Kill-Bill - Vol. 2
Uploaded by
Milo SelasKill-Bill - Vol. 2
Uploaded by
Milo SelasKILL BILL VOL.
2
Chapter six
"Can she bak.e a cherry pie. 11
• EX CU SLOT IN DOOR
is slid open revealing
DOORMAN
two male eyes
( 0. S . )
on the other side.
Yes?
TWO EYES (O.S.
I heard you had a game?
DOORMAN (0. S.)
Who are you?
TWO EYES (0. S.)
They call me Bill.
DOORMAN (0. S.)
Bill what?
BILL (O.S.)
That, no one ever calls me.
A FEMALE VOICE FROM OFF SCREEN says to the Doorman;
FEMALE VOICE (O.S.)
Open the door Alburt, let 1 s see
what this Bill looks like.
The door opens revealing BILL to the other side of the door,
and for the first time, to the audience. He looks cool.
INT. HOTEL ROOM - NIGHT
Bill looks inside and sees a fancy hotel room converted into
a crap game. A crap table has been erected in the middle of
the suite. SEVEN MEN stand around the table trying their
luck. All playing has stopped at the opening of the door.
, One woman in a beautiful
the table ... It's
Bill stands in the
black dress,
doorway.
stands
her game ... her narr,e is L. F.
ALBURT the doorman,
at the head
O 1 BOYLE.
who wears
of
a
tux, waits for L.F. 1
s word.
Are you
L.F. O'BOYLE
a policeman, Bill? •
BILL
Not anymore?
L.F. laughs.
L.F.
Let him play, Alburt.
Bill steps inside and the game continues in earnest.
L.F.
(to the players)
We now return to the game already
in progress. The point is nine
gentlemen, nine is the point ...
As Alburt
other
swords
hand Bill
sword;
frisks him, Bill
men all wearing
(as is Alburt),
holds
black
takes
all working
his sheathed
in the room. There are five
tuxedos, all carrying
for Miss 0 1 Boyle.
Hanzo sword. Referring
samurai
In his
to the •
ALBURT
I 1 ll take that.
BILL
You'll have to.
The two men stare ...
L.F.
Now now boys ... Mr. Bill, do you
intend to start any shit with that
sword?
start
BILL
I give you my word
nothing.
of honor, I will
•
• Good enough
(back
L.F.
to
for
game)
me.
ALBURT
Miss 0 1 Boyle required a two-hundred
dollar membership fee.
BILL
That 1
s rather pricey.
ALBURT
You wanna play for free, go to
Vegas. You start now you 1
ll be
there by sundown.
Bill takes out a roll of bills that would choke a rodeo bull
to death. He peels off two hundred.
BILL
I think I'll stay here. I 1m
thirsty.
ALBURT
That way.
Bill walks over to the suite 1
s bar, a YOUNG WOMANtends it.
BILL
Beer.
BARTENDER
Twenty dollars.
BILL
Twenty dollars for a beer?
• High
don't
cost
like
BARTENDER
of living
it,
shooter.
go to Vegas.
You
You can
get a prime rib dinner there for
-
3.95.
BILL
What am I going to do, I'm thirsty.
(throws a 20 on the bar)
Pour the beer.
The Bartender produces a dixie cup, and a can of Budweiser.
She pops the top and fills the cup, leaving half of the beer
inside the can. She then offers only the cup to Bill.
BILL
(pointing to the can)
I don 1 t get that?
The Bartender slowly shakes her head, no.
He lifts the dixie cup to his lips, and says;
BILL
Cheers.
Bill approaches the table with his dixie cup of beer.
L.F.
Gentlemen, let's see if the new kid
in school wants to play right away.
(to Bill)
How bout it new kid, you wanna
handle my bones, or do you just
like to watch?
Dropping his money roll on the table ...
BILL
I came to play.
Color L.F. impressed.
L.F.
Boys take a look at this man, he 1 s
what Webster 1 s calls, a gambler.
The dice belong to you, sir.
With her table stick, she pushes the dice to Bill. He takes
them and inspects them.
• anything,
L.F.
I hope you 1 re not
friend?
implying
BILL
(as he inspects dice)
I'm not implying anything.
Alburt starts to move from his position by the door.
ALBURT
That did it fuckhead, you're out
the door
L.F. motions him back to his position.
The players watch L.F. And Bill, an opposite ends of the
table, trade quips.
Bill looks from the dice to L.F.
BILL
You looked me over when I stood in
your doorway. I 1 m looking you over
as I step up to your table. If I
don 1 t know, I don't throw.
L.F.
Are you satisfied?
BILL
More or less.
L.F.
I think we 1 re getting into a
antagonistic relationship.
BILL
Oh, I 1 m sorry, I thought you were
trying to take my money, and I was
• trying to take yours .
L.F.
•
It 1
s just a game.
Bill throws ten thousand dollars on the table, the room
reacts.
BILL
If you're game, take my bet
sportsman.
L.F.
Covered.
Bill smiles as he rolls the dice in his hand, then
throws ... 7 ... The room reacts .. . L.F. smiles and pushes the
money and the dice back to Bill with her stick. He picks up
his winnings, tosses them back on the table, and says;
BILL
Shoot it all.
The room reacts.
L.F.
Covered.
He holds the dice in his fist ... and throws ... 5 ...
L.F.
The point is five, gentlemen, five
is the point.
Bill throws ... 5 ... more reaction ... more money ...
BILL
Shoot it all.
L.F.
Covered.
He shoots again, he wins again ...
L.F. MOVES THE MONEY in front of him.
Bill picks up the stack of moola ... L.F. Stands behind her
table, stick in her hand, eyes on her opponent.
•
In the midst of this silence, his beeper goes off. His eyes
go to it. It reads; ELLE DRIVER.
He raises his eyes from the beeper to L.F., casually tosses
the green on the felt and says;
BILL
Shoot it all.
L.F.
Pretty lucky tonight, huh?
BILL
Play a game of luck long enough
you 1 re bound to meet some lucky
people.
L.F.
You know we 1 ve never been properly
•
introduced, I 1 m L.F. Q 1
Boyle .
BILL
And I 1 m not interested.
L.F.
No, you 1 re rude. Why so rude rude
boy, I'm only trying to be
friendly.
BILL
I didn 1 t come here to make friends.
I came here to shoot a little crap.
But then your boy over there hits
me up for a two hundred dollar
privilege to play fee --
L.F.
-- That 1
s a membership fee, good
for --
• BILL
-- You and nobody else. You sell at
•
the bar a half can of warm piss, at
twenty bucks a shot. How much did
the six-pack cost you? 5.60, 5.65?
You 1 re greedy O'Boyle. You're just
too Goddamn greedy. You know what I
like to do when I meet greedy
people? Take every fuckin thing
they got. Leave em with nothing.
L.F.
So that's your game, you want to
teach me a lesson?
BILL
I wanna burn you down. When I 1 m
through with you, you won 1 t have a
pot to piss, or a window to throw
it out of. You 1 ll thumb a ride out
of L.A. wearing a barrel.
L.F.
I could always save myself this
horrible fate by not taking your
bet.
BILL
To be replaced by a different fate.
The embarrassing truth that you run
a gutless game. I won 1 t forget it.
I m sure
1
these gentlemen won 1 t
forget it. I 1 m sure they 1 ll tell
people who won 1 t forget it. And we
won't come back. If we don 1 t come
back, you won't get our money.
Couple of weeks, you won 1 t have a
game.
L.F.
You got a big mouth, lucky boy. And
the idea of taking everything
you 1 ve won away, and sending you
out the door with nothing but a red
face, is so appealing to me, that I
will take your bet. But ..... not
with those dice.
BILL •
Oooohhh, that 1
s ....
• The
it.
house 1
L.F.
s perogative and you know
She holds out her palm and two new pair of dice (black) are
placed in her hand by one of her bodyguards. She sets the
dice on the table, and moves them in front of Bill with her
stick.
Bill looks down at them.
L.F.
Maybe you would like to change your
bet?
BILL
Yes I would ..... Shoot it
all ..... Against myself.
His hand scoops the dice off the table.
• He catches the
What?
young lady
L.F.
by surprise .
BILL
Did I stutter, I 1 m changing my bet.
I 1 m betting I don't make it.
From the door Alburt says;
ALBURT
You can 1
t do that.
BILL
Oh yes I can. It 1 s the shooter's
perogative, and she knows it .
• Covered.
L.F.
He throws ....
....................
The spectators
Bill
just
scoops
busted.
up his
go apeshit.
BOXCARS.
money and looks to the lady who 1 s game he
•
BILL
Can I use your phone?
L.F.
Sure it 1
s next to the bed.
INT. BED AREA OF HOTEL ROOM
Bill sits on the bed talking with Elle Driver on the phone.
In the b.g. L.F. is throwing everybody out.
out!
L.F.
Game 1 s over, get out!
No more tonight,
BILL
Get the fuck
go home ....
•
(into phone)
Vernita 1
s dead? When?
(pause)
What about her family?
(pause)
Nice to see Kiddo hasn't gone
completely apeshit. No idea where
she is?
(pause)
Okay that did it, we 1 re going to
Texas and talk sense into Budd
before {BLEEP) makes him number
three.
He looks over and L.F. is sitting on the floor of the bed.
All the players have left, only L.F. and her five tuxedo boys
remain.
•
BILL
We 1 re going to have a talk about
this later.
(pause)
Well, I 1 m not exactly among friends
•
at the moment .
(pause ... he laughs)
I'll keep that in mind, bye bye.
He hangs up.
BILL
Got a nose problem?
L.F.
I said you could use my phone. I
didn*t say I wouldn't listen.
BILL
This is true.
L.F.
You didn't burn me down you know?
• Course
house,
not.
BILL
First
ya gotta
comes in and wipes
insurance.
rule of any
have LUCKY GUY
the place out
L.F.
If there weren't losers it wouldn 1 t
be a game.
Standing up, folding his winnings into his inside jacket
pocket, looking at L.F. and her boys, he says;
BILL
I sincerely hope you mean that.
Without another word he exits the hotel room.
Nobody makes a move to stop him.
L.F. 0 1 Boyle and her henchmen stand still as they wait for
•
the sound of the elevator in the hall .
The Bride 1
s Voice comes on the soundtrack;
•
THE BRIDE (V.O.)
What L.F. 0 1 Boyle didn 1 t know was,
the real game was just beginning.
Bill was on the job, and she was
the target. Now Bill was the
greatest assassin of the 20th
century. In fact the term HITMAN
was coined for him. And he rarely
performs actual assassinations
anymore. However every once in
awhile - to keep his hand in - he
does. Only he plays a game. He
doesn't start big trouble ... he lets
them start it. If they do, they're
dead. If they donrt, not only won't
he perform, he 1 ll take the hit off
the market. It's kind of fun
watching people gamble when they
don't know they're gambling, isn 1 t
it?
They hear the elevator in the hall.
L.F. O'Boyle tells her men;
•
L.F.
Get my money back. Don't kill him.
Chop off all his fingers.
Alburt smiles.
The Five men go out the door.
INT. HALLWAY HOTEL
The Five tuxedo-clad bodyguards hit the hallway, only to
see .... BILL, with his Hanzo sword unsheathed, standing at the
end.
1
This wasn t expected, they unsheath their swords.
He Charges at them.
1
In the hotel s hallwayJ Bill cuts through the five men. His
mastery of the Hanzo sword in his hand is peerless. He cuts
through the first four rather quickly. The fifth one, Alburt,
is the most skilled, but he too falls under the master's
blade.
•
INT. HOTEL ROOM
L.F. 0 1 Boyle hides in her room, holding a gun, pointed at the
front door.
