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

In the past six years, 50's diners have sprung up all over LA, giving Thai restaurants a run for their money. They're all basically the same. Decor out of an "Archie" comic book, Golden Oldies constantly emanating from a bubbly Wurlitzer, saucy waitresses in bobby socks, menus with items like the Fats Domino Cheeseburger, or the Wolfman Jack Omelette, and over prices that pay for all this bullshit.
But then there's JACKRABBIT SLIM'S, the big mama of 50's diners. Either the best or the worst, depending on your point of view.
Vincent's Malibu pulls up to the restaurant. A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment. Underneath the cartoon is the name: JACKRABBIT SLIM'S. Underneath that i s the slogan: "Next best thing to a time machine".

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

Compared to the interior, the exterior was that of a quaint English pub. Posters from 50's A.I.P. movies are all over the wall ("ROCK ALL NIGHT", "HIGH SCHOOL CONFIDENTIAL", "ATTACK OF THE CRAB MONSTER", and "MACHINE GUN KELLY"). The booths that the patrons sit in are made out of the cut up bodies of 50s cars.
In the middle of the restaurant in a dance floor. A big sign on the wall states, "No shoes allowed". So wannabe beboppers (actually Melrose-types), do the twist in their socks or barefeet.
The picture windows don't look out the street, but instead, B&W movies of 50's street scenes play behind them. The WAITRESSES and WAITERS are made up as replicas of 50's icons: MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing appropriate costumes.
Vincent and Mia study the menu in a booth made out of a red '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting a big button on his chest that says: "Hi I'm Buddy, pleasing you please me".
BUDDY Hi I'm Buddy, what can I get'cha?
VINCENT I'll have the Douglas Sirk steak.
BUDDY How d'ya want it, burnt to a crisp, or bloody as hell?
VINCENT Bloody as hell. And to drink, a vanilla coke.
BUDDY How 'bout you, Peggy Sue?
MIA I'll have the Durwood Kirby burger -- bloody -- and a five-dollar shake.
BUDDY How d'ya want that shake, Martin and Lewis, or Amos and Andy?
MIA Martin and Lewis.
VINCENT Did you just order a five-dollar shake?
MIA Sure did.
VINCENT A shake? Milk and ice cream?
MIA Uh-huh.
VINCENT It costs five dollars?
BUDDY Yep.
VINCENT You don't put bourbon in it or anything?
BUDDY Nope.
VINCENT Just checking.
Buddy exits.
Vincent takes a look around the place. The YUPPIES are dancing, the DINERS are biting into big, juicy hamburgers, and the icons are playing their parts. Marilyn is squealing, The Midget is paging Philip Morris, Donna Reed is making her cu stomers drink their milk, and Dean and Jerry are acting a fool.
MIA Whaddya think?
VINCENT It's like a wax museum with a pulse rate.
Vincent takes out his pouch of tobacco and begins rolling himself a smoke.
After a second of watching him --
MIA What are you doing?
VINCENT Rollin' a smoke.
MIA Here?
VINCENT It's just tobacco.
MIA Oh. Well in that case, will you roll me one, cowboy?
As he finishes licking it --
VINCENT You can have his one, cowgirl.
He hands her the rolled smoke. She takes it, putting it to her lips. Out of nowhere appears a Zippo lighter in Vincent's hand. He lights it.
MIA Thanks.
VINCENT Think nothing of it.
He begins rolling one for himself.
As this time, the SOUND of a subway car fills the diner, making everything SHAKE and RATTLE. Marilyn Monroe runs to a square vent in the floor. An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal. The entire restaurant applauds.
Back to Mia and Vincent
MIA Marsellus said you just got back from Amsterdam.
VINCENT Sure did. I heard you did a pilot.
MIA That was my fifteen minutes.
VINCENT What was it?
MIA It was show about a team of female secret agents called "Fox Force Five".
VINCENT What?
MIA "Fox Force Five". Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one, two, three, four, five of us. There was a blonde one, Sommerset O'Neal from that show "Baton Rouge", she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex...
VINCENT What was your specialty?
MIA Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist -- when you're keeping the world safe from evil, you never know when being a trapeze artist's gonna come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke.
VINCENT Do you remember any of the jokes?
MIA Well I only got the chance to say one, 'cause we only did one show.
VINCENT Tell me.
MIA No. It's really corny.
VINCENT C'mon, don't be that way.
MIA No. You won't like it and I'll be embarrassed.
VINCENT You told it in front of fifty million people and you can't tell it to me? I promise I won't laugh.
MIA (laughing) That's what I'm afraid of.
VINCENT That's not what I meant and you know it.
MIA You're quite the silver tongue devil, aren't you?
VINCENT I meant I wouldn't laugh at you.
MIA That's not what you said Vince. Well now I'm definitely not gonna tell ya, 'cause it's been built up too much.
VINCENT What a gyp.
Buddy comes back with the drinks. Mia wraps her lips around the straw of her shake.
MIA Yummy!
VINCENT Can I have a sip of that? I'd like to know what a five-dollar shake tastes like.
MIA Be my guest.
She slides the shake over to him.
MIA You can use my straw, I don't have kooties.
Vincent smiles.
VINCENT Yeah, but maybe I do.
MIA Kooties I can handle.
He takes a sip.
VINCENT Goddamn! That's a pretty fuckin' good milk shake.
MIA Told ya.
VINCENT I don't know if it's worth five dollars, but it's pretty fuckin' good.
He slides the shake back.
Then the first of an uncomfortable silence happens.
MIA Don't you hate that?
VINCENT What?
MIA Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?
VINCENT I don't know.
MIA That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence.
VINCENT I don't think we're there yet. But don't feel bad, we just met each other.
MIA Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say.
VINCENT I'll do that.

