Sex Scene In Pulp Fiction

Sex Scene In Pulp Fiction
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A movie for the ages and chock full of unforgettable scenes and some amazing lines.
Kudos to you Quentin Tarantino! Your 1994 movie, Pulp Fiction , is perhaps the best film ever made and certainly one of my favorites. It’s plots and sub-plots are so character rich, complex and interwoven; it can be watched again and again and each time seen through a new lens. There is also the constant theme that balances good vs. evil and then flips the switch on what exactly those definitions mean. The most heinous acts are followed by moments of tenderness, the bad guys are charming and likeable, and the dialog will leave you both cringing and laughing. Put all these aspects in the blender, mix it up, and you have Pulp Fiction . A movie for the ages and chock full of unforgettable scenes and some amazing lines.
Jules and Vincent are hitmen partners with a twisted sort of wisdom they constantly share with one another. Some of the best dialog in the movie happens between these two including this gem on some of the nuanced differences between life in Europe and the USA. Now remember, Pulp Fiction came out in 1994 and the internet had not yet made the world a small place where every morsel of knowing is just a click away. So, when friends returned from traveling abroad they would bring back nuggets of knowledge to share. Vincent and Jules are on their way to hold some young men hostage and murder them when they have such a conversation.
Vincent: “You know what they call a Quarter Pounder with Cheese in Paris?"
Jules: "They don't call it a Quarter Pounder with Cheese?"'
Vincent: "Nah, man, they got the metric system, they wouldn't know what a Quarter Pounder is."
Vincent: "They call it a Royale with Cheese."
The interaction between Fabienne and Butch is playful yet intense; she is sweet and inquisitive while he is tough (a boxer) and abrupt. The two of them are on the run, resting in a dingy motel room after Butch refuses to take a dive in a prize fight, a dive he was paid to take, and now there are some angry gangsters looking for him. After a seemingly simple yet regrettable errand goes violently haywire, forcing Butch to kill or be killed, he returns bloody and battered to the motel on a stolen chopper, and it is high time these two get the hell out of dodge.
Fabienne: "Whose motorcycle is this?"
Butch: "Zed's dead, baby. Zed's dead."
And for the record, Zed is dead, quite dead actually.
Mia Wallace is the wife of a gangster but far from the submissive wallflower stereotype of that role, she is strong, smart, unafraid, outspoken, and can keep up with the boys when it comes to shenanigans. Her ‘date’ with Vincent is set up by her husband who is out of town and assigns one of his henchmen (Vincent) to be her chaperone for an evening. And what a memorable evening it is, memorable for many reasons, five dollar shakes, a dance contest, an overdose, and Mia’s unflinching wisdom.
Mia: "Uncomfortable silences. Why do we feel it's necessary to yak about bullsh*t in order to be comfortable?"
Vincent: "I don't know. That's a good question."
Mia: "That's when you know you've found somebody special. When you can just shut up for a minute and comfortably enjoy the silence."
Marsellus Wallace is a gang boss is every sense of the word. Big, strong, tough talking, no nonsense, unquestionable leader who legend has it, once threw a man off a building for giving his wife (Mia) a foot massage. In this scene, a series of unfortunate circumstances has led Marsellus and Butch (the boxer who deceived him) to a seedy pawn shop where they are being held hostage, and tortured. While Marsellus is being sexually assaulted, Butch breaks free, retrieves a samurai sword, and takes control of the situation from. their captors
Marsellus: "Naw man. I'm pretty far from okay."
Marsellus: "What now? Let me tell you what now. I'ma call a coupla hard, pipe-hittin' homies who'll go to work on the homes here with a pair of pliers and a blow torch. You hear me talkin', hillbilly boy? I ain't through with you by a damn sight. I'ma get medieval on your ass."
What do you say to your partner moments before the two of you commit a robbery? Well, if you're Honey Bunny and Pumpkin you exchange a kiss and express your love for one another. These two are a modern-day Bonnie and Clyde who are at breakfast discussing the advantages of robbing a restaurant (over bars, liquor stores, gas stations) because it’s unexpected and you can also rob the patrons. And after their discussion, they decide there’s no time better than now and go for it.