-
She sits in bushwhack mode, waiting for Bill, or anybody for
that matter, to step through the doorway.
WHEN...
The window her back is up against SHATTERS, and a black
gloved hand reaches inside and GRABS her by her hair, and
YANKS her out the window.
EXT. HOTEL WINDOW LEDGE - NIGHT
Bill on the ledge of the hotel window (the 26th floor),
outside L.F. O 1 Boyle 1
s room.
He 1 s yanked her outside and he 1
s dangling her over the side
by her hair.
BILL
Do you know a Jessica?
L.F. Is too hysterical to answer.
BILL
Well, she knows you.
He drops her ..... .
. . . . . . . . . . . . . . . SHE FALLS ....
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHE SPLATS.
Bill watches her all the way down. When he 1 s confident her
fall was fatal, he leaves the ledge.
FADE TO BLACK.
BLACK FRAME
TITLE CARD,
Chapter seven
11
The lonely grave of
Paula Schultzn
EXT. BUDD'S TRAILER - DAY
A small camper trailer sits all by its lonesome in the middle
of a barren Texas wasteland.
A SUBTITLE APPEARS under this image;
nThe city of
Austin Texas. 11
A fist knocks on the trailer door.
It opens, revealing Bill 1 s brother, BUDD. Not the Slick
Willie Budd with the black suit and the silver-tipped black
cowboy boots we saw earlier at the wedding chapel massacre.
No, the Budd we see now is the Budd who climbed into a bottle
five years ago, got himself comfortable, and decided to live
there.
Bill, looking like a cool million, stands out in the dirt and
dust of Budd's lot of land, looking up at his brother in his
natural habitat. In the B.G. we can see Elle Driver lounging
in the passenger 1 s seat.
Budd, surprised by the visitor, says;
BUDD
Great day in the morning. Brother
Bill livin up to his familia
obligation.
BILL
How ya doin 1 Budd?
BUDD
Oh, you know my life, Bill, just a
mad rush of wild parties and
wealthy women.
Budd squints into the sun at the woman in Bill's ear.
BUDD
Is that that tall blonde one-eyed
Viking bitch in the passenger seat?
BILL
It 1
s Elle. Want to say hello?
BUDD
Never said 11
bye, 11
can 1 t seem to
think of a reason to say, 11
hi.u
INSERT, INT. - BILL'S CAR
Elle inside, blasting both the stereo and the air
•
conditioner. She watches the brotherly scene play out through
the car windshield. Obviously there 1 s no love lost between
Elle and Budd.
BUDD
What'd ya wanna talk about?
BILL
Are you not going to invite me in?
BUDD
No.
BILL
May I ask why not?
BUDD
It stinks in there, that 1
s why. Now
what 1 s so important it requires a
reunion?
TIME CUT
The estranged brothers continue their conversation. Budd sits
in the doorway of his trailer, bottle of jack in his hand.
Bill stands.
BUDD
You tryin to tell me she cut her
way through eighty-eight bodyguards
1
fore she got to 0-Ren?
BILL
No. There wasn 1 t really eighty
eight of them, they just called
themselves The Crazy 88.
BUDD
Why .
• BILL
I dunno, I guess they thought it
•
sounded cool. Anyhow, she had about
26 or 27 around her when (BLEEP)
attacked. They all fell under her
Hanzo sword.
The mention of a Hattori Hanzo sword gets Budd 1
s attention.
BUDD
She got 1
er a Hattori Hanzo sword?
Bill nods his head, nyes. 0
BILL
She has a Hanzo Jingi sword.
BUDD
He made her one? Didn 1 t he swear a
blood oath never to make another
sword?
BILL
It would appear he 1
s broken it.
Budd doesn't say anything at first ... THEN;
BUDD
Them Japs know how to carry a
grudge don 1 t they? Or is it just
you tend to bring that out in
people?
BILL
(pause)
I know this is a ridiculous
question before I ask, but you by
any chance haven 1 t kept up with
your swordplay?
BUDD
Hell, I pawned that years ago.
You pawned
BILL
a Hattori Hanzo sword? •
• The
Yep.
disrespect is pain.
BUDD
BILL
It was priceless.
BUDD
Not in El Paso it ain 1 t. In El Pso
I got me 250 Dollars for it.
BILL
Since it was a gift from me, why
didn 1 t you offer me the chance to
buy it back?
•
BUDD
Because that would 1 ve required me
to acknowledge your existence.
Drunken bum though I may be, I
don't need booze that bad. But who
the hell gives a crap anyway. That
bitch ain't gittin no Bushido
points for killin a white trash
piece of shit like me with a
samurai sword. I'm a bouncer in a
titty bar, Bill. If she wants to
fight me, all she gotta do is come
down to the Club, start some shit,
and we 1 ll be in a a fight.
BILL
-- Budd, you need to listen to me.
I know we haven 1 t spoken for quite
some time, and the last time we
spoke wasn 1 t the most pleasant. But
you need to get over being mad at
me, and start becoming afraid of
Bea. Because she is coming, and
she 1 s coming to kill you. And
unless you accept my assistance, I
•
have no doubt she will succeed .
1
Budd sees Bill s true concern for his welfare.
Bill tries to charm his brother.
Budd chuckles.
at the happy
BILL
Can 1 t we forget
side
the past,
of all
and
this?
look
•
BUDD
And what would that happy side be?
BILL
She 1 s brought "the boys" back
together.
Budd is touched by Bill's concern and chuckles to himself.
BUDD
I appreciate the concern on your
face, but there's a difference
1
tween 1tthe boysn, time can't
•
erase. I don 1 t dodge guilt. And I
don't Jew outta payin my
comeuppance. That woman deserves
her revenge. And we deserve to die.
But then again, so does she. So I
guess we 1 ll just see now, won 1 t we.
EXT. THE MY-OH-MY-CLUB - DAY
The My-oh-my Club, is the sleazy titty bar that Budd works
at. His job is tossin out the riff-raff that 1 s worse than
him, out on their ear - minus a few of the teeth they had
when they came in. His beat-to-shit pickup truck pulls up to
the front, and he climbs out of the automobile.
INT. THE MY-OH-MY-CLUB - DAY
Budd walks into the wood-paneled titty bar. No strippin goin
on yet, just a few BARFLIES drinkin. The owner, TED, yells at
him as he walks by.
TED
You 1 re late, Budd, this shit ain t
•
1
school, ya know.
Budd doesn't say anything, he just moves towards the back,
passing by a STRIPPER serving drinks .
• Hey, Budd.
STRIPPER
BUDD
Hey, Lucky.
ANOTHER STRIPPER walks out of the ladies 1
room and says to
him;
STRIPPER
Hey, Budd, honey, the toilet's at
it again. There 1 s shitty water all
over the floor.
BUDD
I'll take care of it, Suzie Pie.
• EXT.
A brand
lot and
The BRIDE
sits
THE MY-OH-MY-CLUB - NIGHT
behind
new, enormous
stops.
the wheel,
red
looking
pickup truck
at the bar and the barrs
pulls
front
into the parking
door. Using the rearview as a mirror, she grabs her long
blonde hair and pulls it back to a ponytail with a
rubberband. Then places a baseball cap on the top of her
noggin that reads, 11
STUBB'S BAR B-Q. 11 She steps out of the
truck's cab. She 1 s dressed like a little Texas two-stepper.
Levi 1 s, cowboy boots, and a 11 HARLEY DAVIDSON: LOUD AND PROUD11
tee-shirt.
INT. THE MY-OH-MY-CLUB - NIGHT
The Bride walks into the club just as the band on stage
explodes into honky tonk guitar. She walks up to the bar and
oders a;
THE BRIDE
Shiner .
• The BARTENDER gives
drinks
her a beer
the Texas brew ... SHE ....
bottle of Shiner Bock. As she
... Watches the BAND....
... The crowd ...
. . . Looking
. . . She sees
for Budd
him ...
among the crowd ...
•
. . . He's the bouncer ...
. . . She observes him ...
. . . he 1 s sitting on a stool, observing the crowd, moving his
head to the music ...
SHAW BROTHERS ZOOM into her eyes; VENGEANCE THEME plays on
the soundtrack.
Her hand removes her sog from its sheath. She moves through
the crowd of Texas two-steppers, sog in hand, towards Budd
sitting oblivious on his stool ....
WHEN...
Suddenly a BIG COWBOYstands up from his table -- spilling
every bottle and glass on it and BARFS all over.
Budd curses to himself, and heads over to the disaster area.
The Bride
As the music
... observes
EXT. TEXAS HIGHWAY - NIGHT
from above continues,
Him ... CLEAN UP THE PUKE.
we see Budd driving his
•
pickup on an empty highway home from work.
He passes by The Bride's new red pussy wagon parked on the
side of the road. After he whizzes by, she starts up the
motor, but doesn 1 t turn the lights on. She follows him,
hanging way back in the dark.
Budd driving, not seeing the automobile cloaked in darkness,
trailing him.
EXT. BUDD'S TRAILER HOME - NIGHT
Budd pulls his pickup truck in front of his small camper
home. He walks inside, shutting the door behind him.
The Bride rolls to a stop ... Observing the lonely trailer out
of her windshield ...
Texas tear-ass
see his figure
The Bride chooses
music begins
her
coming out
pass the camper window,
weapon -- Hattori
of the camper ....
once or twice.
Hanzo 1
s samurai
We
•
sword .
• She doesn 1 t say anything,
Thurman 1 s caliber
member of the audience
choice.
Bride
intends
His current
satisfaction
indicate
will
status
nor will
be damned,
was a warrior.
to send to his maker.
an actress
her feelings,
And it 1 s that
of Uma
but the astute
read the significance of her
the Budd who owes The
Budd she
She takes a black stocking cap, and slips it on top of her
skull, tucking her blonde hair underneath ...
TBEN ...
. . . Rubs black make-up under both eyes, on top of both
eyelids, and down the bridge of her nose, ..
TBEN ...
Disconnects the cab lights above her, opens the truck door,
and slips out unseen into the Austin Texas night air.
TBEN ...
On her belly, Hattori Hanzo sword in sheath in hand, she
crawls across the desert floor towards Budd's trailer.
TBEN ...
• Somewhere
fight
From inside
in the vast
the
outdoors
makes a LOUD racket.
The Bride stops and buries
trailer,
her
we hear
a cat
face
the
jumps
in the
needle
on a rat.
dirt.
being lifted
Their
off
the phonograph.
From a distance we see: The shadowy figure of Budd looking
out the window of the camper.
The Bride keeps her face in the dirt.
The figure of Budd at the window, seems to dismiss the sound
he heard for what it was -- a rat meeting its end at the
claws of a cat.
The curtain closes again.
The needle is placed back on the phonograph.
CU The BRIDE
face in the dirt ... One Mississippi ... Two Mississippi ... her
eyes look up towards the trailer ... All 1 s clear ... She begins
crawling towards the trailer again .
•
. . . She 1 s now right outside the trailer home ... We can hear the
sound of Budd sitting in a chair rocking back and forth .
She hears the sound of a screw top unscrewed ... The sound of
pouring in a glass ... The sound of a glass being laid heavy on,,
a table.
Crouched
slowly
Through
low on the
and silently
the bottom
image of Budd 1 s feet
She slowly
slit
rises
balls
in the door,
on the floor.
... removes
of
unsheathes
her black
her
stocking
her
feet,
cap ... blonde
she,
she
with
Hanzo sword.
sees the
great
distorted
care,
•
hair falls around her shoulders ... sword in right hand ... left
hand grabs the front doorknob .. .
QUICK as a Texas lizard on glass -- She brings the sword 1
s
handle down hard on the door lock --
EX CU Cheap Lock Busting.
She flings the front door open ...