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

Mia powders her nose by doing a big line of coke off the bathroom sink. Her head jerks up from the rush.
MIA (imitating Steppenwolf) I said goddamn! Goddamn! Goddamn...

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

Vincent digs into his Douglas Sirk steak. As he chews, his eyes scan the Hellsapopinish restaurant.
Mia comes back to the table.
MIA Don't you love it when you go to the bathroom and you come back to find your food waiting for you?
VINCENT We're lucky we got it at all. Buddy Holly doesn't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section.
MIA Which one, there's two Marilyn Monroes.
VINCENT No there's not.
Pointing at Marilyn in the white dress serving a table.
VINCENT That's Marilyn Monroe...
Then, pointing at a BLONDE WAITRESS in a tight sweater and capri pants, taking an order from a bunch of FILM GEEKS --
VINCENT ...and that's Mamie Van Doren. I don't see Jayne Mansfield, so it must be her night off.
MIA Pretty smart.
VINCENT I have moments.
MIA Did ya think of something to say?
VINCENT Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I didn't want to offend you.
MIA Oooohhhh, this doesn't sound like mindless, boring, getting-to-know-you-chit-chat. This sounds like you actually have something to say.
VINCENT Only if you promise not to get offended.
MIA You can't promise something like that. I have no idea what you're gonna ask. You could ask me what you're gonna ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise.
VINCENT Then let's just forget it.
MIA That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility.
VINCENT Is that a fact?
Mia nods her head: "Yes".
MIA Besides, it's more exciting when you don't have permission.
VINCENT What do you think about what happened to Antwan?
MIA Who's Antwan?
VINCENT Tony Rocky Horror.
MIA He fell out of a window.
VINCENT That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you.
MIA Is that a fact?
VINCENT No it's not, it's just what I heard.
MIA Who told you this?
VINCENT They.
Mia and Vincent smile.
MIA They talk a lot, don't they?
VINCENT They certainly do.
MIA Well don't by shy Vincent, what exactly did they say?
Vincent is slow to answer
MIA Let me help you Bashful, did it involve the F-word?
VINCENT No. They just said Rocky Horror gave you a foot massage.
MIA And...?
VINCENT No and, that's it.
MIA You heard Marsellus threw Rocky Horror out of a four-story window because he massaged my feet?
VINCENT Yeah.
MIA And you believed that?
VINCENT At the time I was told, it seemed reasonable.
MIA Marsellus throwing Tony out of a four-story window for giving me a foot massage seemed reasonable?
VINCENT No, it seemed excessive. But that doesn't mean it didn't happen. I heard Marsellus is very protective of you.
MIA A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else.
VINCENT But did it happen?
MIA The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once -- at my wedding -- then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle.
VINCENT Are you mad?
MIA Not at all. Being the subject of back-fence gossip goes with the right, I guess.
She takes a sip of her five-dollar shake, and says:
MIA Thanks.
VINCENT What for?
MIA Asking my side.
At that moment, a great oldie-but-goodie BLASTS from the jukebox.
MIA I wanna dance.
VINCENT I'm not much of a dancer.
MIA Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.
Vincent smiles and begins taking off his boots. Mia triumphantly casts hers off. He takes her hand, escorting her to the dance floor. The two face each other for that brief moment before you begin to dance, than they both break into a devilish twist. M ia's version of the twist is that of a sexy cat. Vincent is pure Mr. Cool as he gets into a hip- swivelling rhythm that would make Mr. Checker proud.
The OTHER DANCERS on the floor are trying to do the same thing, but Vincent and Mia seem to be strangely shaking their asses in sync. The two definitely share a rhythm and share smiles as they SING ALONG with the last verse of the Golden Oldie.
CUT TO:

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

The front door FLINGS open, and Mia and Vincent dance tango- style into the house, singing a cappella the song from the previous scene. They finish their little dance, laughing.
Then...
The two just stand face to face looking at each other.
VINCENT Was than an uncomfortable silence?
MIA I don't know what that was. (pause) Music and drinks!
Mia moves away to attend to both. Vincent hangs up his overcoat on a big bronze coat rack in the alcove.
VINCENT I'm gonna take a piss.
MIA That was a little bit more information than I needed to know, but for right ahead.
Vincent shuffles off to the john.
Mia moves to her CD player, thumbs through a stack of CDs and selects one: k.d. lang. The speakers BLAST OUT a high energy country number, which Mia plays air-guitar to. She dances her way around the room and finds herself b y 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 o ne 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 ma dman that Vincent bought earlier from Lance. Wearing a big smile, Mia brings the bag of heroin up to her face.
MIA (like you would say Bingo!) Disco! Vince, you little cola nut, you've been holding out on me.
CUT TO:

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

Vincent stands at the sink, washing his hands, talking to himself in the mirror.
VINCENT One drink and leave. Don't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.
LIVING ROOM
Mia has the unbeknownst-to-her heroin cut up into big lines on her glass top coffee table. Taking her trusty hundred dollar bill like a human Dust-Buster, she quickly snorts the fat line.
CU -- MIA her head JERKS back. Her hands go to her nose (which feels like it's on fucking fire), something is terribly wrong. Then... the rush hits...
BATHROOM
Vincent dries his hands on a towel while he continues his dialogue with the mirror.
VINCENT ...it's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.
LIVING ROOM
Mia is on all fours trying to crawl to the bathroom, but it's like she's trying to crawl with the bones removed from her knees. Blood begins to drip from Mia's nose. Then her stomach gets into the act and she VOMITS.
BATHROOM
Vince continues.
VINCENT So you're gonna go out there, drink your drink, say "Goodnight, I've had a very lovely evening", go home, and jack off. And that's all you're gonna do.
Now that he's given himself a little pep talk, Vincent's ready for whatever's waiting for him on the other side of that door. So he goes through it.
LIVING ROOM
We follow behind Vincent as he walks from the bathroom to the living room, where he finds Mia lying on the floor like a rag doll. She's twisted on her back. Blood and puke are down her front. And her face is contorted. Not out of the tightness of pain, but just the opposite, the muscles in her face are so relaxed, she lies still with her mouth wide open. Slack- jawed.
VINCENT Jesus Christ!
Vincent moves like greased lightning to Mia's fallen body. Bending down where she lays, he puts his fingers on her neck to check her pulse. She slightly stirs.
Mia is aware of Vincent over her, speaking to her.
VINCENT (sounding weird) Mia! Mia! What the hell happened?
But she's unable to communicate. Mia makes a few lost mumbles, but they're not distinctive enough to be called words.
Vincent props her eyelids open and sees the story.
VINCENT (to himself) I'll be a sonofabitch. (to Mia) Mia! Mia! What did you take? Answer me honey, what did you take?
Mia is incapable of answering. He SLAPS her face hard.
Vincent SPRINGS up and RUNS to his overcoat, hanging on the rack. He goes through the pockets FRANTICALLY. It's gone. Vincent makes a beeline to Mia. We follow.
VINCENT (yelling to Mia) Okay honey, we're getting you on your feet.
He reaches her and hoists the dead weight up in his arms.
VINCENT We're on our feet now, and now we're gonna talk out to the car. Here we go, watch us walk.
We follow behind as he hurriedly walks the practically- unconscious Mia through the house and out the front door.