Honey Bunny: "I love you, Pumpkin."
Pumpkin: "I love you, Honey Bunny." [Stands and brandishes a gun] "Everybody be cool, this is a robbery!"
Honey Bunny: "Any of you f**kin' pricks move and I'll execute every motherf**king last one of you!"
Jules Winnfield is one bad mother**cker (even has a wallet that says so). He is both a cold-blooded killer and conflicted with righteousness. His gangster life is starting to wear on him and as the movie carries on we can see him in the process of an awakening. In this scene, he has just taken control of the attempted robbery at the hands of Honey Bunny (Yolanda) and Pumpkin. And as a part of his awakening, instead of just killing them, he is trying to bring about a peaceful, justifiable ending to a tense situation.
Jules: "Now Yolanda, we're not gonna do anything stupid, are we?"
Jules: "Nobody's gonna hurt anybody. We're gonna be like three little Fonzies here. And what's Fonzie like? Come on Yolanda what's Fonzie like?"
Jules: "Correctamundo. And that's what we're gonna be. We're gonna be cool.
Earlier I mentioned Mia and Vincent’s date and how memorable it was. Well, in what was certainly a memorable (and unbelievably cringe-worthy) moment, Vincent has taken Mia to his drug dealer Lance after she has overdosed on heroin.
Lance: "You're going to give her an injection of adrenaline directly to her heart. But she's got, uh, breastplate... so you gotta pierce through that. So what you have to do is, you have to bring the needle down in a stabbing motion."
Vincent: "I-I gotta stab her three times?"
Lance: "No, you don't gotta f**king stab her three times! You gotta stab her once, but it's gotta be hard enough to break through her breastplate into her heart, and then once you do that, you press down on the plunger."
Vincent: "What happens after that?"
Lance: "I'm kinda curious about that myself..."
Well, in case you have forgotten, Mia’s life is saved, and probably Vincent’s too.
His name is Winston Wolfe, a.k.a. The Wolf, and he solves problems. In this case, it’s disposing of a corpse and destroying the car in which the shooting occurred for Vincent and Jules. He acts quickly, drives fast and doesn’t put up with any bullshit. Besides being a problem solver for shady characters, he is also a man who is wise with his words. The Wolf only appears in the movie for a short bit but disperses many wise sayings and ways, including this interchange on character with Raquel, who works at the auto body shop where the car is being demolished.
The Wolf: “You see that, young lady? Respect. Respect for one's elders gives character.”
The Wolf: “Just because you are a character doesn't mean that you have character.”
As it has been said, “war is hell.” While that is certainly true, being a prisoner of war trying to do the honorable thing and return a family heirloom may lead to a more painful version of hell. In this dream sequence, Butch recalls the story Captain Koons told him as a boy about he and his father in a Vietnamese prison camp and his daddy’s dying wishes to return a family watch to Butch.
Captain Coons: “He hid it in the one place he knew he could hide something. His ass. Five long years, he wore this watch up his ass. Then he died of dysentery, he gave me the watch. I hid this uncomfortable hunk of metal up my ass two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.”
Guess where I’m going again? That’s right, back to Mia and Vincent’s date, remember… the memorable one? They have dinner at a 50’s themed diner called Jackrabbit Slims where the staff all impersonate someone famous from that era and the patrons can sit in booths made from the cut-up bodies of 50’s cars. A place Mia chose and Vincent is hesitant about. Inside, they encounter a Marilyn Monroe, a Dean Martin, a Jerry Lewis, a Zorro, an Ed Sullivan, a Donna Reed, and their waiter, a Buddy Holly.
Buddy Holly: “Hi, I'm Buddy, what can I get'cha?”
Vincent: “I'll have the Douglas Sirk steak, and a vanilla Coke.”
Buddy Holly: “How would you like that? Burnt to a crisp or bloody as hell?”
Quentin Tarantino himself makes an appearance in his classic film as Jimmie, a one-time associate of Jules and Vincent. The two of them pay Jimmie a visit (without his approval) looking for help to dispose of their car and the man they just murdered in it. A domesticated Jimmie flips his shit when they arrive yet is a gracious enough host to offer Jules and Vincent a cup of coffee when this interchange happens.