The BRIDE'S POV,
Brother Budd sitting calmly in a rocking chair, moving back
and forth to the Texas twang on his turntable, cradling a
DOUBLE-BARREL SHOTGUN aimed right at The Bride.
SERGIO LEONE CU,
The Bride Blinks.
Both barrels BLAST in our face.
The BRIDE
standing in the doorway
Budd casually rises
is HIT SMACK DAB in
PROPELLED THROUGH the AIR BACKWARDS.
Landing hard
from
on her back in
his
the
rocking
dirt.
chair
the
and lifts
chest,
the
and
•
needle off the phonograph, cutting off the music.
Then with shotgun in hand, stands in the doorway of the
trailer looking down at The Bride.
BUDD'S POV:
The Bride laid out in the dirt below him -- Sword separated
from her grasp -- Bloody mess down her front -- Groan from
her throat.
Budd steps down from the trailer onto the dirt, standing over
The Bride.
BUDD
Bet your sweet ass that don 1
t sting
like a bitch.
More groans coming out of The blood splattered Bride.
BUDD •
You done got a double dose of rock
salt, right in the ole tit.
Now not havin tits as fine or as
big as yours, I can't even imagine
how bad that shit stings ...
He lowers down on his haunchers, over her.
BUDD
... But I don't wont to neather.
The Bride, hurting and incapacitated from the shotgun blast,
still nevertheless defiant, SPITS a gob of bloody saliva,
right in ole Budd 1
s face.
Budd, gob of spit running down on his cheek and nose. The
cowboy removes a red bandana from his back pocket, and wipes
away the goo. Then his eyeballs go down to the spitter.
BUDD
Now I know when it comes to a rock
salt burn, you're feelin pretty
much like a expert bout now. But
truth be told, you ain 1 t felt all
rock salt 1 s got to offer till you
took a double dose in your
backside.
With the help of his cowboy boot he rolls The Bride over onto
her stomach, exposing her butt.
SNAPPING the barrel closed, he takes aim and FIRES both
barrels -- EXECUTION STYLE -- right into her keister.
The Bride does the one thing she has yet to do with any
opponent during the movie up till now. Her head rears back
and she lets out a SCREAM!
BUDD
That gentled ya down, didn 1 t it?
Yep ... ain't nobody a badass with
two barrels of rock salt dug deep
in their backyard.
THEN ...
Almost mercifully, the man once known as 11 Sidewinder, 11
sticks
a syringe in her arm, dropping her unconscious.
•
THEN ...
Knocking down a swig of Jack Daniels, he removes a small
silver cell phone from his pants pocket, raises the antenna,
and presses one button on the panel.
INT. ELLE DRIVER'S GYM - NIGHT
The six-foot tall, long-haired blonde with the codename
11
California Mountain Snake, 11
is doing a savage boxing workout
with her COACH.
This is one white bitch who can kick some serious FUCKIN ass.
With one mighty blow from her huge right arm (synched to the
sound of a CAR CRASH), her boxing Coach buys the farm.
Elle on cell phone. We cut Back and Forth.
ELLE
Bill?
BUDD
Wrong brother, you hateful bitch.
ELLE
.... Budd?
BUDD
Bingo.
ELLE
And what do I owe this dubious
pleasure?
BUDD
I just caught me the cowgirl, ain 1 t
never been caught.
This gets Elle's attention.
ELLE
Do you mean what I think you mean?
BUDD
If you think I mean I got 1 er, you
thought right.
ELLE
Did you kill her?
BUDD
Not yet I ain't. But I can sure do
it easy enough. She 1 s so gentle
right now, I could preform her coup
de grace with a rock.
ELLE
What are you waiting for, run outta
liquid courage.
BUDD
No. It 1 s just ... I ain 1 t killed
nobody in a long Goddamn time. And
just 1
tween you, me, and Jesus
Christ, kinda made me a promise I
wasn 1 t gonna. Be that however it
is. Back when I did kill people ... I
•
got paid for it. Just don 1 t seem
right ... turn amateur this time of
life.
We stay on Elle 1
s side for the following exchange.
BUDD (O.S.)
Anywho, guess what I 1 m holdin in my
hand right now.
We cut back to Budd 1 s side. And what he 1
s holding is The
Bride's Hattori Hanzo sword.
BUDD
A brand spankin new Hattori Hanzo
sword. And I 1 m here to tell ya
Elle, that 1 s what I call sharp.
ELLE
How much?
BUDD
Oh, thatrs hard to say. Seein it 1 s
priceless and all.
ELLE
I 1 ll give you a hundred thousand
dollars for it.
BUDD
I 1 m sure you would. But I 1 ll take,
one million.
ELLE
Jeez Budd, who'd ever guess you
were such a capitalist. I thought
drunks like yourself were beyond
such monetary concerns?
BUDD
Well Elle, a million dollars buys a
whole lotta Jack.
Why then
hateful
know Bill
ELLE
are you selling
bitch like
it
me, when
would pay more?
to a
you
•
BUDD
If I'm gonna drink myself to death,
... it won 1 t be on Bill 1 s dollar.
It's gonna be on yours.
ELLE
What 1
s the terms?
BUDD
You buy a ticket to Texas, and I'll
see you here tomorrow mornin. You
give me a million in foldin cash,
1 1 11 give you the greatest sword
ever made by a man. How 1 s that
sound?
ELLE
Sounds like we got a deal. One
condition.
BUDD
What?
ELLE
You kill her tonight.
(pause)
And one more thing.
BUDD
You said one condition.
ELLE
It 1 s a caveat to the same
condition.
BUDD
•
What?
ELLE
She must suffer to her last breath.
BUDD
That Elle darlin, I can pretty
damwell guarantee.
ELLE
Then I'll see you in the morning
millionaire.
CUT TO,
OVERHEAD SHOT - EXT. CEMETERY - NIGHT
We look down on a spooky Texas graveyard ...
Tombstones ... Graves ... Dirt ... Low-hanging fog. This could be
the opening shot of a Texas zombie movie. We also see TWO MEN
• WITH SHOVELS (one which is Budd, the other
digging
too.
up a grave.
Its headlight
not least, The Bride,
Budd's beat-to-shit
beams shining
pickup
which is ERNIE)
is in the shot
on the two men. And last
bound and gagged, lying in the fla,tbed
but
of Budd 1
s pickup.
The BRIDE
She begins to come to from the shot in her arm.
Some dried blood lies caked around her wounds. Rope binds her
wrists tightly together in front of her.
A big leather cowboy belt is wrapped tight around her cherry
brown cowboy boots. Her eyelids flutter open ... and she sees
stars. A giant, black Texas night sky full of them.
She has no idea where she is.
She turns her head to the left and sees,
Back window and Cab of truck.
She turns her head to the right and sees,
Hatch Gate to flatbed.
She listens ... she hears,
Crickets ... The sound of Two Men Digging ... One of the Men says
something to the other in Spanish ...
THEN ...
She hears one of the Shovels HIT something buried ...
The Two Men speak to each other in Unsubtitled Spanish ...
THEN ...
We hear them Lifting something heavy, we might assume is a
coffin. The Bride however knows not what to think.
BOOM... They set it down.
She hears boots approaching the flatbed, The crunching of
leaves leading in her direction ...
TILL ...
With a CLANG and a SCRAPE the latches on the Gate of the
flatbed are Yanked Out, and it lowers open with a CRASH.
Revealing Budd, looking down on her.
BUDD
Wakey wakey, eggs and bakey.
The grabs her by her collar, and yanks her out of the truck.
She FALLS to the dirt HARD.
Once in
dup up.
Next to
the
it is
dirt,
a brand
The Bride
new pine
sees
box
an Old
coffin,
Coffin that
straight
1 s been
out of •
11
Fistful of Dollars. 11
And a freshly dug grave, with a pile of
•
dirt next to it, in front of an old tombstone that reads;
11
PAULA SCHULTZ. 11
Budd and Ernie stand over her.
The Bride just GLARES up at the two tormentors, with the only
weapon she has left, the contempt in her stare.
Budd turns to Ernie and says in SPANISH, subtitled in
English;
BUDD (SPANISH)
Look at those eyes. This bitch is
furious. You grab her feet, I 1 ll
get her head.
(ENGLISH)
Got anything to say?
The Bride knows how these fiends derive satisfaction, and she
won't give it to them.
BUDD (SPANISH)
In America white women call this
•
the silent treatment .
( laughing)
And we let 1
em think, we don 1 t like
it.
The two fiends laugh, then bend down to lift The Bride and
carry her over to the pine box. She struggles with her bound
legs and arms ... Both men DROP her to the ground. Budd whips
out a can of mace from his pocket.
BUDD
Hey hey hey, wiggle worm, look at
this.
He holds the can of mace spray by her eyes. She stops. Her
eyes go to the nozzle of the spray can, then to Budd.
BUDD
Looky here bitch, this is a can of
mace. Now you're goin underground
tonight, and that's all there is to
it. But, when I bury ya, I was
gonna bury you with this.
• He removes
beam.
a flashlight from behind his back and turns on the
•
BUDD
But if you 1 re gonna act like a
horse 1 s ass, I 1 ll spray this whole
Goddamn can in your eyeballs. Then
you'll be blind, burnin, and buried
alive. So what's it gonna be
sister?
Her eyes move to the right, indicating the flashlight.
BUDD
You may be stupid, but at least you
ain't bloody stupid.
The two men lift up The Bride, and carry her over to the pine
box and place her in.
Budd puts the flashlight inside.
He picks up the pine lid, and is just about to place it over
the coffin ...
WHEN ...
. .. He locks eyeballs with The Bride ...
. . . her
THEN ...
eyes
. . . he places
THEN ...
hold
the
his
lid
for
over
as
her
long
face,
as she
closing
can,
the coffin.
•
. .. with a hammer and nails the two men seal the coffin shut.
INT . PINE BOX
Dark, excerpt for the cracks of light seeping through between
the lid and the box. However with each nail pounded in, more
lights is cut off ...
TILL ...
. . . the only light left, is the crack by The Bride's head. The
last hammered nail obliterates that light source.
The Bride lies in TOTAL DARKNESS.
•
EXT. CEMETERY - NIGHT
The two men lift the pine box, and set it in the grave.
Budd scoops up a shovel full of dirt ...
• INT. PINE BOX
EX CU HER FINGERS turn on the flashlight.
CU The BRIDE
LIT by the flashlight beam ...
BAM .•.
. . . a shovel of dirt has just landed hard on the lid, making
The Bride jump ...
BAM ...
. .. More dirt. She reacts again.
BAM ...
The dirt just keeps falling, the barns becoming softer with
each new shovelful.
The Bride is starting to perspire ... her breathing becoming
more rapid and panicked ... her heartbeat begins to echo inside
the pine box .
• We 1 ve never
She 1 s starting
seen her
to lose it ... She lets
SCREAMS again ... Her bound-at-the-wrist
lid ... She pounds on it ... Her bound feet
starts
clawing
to cry ... She 1 s getting
at the wood lid ...
like
hysterical
this
out a SCREAM... She
before.
hands move to the
kick up at it ... She
... Her fingers begin
TILL ...
They 1
re ripped open and bleeding ...
Leaving Blood Trails on the wood.
TILL ...
She exhausts herself. All this while, she 1 s been screaming
the words we can 1 t even imagine coming out of her mouth;
THE BRIDE
Help me.
The Bride halts her hysteria.
She wipes her eyes, and runs her hands down her face,
• mentally sending the little girl she became,
she came from. The woman we know as The Bride
talks to herself.
back to wherever
is back. She
Well,
good cry,
THE BRIDE
now that
get out of here?
like you just
down ... close
you 1 ve had a nice,
let 1 s figure out how to
You 1 re breathing
been fuckin.
your mouth,
Calm
and start
•
breathing short breaths, through
your nose.
