Since no display
cases are being fucked with, no
alarms should go off. We're out
of there in two minutes, not one
second longer. What if the
manager won't give up the
diamonds?

MR. WHITE
When you're dealing with a store
like this, they're insured up the
ass. They're not supposed to give
you and resistance
whatsoever. If you get a customer
or an employee who thinks he's
Charles Bronson, take the butt of
your gun and smash their nose in.
Drops 'em right to the floor.
Everyone jumps, he falls down,
screaming, blood squirts out his
nose. Freaks everybody out.
Nobody says fuckin shit after
that. You might get some bitch
talk shit to ya. But give her a
look, like you're gonna smash her
in the face next. Watch her shut
the fuck up. Now if it's a
manager, that's a different story.
The managers know better than to
fuck around. So if one's givin
you static, he probably thinks
he's a real cowboy. So what you
gotta do is break that son-of-a-
bitch in two. If you wanna know
something and he won't tell you,
cut off one of his fingers. The
little one. Then you tell 'im his
thumb's next. After that he'll
tell ya if he wears ladies
underwear. I'm hungry, let's get
a taco.

CUT TO:


47 EXT. ALLEY - DAY

It's the moment of the robbery. The alley is empty.

In the distance we hear all hell breaking loose. Guns
FIRING, people SHOUTING and SCREAMING, sirens WAILING,
glass BREAKING...

A car whips around the corner, into the alley.

The doors BURST open, Freddy and Mr. White hop out.

Freddy opens the driver's side door. A bloody SCREAMING
Mr. Brown FALLS out.

MR. BROWN
(screaming)
My eyes! My eyes! I'm blind, I'm
fucking blind!

FREDDY
You're not blind, there's just
blood in your eyes.

Mr. White loads his two .45 automatics. He RUNS to the
end of the alley just as a police car comes into SIGHT.

FIRING both .45's, Mr. White massacres everyone in the
patrol car.

Freddy, holding the dying Mr. Brown, looks on at Mr.
White's ambush in shock.

Mr. Brown lifts his head up, blood in his eyes.

MR. BROWN
Mr. Orange? You're Mr. Orange,
aren't you?

By the time Freddy turns his head back to him, Mr. Brown
is dead.

Mr. White RUNS up to Freddy.

MR. WHITE
Is he dead?

Freddy doesn't answer, he can't.

MR. WHITE
Did he did or not?

Freddy, scared.

FREDDY
I'm sorry.

MR. WHITE
What? Snap out of it!

Mr. White GRABS Freddy by the coat and YANKS him along as
he RUNS.

They EXIT the alley and FLEE down a street.

A car with a FEMALE DRIVER comes up on the two men.

Mr. White JUMPS in her path, stopping the car. He points
his jun at her.

MR. WHITE
Get us outta here!

Mr. White climbs into the backseat.

Freddy starts to climb in.

The Female driver comes up with a gun from under her seat.

MR. WHITE
The bitch's got a gun!

She SHOOTS Freddy in the stomach.

On instinct Freddy brings up his gun and SHOOTS her in the
face.


C.U. ON FREDDY

as he FALLS to the ground he realizes what's happened
to him and what he's done. SLOW MOTION.

Mr White DRAGS the dead female driver out of the car. He
SHOVES Freddy in the backseat and DRIVES away.


48 INT. GETAWAY CAR (MOVING) - DAY

Freddy holding his stomach and doubled over in pain is
CRYING.

We replay the scene between Freddy and Mr. White in the
getaway car. Except this time, we never leave Freddy.

MR. WHITE (OS)
Just hold on buddy boy.

FREDDY
I'm sorry. I can't believe she
killed me...


CUT FROM FREDDY IN THE BACKSEAT TO:


49 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Mr. Pink is behind the wheel, Nice Guy Eddie is in the
passenger seat going through the satchel with the
diamonds. Mr. White is in the backseat. The car is
SPEEDING back to the garage.

EDDIE
(looking through the
case)
You know, all things considered,
this was pretty successful.

MR. WHITE
I don't believe you just said
that.

EDDIE
No, it was messy as hell, but do
you realize how much you got away
with? There's over two million
dollars worth of diamonds here.

MR. PINK
I love this guy.

EDDIE
Hey, what's done is done. We can
all sit around and have a big cry
about it or we can deal with the
situation at hand.

MR. WHITE
The situation as hand isn't that
fuckin satchel. You and Joe have
a responsibility to your men.

EDDIE
Hey, it's the best I could do.

MR. WHITE
The man is fucking dying.

EDDIE
And I'm telling you, Bonnie'll
take care of him.

