Download kill-bill-vol-1-2003.pdf and more Study notes Voice in PDF only on Docsity!
I,
i
.,.,,....,.~....\
;,_ )
"KILL BJLL" (volume 1)
'TABLE OF CO:-JTEN':'S
PROLOGUE
- 11 2 11
- T~e Comatose Bride
- The Man From Okinawa
- Showdown at House of Blue Leaves
- Yuki's Revenge
- "Can She Backe A Cherry Pie ... "
- The Lonely Grave of Paula Schultz
- The Cruel Tutelage Of Pai Mei
- Elle and I
- The Blood-Splattered Bride
OVER BLACK
We hear labored breathing. BLACK FRAME QUOTE APPEARS: "Revenge is a dish best served cold"
QUOTE FADES OUT WE STAY ON BLACK ... breathing continues ... Then a MAN'S VOICE.talks over the breathing;
MAN'S VOICE (O.S.)
Do you find me sadistic? BLACK AND WHITE CU of a WOMAN
CUT TO:
lying on the floor, looking up. The woman on the floor has just taken a severe spaghetti-western-style gang heating. Her face is bloody, beaten up, and torn. The high contrast B/W turning the red blood into black blood. A hand belonging to the off-screen Man's Voice ENTERS FRAME holding a white handkerchief with the name "BILL" sewn in the corner, and begins tenderly wiping away the blood from _the young woman's face. Little by little as the Male Voice speaks, the beautiful face underneath is revealed to the audience. But what can't be wiped away, is the white hot hate that shines in both eyes at the man who stands over her, the "BILL" of the title. In another age men who shook the world for their own purposes were called conquerors. In our age, the men who shake the
. -planet. for -t-hei'! own- pewer -•a-nd· greed -are· called · c_orrupters.
And of the world's corrupters Bill stands alone. For while he (^) _
. .i
W.:::!!3' ,4:&"!!.'J!l"!I'!fi. i,1{(}£§4¥4 iii¥ ...........,,,____,......
corrupts the world, inside himself he is pure.
BILL'S VOICE (O.S.)
I bet I could fry an egg on your head about now, if I wanted to. He continues wiping away the blood.
BILL'S VOICE (O.S.)
No kiddo, I'd like to believe, even now, you're aware enough to know there isn't a trace of sadism i~ my actions ... Okay - Maybe towards these other jokers - bot noc your. OVERHEAD SHOT .,..... We see for a moment, A WIDE SHOT looking down at the woman on the floor. Bill (from behind) ben~ down over her. Four others in black suits, standing over her (three are female, one is male). And about four DEAD BOD.IES lying in their own blood. We also see we're in a wedding chapel that's been redecorated by blood death and gunfire. And firstly or lastly, depending on the viewer, that the woman on the floor is dressed in a white bridal gown. This woman is our Heroine, and from this moment forth she will only be referred to as The BRIDE. Back to CU of The BRIDE. The BRIDE on the floor. Her pretty face is wiped clean.
,,_
BILL'S VOICE (O.S.)
No Kiddo at this moment, this is me at my most masochistic. While still in her CU The Bride speaks for the first time in the picture. She looks up at the man standing over her and says;
THE BRIDE
Bill, I'm pregnant. It's your baby. After saying the "y" in "baby", we hear a BANG and The Bride receives a bullet in the side of her head. BLACK SCREEN: Presentation Credit "The 4th Film by QUENTIN TARANTINO"
CUT TO:
£ff.ff !lf!ffd·tt weese·n•••'* R*
name on his driver's license was Charles Arthur ?lympton, but for some reason he preferred Arthur. Maybe if he went by Carles people would have called him Charlie. If that was his reason for going by Arthur I can understand it.
Nothing wrong with the name Charlie, except he didn't look like a Charlie, he looked like an Arthur. Obviously you'll have to take my word on this. Speaking of names, I was about two seconds away from becoming Mrs. Charles Arthur Plympton.·
And then finally, The Bride.
THE BRIDE (V.O.)
And that, that's ~e. I'm the Bride.
We do a DISSOLVE from the Bride looking dead in the bridal gown
To
The Bride, still in B/W, st~ll in a brida: gown, but the asswippin she took in the scene before must have been in the past, because she looks like a million dollars now ....... three million even.
INT. CAR (MOVING) - NIGH?
The Bride behind the wheel 'of a Volkswagen Karman Ghia convertible. Her long blodne hair whipping in the wind. A PROCESS SHOT PLAYS behind her.
THE BRIDE (V.O.)
