As David Bordwell (1985, p. 34) states in Narration in the Fiction Film, "to understand a film's story is to grasp what happens and where, when, and why it happens."" .
In RD the structure is that we cannot understand' the movie until we find out that Mr. Orange is a undercover cop, until then we as viewers are intrigued by the story and want to know what will happen next. If we look at it from a commonly narrative; establishing a problem, elaboration of problem and resolution of problem, I think that the problem' is Mr. Orange when he is shot, the others elaborate who is the rat' and what to do with Mr. Orange and the resolution is when Mr. White shot Mr. Orange. This can be seen in Pulp Fiction' as well, which uses almost the same narration and you never know what is in the bag, like there is now real' end to the movie. The viewer makes his version of the end and what happened to the bag, with the unknown content.
The scene when Mr. Blonde is alone with the cop in the warehouse and is about to torture him, the entire sequence is timed with the music. We as viewers are close to the action because we see gasoline on the lens and they use a handheld camera at some points to increase the action. .
Mr. Blonde POURS the gasoline all over the cop, who's.
BEGGING him not to do this.
Mr. Blonde just sings along with Stealer's Wheel.
Mr. Blonde LIGHTS up a match and, while mouthing:.
MR. BLONDE.
"Clowns to the left of me,.
Jokers to the right. Here I am,.
stuck in the middle with you.".
He moves the match up to the cop.
When a bullet EXPLODES in Mr. Blonde's chest.
The HANDHELD camera WHIPS to the right and we see the.
bloody Mr. Orange FIRING his gun.
We cut back and forth between Mr. Blonde taking BULLET.
HITS and Mr. Orange emptying his weapon.
(Excerpt from Reservoir Dogs script).
This scene is "correctly aligning the photographic and audio portions of the film so that the image and sound is heard and seen simultaneously- (Internet, film studies vocabulary).