MR. WHITE
He needs a doctor, not a fuckin
nurse.

EDDIE
Ask me how many doctors I called.
You wanna embarrass yourself, ask
me how many doctors I called.

MR. WHITE
Obviously not enough.

EDDIE
Fuck you! You gotta little black
book, then whip is out. If not,
listen how it is. I called three
doctors and couldn't get through
to shit. Now, time being a
factor, I called Bonnie. Sweet
broad, helluva broad, and a
registered nurse. Told her a
bullshit story, upside: she said
bring him to her apartment.

MR. WHITE
If he dies I'm holding you
personally responsible.

EDDIE
Fuck you buddy boy! Okay, you
wanna play that way. I am
personally leaving myself
vulnerable with this Bonnie
situation. I don't think she'll
call the cops, but I don't know
for sure. But me being too nice-
a-fuckin-guy was willin to risk
it. But no fuckin more.
(he grabs his
portable phone)
I'm callin Bonnie back and tellin
her to forget it. You take care
of your friend, you know so much
about it.

MR. PINK
Goddamnit, will you guys grow up!

EDDIE
I don't need to grow up, my
friend. I am a grown up. I'm
being responsible, I'm taking care
of business.

MR. WHITE
Cut the shit! I don't think you
called anybody except some cooze
you once fucked, who happens to
wear orthopedic shoes. And I
don't think that's good enough
care for a gut-shot man.

EDDIE
Yeah, well I don't give a flying
fuck what you think!

MR. PINK
(to Mr. White)
Look, he's not sayin this bitch is
gonna operate on him. She's gonna
give him better attention than we
can until we can get a doctor.
Nobody's forgotten about doctors.
Joe'll get one in a snap. This is
something we're doing in the
meantime. I think both of you are
actin like a couple of assholes.

EDDIE
Yeah, right. I arrange a nurse, I
leave myself wide open, and I'm an
asshole.


50 INT. WAREHOUSE - DAY

MEDIUM SHOT on the door. Nice Guy Eddie, Mr. White and
Mr. Pink walk through it. They stop in their tracks.

We see what they see. Mr. Blonde, lying on the ground,
shot full of holes. The cop slumped over in his chair, a
bloody mess, Mr. Orange lying at the cop's feet, holding
his wound. Eddie, Mr. White and Mr. Pink walk into the
shot.

EDDIE
What the fuck happened here?

Eddie runs over to his friend Mr. Blonde/Toothpick Vic.

MR. WHITE
(to Mr. Orange)
What happened?

MR. ORANGE
(very weakly)
Blonde went crazy. He slashed the
cop's face, cut off his ear and
was gonna burn him alive.

EDDIE
(yelling)
Who cares what he was gonna do to
this fuckin pig?

Eddie whips out his gun and SHOOTS the cop. The cop and
the chair tip over. Eddie stands over him and SHOOTS him
once more.

EDDIE
(to Mr. Orange)
You were saying he went crazy?
Something like that? Worse or
better?

MR. ORANGE
Look, Eddie, he was pullin a burn.
He was gonna kill the cop and me.
And when you guys walked through
the door, he was gonna blow you to
hell and make off with the
diamonds.

MR. WHITE
(to Eddie)
Uhuh, uhuh, what's I tell ya?
That sick piece of shit was a
stone cold psycho.

MR. ORANGE
(to Eddie)
You could've asked the cop, if you
didn't just kill him. He talked
about what he was going to do when
he was slicing him up.

EDDIE
I don't buy it. It doesn't make
sense.

MR. WHITE
It makes perfect fuckin sense to
me. Eddie, you didn't see how he
acted during the job, we did.

Mr. Pink walks over to the cop's body.

MR. PINK
He's right about the ear, it's
hacked off.

EDDIE
(to Mr. Orange)
Let me say this out loud, just to
get it straight in my mind.
According to you, Mr. Blonde was
gonna kill you. Then when we came
back, kill us, grab the diamonds,
and scram. That's your story?
I'm correct about that, right?

MR. ORANGE
Eddie, you can believe me or not
believe me, but it's the truth. I
swear on my mother's eternal soul
that's what happened.

The CAMERA mover into a C.U. of Nice Guy Eddie.

There's a long pause while he rolls over what Mr. Orange
has said. Finally:

EDDIE
You're a fuckin liar. Now why
don't you drop the fuckin fairy
tale and tell me what really
happened?

MR. WHITE (OS)
He told you what really happened.
You just can't deal with it.