Looked dead, didn't I? Well I wasn't, but it wasn'T for lack fo trying, I can tell you that. Actually Bill's last bullet put me in a coma. A coma I was to lie in for five years. When I woke up, ... I went on what the movie advertisements refer to as a Roaring Rampage of Revenge. I roarded and I rampaged and I got bloody satisfaction. In all, I've killed 33 people to get to this piont right now. I have only one more. The last one.
The one I'M driving to right now. The only one left. And when I arrive at my destination .....
.... I'm gonna Kill Bill.
TITLE SEQUENC~
As a :emale-sung ballad of heartbreaking lament plays on the soundtrack, we see the credits of "Kill Bill" play over the Bride in her bridal gown, driving to the film's climax.
The sequence ends with the Bride arriving at Bill's home.
WE FADE TO BLACK
BLACK FRAME
TITLE APPEARS:
Chapter one
EX CU The BRIDE'S EYEBALL IN GLORIOUS COLOR WE CUT OUT ONE... TWO... THREE ... TO A CU of The BRIDE IN GLORIOUS COLOR
CUT TO:
She's sitting in a parked pickup truck. Her eyes focused on something.
The BRIDE'S POV: A very homey three-bedroom house in the affluent suburb of Pasadena, California. A purple Dodge Neon sits parked in the driveway. A tricylce, a big wheel, and a few toys sprinkle. the grass on the front yard. A mailbox with the name "The BELLS 11 or. it sits out in front of the lawn. We hear but don't see ice cream truck bells.
SUBTITLE APPEARS AT SCREEN BOTTOM:
"The city of PASADENA, CALIFORNIA"
We hear a Car Door Open and Close .... THEN.... The Bride Walks into the shot, heading for the front door.
EX CU: A long, white female finger pushes a- doorbell.
EXT. RESIDENTIAL ·PASADENA STRE3T - DAY
I/
The HOUSEWIFE hops off The Bride, runs into the kitchen, opens a drawer and comes out with a HUGE MOTHERFUCKIN BUTCHER KNIFE.
The BRIDE rises from the floor, and WHIPS OUT a hanging from her belt known as a SOG. double-edged knife that's as sharp as Navy Seals use to kill humans with.)
KNIFE in a sheath (A SOG is a long, a razor, and is what
The Bride backs up into the mess of the now totally demolished living room.
The two woman stalk each other, each holding her blade, each looking like they know how to use it, each waiting for the other to make a mistake so they can plunge their blade deep into the other one.·
Blood and sweat dript off of the faces of the two women locked in life and death combat ......
.. .. When The back kitchen door opens, and a FOUR-YEAR-OLD LITTLE GIRL, carrying a lunch box steps inside.
FOUR-YEAR-OLD GIRL
Mommy, I'm home!
The two warrior women whose eyes reflect only combat concentration, suddenly switch upon hearing the four-year old's voice. The Housewife's eyes flash a look of pleading to the eyes of The Bride.
The Bride seems to answer back; "Okay."
The Black woman and the white woman hide their edged weapons behind their backs, as the Four-Year-Old Little Girl walks into the newly destroyed living room.
The Housewife switches to her mommy voice.
THE HOUSEWIFE
Hey baby, how was school?
The Little Girl is flabbergasted at the mess, and the condition of her mother, who looks like she's just been in a bar room brawl.
LITTLE GIRL
Mommy, what happened to you and the T.V. Room?
THE HOUSEWIFE
Oh, that good for nothin dog of yours, got his little ass in the living room and acted a damn fool, that's what happened.
LITTLE GIRL
Barney did this?
She says it with the slightest hint of skepticism, then tries to enter the living room.
THE HOUSEWIFE
Now baby, you can't come in here, there's broken glass all over the floor, and you gonna cut yourself.
The little girl's eyes go to the blonde lady in the living room who she ain't never seen before, who also looks like she's been fighting.
The Bride smiles at the confused Little Girl.
THE HOUSEWIFE
This is a old friend of mommy's I ain't seen in a long time.
THE BRIDE
Hello sweety, I'm (BLEEP), what's your name?
.* Whenever during the picture somebody says The Bride's real name, it will be BLEEPED OUT ON THE SOUNDTRACK, ... that is, till I want you to know. *
The shy, suspicious little girl doesn't say anything, she just stares at the blond lady.
THE HOUSEWIFE
Her name is Nikki.
THE BRIDE
Nikki. What a pretty name for such a pretty little girl. Bow old are you Nikki?
Nikki still says nothing, only stares.
I
THE HOUSEWIFE
Cream and sugar?
THE BRIDE
Both, please.
As The Housewife fixes the coffee, we hear The Bride's VOICEOVER ON THE SOUNDTRACK:
THE BRIDE (V,O.)