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

INSERT SPEEDOMETER: red needle on a hundred.
Vincent driving like a madman in a town without traffic laws, speeds the car into turns and up and over hills.

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

Vincent, one hand firmly on the wheel, the other shifting like Robocop, both eyes staring straight ahead except when he glances over at Mia.
Mia, slack-jawed expression, mouth gaping, posture of a bag of water.
Vincent takes a cellular phone out of his pocket. He punches a number.

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

At this late hour, Lance has transformed from a bon vivant drug dealer to a bathrobe creature.
He sits in a big comfy chair, ratty blue gym pants, a worn-out but comfortable tee-shirt that has, written on it, "TAFT, CALIFORNIA", and a moth-ridden terry cloth robe. In his hand is a bowl of Cap'n Crunch with Crunch Berries. In front of him on the coffee table is a jug of milk, the box the Cap'n Crunch with Crunch Berries came out of, and a hash pipe in an ashtray. On the big-screen TV in front of the table is the Three Stooges, and they're getting married.
PREACHER (EMIL SIMKUS) (on TV) Hold hands, you love birds.
The phone RINGS.
Lance puts down his cereal and makes his way to the phone.
It RINGS again.
Jody, his wife, CALLS from the bedroom, obviously woken up.
JODY (OS) Lance! The phone's ringing!
LANCE (calling back) I can hear it!
JODY (OS) I thought you told those fuckin' assholes never to call this late!
LANCE (by the phone) I told 'em and that's what I'm gonna tell this fuckin' asshole right now! (he answers the phone) Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.
BACK TO VINCENT IN THE MALIBU Vincent is still driving like a stripe-assed ape, clutching the phone to his ear. WE CUT BACK AND FORTH during the conversation.
VINCENT Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.
LANCE Whoa, hold you horses man, what's the problem?
VINCENT You still got an adrenalin shot?
LANCE (dawning on him) Maybe.
VINCENT I need it man, I got a chick she's fuckin' O.D.ing on me.
LANCE Don't bring her here! I'm not even fuckin' joking with you, don't you be bringing some fucked up pooh- butt to my house!
VINCENT No choice.
LANCE She's O.D.in'?
VINCENT Yeah. She's dyin'.
LANCE Then bite the fuckin' bullet, take 'er to a hospital and call a lawyer!
VINCENT Negative.
LANCE She ain't my fuckin' problem, you fucked her up, you deal with it -- are you talkin' to me on a cellular phone?
VINCENT Sorry.
LANCE I don't know you, who is this, don't come here, I'm hangin' up.
VINCENT Too late, I'm already here.
At that moment inside Lance's house, WE HEAR Vincent's Malibu coming up the street. Lance hangs up the phone, goes to his curtains and YANKS the cord. The curtains open with a WHOOSH in time to see Vincent's Malibu DRIVIN G UP on his front lawn and CRASHING into his house. The window Lance is looking out of SHATTERS from the impact.
JODY (OS) What the hell was that?
Lance CHARGES from the window, out the door to his front lawn.

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

Vincent is already out of the car, working on getting Mia out.
LANCE Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone --
VINCENT If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!
LANCE Are you deaf? You're not bringin' that fucked up bitch in my house!
VINCENT This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gonna be forced to tell 'im about how you coulda saved her life, but instead you let her die on your front lawn.