MR. ORANGE (OS)
Okay, you're right, I'm lying.
Even though I'm fuckin dyin I'm
not above pullin a fast one. Get
rid of Blonde, we share his split
- no, scratch that, I shot him
'cause I didn't like his hair
style. I didn't like his shoes
either. If it has just been his
hair, I'd've maybe, maybe I said,
let him live. But hair and
footwear together, he's a goner.

EDDIE
The man you killed was just
released from prison. He got
caught at a company warehouse full
of hot items. He could've walked
away. All he had to do was say my
dad's name. But instead he shut
his mouth and did his time. He
did four years for us, and he did
'em like a man. And we were very
grateful. So, Mr. Orange, you're
tellin me this very good friend of
mine, who did four years for my
father, who in four years never
made a deal, no matter what they
dangled in front of him, you're
telling me that now, that now this
man is free, and we're making good
on our commitment to him, he's
just gonna decide, right out of
the fuckin blue, to rip us off?

Silence.

EDDIE
Mr. Orange, why don't you tell me
what really happened?

VOICE (OS)
Why? It'll just be more bullshit.

Eddie steps out of his C.U. and we see Joe Cabot standing
in the warehouse doorway. He walks into the room.

JOE
(pointing to Mr.
Orange)
This man set us up.

CAMERA does a 360 around the men.

EDDIE
Daddy, I'm sorry, I don't know
what's happening.

JOE
That's okay, Eddie, I do.

MR. WHITE
(to Joe)
What the fuck are you talking
about?

JOE
(pointing to Mr.
Orange)
That piece of shit. Workin with
the cops.

MR. WHITE MR. PINK EDDIE
What?

JOE
I said this lump of shit is workin
with the LAPD.


MR. ORANGE'S POV

Looking up from the floor at everybody.

Joe looks down at Mr. Orange.

JOE
Aren't you?

MR. ORANGE (OS)
I don't have the slightest fuckin
idea what you're talkin about.

MR. WHITE
(very calmly to Joe)
Joe, I don't know what you think
you know, but you're wrong.

JOE
Like hell I am.

MR. WHITE
(very calmly)
Joe, trust me on this, you've made
a mistake. He's a good kid. I
understand you're hot, you're
super-fuckin pissed. We're all
real emotional. But you're
barking up the wrong tree. I know
this man, and he wouldn't do that.

JOE
You don't know jack shit. I do.
This rotten bastard tipped off the
cops and got Mr. Brown and Mr.
Blue killed.

MR. PINK
Mr. Blue's dead?

JOE
Dead as Dillinger.

EDDIE
The motherfucker killed Vic.

MR. WHITE
How do you know all this?

JOE
He was the only one I wasn't a
hundred percent on. I should have
my fucking head examined for goin
forward when I wasn't a hundred
percent. But he seemed like a
good kid, and I was impatient and
greedy and all the things that
fuck you up.

MR. WHITE
(screaming)
That's your proof?

JOE
You don't need proof when you got
instinct. I ignored it before,
but not no more.

He WHIPS out a revolver and aims it at Mr. Orange.

Mr. White brings his .45 up at Joe.

Eddie and Mr. Pink are shook awake by the flash of
firearms.

Eddie raises his gun, pointing it at Mr. White.

EDDIE
Have you lost your fucking mind?
Put your gun down!

Mr. Pink fades into the B.G., wanting no part of this.

MR. WHITE
Joe, you're making a terrible
mistake I can't let you make.

EDDIE
Stop pointing your fuckin gun at
daddy!

Joe, never taking his eyes off Mr. Orange.

JOE
Don't worry, Eddie. Me and Larry
have been friends a long time, he
ain't gonna shoot. We like each
other too much.

MR. WHITE
Joe, if you kill that man, you die
next. Repeat, if you kill that
man, you die next!

We get many different angles of the Mexican standoff.


MEDIUMS ON EVERYBODY

Mr. Orange holding his belly, looking from left to right.

Joe pointing down on Mr. Orange. Not taking his eyes off
him.

Mr. White pointing at Joe, looking like he's ready to
start firing any minute.

Eddie scared shitless for his father, gun locked on Mr.
White.

Mr. Pink walking backwards away from the action.

Nobody says nothing.


FOUR SHOT

of guys ready for violence. Mr. Pink in the B.G.

MR. PINK
C'mon, guys, nobody wants this.
We're supposed to me fuckin
professionals!

Joe raises his head to Mr. White.

JOE
Larry, I'm gonna kill him.

MR. WHITE
Goddamn you, Joe, don't make me do
this!

JOE
Larry, I'm askin you to trust me
on this.

MR. WHITE
Don't ask me that.

