Interrupted by Pumpkin and Honey Bunny robbery beat - same as the end of Scene 1, only from Jules and Vincent’s POV, this time played out to the movie’s finale.ġ. 143–159)Įating breakfast in their goofy T-shirts, Jules announces again he is going to quit his violent line of work. SCENES 24 - COFFEE SHOP-PUMPKIN/HONEY BUNNY (P. Jules and Vincent thank the Wolf for disposing of Marvin’s body. The Wolf oversees the clean-up operation, prepping Marvin’s body for disposal, and getting Jules and Vincent new clothes, UC Santa Cruz and “I’m With Stupid” T-shirts. SCENES 22 - JULES AND VINCENT, PART 3 (P. Marsellus contacts “The Wolf” to help clean up. 120–126)Īt Jules’ friend Jimmie’s house, Jules calls Marsellus about what to do with dead body (Marvin). SCENES 21 - JULES AND VINCENT, PART 2 (P. Vincent accidentally shoots and kills Marvin inside the car. Convinced of the miracle, Jules determines to quit his work as a hired thug. They take the only guy to survive the shoot-out, Marvin, in Vincent’s car. They take the black briefcase.ĭATE: MONDAY MORNING (3 DAYS BEFORE SCENES 18) Jules convinced they survived surprise attack by Fourth Man because of a miracle. Same as the very end of Scenes 2, only from the POV of Fourth Man, who is blown away by Jules and Vincent. SCENE 19 - THE FOURTH MAN MEETS JULES/VINCENT (P. The couple leaves town on Zed’s motorcycle. In appreciation, Marsellus grants Butch his freedom. 101–109)īutch escapes from Zed, Maynard, and the Gimp, and frees Marsellus.
They both end up in the Mason-Dixon Pawnshop, held captive by Zed and Maynard. Butch shoots and kills Vincent.īutch has a run-in with Marsellus. Revealed that Fabian left Butch’s watch at his apartment.Īt his apartment, Butch finds his watch but discovers Vincent in the bathroom. In a motel room, Butch hooks up with his girlfriend, Fabian, and they plan to skip town the next day. 66–68)īutch hears a story about how his POW father died in Vietnam and receives his father’s watch as a memento.īutch escapes from boxing match (he didn’t throw the fight per Marsellus’ bribe) and takes a taxi ride. Vincent drops off Mia at Marsellus’ house. 53–64)Īt Lance’s house, Vincent forces Lance to give Mia a shot of adrenalin to bring her out of her overdose. Mia mistakes Vincent’s heroin for cocaine and overdoses. 38–50)Īt Jackrabbit Slim’s, Vincent and Mia flirt and dance. Vincent drives to Marsellus’ house, meets Mia. Vincent buys some heroin for personal use. The next night, Vincent visits Lance, a drug dealer, at Lance’s house.
We learn that Vincent is supposed to take out Marsellus’ wife, Mia, “tomorrow night.” Vincent and Butch cross paths - immediate bad blood. Marsellus bribes Butch to take a dive in an upcoming boxing match.Ĭarrying the black briefcase from Scene 1, Vincent enters Sally LeRoy’s. Introduces Butch, a prizefighter, and Marsellus, the crime lord. The sequence ends with a “Fourth Man” emerging from the bathroom, blasting away at Jules and Vincent, only to end up dead.ĭATE: Again unknown, but for our purposes, let’s call this MONDAY MORNING.Ī scene at a topless bar Sally LeRoy’s.
1–7)Ĭoffee shop introduction of two characters, ending with the jittery man and woman as they pull rifles to commit robberyĪfter the famous “Le Quarter Pounder” business between Jules and Vincent (enforcers for a crime lord named Marsellus), the pair retrieve a mysterious black briefcase, but not before killing Roger and Brett. Let’s take a look at individual scenes (Scene) and sets of scenes (Scenes) in the order they appear in the script: Here is that analysis:Ī great example of nonlinear storytelling is the script to Pulp Fiction (written by Quentin Tarantino, stories by Quentin Tarantino & Roger Roberts Avery). I saw something quite interesting, which I will feature in the post following this one, about one of my favorite movies Pulp Fiction, and that brought to mind this analysis I did of the script some years ago: This is my attempt to (A) track the story in a linear fashion and (B) make the argument that Tarantino’s choice of telling the story in a nonlinear way was not just to be cool, but actually supported some of the key thematic dynamics in the narrative.
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