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

WE START in Lance's and Jody's bedroom.
Jody, in bed, throws off the covers and stands up. She's wearing a long tee-shirt with a picture of Fred Flintstone on it.
We follow HANDHELD behind her as she opens the door, walking through the hall into the living room.
JODY It's only one-thirty in the goddamn mornin'! What the fuck's goin' on out here?
As she walks in the living room, she sees Vincent and Lance standing over Mia, who's lying on the floor in the middle of the room.
From here on in, everything in this scene is frantic, like a DOCUMENTARY in an emergency ward, with the big difference here being nobody knows what the fuck they're doing.
JODY Who's she?
Lance looks up at Jody.
LANCE Get that black box in the bedroom I have with the adrenalin shot.
JODY What's wrong with her?
VINCENT She's O.D.ing on us.
JODY Well get her the hell outta here!
LANCE AND VINCENT (in stereo) Get the fuckin' shot!
JODY Don't yell and me!
She angrily turns and disappears into the bedroom looking for the shot.
WE MOVE into the room with the two men.
VINCENT (to Lance) You two are a match made in heaven.
LANCE Look, just keep talkin' to her, okay? While she's gettin' the shot, I gotta get a medical book.
VINCENT What do you need a medical book for?
LANCE To tell me how to do it. I've never given an adrenalin shot before.
VINCENT You've had that thing for six years and you never used it?
LANCE I never had to use it. I don't go joy-poppin' with bubble-gummers, all of my friends can handle their highs!
VINCENT Well then get it.
LANCE I am, if you'll let me.
VINCENT I'm not fuckin' stoppin' you.
LANCE Stop talkin' to me, and start talkin' to her.
WE FOLLOW Lance as he runs out of the living room into a...

29. SPARE ROOM 29.

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 (OS) Hurry up man! We're losin' her!
LANCE (calling back) I'm looking as fast as I can!
Lance continues his frenzied search.
WE HEAR Jody in the living room now as she talks to Vincent.
JODY (OS) What's he lookin' for?
VINCENT (OS) I dunno, some medical book.
Jody calls to Lance.
JODY (OS) What are you lookin' for?
LANCE My black medical book!
As he continues searching, flipping and knocking over shit, Jody appears in the doorway.
JODY Whata re you looking for?
LANCE My black fuckin' medical book. It's like a text book they give to nurses.
JODY I never saw a medical book.
LANCE Trust me, I have one.
JODY Well if it's that important, why didn't you keep it with the shot?
Lance spins toward her.
LANCE I don't know! Stop bothering me!
JODY While you're lookin' for it, that girl's gonna die on our carpet. You're never gonna find it in all this shit. For six months now, I've been telling you to clean this room --
VINCENT (OS) -- get your ass in here, fuck the book!
Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room.