She does. The Bride continues in VO;
THE BRIDE (V.0.)
That 1
s a lot better. But you're
still too agitated. Can you hear
your heart? It 1 s like I 1 m buried
alive with Buddy Rich. Turn off
that flashlight.
Fear comes into her voice as she combats herself.
THE BRIDE (V.O.)
No! I can't turn off the light. Yes
•
you can. The darkness will have a
calming effect. Now turn off that
fucking light.
She does. The screen goes Jet Black
EXT. CEMETERY - NIGHT
Budd and Ernie are finished filling the grave. The old
coffin, with the body of Paula Schultz, in the back of the
flatbed. Before they climb into the truck and drive away,
Budd lays a dozen red roses on The Bride 1 s grave.
INT. BUDD'S TRAILER (MOVING) - NIGHT
Budd behind the wheel. Ernie in the passenger 1
s seat. Car
radio playing Mexican music. Budd's silver cell phone rings.
BUDD
(into phone)
Yellow?
INT. AIRPLANE (FLYING) - NIGHT
•
Elle Driver sits in a seat on a passenger jet enroute to the
great state of Texas. She calls Budd on the airplane phone.
ELLE
Didja do it?
BUDD
Elle darlin, she's sufferin as we
speak.
A smile spreads across Elle's face. She rests her head back
against the seat's headrest. Her eyelids close. She slightly
parts her lips ... and lets out a;
"Ahhhhhhhhhhhhhhh"
This is the face of satisfaction.
FADE TO BLACK.
BLACK FRAME
TITLE APPEARS,
•
Chapter eight
11
The cruel tutelage
of Pai Meil!
FADE UP ON
EXT. MOUNTAIN RANGE - CHINA - DAY
We see a beautiful mountain range in the middle of China.
A SUBTITLE APPEARS UNDERNEATH,
11
SMACK DAB IN THE MIDDLE OF CHINA 11
A VOICE OVER SPOKEN BY BILL, tells us a story over this
landscape;
BILL (V.O.)
Once upon a time in China, some
believe around the year, one-double
knot-three.
As Bill tells this story, it will be illustrated On Screen by
footage from Old Shaw Brothers Martial arts flicks of the
70 1 s. Especially Films that feature Chinese Actor LO LIEH as
the old, white-haired, white-eyebrowed Villian nPAI MEI. ,11
BILL (V.O.; CONT'D)
... head priest of The White Lotus
Clan, Pai Mei, was walking down the
road, contemplating whatever a man
with Pai Mei 1 s infinite power would
contemplate -- Which is another way
of saying, who knows. When, a
Shaolin monk appeared on the road
traveling in the opposite
direction. As the monk and the
priest crossed paths ... Pai Mei
in a practically unfathomable
display of generosity, gave the
monk the slightest of nods. The
nod, was not returned. Was it the
intention of the Shaolin monk to
insult Pai Mei? Or, did he just
fail to see the generous social
gesture?
The motives of the monk, remain,
unknown. What is known, were the
consequences. The next morning Pai
Mei appeared at the Shaolin Temple,
and demanded that the temple 1 s head
Abbot offer Pai Mei his neck, to
repay the insult. The Abbot, at
•
first, tried to console Pai Mei,
only to find, Pai Mei was
inconsolable. So began, the
massacre of the Shaolin Temple, and
all sixty of the monks inside, at
the fists of the White Lotus. And
so began, the legend of Pai Mei 1 s
Ten-Point Palm - Exploding Heart
Technique.
THE BRIDE (V.O.)
What praytell, is a ten-point palm -
exploding heart technique?
BILL (V.O.)
Quite simply, the deadliest blow in
all of the martial arts. He hits
you with his fingertips, at ten
different pressure points on your
body. And then, he lets you walk
away. But once you 1 ve taken five
steps, your heart explodes inside
your body, and you fall to the
floor dead.
We see on screen Pai Mei demonstrate this technique on five
shaolin monks. Who after being hit ... take five steps ... then
fall to the floor dead .
• EXT. JEEP
Bill
the
and The
mountains
(MOVING) - DAY
Bride, years
of China,
earlier,
enroute to
driving in
PAI MEI 1 s.
a jeep through
THE BRIDE
Did he teach you that?
BILL
No. He teaches no one the ten-point
palm - exploding heart technique.
But he is Nietzsche 1
s psalm
personified. If Pai Mei doesn 1 t
kill you, he will make you
stronger. Now one of the things I
always liked about you, Kiddo, is
you appear wise beyond your years.
Then allow me to impart, a word to
the wise. Whatever - WHAT - EVER -
Pai Mei says, Obey. If you flash
him - even for an instant - a
defiant eye, he 1 ll pluck it out.
And if you throw any American sass
his way, he will snap your back and
your neck like they were twigs, and
that will be the story of you.
EXT. THE WHITE LOTUS TEMPLE - DAY
The Bride sits in the jeep, by herself, parked in front of
the Priest Pai Mei's home located high up on top of White
Lotus Mountain.
For over 100 years, his home used to be the temple of the
White Lotus Clan, and he was the temple 1 s head priest. The
temple served as a home to over 60 priests and disciples. But
now - the year 1990 - the White Lotus Clan is no more. All
the priests have died. All that remains, is a very old man,
who once upon a time, some worshipped as a god and some
feared as a devil ... neither was wrong.
A huge stone staircase of one hundred steps climb up a hill
leading to Pei Mei 1 s home. Bill climbs down to the jeep.
• He'll accept
BILL
you as his student.
•
THE BRIDE
Caught him in a good mood, aye?
BILL
More like a sadistic one.
She climbs out, and gets her bag out of the back.
Bill casts a glance at the stone steps he just decended.
BILL
Just seeing those steps again makes
me ache. You 1 re gonna have plenty
of fun carrying buckets of water up
and down that fucker.
THE BRIDE
Why did he accept me?
BILL
Because heJs a very very very old
man. And like all rotten bastards,
when they get old, they become
lonely. Not that that has any
effect on their disposition. But
they do learn the value of company.
THE BRIDE
When will I see you again?
BILL
That 1
s the title of my favorite
soul song of the Seventies.
THE BRIDE
What?
BILL
Nothing. When he tells me you're
•
done.
THE BRIDE
•
When do you think that might be?
BILL
That my dearest, all depends on
you. Now remember, no backtalk, no
sarcasm.
Least not for the first year.
You 1 re going to have to let him
warm up for you. He hates
Caucasians, despises Americans, and
has nothing but contempt for women,
so in your case, that may take a
little while. Adios.
ZOOM...
The jeep speeds off down the road ... leaving the Bride all
alone, somewhere in the middle of China.
She begins the journey before her by ascending the 100 steps
to Pai Mei.
INT. THE WHITE LOTUS TEMPLE
The huge temple is exactly like it must have been a hundred
years ago, except now it 1 s empty and dusty.
The Bride enters, She 1
s winded from climbing up those fuckin
steps.
THE BRIDE
(yelling)
Hello!
Her Voice ECHOES in the cavernous temple.
PAI MEI'S VOICE ECHOES back;
PAI MEI'S VOICE (O.S.)
Up the stairs, yankee woman!
A beautiful (but dusty) Mahagony staircase leads to Pai Mei*s
private chamber.
•
THE BRIDE
( to herself)
More stairs, Jesus Christ.
The still unseen Man 1 s voice BOOMS back;
She climbs
If it
now.
the
is
wooden
PAI MEI'S
Christ you
staircase.
VOICE (O.S.)
seek, turn back
•
INT. PAI MEI'S PRIVATE CHAMBER
PAI MEI 1 S POV: We see through Pei Mei 1 s pupils, through a
sheer scarlet scrim that hangs down in front of his sitting
area. The Bride enters the room.
She approaches the old man, reaches the edge of his sitting
area in front of the scrim, lowers to one knee and bows her
head.
* From here on end, whenever ENGLISH is spoken by The Bride,
or every once in awhile by Pai Mei, it will be spoken in
ENGLISH IN LIVE SYNCH SOUND. However, whenever MANDARIN is
supposedly spoken, it comes out of their mouths as DUBBED
ENGLISH like in a 70 1 s Shaw Brothers Chop Socky Flick.
THE BRIDE*
Teacher, I am unworthy to be your
student --
Pai Mei is still unseen.
PAI MEI 1 S VOICE*
Your Mandarin is lousy. I can 1 t
understand a single word you say.
It causes my ears discomfort. You
are not to speak unless spoken to.
Do you understand Mandarin any
better than you speak it?
THE BRIDE*
I speak Japanese very well --
PAI MEI'S VOICE*
I didn 1 t ask if you speak Japanese,
or Mongolian, for that matter. I
asked if you understand Mandarin?
THE BRIDE* •
A little, I am still learning .
• PAI MEI 1 S VOICE*
You are here to learn
of Kung Fu, not linguistics.
can 1 t understand
the mysteries
me, I will
If you
communicate with you like I would a
dog. When I yell, when I point,
When I beat you with my stick!
Her head remains bowed, eyes to the floor.
WE CUT TO PAI MEI
He's just like he was in the films earlier. Long White Hair,
Long White Beard, Long White Eyebrowes, same long flowing
White Robe. Everything 1
s the same, except he 1 s older, by
about a hundred years. He sits stone still in his sitting
area on the other side of the sheer scarlet scrim.
PAI MEI*
Bill is your master, is he not?
•
THE BRIDE*
Yes, he is .
PAI MEI*
Your master tells me you 1 re not
entirely unschooled. What training
do you possess?
THE BRIDE*
I am proficient in a combination of
Tiger and Crane style. And I am
more than proficient in the
exquisite art of the Samurai Sword.
PAI MEI*
(he makes a SNORTING
SOUND)
The exquisite art of the samurai
sword. Don 1 t make me laugh. Your so
called exquisite art, is only fit
for Japanese fat heads. You really
are a silly ass .
• This brings up The Bride 1
s eye .. . She GLARES at the old man.
•
PAI MEI*
Impudent dog! You dare glare at me!
She lowers her eyes.
THE BRIDE*
I 1 m sorry master --
PAI MEI*
Silence! I do not wish to hear
your unintelligible excuses.
Pause ...
THEN...
Pai Mei softly LAUGHS to himself, and strokes his long white
beard ...
PAI MEI*
Your anger amuses me. Do you
believe you are my match?
No.
THE BRIDE* •
PAI MEI*
Are you aware I kill at will?
THE BRIDE*
Yes.
PAI MEI*
Is it your wish to die?
THE BRIDE*
No.
stupid,
PAI MEI*
Then you must be stupid. Rise
and let me get a better •
look at your ridiculous face .
• She rises.
CU The BRIDE
through
Pai
the scrim,
Mei laughs to
eyes
himself
down.
again;
PAI MEI*
You breathe hard. The one hundred
steps robbed you of your wind. So
your stupidity is matched only by
your weakness. Is there anything
you do well? -- Oh yes, you speak
Japanese. I despise the Goddamn
Japs. I would of thought an
American would be immune to their
pompous posturing. Apparently I was
wrong. Go to that drawer.
The blonde woman goes to a large wooden drawer. She opens the
drawer; it 1
s filled with just about every type of edged
weapon .
• The Bride
Pai Mei rises
parts
Remove the
removes
the scrim,
from his sitting
and approaches
PAI MEI*
sword.
a large heavy steel
position,
the Bride.
Chinese
for
Sword.
the first time,
PAI MEI*
Let's see how good you really are.
Try and land a blow. If you land a
single blow, I 1 ll bow down and call
you master.
The Bride doesn 1 t need a second invitation, she ATTACKS with
the sword.
He deftly moves out of the way.