JOE
I'm not askin, I'm betting.

Joe's eyes go back to Mr. Orange.

EDDIE
Daddy, don't!

Joe FIRES three times, HITTING Mr. Orange with every one.

Mr. White SHOOTS Joe twice in the face. Joe brings his
hands up to his face, screaming, and falls to the ground.

Eddie FIRES at Mr. White, HITTING him three times in the
chest.

Mr. White brings his gun around on Eddie and SHOOTS him.

The two men FALL to their knees, FIRING at each other.

Eddie COLLAPSES, dead.

Joe's dead.

Mr. Orange lies perfectly still, except for his chest
heaving. The only SOUND we hear is his loud breathing.

Mr. White is SHOT full of holes, but still on his knees,
not moving.

Mr. Pink is standing motionless. Finally he grabs the
satchel of diamonds and RUNS out the door.

We hear outside a CAR START. Then the SOUND of a BULLHORN
yells out:

POLICE FORCE (OS)
Freeze! Get out of the car and lie
face down on the ground!

MR. PINK (OS)
Don't shoot!

We now hear SIRENS, the SOUNDS of more CARS DRIVING UP,
MEN RUNNING to the warehouse.

While all this noise is going on, Mr. White tries to stand
but FALLS DOWN. He somehow makes it to where Mr. Orange
lies.

He lifts Mr. Orange's head, cradling it in his lap and
stroking his brow.

MR. WHITE
(with much effort)
Sorry, kid. Looks like we're
gonna do a little time.

Mr. Orange looks up at him and, with even more of an
effort:

MR. ORANGE
I'm a cop.

Mr. White doesn't say anything, he keeps stroking Orange's
brow.

MR. ORANGE
I'm sorry, I'm so sorry.

Mr. White lifts his .45 and places the barrel between Mr.
Orange's eyes.

The CAMERA MOVES into an EXTREME C.U. of Mr White.

The SOUNDS of outside STORM inside. We don't see
anything, but we HEAR a bunch of shotguns COCKING.

POLICE FORCE (OS)
Freeze, motherfucker! Drop your
fucking gun!

Mr White looks up at them, smiles, PULLS the trigger.

BANG

We hear a BURST of SHOTGUN FIRE.

Mr. White is BLOWN out of frame, leaving it empty.

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"PULP FICTION"

By

Quentin Tarantino & Roger Avary



PULP [pulp] n.

1. A soft, moist, shapeless mass or matter.

2. A magazine or book containing lurid subject matter and
being characteristically printed on rough, unfinished paper.

American Heritage Dictionary: New College Edition

INT. COFFEE SHOP – MORNING

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
omelet, 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
Then you got the idea to take
everybody's wallet.

YOUNG WOMAN
Uh-huh.

YOUNG MAN
That was a good idea.

YOUNG WOMAN
Thanks.

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
tired 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"

INT. '74 CHEVY (MOVING) – MORNING

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
Le Big Mac. 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:

INT. CHEVY (TRUNK) – MORNING

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:

EXT. APARTMENT BUILDING COURTYARD – MORNING

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.

INT. RECEPTION AREA (APARTMENT BUILDING) – MORNING

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.

INT. ELEVATOR – MORNING

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.

INT. APARTMENT BUILDING HALLWAY – MORNING

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 foot fuckin'
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.

INT. APARTMENT (ROOM 49) – MORNING

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... bald –

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.

AGAINST BLACK, TITLE CARD:

"VINCENT VEGA AND MARSELLUS WALLACE'S WIFE"

FADE IN:

MEDIUM SHOT – BUTCH COOLIDGE

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 (O.S.)
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 (O.S.)
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 (O.S.)
In the fifth, your ass goes down.

Butch nods his head: "yes."

MARSELLUS (O.S.)
Say it!

BUTCH
In the fifth, my ass goes down.

CUT TO:

INT. CAR (MOVING) – DAY

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.

EXT. SALLY LEROY'S – DAY

Sally LeRoy's is a large topless bar 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.

INT. SALLY LEROY'S – DAY

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 (O.S.)
Hang 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 lo'
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 turn toward Vincent.

BUTCH
What was that?

VINCENT
I think ya heard me just fine, punchy.

Butch turns his body to Vincent, when...

MARSELLUS (O.S.)
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 (O.S.)
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:

INT. LANCE'S HOUSE (KITCHEN) – NIGHT

CLOSEUP – 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 named 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 (O.S.)
Vince, you can come in now!

INT. LANCE'S BEDROOM – NIGHT

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.

CLOSEUP – THE NEEDLE

Going into Vincent's vein.

