A title card now establishes that the prologue or framing device is over and the first of the pulp fiction short stories is about to begin. But before bringing Vincent and M i a together, the storytellers introduce two new characters, Marsellus Wallace and Butch Coolidge, projecting ahead to Butch's story thread. Marsellus, described as sounding like "a cross between a gangster and a king," sits talking to Butch, a knocked-around prizefighter. In Butch's Hero's Journey, he is in his O R D I N A R Y W O R L D , getting a dark C A L L to throw a fight. Marsellus is both H E R A L D and M E N T O R , godlike, seen only from behind, possessed of a M E N T O R ' S wisdom and a definite philosophy of life. Perhaps sig nificantly, he has a Band-Aid on the back of his neck. Was he simply cut while shaving his perfectly bald head, or does the Band-Aid cover something more sinister — like
substantive values, Friedman's book, issued by the Chief Signal Officer in May of 1923 as Training Pamphlet No. 3, has guided the development of all American cryptology since then. At the start of 1922, Friedman became Chief Crypt-analyst of the Signal Corps in charge of the Code and Cipher Compilation Section, Research and Development Division, Office of the Chief Signal Officer. To help him carry on the work of the office he had a single clerk-typist—a cauliflower-eared ex-prizefighter. Because Yard-ley's Black Chamber was doing the cryptanalysis for the War Department, Friedman's functions were nominally cryptographic. He installed the M-94—the Jefferson wheel cipher—as the Army's field cipher. Paradoxically, however, his job involved a great deal of cryptanalysis. He was continually testing the new systems of cryptography urged on the Army as "absolutely indecipherable" by zealous amateurs. Most difficult of these was the machine with five wired codewheels—
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