The fighting style is now like an old Shaw Brothers film,
with Pai Mei dodging at will all of her rapid sword slashes.
Quick and skillful as her moves are, they 1 re also full of
Effort and Frustration. While Pai Mei effortlessly moves out
of the sword 1 s path .
• He's amused, and Speaks while they fight;
•
PAI MEI*
Come now woman, can 1 t you even hit
an old man?
She tries more ...
PAI MEI*
Your ability really is quite poor.
He STRIKES her with a blow to her chest, delivered with an
open palm, that sends her flying back hard against the wall.
She clutches her chest, and coughs up some blood.
Pai Mei laughs as he strokes his long white beard.
PAI MEI*
Ha ha ha ha ha! I 1 ve fought
cripples who posed more of a
challenge. Now fight, goddamn you!
She ATTACKS with a wild cat's fury.
He HOPS and DUCKS and DODGES her sword easily.
He LEAPS HIGH UP IN THE AIR,
of her Sword.
The Bride
it.
Pai Mei smiles
looks
at
down the
her and
blade
and
says;
of
LANDS STANDING on the
her sword and can't
Blade
believe •
PAI MEI*
From here you can get an excellent
view of my foot.
He does a BACKFLIP off the sword, kicking the Bride in the
face in mid-somersault sending her CRASHING THROUGH A WOOD
WALL.
The Bride emerges from the hole in the wall.
Pai Mei stands waiting for her, TWIRLING THE SWORD in his
hand like a cheerleader twirling a baton, till the twirling
STOPS. The sword 1 s handle is pointed towards the Bride.
PAI MEI*
•
Give up? Or care to try again?
The BRIDE 1 S FACE
shows determination. Not to win, not even to land a blow,
that she knows is impossible. This man's ability is truly
amazing. However be that as it may, she 1 s determined not to
quit, and through not quitting, she's determined to
distinguish herself in his eyes ... in some way.
She takes the sword from him and tries again.
But this time, Pai Mei keeps grabbing her arm that holds the
sword, manipulating it into positions that would do the young
girl harm ... Like bringing the blade up against her other
arm ... Poised to cut it Off.
PAI MEI*
That blade's sharp. Careful not to
cut off your own arm .
. .. Then he TWISTS her arm, till the blade 1 s against her own
throat ....
. . . Then TWISTS again till it's against her hip ...
. . . Then TWISTS again while KICKING her leg, till the blade's
edge is against her thigh ...
PAI MEI*
If you can 1
t fight any better than
that, what use do you have for a
leg?
He lets go of her arms, she swings furiously at him ...
... he calmly SPINS out of the way. Then£ he KICKS her in the
stomach, doubling her over, then he brings the Sword between
her legs, Blade Edge against her Crotch.
PAI MEI*
Now that really would be a shame.
He takes the sword from her grasp ...
SWINGS once ...
The BLADES 1 s against her jugular.
He SWINGS twice ...
The BLADE 1 s against the pocket of her throat.
He SWINGS a third time ...
The BLADE 1 s against the nipple of her right breasc.
PAI MEI*
Your swordsmanship is amateur at
best.
He tosses the sword in the air, catching it by the tip of the
blade. Then like a mallet, brings the handle end down hard on
the top of The Bride 1 s head. She lets out a howl, and falls
to the floor, holding the lump on her noggin.
PAI MEI*
I'm a hundred and fifty years old~
and you can 1 t even make me break a
sweat.
He CHOPS the sword in half with his hand.
PAI MEI *
Let's see your Tiger and Crane
style match my Eagles 1
s Claw.
Again she ATTACKS ... again he eludes.
Like a Gordon Liu and Lo Lieh film, they do their animal
style martial arts dance.
As she STRIKES and he BLOCKS ... he yells out;
PAI MEI*
... pathetic ..... terrible ... you
idiot, you should 1 ve landed that
blow ... you call that crane? ...
Enough, I grow bored.
With little effort on his part, he reaches out and GRABS her
wrist, TWISTS ... She 1 s on the floor, with her arm stuck out in
the air behind her, her wrist still between his fingers. He
could literally break her arm in half.
PAI MEI*
I asked you to show me what you
know, and you did. Not a goddamn
thing.
He TWISTS her wrist ...
. . . The pain is excruciating .....
PAI MEI *
Like all yankee women, the only
thing you know how to do is order
in restaurants and spend a man's
•
money .
He TWISTS more ...
She CRIES OUT.
PAI MEI*
Excruciating isn't it? I asked you
a question!
Through gritted teeth, she answers;
THE BRIDE*
Yes!
PAI MEI*
I could chop off your arm at will.
I think I shall.
He raises his other hand to chop off her arm.
•
The Bride SCREAMS in ENGLISH;
THE BRIDE
No please don 1 tJ
PAI MEI*
If you wish to speak romantic
languages, you've come to the wrong
place.
THE BRIDE*
Please don 1
t cut my arm off!
PAI MEI*
It's my arm now. I can do with it
what I please. If you can stop me,
I suggest you try.
• I can't!
THE BRIDE*
PAI MEI*
Because you 1 re helpless?
THE BRIDE*
Yes!
PAI MEI*
Have you ever felt this before?
THE BRIDE*
No!
PAI MEI*
Compared to me you 1 re as helpless
as a worm fighting an eagle, aren 1 t
you?
THE BRIDE*
Yes!!!
PAI MEI*
THAT'S THE BEGGING!
He lets go of her wrist. She cradles her still-throbbing arm.
PAI MEI*
Is it your wish to learn how to
make others as helpless as you
were?
THE BRIDE*
Yes.
PAI MEI*
Can you cook?
Yes.
THE BRIDE *
•
• I'll
begin
mine.
be the judge
(pause)
Draw me a bath ... your
tomorrow.
You may lose
PAI MEI *
of that.
training
That arm is still
it yet.
will
TIME CUT
EXT. WHITE LOTUS TEMPLE - DAY
Pai Mei stands in front of a wood wall three inches in front
of him. His right fist is cocked back by his breastplate,
he 1 s concentrating on a certain spot on the wall.
The Bride stands behind him, watching.
He lets out a SCREAM, and puts his fist THROUGH THE WALL.
He turns to the new student;
PAI MEI*
•
Since your arm now belongs to me, I
want it strong. Can you do that?
THE BRIDE*
I can, but not that close.
PAI MEI*
Then you can't do it.
THE BRIDE*
I can put my hand through that at
six inches.
PAI MEI*
And you could shoot a man from a
rooftop with a scope-sight rif'le,
if you so desired, but this is not
what I asked. What if your enemy is
three inches in front of you, what
•
do you do then? curl into a ball?
Or do you·put your fist through
him.
He HITS the wall again leaving another hole.
The Bride
Only managing
Now begin.
takes her place
to stain
PAI MEI*
in front of the wall.
the wall with the blood
She HITS it.
from her
•
scraped knuckles. Then again. And again ....
INT. DINNER TABLE - NIGHT
Both Pai Mei and The Bride sit at the dinner table. Pai Mei
concentrates on eating. The Bride 1 s hand is scraped bloody.
She tries to eat a bowl of rice with chopsticks, but her
fingers won 1 t work. She puts down the sticks and takes a
scoop of rice with her fingers.
Pai Mei WHACKS her on top of her head with his stick.
PAI MEI*
If you want to eat like a dog, I
will make you live and sleep like a
dog. Outside. If you want to live
•
and sleep like a human being, pick
up those sticks.
She does.
THE WOOD WALL
The Bride HITTING it.
She looks at her fucked-up hand, then to the wall,
hesitating .... Then Pai Mei's behind her.
PAI MEI*
It 1 s the wood that should fear your
hand, not the other way around. No
wonder you can't do it, you
acquiesce to defeat before you even
begin.
He walks off in a huff.
EXT. PIT - DAY
Pai Mei and The Bride
deep pit,
stand
dug in the earth
at the
(by the
edge of
Bride).
a large, round
•
• We see one
In that
lone rat
pit,
PAI MEI*
in
is
the
a rat.
huge pit.
PAI MEI*
In the sky, is a bird.
Pai Mei brings a golden bow and arrow into Frame, and SHOOTS
up in the sky.
A BIRD FALLS to the earth with a golden arrow stuck through
it.
PAI MEI*
You are to
go into that pit, and
catch that rat, with your bare
hands. If you catch the rat, I will
deem you the victor, and tonight
you will dine on bird. But, if you
can't catch the rat by sundown,
I 1 ll deem the victor the rat. And
•
because of the disgrace to my
student, I will be forced to kill
it. And then I will force you, to
consume his body. Because to be my
student, you must develop a taste
for victory.
She hops into the pit, gets down on the ground, lock eyes
with her rodent opponent, and goes after it.
The BRIDE
Practicing her Tiger/Crane combo Kung Fu.
MORE wall ....
At NIGHT punching the wall in front of her in her sleep.
Trying to catch the rat to no avail.
WHEN ...
A golden arrow kills the rat.
She looks up and sees Pai MeiF golden bow in his hand;
looking down on her. It 1 s sundown.
She stands, dusting herself off (she's dirty from the chase)
and looks at her teacher .
• She picks
golden
her
arrow.
her teacher.
dead
Then
foe up from the
with the rat in
earth, and removes
her hand, she looks
the
up to
I acknowledge
this
this
do ...
rat.
filthy
THE BRIDE*
defeat
However,
vermin.
(she RIPS the rat
at the paws of
I will not eat
What I will
open
•
like a pomegranate)
... is consume his victorious heart.
(she snatches the tiny
heart from the rodent 1
s
carcass. Holding it
between her fingers.)
But tomorrow, you kill a big bird.
She POPS the tiny rat heart in her mouth, and begins to chew.
Pai Mei looking down on her, says;
PAI MEI*
How does victory taste?
THE BRIDE*
affirmative
The BRIDE'S
goes through
Bitter.
We do a Shaw Brothers
NOD and
FIST
the wall.
ZOOM into
GRUNT.
a CU on Pai Mei, he gives an
•
THE BRIDE
(to herself)
Wow!
INT. PAI MEI'S PRIVATE BATHROOM - DAY
Pai Mei splashing by himself in his huge bathtub, when he
hears a noise.
PAI MEI*
Woman, is that you who disturbs my
meditation?
•
She answers from outside the door;
THE BRIDE'S VOICE (0.S.)
•
Yes, teacher .
PAI MEI*
Enter.
She does, bowing to one knee.
PAI MEI *
What news do you find so worthy, as
to disrupt my bath?
THE BRIDE*
I did it teacher. I put my fist
through the wall.
TIME CUT
PAI MEI and the BRIDE
looking at the hole in the wall.
• right
Very good.
demonstrate?
She moves in front
hand in a fist
With Her left
PAI MEI *
Would you
of the wall .....
-- Locked and loaded
hand she reaches out and touches
into
care
Takes her position
position
to
... Her
the wall where
... .
she 1 ll strike .... Like she 1 s transferring her energy into the
wood ... She removes her left hand ... and ... STRIKES!
She hits it HARD, but her fist doesn't go through.
Her eyes sneak a look at the old man, who wears no
expression.
THE BRIDE *
I think you watching is making me
nervous.
PAI MEI*
Not only that, it has you speaking
before you were spoken to. Try
again .
• She does.
And when she does, she DOES it.
•
CU PAI MEI
he says in ENGLISH;
PAI MEI
Impressive.
She immediately goes down to her knees;
THE BRIDE*
Thank you teacher --
He just as immediately, lifts her back up.
PAI MEI*
You still fight better than you
speak. Finally, a woman who
understands what 1 s important.
THEN ...
He MOVES the wall one inch in front of her.
Then the old
Begin again.
man leaves
PAI MEI*
to finish his bath.