This Pasadena homemaker's name is Jeanne Bell. Her husband is Dr. Lawrence Bell. But back when we were acquainted, five years ago, her name was VERNITA GREEN. Her code name, was "COBRA" ..... Mine was BLACK MAMBA.
The two combat artists sit at the kitchen table, drinking coffee out of Vernita's coffee mugs.
THE BRIDE
Were you expecting me?
VERNITA
Yes and no. Bill got in touch with me right after you woke up, and then again a little later after your episode in Japan. (pause) So I suppose it's a little late for a apology, huh?
THE BRIDE
You suppose correctly.
VERNITA
Even if I was sincere?
THE BRIDE
Oh. I'm quite positive you're sorry, now.
Vernita says to the Bride across the table furiously but with low volume;
0
(~)
0>s_,_J
0
VERNITA
Look bitch, I need to know if you're gonna start anymore shit around my baby girl!
THE BRIDE
You can relax for now. I'm not going to murder you in front of your daughter.
VERNITA
That's being more rational than Bill led me to believe you were capable of.
THE BRIDE
Well that's a demonstration of Bill's complete ignorance when it comes to the subject of me, and what I'm thinking, and what I might do. It's mercy, compassion, and forgiveness I lack, not rationality.
She pauses for effect -- the ham.
THE BRIDE
I'll wait for now, but I won't wait for long. I'll allow you to choose a time and place for us to meet again, preferably as far away from Nikki as possible. I could have just HIT you, I didn't, I demand respect for that. Since this is not a HIT, consider it a DUEL. And as two former Deadly Vipers, we will observe Viper rules of honor. One on one - no help - no bushwhackin - no treacherous weapons - on weapon of choice - our skill and our bodies.
Vernita says her name;
VERNITA
(BLEEP)
CD
' '
Pt
v
And not a goddamn fuckin thing you've done in the subsequent five years - including getting knocked up - is going to change that.
VERNITA
You have every right to wanna get even --
THE BRIDE
-- But that's where you're wrong, Vernita. I don't want to get even. To get even, even Steven. I would have to kill you, go into Nikki's room, kill her, then wait for your old man, Dr. Bell, to come home and k:Hl him. That would make us even. No, my unborn daughter will just hafta be satisfied with your death at her mother's hands.
Vernita knows no matter what else is said, blood will.spill.
VERNITA
When do we do this?
THE BRIDE
It all depends ... When do you want to die? Tomorrow? The day after tomorrow? That's about as long as I'll wait.
VERNITA
How bout tonight, bitch?
THE BRIDE
Spendid. Where?
VERNITA
There's a baseball diamond where our little league has its games, about a mile from here. We meet there around two-thirty in the morning, dressed all·in black, your hair in a black stocking, and we have us a knife fight, we won't be
bothered. I have to fix Nikki's cereal.
As they continue to talk, Vernita pulls down a cereal bowl for her daughter and lays it on the kitchen counter.
THE BRIDE
Bill said you were one of the best ladies he'd ever seen with an edged weapon.
Vernita moves to another kitchen cabinet, and pulls down a box of the sugar cereal, "Kaboom."
VERNITA
Fuck you, bitch, I know he didn't qualify it, so you can just kiss my motherfuckin ass, Black Mamba. (snorts to herself) Black Mamba, I shoulda been motherfuckin Black Mamba.
As the two females continue to talk, Vernita reaches her hand inside the cereal box.
THE BRIDE
Weapon of choice? And if you want to stick with your butcher knife, I'm cool with that.
VERNITA
Very funny.
Vernita FIRES A GUN from inside the cereal box at The Bride ....
.... The bullet explodes out of the cardboard box, and HITS the coffee mugh directly in front of The Bride, BLOWING IT TO SMITHEREENS.
The Bride THROWS HERSELF ON THE FLOOR...•
Vernita pulls the gun out of the cereal box and FIREES again ...
... The bullet HITS THE FLOOR of the tiny kitchen ...
... The Bride moves under the kitchen table, then using her back, LIFTS THE TABLE OFF THE GROUND, RAMMING IT STRAIGHT INTO Vernita, pinning her flat up against the table top, and the kitchen counter.
She climbs into her big, yellow pickup truck, with the words "Pussy Wagon" written across the flatbed's hatch door in a pimpy font. She takes out a ringed notebook and turns to a page that's headline reads;
DEATH LIST FIVE
On the pager are five names numbered going down the page written in red ink.
The first name has a line drawn through it with black ink.