30. LIVING ROOM 30.

Vincent is bent over Mia, talking softly to her, when Lance reenters the room.
VINCENT Quit fuckin' around man and give her the shot!
Lance bends down by the black case brought in by Jody. He opens it and begins preparing the needle for injection.
LANCE While I'm doing this, take her shirt off and find her heart.
Vince rips her blouse open.
Jody stumbles back in the room, hanging back from the action.
VINCENT Does it have to be exact?
LANCE Yeah, it has to be exact! I'm giving her an injection in the heart, so I gotta exactly hit her in the heart.
VINCENT Well, I don't know exactly where her heart is, I think it's here.
Vince points to Mia's right breast. Lance glances over and nods.
LANCE That's it.
As Lance readies the injection, Vincent looks up at Jody.
VINCENT I need a big fat magic marker, got one?
JODY What?
VINCENT I need a big fat magic marker, any felt pen'll do, but a magic marker would be great.
JODY Hold on.
Jody runs to the desk, opens the top drawer and, in her enthusiasm, she pulls the drawer out of the desk, the contents of which (bills, papers, pens) spill to the floor.
The injection is ready. Lance hands Vincent the needle.
LANCE It's ready, I'll tell you what to do.
VINCENT You're gonna give her the shot.
LANCE No, you're gonna give her the shot.
VINCENT I've never does this before.
LANCE I've never does this before either, and I ain't starting now. You brought 'er here, that means you give her the shot. The day I bring an O.D.ing bitch to your place, then I gotta give her the shot.
Jody hurriedly joins them in the huddle, a big fat red magic marker in her hand.
JODY Got it.
Vincent grabs the magic marker out of Jody's hand and makes a big red dot in Mia's body where her heart is.
VINCENT Okay, what do I do?
LANCE Well, you're giving her an injection of adrenalin straight to her heart. But she's got a breast plate in front of her heart, so you gotta pierce through that. So what you gotta do is bring the needle down in a stabbing motion .
Lance demonstrates a stabbing motion, which looks like "The Shape" killing its victims in "HALLOWEEN".
VINCENT I gotta stab her?
LANCE If you want the needle to pierce through to her heart, you gotta stab her hard. Then once you do, push down on the plunger.
VINCENT What happens after that?
LANCE I'm curious about that myself.
VINCENT This ain't a fuckin' joke man!
LANCE She's supposed to come out of it like -- (snaps his fingers) -- that.
Vincent lifts the needle up above his head in a stabbing motion. He looks down on Mia.
Mia is fading fast. Soon nothing will help her.
Vincent's eyes narrow, ready to do this.
VINCENT Count to three.
Lance, on this knees right beside Vincent, does not know what to expect.
LANCE One...
RED DOT on Mia's body.
Needle raised ready to strike.
LANCE (OS) ...two...
Jody's face is alive with anticipation.
NEEDLE in that air, poised like a rattler ready to strike.
LANCE (OS) ...three!
The needle leaves frame, THRUSTING down hard.
Vincent brings the needle down hard, STABBING Mia in the chest.
Mia's head if JOLTED from the impact.
The syringe plunger is pushed down, PUMPING the adrenalin out through the needle.
Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee. She BOLTS UP in a sitting position, needle stuck in her chest -- SCREAMING.
Vincent, Lance and Jody, who were in sitting positions in front of Mia, JUMP BACK, scared to death.
Mia's scream runs out. She slowly starts taking breaths of air.
The other three, now scooted halfway across the room, shaken to their bones, look to see if she's alright.
LANCE If you're okay, say something.
Mia, still breathing, not looking up at them, says in a relatively normal voice.
MIA Something.
Vincent and Lance collapse on their backs, exhausted and shaking from how close to death Mia came.
JODY Anybody want a beer?
CUT TO:

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

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

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

The Malibu pulls up to the front. Mia gets out without saying a word (still in a daze) and begins walking down the walkway toward her front door.
VINCENT (OS) Mia!
She turns around.
Vincent's out of the car, standing on the walkway, a big distance between the two.
VINCENT What are your thoughts on how to handle this?
MIA What's yours?
VINCENT Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident.
Mia smiles.
MIA Don't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you.
VINCENT I seriously doubt that.
MIA If you can keep a secret, so can I.
VINCENT Let's shake on it.
The two walk toward each other, holding out their hands to shake and shake they do.
VINCENT Mum's the word.
Mia lets go of Vincent's hand and silently makes the see-no-evil, hear-no-evil, and speak-no-evil sign with her hands.
Vincent smiles.
VINCENT If you'll excuse me, I gotta go home and have a heart attack.
Mia giggles.
Vincent turns to leave.
MIA You still wanna hear my "Fox Force Five" joke?
Vincent turns around.
VINCENT Sure, but I think I'm still a little too petrified to laugh.
MIA Uh-huh. You won't laugh because it's not funny. But if you still wanna hear it, I'll tell it.
VINCENT I can't wait.
MIA Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him -- (STAMPS on the ground) -- and says: catch up.
They both smile, but neither laugh.
MIA See ya 'round, Vince.
Mia turns and walks inside her house.
CU -- VINCENT after Mia walks inside. Vincent continues to look at where she was. He brings his hands to his lips and blows her a kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu START UP and DRIVE AWAY.
FADE TO BLACK