CLOSEUP – BLOOD

Spurting back into the syringe, mixing with the heroin.

CLOSEUP – VINCENT'S THUMB

Pushing down on the plunger.

CUT TO:

EXT. MARSELLUS WALLACE'S HOUSE – NIGHT

Vincent walks toward the house and pulls a note off the door

CLOSEUP – NOTE

The Note reads:

"Hi Vincent, I'm getting dressed. The door's open. Come inside
and make yourself a drink. Mia"

MIA (V.O.)
Hi, Vincent. I'm getting dressed.
The door's open. Come inside and
make yourself a drink.

FADE TO WHITE

Music in.

FADE TO:

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent enters on the background.

VINCENT
Hello?

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA, Marcellus' beautiful young wife. Video screens are in
the background. Dusty Springfield is singing "SON OF A
PREACHER MAN".

Mia's mouth comes toward a microphone.

MIA
(into microphone)
Vincent.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent turns.

MIA
(over intercom)
Vincent. I'm on the intercom.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA
(into microphone)
It's on the wall by the two African
fellas.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

MIA
(over intercom)
To your right.

Vincent walks.

MIA
...warm. Warmer. Disco.

Vincent finds the intercom on the wall.

VINCENT
Hello.

MIA
(over intercom)
Push the button if you want to talk.

VINCENT
(into intercom)
Hello.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA
(into microphone)
Go make yourself a drink., and I'll
be down in two shakes of a lamb's
tail.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

MIA
(over intercom)
The bar's by the fireplace.

VINCENT
(into intercom)
Okay.
(licks lips)

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

A video screen with an image of Vincent, walking. The Dusty
Springfield song continues.

Mia turns a knob which controls the movement of the video
camera in Marcellus' living room.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent picks up a bottle of scotch. He sniffs the bottle,
and then pours it into a glass.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

A razor blade cuts cocaine on a mirror.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent drinks a glass of scotch.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

Mia sniffs the cocaine.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent sips the drink and looks at a portrait of Mia on the
wall.

Mia walks into the room, and takes the needle off a record.
The Dusty Springfield song stops.

MIA
Let's go.

EXT. JACKRABBIT SLIM'S – NIGHT

In the past six years, 50's diners have sprung up all over
L.A., 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 Omelet, 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."

VINCENT
What the fuck is this place?

MIA
This is Jackrabbit Slim's. An Elvis
man should love it.

VINCENT
Come on, Mia, let's go get a steak.

MIA
You can get a steak here, daddy-o.
Don't be a...

Mia draws a square with her hands. Dotted lines appear on
the screen, forming a sqaure. The lines disperse.

VINCENT
After you, kitty-cat.

INT. JACKRABBIT SLIM'S – NIGHT

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." Some 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 this 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.

INT. JACKRABBIT SLIM'S (LADIES ROOM) – NIGHT

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!

INT. JACKRABBIT SLIM'S (DINING AREA) – NIGHT

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.

CUT TO:

ED SULLIVAN AND MARILYN MONROE STAND ON STAGE

ED SULLIVAN
(into microphone)
Ladies and gentlemen, now the moment
you've all been waiting for, the
worldfamous Jackrabbit Slim's twist
contest.

Patrons cheer.

Ed Sullivan is with Marilyn Monroe, who holds a trophy.

ED SULLIVAN
...One lucky couple will win this
handsome trophy that Marilyn here is
holding.

Marilyn holds the trophy.

ED SULLIVAN
...Now, who will be our first
contestants?

Mia holds her hand.

MIA
Right here.

Vincent reacts.

MIA
I wanna dance.

VINCENT
No, no, no no, no, no, no, no.

MIA
(overlapping)
No, no, no, no, no, no, no. I do
believe Marsellus, my husband, your
boss, told you to take me out and do
whatever I wanted, Now, I want to
dance. I want to win. I want that
trophy.

VINCENT
(sighs)
All right.

MIA
So, dance good.

VINCENT
All right, you asked for it.

Vincent and Mia walk onto the dance floor, toward Ed Sullivan.

ED SULLIVAN
(into microphone)
Let's hear it for our first
contestants.

Patrons cheer.

Vincent and Mia walk up to the microphone.

ED SULLIVAN
Now let's meet our first contestants
here this evening. Young lady, what
is your name?

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, let's see what you can
do. Take it away!

Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL".
They make hand movements as they dance.

INT. MARSELLUS WALLACE'S HOME – NIGHT

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 go 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:

INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) – NIGHT

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.

CLOSEUP – 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 son-of-a-bitch.
(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.