The second name on the list is;
VERNITA GREEN
COBRA
The Bride takes a black felt pen and draws a line through Vernita's name. Turns on the truck's engine and drives out of the residential district.
OVER BLACK
TITLE CARD:
FADE UP ON
CU The comatose Bride
FADE TO BLACK.
Chapter two
The comatose Bride
lying in her hospital bed, wide open unblinking sightless eyes, that constantly stare yet see nothing. The Bride is at the beginning of her comatose journey.
A SUBTITLE APPEARS: under her face.
"Five years and four months earlier in the city of El Paso, Texas"
Although we're only in a tight CU, we can tell a few things: one, she's in her hospital room; two, she's alone; three, it's night; and four, one hellva RAINSTORM is pounding outside.
EXT. EL PASO GENERAL HOSPITAL - NIGHT
The rain pisses down in buckets in front of the hospital ...
WHEN...
e
,...
The wheel to an Alfa Romeo rolls into FRAME and stops.
The car door opens and two yellow galoshes step out into the wet night.
OVERHEAD SHOT
A red umbrella opens as rain falls down.
CU the back of a head wearing a yellow rainslicker hood, framed by the red umbrella above it, which water cascades down and beats a rhythm against.
The figure in the yellow rainslicker with the red umbrella (who we can guess is female) starts walking towards the hospital.
WE GO TO SPLIT SCREEN
Left Side
CU The Bride's unblinking comatose sleep.
CU The Bride in her coma
CU The BRIDE in her coma
Right Side
The back of the yellow slicker - walking in the rain towards the hospital's entrance.
CU her yellow galoshes slapping against the wet asphalt, and splashing through puddles.
CU the hospital's electrical doors - WOOSH - OPEN.
We follow behind the woman in the raincoat as she walks from outside into the hospital down the hall, and into the ladies room door.
EX CU OF A WHITE WOMAN'S SHAPELY BAREFOOT ANKLE AND LEG stepping into a sheer, white stocking.
INSERT: OF THOSE LONd, WHITE LEGS STEPPING INTO A WHITE NURSE'S UNIFORM.
INSERT: OF THE ZIPPER IN THE BACK ZIPPING UPWARDS.
INSERT: OF WHITE, SHEER STOCKING FEET STEPPING INTO WHITE NURSE'S ORTHOPEDIC SHOES.
Elle standing over The Bride's hospital bed, says to her;
ELLE
I might never of liked you. Point in fact I despise you. But that doesn't suggest I don't respect you. You were a master of a profession that's most difficult to master. Dying in our sleep is a luxury our kind is rarely afforded. My gift to you.
As she lifts the syringe off the tray ....
Her cell phone RINGS ....
She curses to herself ... there can be only one person on the other end .... she answers it.
ELLE
Hello, Bill. (pause) Affirmative. (pause) Comatose. (pause) I'm standing over her right now. (pause) What!
The female assassin turns away from the wide-eyed stare of The Bride, and paces the hospital room talking in the cell phone.
ELLE
Don't fuckin ssshhh me! If you think I came all the way down to Texas - in a dog and cat rainstorm no less~ just to tuck sleeping beauty in bed - you got another fuckin thing comin - (pause, then reai loud) You don't owe her Shit!! (then again, but quieter) You don't owe her shit. (pause) Man, fuck that bitch! (pause) Oh you're not are you? Well Bill, you never leave a job half done. A great teacher taught me that once, he looked a whoie lot like
you.
Elle pauses as Bill on the other line has his say. We don't hear his side, we stay with Elle as he talks. We can tell by her face, he's making some sense. After awhile she answers back;
ELLE
I guess. (pause) No, I don't need to guess, I know. (pause) Affirmative. (pause) I love you too, bye bye.
The female assassin puts the phone away and looks down at The comatose Bride with the open eyes. Even though her face is expressionless, she almost seems to be smiling.
ELLE
Thought that was pretty funny didn't ya? Word of advice shithead, don't you ever wake up.
Elle leans closer to the Bride's face.
ELLE
Ya know now I get a better look at you, you're not so damn pretty. Yeah, you go that Venus thing going for you but ... ya know, now I get a closer look at you you're kinda weird looking. You got this big nose that doesn't fit with the rest of your face,,your eyes are two different sizes. And look at your skin ... My complexion is way better than yours --
The Bride does one of her motor reflex functions ... She SPITS in Elle's face.
Elle springs up, wipes the spit off her cheek and looks down at The comatose Bride in her bed.
ELLE
Oh, no you didn't.
She grabs The Bride by the front of her hospital gown ...
.... Yanks Her up to a sitting position ...
3·
( :·:"; .... ':'
