Unlocking the Mystery: How “Pulp Fiction” Revolutionized Storytelling with Its Mind-Bending Non-Linear Narrative

“Tarantino, whether intended it or not, hit upon non-linearity as the only way he could tell one particular storyline involving the fates of Jules and Vincent.”

A great example of non-linear storytelling is Pulp Fiction, written by Quentin Tarantino, stories by Quentin Tarantino & Roger Roberts Avery.

Let’s take a look at individual scenes (Scene) and sets of scenes (Scenes) in the order they appear in the script, tracking the timeline which plays out in a non-linear structure.

SCENE 1 — PUMPKIN AND HONEY BUNNY (P. 1–7)

Coffee shop introduction of two characters, ending with the jittery man and woman as they pull rifles to commit robbery

DATE: UNKNOWN

SCENES 2 — JULES AND VINCENT (P. 7–26)

After the famous “Le Quarter Pounder” business between Jules and Vincent (enforcers for a crime lord named Marsellus Wallace), the pair retrieve a mysterious black briefcase, but not before killing Roger and Brett. The sequence ends with a “Fourth Man” emerging from the bathroom, blasting away at Jules and Vincent, only to end up dead.

DATE: Again unknown, but for our purposes, let’s call this MONDAY MORNING.

SCENE 3 — BUTCH AND MARSELLUS (P. 26–27)

A scene at a topless bar Sally LeRoy’s. Introduces Butch, a prizefighter, and Marsellus, the crime lord. Marsellus bribes Butch to take a dive in an upcoming boxing match.

DATE: MONDAY PM

SCENE 4 — VINCENT AND BUTCH (P. 27–30)

Carrying the black briefcase from Scene 1, Vincent enters Sally LeRoy’s. We learn that Vincent is supposed to take out Marsellus’ wife, Mia, “tomorrow night.” Vincent and Butch cross paths — immediate bad blood.

DATE: MONDAY PM (CONTINUOUS)

SCENE 5 — VINCENT AND LANCE (P. 30–34)

The next night, Vincent visits Lance, a drug dealer, at Lance’s house. Vincent buys some heroin for personal use.

DATE: TUESDAY PM

SCENE 6 — VINCENT AND MIA, PART 1 (P. 34–38)

Vincent drives to Marsellus’ house, meets Mia.