EXT. VINCENT'S HOT ROD (MOVING) – NIGHT

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.

INT.VINCENT'S HOT ROD (MOVING) – NIGHT

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.

INT. LANCE'S HOUSE – NIGHT

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 (O.S.)
Lance! The phone's ringing!

LANCE
(calling back)
I can hear it!

JODY (O.S.)
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 adrenaline shot?

LANCE
(dawning on him)
Maybe.

VINCENT
I need it man, I got a chick she's
fuckin' Doing 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 ODin'?

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 (O.S.)
What the hell was that?

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

EXT. LANCE'S HOUSE – NIGHT

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.

INT. LANCE'S HOUSE – NIGHT

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 adrenaline shot.

JODY
What's wrong with her?

VINCENT
She's ODing 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 adrenaline 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
joypoppin' 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...

INT. SPARE ROOM

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 (O.S.)
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 (O.S.)
What's he lookin' for?

VINCENT (O.S.)
I dunno, some medical book.

Jody calls to LANCE.

JODY (O.S.)
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 (O.S.)
– 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.

LIVING ROOM

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 done 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 ODing
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 on Mia's body where her heart is.

VINCENT
Okay, what do I do?

LANCE
Well, you're giving her an injection
of adrenaline 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 (O.S.)
...two...

Jody's face is alive with anticipation.

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

LANCE (O.S.)
...three!

The needle leaves frame, THRUSTING down hard.

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

Mia's head is JOLTED from the impact.

The syringe plunger is pushed down, PUMPING the adrenaline
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:

INT. VINCENT'S MALIBU (MOVING) – NIGHT

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

EXT. FRONT OF MARSELLUS WALLACE'S HOUSE – NIGHT

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 (O.S.)
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.

CLOSEUP – 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

FADE UP 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 (O.S.)
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 (O.S.)
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'd
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 dysentery, 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:

INT. LOCKER ROOM – NIGHT

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 white title:

SPORTSCASTER #1 (O.S.)
– 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:

EXT. ALLEY (RAINING) – NIGHT

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 (O.S.)
...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 (O.S.)
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:

INT. TAXI (PARKED/RAINING) – NIGHT

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 (O.S.)
Do you feel this ring death tragedy
will have an effect on the world of
boxing?

SPORTSCASTER #2 (O.S.)
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:

EXT. BOXING AUDITORIUM (RAINING) – NIGHT

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.

INT. TAXI (PARKED / RAINING) – NIGHT

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.

EXT. BOXING AUDITORIUM (RAINING) – NIGHT

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

INT. WILLIS LOCKER ROOM (AUDITORIUM) – NIGHT

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. Mia is standing by
the door. She sees Vincent with English Dave.

VINCENT
Mia. How you doin'?

MIA
Great. 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
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 (O.S.)
What'cha got?

ENGLISH DAVE
He booked.

MARSELLUS (O.S.)
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.

INT. CAB (MOVING / RAINING) – NIGHT

Butch gets one of his boxing gloves off.

Esmeralda 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.

Esmeralda 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 t-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 excitement.

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.

EXT. PHONE BOOTH (RAINING) – NIGHT

We DOLLY around a phone booth as Butch talks inside.

BUTCH
(into phone)
What'd 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' Fabienne'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)
Fabienne my love, our adventure
begins.

CUT TO:

EXT. MOTEL (STOPPED / RAINING) – NIGHT

Esmeralda's taxi 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.

INT. MOTEL (ROOM SIX) – NIGHT

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, FABIENNE.

FABIENNE
Keep the light off.

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

BUTCH
Is that better, sugar pop?

FABIENNE
Oui. Hard day at the office?

BUTCH
Pretty hard. I got into a fight.

FABIENNE
Poor baby. Can we make spoons?

Butch climbs into bed, spooning Fabienne from behind.

When Butch and Fabienne speak to each other, they speak in
babytalk.

FABIENNE
I was looking at myself in the mirror.

BUTCH
Uh-huh?

FABIENNE
I wish I had a pot.

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

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

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

FABIENNE
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.

FABIENNE
The difference is huge.

BUTCH
You want me to have a pot?

FABIENNE
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?

FABIENNE
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 you a pot belly, I'd punch you in
it.

FABIENNE
You'd punch me in my belly?

BUTCH
Right in the belly.

FABIENNE
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?

FABIENNE
Yes!

BUTCH
Did you get everything, sugar pop?

FABIENNE
Yes, I did.

BUTCH
Good job.

FABIENNE
Did everything go as planned?

BUTCH
You didn't listen to the radio?

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

BUTCH
I won alright.