•
The blonde gal begins again .... Fist against wood ... no
effect .... starting all over.
CUT TO,
BACK TO COFFIN, SIX FEET UNDER
PITCH BLACK - - The Flashlight _Beam turns on. CU The BRIDE in
Profile. Her breathing is normal. We can hear the soft beat
of her heart inside the pine box. Her composure is back.
Taking the flashlight, she Shines the beam on the lid above
her .... Along the line of the coffin's rim and the lid where
many nails meet .... Then down to her Red •Cowboy Boots, bound
by a leather belt around her.
Raising her knees, as much as the coffin will allow, and
wiggling her feet, she slips her bare feet our of the boots
•
and the belt 1 s binding ... Then, using her bare feet, then her
bound-at-the-wrist hands, to pass one of the boots up to
her ... When the red boot is in her grasp, she turns it upside
down .... The STRAIGHT RAZOR falls out.
•
Opening the razor, she slices through the ropes that tie her
wrists, till both hands are free.
She positions the flashlight so its Beam Shines on the coffin
lid. The lid 1 s about an inch and a half from the tip of her
nose, about three inches from her hand.
THEN ...
AS COMBAT DRUMS BEGIN TO BEAT ON THE SOUNDTRACK, she begins
to concentrate. Her eyes focus on the wood above her, her
left hand reaches out, touches the pine, passing her energy
to it ...
. . . Her long, white fingers, ball up into a FIST ....
. . . and that FIST begins STRIKING the coffin lid above her.
With each Strike she lets out a KARATE SCREAM...
AGAIN ...
And AGAIN ...
Her FIST SMASHES into the wood, leaving BLOOD on the lid ...
AGAIN ...
And AGAIN ...
A crack in the lid ...
AGAIN ...
Dirt begins to sift through the cracks onto the Bride ...
AGAIN ...
More dirt ...
AGAIN ...
Even more dirt ...
AGAIN ...
THE LID SMASHES and dirt pours into the coffin like water ...
THEN ...
Through six feet of dirt, we watch, the Bride - DIG -,CLIMB -
SWIM - SPROUT - BURROW - trough the earth like a sprouting
plant and a burrowing mole combined, clawing for surface air.
EXT. PAULA SCHULTZ'S GRAVE - NIGHT
A SHOT straight out of an Italian horror film. We see the
tombstone of 11
PAULA SCHULTz,u and the mound of dirt over her
grave.
WHEN ...
The Bride 1 s hand
Fulci 1 s Zombies,
earth I s womb.
breaks
Claws,
the surface
Digs,
... then like
and Pulls herself
one of
from mother
•
Once extracted from her (almost) final resting place, she
rolls over on her back, exhausted. She drinks in the night's
air as if it were gulps of water.
DIRT is in, on, and under every crack, crevice, and wrinkle
on her body.
SHE looks like a beautiful sculpture, made out of dirt.
INT. DINER - NIGHT
A Texas diner across the street from the graveyard. A YOUNG
SODA JERK stands behind the counter, waiting for a customer,
when he sees something approaching through the restaurant 1 s
big picture window that makes him look twice.
SODA JERK'S POV,
Through the picture window, we see the Bride, emerge from the
Texas night, and walk towards the diner looking for all the
world like a six-foot tall female version of the Peanuts
character 11
PIG PEN. 11 With each of her footfalls, a smaller
mushroom cloud of dust comes off her.
The dirty blonde, walks into the diner, sits on a stool at
the counter directly across from the Soda Jerk, and says;
THE BRIDE
I 1 d like a glass of water.
FADE TO BLACK.
BLACK FRAME
TITLE CARD,
Chapter nine
11
ELLE and I 11
CUT TO,
CU ELLE DRIVER
Behind the wheel of a hot black and gold Trans Am, driving
full out on top of the desert's surface. Spanish Rock coming
out of her powerful speakers.
- EXT.
The
car
DESERT BUDD'S
car
and
stops in front
the radio.
CAMPER - DAY
of Budd 1 s camper. She shuts off the
The camper door opens, Budd squints outside through the
bright gold, hot desert morning, at the Tall Blonde Girl with
one Good Eye.
BUDD
Want some breakfast?
INT. BUDD'S CAMPER'S KITCHEN - DAY
Budd and Elle in the tiny kitchen of Budd 1 s tiny camper. Elle
sits a the kitchen table, a black suitcase by her feet. Budd
stands at a blender making them both breakfast margaritas, as
he finishes telling the tale of last night.
- ... So that
funeral?
ELLE
1
s called a Texas
BUDD
Yep.
ELLE
I got to give it to ya Budd, that 1 s
a pretty fucked up way to die.
What's the name on the grave she 1 s
buried under?
BUDD
Paula Schultz.
Budd turns on the NOISY blender, as Elle writes down the name
Paula Schultz on a small notepad, placing it back inside her
pocket. As the blender MASHES ICE, Elle looks around and sees
the Bride 1 s Hanzo sword in its sheath, leaning up against the
-
T.V. In the front room. Budd shuts the blender off.
ELLE
Can I look at the sword?
BUDD
That's my money in that black case,
isn't it?
ELLE
Sure is.
BUDD
Well then, it's your sword now.
The tall blonde girl steps into the living room, takes the
Hanzo sword, and sits back down on the kitchen chair.
She slowly removes the Japanese steel from its wood sheath.
ELLE
So this, is a Hattori Hanzo sword.
Budd answers as he fills up two former peanut butter jars
with breakfast margaritas.
BUDD
That 1
s a Hanzo sword alright.
ELLE
Bill tells me you once had one of
your own.
Pause.
BUDD
Once.
ELLE
How does this one compare to that
one?
If you
sword,
1
BUDD
re gonna compare
you compare
a Hanzo
it to every •
sword ever made -- wasn't made by
•
Hattori Hanzo. Here, wrap your lips
around this.
He hands her her margarita, she takes a sip. He takes a gulp.
BUDD
So, which 11
Rn you filled with?
ELLE
What?
BUDD
They say the number one killer of
old people is retirement. People
got 1 em a job to do, they tend to
live a little longer so they can do
it. I've always figured warriors
and their enemies share the same
relationship. So now you ain 1 t
gonna hafta face your enemy on the
battlefield no more, which 11
R 11 are
you filled with, Relief or Regret?
ELLE
A little bit of both.
BUDD
Bullshit. I 1 m sure you do feel a
little bit of both. But I know damn
well you feel one more than you
feel the other. The question was
which one?
Elle looks right at him with her eye, and says;
ELLE
Regret.
BUDD
Yeah you gotta hand it to the 01 1
•
girl. I never saw nobody buffalo
Bill the way she buffaloed Bill.
Bill useta think she was so damn
smart. I tried to tell him ... Bill,
she 1 s just smart for a blonde.
•
He looks over at Elle and grins.
Elle looks at him.
ELLE
Want your money?
She gestures to the black suitcase by her feet.
He smiles and lifts it up on the table, unzipping it open.
Lying inside is a cool million, the thousand dollar bills are
inside stacks of a hundred thousand each. At the sight of all
this lettuce, Budd lets out a whistle.
BUDD
Great day in the morning.
He lifts a stack out of the bag, then another, then
another ... and when he lifts the third stack out, he looks
down and sees a BLACK MAMBASNAKE coiled underneath.
The Black Mamba opens its WIDE JAWS ... and LEAPS RIGHT AT
BUDD...
... STRIKING Budd in
(three times
Budd topples
of money fall
in the
out of the
with him.
the face
face,
repeatedly
and once in
kitchen chair
the
onto
in blurred
forearm).
the floor,
succession
bundles
•
Elle takes a sip of her Margarita.
The Black Mamba leaves Budd and goes under the refridgerator.
Elle looks down, Budd lies on his back on the kitchen floor
at her feet. His face is already grotesquely swollen and
white as a sheet. The serpent 1
s extraordinarily potent venom
makes a full-frontal assault on the cowboys 1 s nervous system.
ELLE
Oh, r 1 m sorry Budd, that was rude
of me wasn 1 t it? Budd -- I'd like
to introduce my friend, The Black
Mamba.
(gesturing towards the
refridgerator)
Black Mamba -- this is Budd. You
know before I picked up that little
•
fella, I looked him up on the
internet.
(she removes her notepad
from her pocket)
Fascinating creature the Black
•
Mamba. Listen to this,
(reading from the notepad)
" ... In AfricaF the saying goes, in
the bush, an elephant can kill you.
A leopard can kill you. And a Black
Mamba can kill you. But only with
the Mamba, and this has been true
in Africa since the dawn of time,
is death sure. Hence its handle;
Death Incarnate."
(looking up from the
paper)
Pretty cool, huh?
(back to paper)
11
••• Its neurotoxic venom is one of
nature 1
s most effective poisons,
acting on the nervous system
causing paralysis. The venom of a
Black Mamba can kill a human in
four hours, if say bitten on the
ankle or the thumb. However, a bite
to the face or torso can bring
death from paralysis within twenty
minutes.
(up from paper to Budd)
Now you should listen to this cause
this concerns you.
•
(reading from the paper)
The amount of venom that can be
delivered from a single bit can be
gargantuan.
(looks up from paper)
-- You know I 1 ve always liked that
word Gargantuan, and I so rarely
have an opportunity to use it in a
sentence.
(back to paper)
11
If not treated quickly with anti
venom, 10 to 15 milligrams can be
fatal to human beings. However, the
Black Mamba can deliver as much as
100 to 400 milligrams of venom from
a single bite. 11
Elle finishes reading and puts the paper away. She looks down
at Budd at her feet, going through all the symptoms she just
described.
ELLE
Now in these last agonizing minutes
of life you have left, let me
answer the question you asked
earlier, more thoroughly. When it
•
comes to that bitch, I gotta lotta
11
R 1 s 11 in me. Revenge is one.
Retribution is another. Rivalry is
definitely one. But I got another
nR 11 for that bitch you might be
•
surprised to find out. Respect. But
right at this moment, the biggest
11
R 11 I feel, is Regret. Regret that
maybe the greatest warrior I have
ever met, met her end at the hands
of a bushwhackin, scrub, alacky
piece of shit like you. The woman
deserved better.
Budd, dying, watches from the floor as Elle takes out her
cell phone and presses one button. The other party comes on
the line, but we never hear their side.
ELLE
I into phone)
Bill ... Elle. I have some tragic
news.
(pause)
Your brother 1
s dead.
(pause)
I 1 m sorry baby.
Budd tries to make a sound from the floor, Elle calmly places
her foot over his mouth.
(pause)
I got her,
(pause)
ELLE (CONT'D)
She put a Black Mamba in his
camper.
sweety.
•
She's dead.
(pause)
Let me put it this way. If you ever
start feeling sentimental, go to
Austin, Texas. When you get here,
walk into a florist and buy a bunch
of flowers. Then you take those
flowers to Huntington cemetery on
Fuller and Guadalupe, look for the
headstone marked 11
Paula Schultzu,
then lay them on the grave. Because
you will be standing at the final
resting place of BEATRIX KIDDO.
WE FLASH ON
The BRIDE'S DRIVER'S LICENSE (the real one), with both her
picture and the name, BEATRIX KIDDO. Yes, that's her teal
name.
FLASH ON
CLASSROOM of
A 1st
1st Graders
GRADE TEACHER reads
on the
roll
first
call;
day of class.
•
• Melanie
WE WHIP PAN ACROSS A bunch
MELANIE HARRHOUSE.
1ST GRADE TEACHER
Harrhouse.
of kids to an EX CU of 1st grader
MELANIE
Here.
1ST GRADE TEACHER
Beatrix Kiddo.
WHIP PAN TO AN EX CU OF The grown-up BRIDE,
THE BRIDE
Here.
