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

Three bags of heroin lie on Lance's bed.

Lance and Vincent stand at the foot of the bed.

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

VINCENT Remember, I just got back from Amsterdam.

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

VINCENT That's a bold statement.

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

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

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

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

VINCENT Which one's Trudi? The one with all the shit in her face? LANCE No, that's Jody. That's my wife.

Vincent and Lance giggle at the "faux pas."

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

LANCE No problem?

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

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

LANCE Me casa, su casa.

VINCENT Mucho gracias.

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

LANCE Still got your Malibu?

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

LANCE What?

VINCENT Fuckin' keyed it.

LANCE Oh man, that's fucked up.

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

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

As he cooks his heroin --

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

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

CU - THE NEEDLE going into Vincent's vein.

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

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

CUT TO:

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

CU - NOTE

"Hi Vincent,

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

Mia"

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

As Vincent steps inside, the MUSIC that was behind the door, SWELLS drastically. Vincent, hands in pockets, strolls inside, checking out his boss' home. VINCENT (yelling) Hello! I'm here!

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

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

MIA Vincent Vega?

VINCENT I'm Vincent, you Mia?

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

VINCENT Take your time.

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

WE CUT:

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

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

Vincent walks to the bar and pours himself a drink.

WE JUXTAPOSE as the MUSIC plays.

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

Vincent, drink in hand, moves into the living room. Mia, her back to CAMERA, dressed in her pretty dress, checks herself in the mirror. We DOLLY towards her. Her face is still obscured.

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

HIGH ANGLE SHOT OF VINCENT looking up at the portrait.

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

Vincent sits on a plush, comfy couch.

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

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

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

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

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

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

VINCENT Ready to go?

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

VINCENT Yeah, she's my cousin.

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

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

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

VINCENT I can dig it.

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

VINCENT The Partridge Family all the way, no comparison.

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

VINCENT Nick Nolte, of course.

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

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

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

VINCENT Betty. I never understood Veronica attraction.

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

VINCENT Sure.

MIA (OS) Who?

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

MIA (OS) Who's Arlene Motika?

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

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

MIA Cut. Print. Let's go eat.

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

But then there's JACKRABBIT SLIM'S, the big mama of 50's diners. Either the best or the worst, depending on your point of view. Vincent's Malibu pulls up to the restaurant. A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment. Underneath the cartoon is the name: JACKRABBIT SLIM'S. Underneath that is the slogan: "Next best thing to a time machine."

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

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

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

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

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

VINCENT I'll have the Douglas Sirk steak.

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

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

BUDDY How 'bout you, Peggy Sue?

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

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

MIA Martin and Lewis.

VINCENT Did you just order a five-dollar shake?

MIA Sure did.

VINCENT A shake? Milk and ice cream?

MIA Uh-huh.

VINCENT It costs five dollars?

BUDDY Yep.

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

BUDDY Nope.

VINCENT Just checking.

Buddy exits.

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

MIA Whaddya think?

VINCENT It's like a wax museum with a pulse rate. Vincent takes out his pouch of tobacco and begins rolling himself a smoke.

After a second of watching him --

MIA What are you doing?

VINCENT Rollin' a smoke.

MIA Here?

VINCENT It's just tobacco.

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

As he finishes licking it --

VINCENT You can have 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.

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!

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

Mia comes back to the table.

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

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

MIA Which one, there's two Marilyn Monroes.

VINCENT No there's not.

Pointing at Marilyn in the white dress serving a table.

VINCENT That's Marilyn Monroe...

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

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

MIA Pretty smart.

VINCENT I have moments.

MIA Did ya think of something to say?

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

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

VINCENT Only if you promise not to get offended.

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

VINCENT Then let's just forget it.

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

VINCENT Is that a fact?

Mia nods her head: "Yes."

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

VINCENT What do you think about what happened to Antwan?

MIA Who's Antwan?

VINCENT Tony Rocky Horror.

MIA He fell out of a window.

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

MIA Is that a fact?

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

MIA Who told you this? VINCENT They.

Mia and Vincent smile.

MIA They talk a lot, don't they?

VINCENT They certainly do.

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

Vincent is slow to answer

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

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

MIA And...?

VINCENT No and, that's it.

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

VINCENT Yeah.

MIA And you believed that?

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

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

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

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

VINCENT But did it happen?

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

VINCENT Are you mad?

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

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

MIA Thanks.

VINCENT What for?

MIA Asking my side.

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

MIA I wanna dance.

VINCENT I'm not much of a dancer. MIA Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.

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

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