FABIENNE
Are you still retiring?

BUTCH
Sure am.

FABIENNE
What about the man you fought?

BUTCH
Floyd retired too.

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

BUTCH
Not no more.

FABIENNE
So it all worked out in the finish?

BUTCH
We ain't at the finish, baby.

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

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

Butch nods his head: "yes."

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

Butch nods his head: "yes."

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

Butch nods his head: "no."

FABIENNE
Do you still want me to go with you?

Butch nods his head: "yes."

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

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

Fabienne reacts.

FABIENNE
Say it!

BUTCH
Fabienne, I want you to be with me.

FABIENNE
Forever?

BUTCH
...and ever.

Fabienne lies her head back.

Butch continues to massage her crotch.

FABIENNE
Do you love me?

BUTCH
Oui.

FABIENNE
Butch? Will you give me oral pleasure?

Butch kisses her on the mouth.

BUTCH
Will you kiss it?

She nods her head: "yes."

FABIENNE
But you first.

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

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

FADE TO BLACK

FADE UP:

MOTEL ROOM

Same motel room, except empty. WE HEAR THE SHOWER RUNNING in
the bathroom. The CAMERA MOVES to the bathroom doorway. We
see Fabienne 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.

FABIENNE
Giving me oral pleasure?

BUTCH
No retard, from the fight.

FABIENNE
Don't call me retard.

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

FABIENNE
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.

FABIENNE
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.

FABIENNE
Butch?

BUTCH
(drying his head)
Yes, lemon pie.

FABIENNE
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.

FABIENNE
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.

FABIENNE
But I do not speak Spanish.

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

FABIENNE
What does that mean?

BUTCH
Where's the shoe store?

FABIENNE
Donde esta el zapataria?

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

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

Butch keeps on from the other room.

BUTCH (O.S.)
Que hora es?

FABIENNE
Que hora es?

BUTCH (O.S.)
What time is it?

FABIENNE
What time is it?

BUTCH (O.S.)
Time for bed. Sweet dream, jellybean.

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

FABIENNE
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.

FABIENNE
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:

MOTEL ROOM – MORNING

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

Fabienne 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 Fabienne.

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

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

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?

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

BUTCH
Are you watchin' it?

Fabienne enters the room.

FABIENNE
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.

FABIENNE
What was it about?

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

Fabienne laughs.

FABIENNE
No, imbecile, what was your dream
about?

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

FABIENNE
You just woke up from it.

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

FABIENNE
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?

FABIENNE
You did last night.

BUTCH
What did I say?

Laying on top of him.

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

She kisses Butch.

FABIENNE
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.

Fabienne gives Butch a sweet long kiss.

FABIENNE
Satisfied?

BUTCH
Yep.

FABIENNE
Then get up, lazy bones.

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

BUTCH
What time is it?

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

BUTCH
Eleven.

FABIENNE
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.

FABIENNE
(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?

FABIENNE
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?

FABIENNE
It's there.

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

FABIENNE
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?

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

FABIENNE
Uhhh... yes... beside the table drawer
–

BUTCH
– on the little kangaroo.

FABIENNE
Yes, it was on your little kangaroo.

BUTCH
Well it's not here!

FABIENNE
(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?

Fabienne is crying and scared.

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

BUTCH
Fabienne, 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?

FABIENNE
I believe so...

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

FABIENNE
Then I did.

BUTCH
Are 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.

Butch looks toward her, suddenly calm.

BUTCH
(to Fabienne)
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.

Fabienne is still sniffling.

Butch goes to the closet.

FABIENNE
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.

FABIENNE
Why does it mean that?

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

FABIENNE
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.

FABIENNE
I was so dreadful. I saw your watch,
I thought I brought it. I'm so sorry.

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.

FABIENNE
Don't go.

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

FABIENNE
Blueberry pie.

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

FABIENNE
Okay.

He kisses her once more and heads for the door.

BUTCH
Bye-bye, sugar pop.

FABIENNE
Bye.

BUTCH
I'm gonna take your Honda.

FABIENNE
Okay.

And with that, he's out the door.

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

INT. HONDA (MOVING) – DAY

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."

EXT. CITY STREET – DAY

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

CUT TO:

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

EXT. RESIDENTIAL STREET CORNER – DAY

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.

EXT. ALLEY – DAY

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

EXT. STREET – BUTCH'S APARTMENT – DAY

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 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.

EXT. BUTCH'S APARTMENT COURTYARD – DAY

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.

INT. BUTCH'S APARTMENT – DAY

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 weaponry 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.