BACK TO ELLE ON PHONE
• I'm so sorry
get there
should
ELLE
baby.
in about
I come over?
(pause)
--Look,
four hours,
No no no no no, you need me baby.
I'm there.
I can
(pause)
Okay, I 1 m leaving now, go smoke
some pot or something. I 1 ll be
there soon.
She hangs up the cell phone, and looks down at the dead man
under her shoe.
Picking up the Hanzo sword, she climbs down on the floor on
her hands and knees to pick up the fallen money.
CU The BLACK MAMBA
out from under the refrigerator, behind Elle ...
Elle senses it. And slowly turns her head to look back ..
Both Black Mamba and Elle Driver LOCK EYES ...
ZOOM INTO BOTH CU 1 s tighter and tighter, till Elle says;
• Bring it
ELLE
on, bitch.
•
The viper known as death incarnate, LEAPS at Elle.
Elle flicks her wrist slightly. She doesn 1
t even swing the
blade. She just holds it.
The snake's head touches it, and is immediately SEPARATED
from its body.
ELLE 1 S EYES look down at the Japanese steel in her hand.
HANZO BLADE
a smidgen of crimson blood is on the silver steel.
ELLE
Now that's what I call sharp.
EXT. BUDD'S CAMPER - DAY
Elle exits the camper with both the sword and the black
suitcase in her hand.
She climbs into her gold and black Trans Am, starts up the
engine, turns on the radio ....
WHEN...
. . . she
driver
ELLE'S POV,
The dirty
1
thinks
s side
she
car
BLONDE BRIDE behind
hears
door
the wheel of
something
window ...
... she looks
her
out
new,
her
enormous
•
red pickup truck, HEADING RIGHT FOR HER ...
CU The BRIDE
behind the wheel, HEADING RIGHT FOR HER ... VEGEANCE THEME
PLAYS ON SOUNDTRACK.
CU ELLE
her jaw drops open. She 1 s gobsmacked. Not only does she see
the dead walk, she sees the dead behind two tons of metal
coming at her at 100 MPH...
CRASH
The Red Pickup T-BONES the Trans Arn, the gold and black car
FLIES through the air, then ROLLS OVER AND OVER about five
times in the desert sand and dirt ... ending upside down.
The dirty blonde looks out her windshield at the wreckage of
the black and gold sports car. A smile with the slightest
hint of satisfaction, spreads across her face.
She hops out of the truck and into Budd's camper. •
INT. BUDD'S CAMPER - DAY
As she walks through the door, Budd 1 s dead, swollen body
greets her. As does her serpent namesake, dead on the floor
from decapitation.
She begins searching the camper, quickly, for something in
particular. We don 1
t have the slightest clue what it could
be.
FLASH ON
EX CU The BRIDE'S EYE - Watching.
The BRIDE'S POV,
Budd 1 s camper, seen from up high looking down.
The BRIDE
searching the camper.
FLASH ON
EX cu Her EYE.
The BRIDE'S POV,
Budd 1 s camper 1 Budd exits by himself.
The BRIDE
searching the camper.
- FLASH ON
EX CU The
The BRIDE'S
She watches
POV,
BRIDE'S
from a high
SAMURAI SWORD.
EYE.
perch, Budd practicing with a ...
The BRIDE
searching under his bed, she sees a sword on the floor,
resting in a shiny, black wood mahagony sheath. She removes
it from its hiding place.
WOOD SHEATH
Its one of Hanzo 1 s sheaths. She opens it. It is a Hanzo
sword. Near the handle, etched in the steel, are the English
words; 11
To My Brother Budd, The Only Man I Ever Loved, from
Bill. 11
She closes the sheath, this will do. She sees a pair of
cowboy boots. Picks one up and places the sole of the boot
against the sole of her foot. Her feet and this man 1 s boot
are around the same size. She slips her dirty feet in them.
She's good to go.
EXT. DESERT
Elle crawls from the wreckage of the Trans Am, holding the
Hanzo sword, looking like she I
s just been in a car wreck,.
•
A cut on her head makes blood run down the side of her face.
Luckily for her, not the side with the good eye.
The camper door swings open. The Bride emerges from Budd 1 s
home, looking like a Barbie doll that 1 s been dug up after ten
years buried in the backyard, carrying a Hanzo sword. Every
footfall creating a cloud of dust.
The two women, each carrying a samurai sword, face each other
in showdown position.
A shark smile spreads across Elle's face.
ELLE
Bravo, Bea. I actually thought that
alacky had got the best of you.
THE BRIDE
You thought wrong.
The Bride unsheaths her sword with great flourish.
Elle does the same.
ELLE
{referring to the sword)
What 1 s that?
THE BRIDE
Budd 1
s Hanzo sword.
ELLE
He said he pawned it.
THE BRIDE
Guess that makes him a liar, don't
it?
Without raising their swords into position, the two blonde
warriors circle each other.
THE BRIDE
(question)
Elle?
• Bea.
(answer)
ELLE
THE BRIDE
I was wondering, just 1
tween us
girls, what did you say to Pai Mei
for him to snatch out your eye?
FLASHBACK - SPAGHETTI WESTERN STYLE
of Pai Mei SNATCHING out Elle 1 s eye with his Eagle 1
s Claw.
ELLE
I called him a bastard.
THE BRIDE
Oooh, not so good.
ELLE
Were I to do it over again, I 1d
bite my tongue.
THE BRIDE
One more question?
ELLE
Shoot.
THE BRIDE
Where 1 s Bill?
ELLE
Villa Quatro.
THE BRIDE
Gulf of Mexico?
• Elle nods her head 1
yes. 1
THE BRIDE
You wouldn 1
t lie to me now?
ELLE
Why lie?
Elle raises up The Bride's Hanzo sword into position.
The Bride raises up her sword.
THE BRIDE
I saw what you did to that little
Mamba in there. Want to try that on
somebody your own size?
ELLE
I intend to.
The Bride completely drops her sword stance and her samurai
bearing.
Oh
we get
swords
can
Careful
Elle,
take
I
started.
THE
should
Hattori
are extremely
a
not
little
to
BRIDE
Hanzo
sharp.
cut
warn
They
getting
your
you
own arm
before
used to.
•
off.
ELLE
I don't rattle, bitch!
The Bride brings her sword back into combat position.
THE BRIDE
You 1 re gonna bleed though, you're
gonna bleed a lot.
THEN ...
SPAGHETTI WESTERN MUSIC EXPLODES ON THE SOUNDTRACK.
The two blonde warriors .... swords in position ... no longer
circle each other .. '. .but instead move forward ... closer and
closer to each other .... one baby step at a time .. .
CU OF GIRLS.
EX CU 1 S OF:
Their separate GRIPS on the SWORD1 S HANDLE.
Their FEET moving closer.
The Bride's eye.
Elle 1
s eye.
The Tips of each other 1 s Blade.
Their Blonde Hair.
As the Operatic Spaghetti Western Music Builds to a
crescendo ... we CUT BACK AND FORTH between CV 1 s of the two
women that get TIGHTER AND TIGHTER as we ZOOM in CLOSER and
CLOSER .... UNTIL ... We reach the THEME'S CLIMAX....
Both women let loose with a Samurai Grunt and Swing.
EX CU, TWO SILVER BLADES CLASH.
EX CU: BLONDE HAIR WHIPPING.
EX CU: TWO SILVER BLADES CLASH AGAIN.
•
TWO SHOT: The TWO WOMENWARRIORS stand their ground, STRIKING
and DEFENDING ... When they stop, no one 1 s been touched.
The TWO WOMEN- Swords in attack position - stare across to
the other one, as they prepare for their next attack ...
Now they begin to circle again.
CU THEIR FEET making a circular walk.
They ATTACK...
EX CU BLADES MEET -- However this time we don'•t know who 1 s on
the left or the right. One Blade maneuvers around the other.
EX EX CU: of TIP OF BLADE SLICING OPEN SKIN, about a quarter
of an inch. It looks like a scalpel cut. No blood. Just skin
separating. We don't know who's cut.
The TWO WOMENstand and face each other. Neither knows if
it's them who has been struck. Neither woman bleeds.
We feel a count of ... One Mississippi ...
EX CU: ONE SILVER BLADE, clean as a whistle.
EX CU, ONE SILVER BLADE with a smudge of CRIMSON BLOOD on its
•
TIP .
We feel a count of Two Mississippi ...
ELLE,
BLOOD begins to PROJECTILE SPRAY out of a slice in Elle 1 s
neck only a quarter of an inch long. The Blood does not exit
the neck as liquid but as a FINE RED MIST, like that of an
aerosol can, we even HEAR the slight SPRAY WHISTLE. Elle
feels nothing. She turns her eyes towards the sound of the
spray, and sees the blood escaping her like air from a
balloon. She lifts her hand and places it in the path of the
spray, it 1 s immediately BATHED IN RED.
Elle drops the Bride 1
s sword.
As her blood continues to escape, both women look across each
other.
The effect is that Elle Driver is a balloon and her life is
escaping before both their very eyes. And now looking across
at each other, the two women see the other for the first
time, not as adversaries, or opponents, or as rivals, or as
bitches ... but as sisters.
Elle no longer has enough life in her to stand up ... She falls
to her knees in front of The Bride ....
. .. then as she dies, she leans the side of her head against
The Bride 1 s standing body. Her blood runs down The Bride 1 s
leg. As she passes on, Elle gently wraps her arms around the
Bride 1 s leg.
•
The Bride's hands go down to Elle 1
s long blonde hair, and
begins gently stroking it, easing her pain as she expires.
Only in death do they find the sisterhood that could have
been theirs.
WIDE SHOT
The Bride standing, Elle on her knees, the desert surrounds
them.
The BRIDE
putting a shovel down.
WIDE SHOT
The Bride has finished burying Elle. She sticks a jerry
rigged wood cross in the ground as a marker. Then using her
sog;
WOODENCROSS
carves the name nL. DRIVER 11 on the cross.
Then drives away in the big red pickup.
SPAGHETTI WESTERN MUSIC ENDS
FADE TO BLACK.
BLACK FRAME
TITLE APPEARS,
Final chapter
•
11
The blood-splattered
•
BRIDEH
INT. BILL'S HACIENDA - DAY
Bill on the patio of his beautiful hacienda home (named Villa
Quatro) located on the beach in Mexico. At the moment Bill
partaking of his current hobby ...... Flower Arranging.
With his hands among various flowers of BRIGHT COLORS, he
sorts and prunes a very pretty arrangement.
EX CU the BRIDE'S EYE
.... watching ....
Bill 1
s Mexican housekeeper, JOSEPHINA, appears on the patio.
JOSEPHINA
Mr. Bill, you wanted me to tell you
to leave now.
BILL
•
(finishing up/
Yes, I got to go and meet the
Duchess.
(referring to the flowers)
Do you like it?
JOSEPHINA
Oh yes Mr. Bill, it 1
s very pretty.
BILL
Why don 1 t you put it on the dinner
table, so we can enjoy it tonight.
JOSEPHINA
(she takes it)
Good idea, she'll love it.
As he heads out the patio, he tells her;
•
BILL
Oh and Josephina, take the
remaining flowers and spread them
around the house, if you would.
He exits
in.
Yes,
the
Mr.
patio,
JOSEPHINA
Bill.
then turns around and pops his head back •
BILL
You know I just had a great idea.
Take the roses, and spread the
petals on the bed I just got for
her. Thatrd be a nice thing to come
home to, wouldn 1 t it, a bed of
roses.
JOSEPHINA
Oh, she 1
ll love that Mr. Bill.
BILL
You wouldn 1 t mind doing that for
me, would you Josephina?
JOSEPHINA
No, not at all.