Jules: “Mmmm! Goddamn, Jimmie! This is some serious gourmet shit! Usually, me and Vince would be happy with some freeze-dried Taster's Choice right, but he springs this serious gourmet shit on us! What flavor is this?”
Jimmie: “I don't need you to tell me how f**king good my coffee is, okay? I'm the one who buys it. I know how good it is.”
As mentioned earlier, some of the best dialog in the movie happens between Jules and Vincent so it’s time to add another one of their conversations to the list. This time, after Vincent offers Jules some bacon at breakfast, they discuss why Jules refuses the bacon and dig deeper into why he does not eat pork.
Jules: “I just don't dig on swine, that's all.”
Jules: “Pigs are filthy animals. I don't eat filthy animals.”
Vincent: “Bacon tastes good. Pork chops taste good.”
Jules: “Hey, sewer rat may taste like pumpkin pie, but I'd never know 'cause I wouldn't eat the filthy motherf**ker. Pigs sleep and root in shit. That's a filthy animal. I ain't eat nothin' that ain't got sense enough to disregard its own feces.”
Brett’s life has gone from a hamburger breakfast with his buddies to what will be a very violent ending in a hail of bullets fired by Vincent and Jules. He is a young man who has wronged the boss Marsellus Wallace and now must pay the ultimate price. But before his unfortunate ending, the three of them are engaged in a back and forth about hamburgers, including the French Royale with cheese.
Jules: “Do you know what they call a Quarter Pounder with cheese in France?”
Jules: “Royale with cheese. Do you know why they call it a Royale with cheese?”
Brett: “Because of the metric system?”
Jules: “Check out the big brain on Brett. You one smart motherf**ker.”
Ah pride, feels so good, so intoxicating, so self-indulgent, so addictive, it can easily become a vice. Pride is one of the seven deadly sins after all. Something that, if relished in too long, will lead you downward. Certainly, something many great minds have pondered throughout the ages and in this scene, our philosophical crime boss Marsellus is giving his final sales pitch to Butch (regarding taking a dive in the upcoming fight) espousing his theory on pride.
Marsellus: “Night of the fight, you may feel a slight sting, that’s pride f**kin’ with you. F**k pride! Pride only hurts, it never helps. You fight through that shit. Cause a year from now, when you’re kickin’ it in the Caribbean you’re gonna say to yourself, “Marsellus Wallace was right.”
Cleaning the inside of your car is nobody’s idea of a good time. It’s hard to do a good job as dirt, dust, crumbs, and god knows what filter into the multitude of nooks and crannies in a car. Now imagine cleaning a car full of blood and bits of brains. Unfortunately, Vincent and Jules find themselves in this predicament after shooting a man in their car. Both are clearly grossed out by the task at hand, and getting angry about it when this conversation unfolds.
Vincent: “I got a threshold, Jules. I got a threshold for the abuse that I will take… that's all. I could blow.”
Jules: “Oh! Oh! You ready to blow?”
Vincent: “Yeah, I'm ready to blow.”
Jules: “Well, I'm a mushroom-cloud-layin' motherf**ker, mother’**ker!”

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Pulp Fiction, Quentin Tarantino's sophomore film, is a total cult classic. It's full of memorable moments, from the diner stick-up to the dance scene.
After making a name for himself as one of the most exciting voices in filmmaking with his wildly popular debut feature Reservoir Dogs , Quentin Tarantino managed to top himself with his sophomore directorial effort, Pulp Fiction , which became the highest-grossing indie movie of all time and remains a timeless, endlessly rewatchable classic after all these years.
From Jules and Vincent’s discussion of the differences between American and European McDonald’s to Captain Koons’ monologue about the gold watch to Butch and Marsellus’ ill-fated trip to a pawn shop, there are a ton of iconic scenes in Pulp Fiction that fans are still talking about today.
The opening scene of Pulp Fiction sees a Bonnie and Clyde-esque criminal couple — Pumpkin and Honey Bunny, played by Tim Roth and Amanda Plummer, respectively — sitting in a diner, eating breakfast, discussing why no stickup artists target diners and restaurants. By the end of the discussion, they’ve decided to rob the diner they’re in.