EXT. APARTMENT COURTYARD – DAY

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.

EXT. HONDA – DAY

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

EXT. APARTMENT BUILDING STREET – DAY

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

INT. HONDA – DAY

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 Fabienne'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".

INT. MASON-DIXIE PAWNSHOP – DAY

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 (O.S.)
– hold it right there, godammit!

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

INT. PAWNSHOP BACK ROOM – DAY

TWO SHOT – BUTCH AND MARSELLUS

They 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's 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 sleepin'.

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 (O.S.)
Whoa, this boy's got a bit of fight
in 'em!

We the HEAR Maynard and Zed beat on Marsellus.

ZED (O.S.)
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 (O.S.)
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.

INT. PAWNSHOP – DAY

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 Kenstyle, he disappears
through the red curtains to take care of business.

INT. PAWNSHOP BACK ROOM – DAY

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.

INT. RUSSELL'S OLD ROOM – DAY

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 (O.S.)
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.

EXT. MASON-DIXIE PAWNSHOP – DAY

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...

INT. BUTCH AND FABIENNE'S HOTEL ROOM – DAY

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

EXT. CITY STREET – CHOPPER (MOVING) – DAY

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

The SONG in the motel room PLAYS OVER this.

EXT. MOTEL ROOM – DAY

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

FABIENNE (O.S.)
Butch, I was so worried!

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

FABIENNE (O.S.)
But what about all our bags?

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

FABIENNE (O.S.)
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. Fabienne exits the
motel room with the boom box and a large purse. When she
sees Butch on the chopper, she stops dead.

FABIENNE
Where did you get this motorcycle?

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

Fabienne slowly approaches the two-wheel demon.

FABIENNE
What happened to my Honda?

BUTCH
Sorry baby, I crashed the Honda.

FABIENNE
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!

Fabienne 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.

FABIENNE
(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?

FABIENNE
(waterworks drying a
little)
It was good –

BUTCH
– did you get the blueberry pancakes?

FABIENNE
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.

Fabienne does climb on. Butch STARTS her up.

FABIENNE
Butch, whose motorcycle is this?

BUTCH
It's a chopper.

FABIENNE
Whose chopper is this?

BUTCH
Zed's.

FABIENNE
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 (O.S.)
You ever read the Bible, Brett?

BRETT (O.S.)
Yes!

JULES (O.S.)
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:

INT. BATHROOM – DAY

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 (O.S.)
"...blessed is he who, in the name
of charity and good will, shepherded
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 (O.S.)
Friend of yours?

JULES (O.S.)
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.

INT. APARTMENT – DAY

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?

EXT. HOLLYWOOD APARTMENT BUILDING – MORNING

The Chevy Nova PROPELS itself into traffic.

INT. NOVA (MOVING) – MORNING

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-ofa-bitch, the gun just went
off, don't ask me how!

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.

INT. JIMMIE'S BATHROOM – DAY

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.

INT. JIMMIE'S KITCHEN – MORNING

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.

INT. MARSELLUS WALLACE'S DINING ROOM – MORNING

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?

INT. JIMMIE'S BEDROOM – MORNING

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
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.

INT. HOTEL SUITE – MORNING

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:

EXT. JIMMIE'S STREET – MORNING

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.

INT. JIMMIE'S HOUSE – MORNING

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.

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.

JIMMIE
She won't at that.

THE WOLF
That gives us 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.

INT. JIMMIE'S GARAGE – MORNING

The three men hang 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.

INT. KITCHEN – MORNING

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
cleansers 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 it. 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.

INT. JIMMIE'S BEDROOM – MORNING

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.

INT. GARAGE – MORNING

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.

INT. CHEVY NOVA – MORNING

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.

EXT. JIMMIE'S BACKYARD – MORNING

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 nozzles 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.

FADE UP ON:

JULES AND VINCENT 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, our 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.

INT. JIMMIE'S GARAGE – MORNING

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.

EXT. MONSTER JOE'S TRUCK AND TOW – MORNING

Jules and Vincent wait by Winston's Porsche.

JULES
We cool?

WINSTON
Like it never happened.

Jules and Vincent bump fists.

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. Want to have breakfast
with me?

JULES
Sure.

INT. COFFEE SHOP – MORNING

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
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 heads 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.

INT. COFFEE SHOP BATHROOM – MORNING

Vincent, on the toilet, oblivious to the pandemonium outside,
reads his "MODESTY BLAISE" book.

INT. COFFEE SHOP – MORNING

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...

PUMPKIN
...two... 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 her 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 (O.S.)
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 coldblooded 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.

FADE OUT

THE END