Christopher Vogler The Writers Journey
into play. T h e n with a swirl of retro surfer music, we are thrown into the main tides
and the body o f the movie.
T h i s opening sequence exercises the cinematic rule of "Disorientation leads
to suggestibility." You don't know if these punks are the heroes of the story or, as it
turns out, mere bookends. T h e filmmaker's intention is to leave you a bit disoriented
and guessing about their importance. You're also left guessing about the fate of these
hotheads and the people in the restaurant.
V I N C E N T AND J U L E S
N o w for the first time, we see our two protagonists, Vincent Vega and Jules
Winnfield, driving in a big American car. They, too, are in their ORDINARY
W O R L D having a mundane conversation about the subtle differences in fast-food
menus and customs in the countries of Europe. Vincent has spent some time in
Europe where things are different — a Big M a c is called Le Big M a c in France,
annaabi.ee 
