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Jackie Brown (1997), scene (10:32:21 – 15:35:08) directed by Quentin Tarantino and edited by Sally Menke. The primary goal of this scene, where Ordell Robbie (Samuel L. Jackson) and Max Cherry (Robert Forster) meet for the first time at Cherry's Bails Bonds, is to set the tone for how their relationship will be moving forward. They will have a 100% business relationship. In this scene, Ordell looks around at the pictures, and a panning POV of the photographs shows Max and his colleague Winston (Tommy' Tiny' Lister Jr.). Ordell makes a statement about the "Mandingo" in the picture. Menke uses a series of extreme close-up reaction shots to show the audience that Max does not want to deal with Odell's bullcrap. This scene also lets us see Max's environment and personality at work, which is different as he interacts with people throughout the movie. The J-cut intro to the scene allows viewers to experience this when Max is talking to his client Reggie on the phone authoritatively as Ordell, and Louis Gara (Robert DeNiro) are seen walking into the business.

The background music playing is entitled "Cissy Strut" by The Meters. As Ordell and Luis walk in, it appears to be Ordell's theme music. We also hear a chirp from the alarm, which makes viewers feel like this is supposed to be an authentic and natural scene. The music is playing in a manner that would accompany the superhero/good guy of the movie, or this could be a wink since he is walking (strutting), and he is ultimately going to be the victim in this film, a play on the word Cissy, not Brother. When Ordell opens the door, you hear a click, and the smash cut immediately takes us to Max sitting at the desk. The audience now sees the face attached to the voice we have been listening to. We reverse cut to Ordell walking into the office with his subordinate in the background. This perfectly tells the audience, "The big man (Ordell) has arrived." As Max talks, the music slowly fades, giving all our attention to Max. This now raises our curiosity as to what is about to happen now. We also see Ordell's mannerisms through the choice of midrange shots and wide shots that show Louis pacing back and forth, acting suspiciously. This also helps us to establish the environment and how Max could be in danger if someone wanted to harm him.

Menke goes to an extreme close-up of Ordell asking arrogantly, "Where can I put my ash?" to show there could be some tension here. This directly responds to Max telling him to sit his "Ash" down. We then cut to a standard mid-range shot of Max to show he has no tension toward Ordell. It's just business for Max. Until we get to the part Ordell asks about the picture with the "Mandingo Nig.." and that's when we get our first extreme close-up of Max. Menke and Tarantino use these extreme close-ups throughout the film for emotional emphasis. Menke continues to cut back and forth with the expressive extreme close-ups as Ordell and Max talk; then, as max takes a deep inhale and his subtext says, "Let's get back to business or let me get my head right," they cut to a medium shot of Max back to "cool" Max.

The next cinematic change happens when Luis wants to wait in the car. Ordell is happy to show off the expertise of his car alarm. The director does a tilt up and tilt down, then Louis is on his way out of the office. We jump cut to Louis walking to the car. We are following Louis walk and the angle and following of the camera make us feel like we are entering the car with him. When the action gets back into the office, and a series of questions come out about Beaumont Livingston (Chris Tucker), we see those extreme close-ups used again. The pace of the scene was smooth and steady. It was consistent with the overall tone of the movie. The editing style of this scene had all the elements used throughout the entire film except for a few fast-paced scenes and the 360° shot of Jackie Brown (Pam Grier) standing at the clothing counter when she leaves the bag of money in the dressing room. It was challenging to find a scene that had all the editing elements used in the movie, but this one was the closest I could find to summarizing Quentin Tarantino and Sally Menke's editing style in this film.