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in the beginning of the movie, there is a couple who discuss different experiences others have had with robbing, and grand theft. It ultimately leads to them justifying their prospective robbing of the diner they are eating breakfast in with how no-one wants to be a hero, so no-one will stop them, they then jump up on the table and reveal their killing machines, the only props that give them any sort of power.

Jules has another highly quotable, memorable, and quirky moment a couple minutes after the opening scene when he and Vince are interrogating the target of their boss Marseilles. A young white drug dealer who was eating in his apartment, along with his associates who did not return a briefcase that was owned by Marseilles. It is a highly tense moment filled with memorable proclamations made by Jules. Every moment in the scene is fascinating. The opening by Vincent of the briefcase, without revealing to the audience what exactly is in the briefcase, and only displaying a heavenly golden glow. Vince eating the mans hamburger and drinking his sprite soda, controlling the pace of this tense and fatal, situation, then shooting a man in the head and apologizing to the drug dealer for breaking his concentration. He then implores the man to describe what Marseilles looks like, and then toys with his mind with somewhat comical commentary, asking if Marseilles “looks like a bitch.” Then, in the most memorable moment of this scene, and for me the entire movie (throughout my 5 watches), he quotes a passage from the Bible. In essence, it is almost nonsensical as this quote is so antiquated it almost does not hold relevance to any current situations a man would find himself in. The final sentence is that you will know my name is the lord when I lay my vengeance upon thee.

In the next vignette, Butch is introduced, being prompted by Marseilles to show his loyalty to him by receiving financial subsidies to fight some enemies of his. They are in a cinematically aesthetic bar, with funk playing in the background, providing an aesthetic relief, or quality to this tense exchange, that also pervades the rest of the film. The camerawork is interesting, as when Butch watches Vincent cross over to Marseilles, the camera focuses in a close up of his face, and rotates with him, as he looks at the camera, but the audience knows he is looking at Vincent.

In another vignette, Butch and his girlfriend have to get out of town right away to avoid some unnamed criminals, but before they do that, Butch needs to expose himself in a vulnerable public outing to retrieve his watch, which is a family heirloom. A flashback commences with a Vietnam veteran/ guardian of young Butch who tells him that his great grandfather purchased the watch, it has been passed down by generation and is crucially important, almost priceless.

The sequence between Vincent and Mia is the quirkiest part of this movie. She is the wife Vincents boss, who orders Vincent to take Wallace out for the night and do as she pleases, while he goes out of town to Florida. They arrive at the 1950s themed restaurant establishment, and Mia announces she wants to dance, and tells Vincent to dance well. They do the twist, in a now infamous dance sequence where Vincent dances like an old man and Mia dances like the prim cat from the aristocrats.

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The dialogue of this movie is prose, almost word soup, the dialogue most of the time does not function to advance the plot, but rather to talk for the sake of talking. An ode to the love of creating such personable, quirky, and cult-like characters for fans to absorb, obsess after, and recreate.

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The main characters of this movie, and who dominate the plot, are Jules, Vincent, and Mia Wallace. They are carrying out an assignment for their boss, Marseilles, and they are partners in crime syndication. They seem to be highly personable, and humanized through their thoughtful introspective conversations, and quirks, and these two people seem to only exist in the sphere of movie dialogue, in films like Tarantinos, yet would never exist in real life.

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Pulp fiction opens with the American heritage dictionary definition of pulp, as a soft moist shapeless mass of matter, and a magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper. The latter can be said about this movie, which I would categorize as CULT fiction. This movie features several disconnected vignettes of characters who all live under the same pretenses of crime and intrigue. The dialogue is mostly prose.