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.

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

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

Butch looks out the window at his former home.

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

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

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

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

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

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

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

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

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

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

Butch CUTS into cross traffic and is BROAD-SIDED by a gold Camaro Z-28, BREAKING all the windows in the Honda and sending it up on the sidewalk. Butch sits dazed and confused in the crumpled mess of what at one time was Fabian's Honda. Blood flows from his nostrils. The still-functional tape player continues to play. A PEDESTRIAN pokes his head inside.

PEDESTRIAN Jesus, are you okay?

Butch look at him, spaced-out.

BUTCH I guess.

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

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

This jerk's yelling makes Marsellus come to.

TWO PEDESTRIANS help the shaken Butch out of the wreckage.

The woozy Marsellus gets to his feet.

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

MARSELLUS (still incoherent) Who?

GAWKER #2 (pointing at Butch) Him.

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

MARSELLUS Well, I'll be damned.

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

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

BUTCH Sacre bleu.

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

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

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

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

Marsellus RUNS after him.

The CROWD looks agape.

Butch is in a mad, limping RUN.

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

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

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

MAYNARD Can I help you wit' somethin'?

BUTCH Shut up!

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

MAYNARD Now you just wait one goddamn minute --

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

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

Outside, two police cars with their SIRENS BLARING race by. Butch POUNCES on the fallen body, PUNCHING him twice more in the face.

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

BUTCH So you like chasing people, huh?

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

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

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

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

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

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

Butch does.

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

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

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

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

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

FADE TO BLACK

FADE UP:

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

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

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

A BUZZER buzzes.

MAYNARD That' Zed.

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

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

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

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

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

MAYNARD I did.

ZED Then how come they're all beat up?

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

ZED (to Butch) You were gonna shoot him?

Butch makes no reply.

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

MAYNARD Yeah, it ain't Tuesday is it?

ZED No, it's Thursday.

MAYNARD Then she'll be fine.

ZED Bring out The Gimp.

MAYNARD I think The Gimp's asleep.

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

Maynard opens a trap door in the floor.

MAYNARD (yelling in the hole) Wake up!

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

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

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

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

Maynard hangs back while Zed appraises the two men.

MAYNARD Who's first?

ZED I ain't fer sure yet.

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

Butch are Marsellus are terrified.

Maynard looks back and forth at the victims.

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

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

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

Zed stands up.

ZED Wanna do it here?

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

Zed grabs Marsellus' chair and DRAGS him into Russell's old room. Russell, no doubt, was some other poor bastard that has the misfortune of stumbling into the Mason-Dixie pawnshop. Whatever happened to Russell is known only to Maynard and Zed because his old room, a back room in the back of the back room, is empty. As Marsellus is dragged away, he locks eyes with Butch before he disappears behind the door of Russell's old room.

MAYNARD (to The Gimp) Up!

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

MAYNARD Keep an eye on this one.

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

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

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

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

We the HEAR Maynard and Zed beat on Marsellus.

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

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

The Gimp is laughing wildly.

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

The Gimp slaps his knee laughing

In the back room, we hear:

MAYNARD (OS) That's it...that's it boy, you're goin' fine. Oooooooh, just like that...that's good. (grunting faster) Stay still...stay still goddamn ya! Zed goddammit, git over here and hold 'em! Butch stops struggling and lifts up on his arms. Then, quite easily, the padded chair back slides up and off as if it were never connected by a bolt.

The Gimp sees this and its eyes widen.

THE GIMP Huhng?

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

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

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

Butch sneaks to the door.

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

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

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

A Samurai sword.

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

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.

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

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

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

BUTCH Hey hillbilly.

Maynard turns and sees Butch holding the sword.

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

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

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

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

Butch's eyes follow Zed's.

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

Zed's hand inches toward the weapon.

Butch GRIPS the sword tighter.

Zed studies Butch, Butch looks hard at Zed.

Then a VOICE says:

MARSELLUS (OS) Step aside, Butch.

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

KABOOM!!!!

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

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

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

BUTCH You okay?

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

Long pause.

BUTCH What now?

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

BUTCH I meant what now, between me and you?

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

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

BUTCH Deal.

The two men shake hands, then hug one another.

MARSELLUS Go on now, get your ass outta here.

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

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

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...

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

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

The SONG in the motel room PLAYS OVER this.

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

FABIAN (OS) Butch, I was so worried!

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

FABIAN (OS) But what about all our bags?

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

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

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

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

FABIAN Where did you get this motorcycle?

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

Fabian slowly approaches the two-wheel demon.

FABIAN What happened to my Honda?

BUTCH Sorry baby, I crashed the Honda.

FABIAN You're hurt?

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

She doesn't move.

Butch looks at her.

BUTCH Honey, we gotta hit the fuckin' road!

Fabian starts to cry.

Butch realizes that this is not the way to get her on the bike. He turns off the engine and reaches out, taking her hand.

BUTCH I'm sorry, baby-love.

FABIAN (crying) You were gone so long, I started to think dreadful thoughts.

BUTCH I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast?

FABIAN (waterworks drying a little) It was good --

BUTCH -- did you get the blueberry pancakes?

FABIAN No, they didn't have blueberry pancakes, I had to get buttermilk -- are you sure you're okay?

BUTCH Baby-love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it.

Fabian does climb on. Butch STARTS her up.

FABIAN Butch, whose motorcycle is this?

BUTCH It's a chopper.

FABIAN Whose chopper is this?

BUTCH Zed's.

FABIAN Who's Zed?

BUTCH Zed's dead, baby, Zed's dead.

And with that, the two lovebirds PEEL AWAY on Grace, as the SONG on the BOOM BOX RISES.

FADE TO BLACK

TITLE CARD:

"JULES VINCENT JIMMIE & THE WOLF"

TITLE DISAPPEARS.

Over black, we can HEAR in the distance, men talking.

JULES (OS) You ever read the Bible, Brett?

BRETT (OS) Yes!

JULES (OS) There's a passage I got memorized, seems appropriate for this situation: Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men...." FADE UP:

We're in the bathroom of the Hollywood apartment we were in earlier. In fact, we're there at exactly the same time. Except this time, we're in the bathroom with the FOURTH MAN. The Fourth Man is pacing around the small room, listening hard to what's being said on the other side of the door, tightly CLUTCHING his huge silver ,357 Magnum.

JULES (OS) "...blessed is he who, in the name of charity and good will, shephered the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you."

BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM!

The Fourth Man freaks out. He THROWS himself against the back wall, gun outstretched in front of him, a look of yellow fear on his face, ready to blow in half anybody fool enough to stick their head through that door.

Then he listens to them talk.

VINCENT (OS) Friend of yours?

JULES (OS) Yeah, Marvin-Vincent-Vincent- Marvin.

Waiting for them isn't the smartest move. Bursting out the door and blowing them all away while they're fuckin' around is the way to go.