It’s unclear how these two characters connect to the larger plot until the final scene when Jules and Vincent arrive at the diner for their own breakfast and get more than they bargained for.
Tarantino’s technique of making gangsters relatable by having them discuss mundane topics — one of the things that made Reservoir Dogs unique — continued into Pulp Fiction as Jules and Vincent discuss the differences between American and European McDonald’s on the way to kill Brett for the mob.
According to Vincent, who just returned from a trip to Europe, due to the metric system, a Quarter Pounder with Cheese is called a Royale with Cheese in Paris.
When they get to Brett’s apartment, Vincent focuses on securing the mysterious briefcase while Jules focuses on intimidating Brett and his friends. He helps himself to a bite of Brett’s burger and interrogates him about his working relationship with Marsellus Wallace.
He recites the Ezekiel 25:17 passage — not the real one from the Bible; the fake one from Sonny Chiba’s The Bodyguard — before emptying his clip into Brett’s chest.
The first story in Pulp Fiction , “Vincent Vega and Marsellus Wallace’s Wife,” sees Vincent taking the boss’ wife out for dinner at a ‘50s-style restaurant called Jack Rabbit Slim’s and trying to ignore the obvious romantic tension between them.
When the manager announces the beginning of the dance contest, Mia enters herself and Vincent and they dance to Chuck Berry’s “You Never Can Tell” in the style of the spontaneous dance scenes in both Bande à part and 8½ .
After Vincent takes Mia home and decides to just leave to save himself from Marsellus’ wrath, he turns out to be too late to make that decision as he returns from the bathroom and finds that Mia has mistaken his heroin for cocaine, snorted it, and overdosed.
He races down to his dealer’s house, where they frantically try to find an adrenaline needle to save her life. This is possibly the tensest scene in the whole movie.
The prelude to “The Gold Watch” storyline sets up the titular MacGuffin as a young Butch watches TV and Captain Koons, a Vietnam War veteran who fought with his father, arrives.
In a monologue perfectly delivered by a cameoing Christopher Walken , Koons explains that Butch’s father carried the family heirloom — a gold watch — through the entire war, and even held onto it during his time at a P.O.W. camp, so that Butch could one day inherit it. This scene establishes the significance of the watch brilliantly.
“The Gold Watch” storyline takes a wildly unexpected turn when Butch runs into Marsellus on the street. Their chase takes them to a pawn shop, where they’re kidnapped by the sadistic owner Maynard and tied up in the basement.
Maynard invites his equally sadistic friend Zed down to join him. This movie already had a dark sense of humor, but this scene brought the depravity to new lows.
The movie’s third story, “The Bonnie Situation,” brings everything full circle as it returns to Jules and Vincent in Brett’s apartment and an unseen shooter manages to miss them at point-blank range, allowing them to leave intact with Jules’ contact Marvin.
In the car, Jules says he thinks it was divine intervention and it’s inspired him to give up a life of crime. Vincent, on the other hand, thinks it was just a coincidence. When he turns back to get Marvin’s opinion, the car goes over a bump and Vincent’s gun goes off, blowing Marvin’s brains out all over the window.
After Jules drives the corpse to his friend Jimmie’s house, he calls Marsellus, who tells him he’s got Winston “the Wolf” Wolf on the case. The Wolf is a renowned crime scene cleaner played by Harvey Keitel, based on Keitel’s own character from the movie Point of No Return .
While Jules is happy to listen to the Wolf’s instructions and do everything he says, Vincent has a hard time accepting authority, much to the Wolf’s chagrin.
Pumpkin and Honey Bunny come back around in the final scene as their diner stickup is interrupted by Jules, who refuses to hand over Marsellus’ briefcase.
Jules has a gun on Pumpkin, Honey Bunny has a gun on Jules, and when Vincent comes out of the bathroom, he pulls a gun on Honey Bunny. When the standoff is over and Jules and Vincent leave, the Lively Ones’ “Surf Rider” is the perfect s
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Sex Scene In Pulp Fiction

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