FLASH ON
EX CU The BRIDE'S EYE
.... watching ....
We follow behind Bill as he moves through his house ... He
slips on his jacket ... Grabs his keys ... TWO energetic GERMAN
SHEPHERDS follow him out the front door onto his driveway.
On his way to his silver Porsche, he roughhouse plays with
the dogs, speaking to them in Spanish. When he gets to the
sports-car, the dogs won 1 t leave him alone, and one jumps on
the Porsche. He yells at it in Spanish;
BILL (SPANISH)
Get the fuck off the car, Lucy,
Lucy, down!
FLASH ON
EX CU The BRIDE'S EYE
... watching ...
The gates
silver
in front
Porsche hits
of Bill 1 s Hacienda
the streets running.
home open, and his
•
FLASH ON
•
EX CU The Bride
. .. watching ...
A SUSPENSE THEME PLAYS OVER THE SHOTS of The Bride's Eye
every time we cut to it. Over the SHOTS OF BILL DRIVING we
hear a SPANISH TRAGIC LOVE BALLAD, coming from the car radio.
BILL
driving his convertible as the beach WHIZZES by in the
background.
The Bride 1
s eye.
Dirt Road, lined by greener than green trees, the Porsche
kicks up dirt ZOOMING down it.
CU BILL
driving as the Spanish love song plays.
The Bride 1
s eye.
A striking but antiseptic-looking INSTITUTION of some sort,
surrounded by the beautiful foliage of Mexico. Bill 1 s silver
Porsche drives up its driveway.
The Bride's eye .
• INT.
glass
INSTITUTION
The institution
it 1 s a clinical
doors and
is not Spanish
new-age
walls
box-like
in style,
and the color
structure
beige.
but on the contrary
made up of clear
Bill walks through the glass doors, to a lone Asian FEMALE
RECEPTIONIST, her desk is the only furniture in the lobby. In
JAPANESE he explains to her his reason for being there.
EX CU The BRIDE'S EYE
... watching ... we now leave any shot of Bill not from the
Bride's perspective. The SUSPENSE THEME is STRETCHED TIGHTER
and TIGHTER as we look through the Bride's POV and listen to
her VO;
THE BRIDE (V.O.)
The attentive audience members
among you will have probably
noticed, that all my kills have
been straight up fights.
The Bride's POV: The Glass-enclosed Institution, and Bill
standing by himself in the empty lobby .
• Y 1 all
THE BRIDE (V.O.)
figured I'd face him with my
Hanzo sword, aye? Well, I figured
•
Bill figured the same thing. I am
the product of three godfathers.
Bill, Pai Mei, and Hattori Hanzo.
Different teachers teach you
different things. But one thing I
learned from all three, was 1'in
combat, the opponent that does the
unexpected, can usually expect to
be the victor." Bill would never
see this coming. Not from me. And
least any of you judge me a
bushwhacker, remember ... It was Bill
who taught me how to shoot.
As the Bride has said these things, WE'VE seen INSERTS of her
putting together her high-powered scope rifle. Snapping on
the scope sight. Setting the FOCUS through the CROSSHAIRS.
Loading the heavy-duty AMMO. Curling her long white finger
around the rifle's TRIGGER.
SCOPE SIGHT POV: Bill's head in between the Crosshairs.
SUSPENSE THEME is STRETCHED TIGHTER STILL ... it will soon
break.
WIDE SHOT
looking through the Institution's glass wall. The elevator in
the lobby opens ... and A LITTLE GIRL steps out, and runs into
•
Bill's arms. A LITTLE GIRL about five years old. A FIVE-YEAR
OLD LITTLE GIRL with blonde hair. Bill picks up the Little
Girl and lifts her HEAD into the CROSSHAIRS of the SCOPE
SIGHT.
SUSPENSE THEME SNAPS into an OPERATIC WAIL ...
EX CU: The Bride's finger, pops off the trigger.
EX CU: The Bride's eye, A HUGE TEAR FALLS OUT ... We move out
of the eyeball, into• a MEDIUM CU of The Bride, tears falling
down her face ... She can't believe what she 1 s looking
at ... that 1 s her daughter ... She's alive ...
Her REMEMBERING THEME PLAYS ...
FLASH ON
The Bride remembering, while she was in her wide-eyed coma
state, lying on an operating table, as DOCTORS AND NURSES
performed a Cesarean childbirth on her. The NEWBORN INFANT is
passed to other hands above her wide-eyed unblinking
expressionless face.
CU of The BRIDE
In one moment, Bill has managed to suddenly change the game.
EXT. LONG LONG LONG.EMPTY ROAD IN MEXICO - DAY
Silence, except for a few birds.
•
THEN ...
WE HEAR the Roaring of an Engine, and the Silver Porsche
WHIZZES into FRAME.
INT. PORSCHE (MOVING) - DAY
Bill behind the wheel, his little girl asleep in the
passenger seat. He sees something ahead.
A convertible Volkswagen Karman Ghia enters the road heading
in the opposite direction. It 1 s a long long long way off, but
it will get closer every second.
Bill senses something about this automobile, and throws a
glance at his sleeping child.
His cell phone RINGS, he answers it.
BILL
Hola.
INT. THE BRIDE'S CAR (MOVING) - DAY
The Bride behind the wheel of the convertible, her long
blonde hair whipping in the wind, talks to Bill for the first
time in five years and six months.
THE BRIDE
Hello Bill.
BILL
Kiddo, is that really you?
THE BRIDE
Oh, it's me all right.
BILL
I hear you were driving a truck?
THE BRIDE
My pussy wagon died on me. Who's
your little friend?
He glances down at the sleeping child.
BILL
Oh, you mean the little tow head
next to me, who looks
extraordinarily like you?
THE BRIDE
Yeah, that one.
BILL
Her name is B.B.
The Bride gets choked up again, emotion betrays her voice.
THE BRIDE
B .B.?
BILL
Yes. Do you approve?
She wipes her eyes. Her hand moves under her shirt,
fingertips rest on scar.
THE BRIDE
Yes. Can she hear us?
BILL
Not now, she 1 s in dream land.
THE BRIDE
How old is she?
BILL
What do you mean by that?
THE BRIDE
How many years has she been alive?
BILL
Don 1 t ask how old she is, ask, if
shers five.
THE BRIDE
Is she five?
BILL
Aren 1 t mothers like God, aren't you
supposed to automatically know?
THE BRIDE
I did and I do.
(pause)
I want to meet her.
BILL
Have dinner with us at my hacienda
tonight. She 1 s expecting you .
• THE BRIDE
What do you mean?
BILL
I knew you were on your way, so I
told B.B. Her mommy was coming to
see her.
THE BRIDE
(confused)
What have you told her about me?
BILL
That you were sick, that you were
asleep, but one day you'd wake up
and come back to her.
And she asked me, 11 If Mommy's been
asleep since I was born, how will
she know what I look like?n To
• which
said,
dreaming
I replied,
been dreaming
of her."
nBecause
of you. n And she
"Then I 1 m gonna start
So I gave her a
Mommy's
picture of you --
THE BRIDE
-- which one?
BILL
The one I took of you in Paris,
sitting on the steps with the
baguette in your hand. Since she
was one and a half years old, she 1 s
slept with that picture of you next
to her bed.
The EXACT PHOTO DISSOLVES OVER The Bride's face, then
DISSOLVES AWAY.
THE BRIDE
You know, prettier photos of me do
exist.
•
BILL
And she 1 s seen them. But the one
she wants looking after her while
she sleeps is the one of you
holding bread.
(pause)
We normally have dinner around
seven, is that convenient?
THE BRIDE
Yes.
Pause .... The cars get closer ...
THE BRIDE
When do we cross swords?
BILL
Well, it just so happens, my
hacienda comes with its very own
private beach. And my private
beach, just so happens to look
particularly
moonlight.
happens
tonight.
beautiful
And there
to be a full
bathed
just
moon out
So, swordfighter,
so
in
if you •
want to sword fight, that's where I
suggest. But if you wanna be old
school about it - then we can wait
till dawn, and slice each other up
at sunrise, like a couple real life
honest to goodness samurais. As per
usual Kiddo, I'll leave the big
decisions up to you.
The cars will soon pass ...
THE BRIDE
Do me a courtesy?
BILL
Anything.
THE BRIDE
Slow down as we pass ... I want
another look at her .
• Wear
I have
BILL
something nice
THE BRIDE
a dress all picked
tonight?
out.
BILL
Will I like it?
THE BRIDE
You said I looked beautiful last
time you saw me in it.
BILL
I 1 ll dress up too.
His foot moves off the gas, slowing the car; her foot does
the same.
• The cars
The Bride
in
looks
SLOW MOTION start
into the other
to
car.
pass .
We ZOOM past Bill to the little girl in the passenger seat.
•
We go ONE FRAME AT A TIME till the car moves past us, to Bill
holding a pistol with a large silencer pointing right at our
face. He FIRES. It emits only a tiny PHOOF.
The Bride throws herself across the passenger seat as the
driver 1
s side window EXPLODES over her head.
The two cars pass each other.
The Bride straightens herself in the driver 1 s seat. She looks
in the rearview as Bill and her daughter drive away. Grabbing
the cell phone she screams in it;
THE BRIDE
You fucking maricone!
Bill on his cell, eyes on rearview.
BILL
Now you just wait one second there
little missy. Unless I 1 m confused,
we are trying to kill each other
aren 1 t we? Now I wasn 1 t planning on
•
taking a shot at you in front of
the squirt, but, she is asleep. And
if you 1 re gonna forget everything I
ever taught you, and gawk like you
ain 1 t got good sense, I 1 m gonna
take a shot, am I not?
THE BRIDE
Did she wake up?
BILL
Of course not. She 1 s like you that
way.
I look forward to this evening. It
was great speaking with you, Bea.
He hangs up.
INT. WHERE HATTORI HANZO SLEEPS - JAPAN - NIGHT
Hattori Hanzo lies sleeping on his mat ...
•
WHEN...
His phone wakes him up in the middle of the night ... He
hurriedly answers it.
• HANZO (JAPANESE)
(in phone;
Hello ....
groggy)
INT. MEXICO HOTEL - DAY
The Bride's on the phone, calling Japan, in tears.
THE BRIDE (ENGLISH)
Hattori!
HANZO (ENGLISH)
Beatrix, what's wrong?
THE BRIDE (ENGLISH)
She 1
s alive! My baby girl 1 s alive!
•
CUT TO,
INT. THE BRIDE DRIVING TO BILL'S VILLA
The same shot we saw during the opening credits. She 1 s
dressed in a white bridal gown, the exact replica of the one
she was bushwhacked in.
Over her CU we DISSOLVE TO A CU OF HANZO talking to her
earlier on the phone.
HANZO (JAPANESE)
Half of Bill's strength, lies in
his talent for the unexpected.
If you intend to vanquish this man,
and claim your daughter, you must
not only expect the unexpected. You
must do the unexpected.
WE DISSOLVE BACK to The Bride.
We see the same shots as before of The Bride driving up to
Bill 1 s villa, through his iron gates, and parking by his
front door. We see TWO BLACK-SUITED MALE SATELLITES approach
• her .
Now comes the new stuff.
She climbs out of her vehicle, goes to the back, opens the
boot~ and removes her MOSSBERG PUMP ACTION SHOTGUN.
The
She
ONE is
two
SLIDES
satellites
THE PUMP once,
BLOWN APART by the
freeze ...
and
blast.
FIRES. •
She SLIDES THE PUMP a second time ... BLAST.
TWO buys the farm.
She slides the PUMP again ...
. . . and BLASTS the front door, kicking it open and stepping
inside.
INT. BILL'S VILLA - NIGHT
ANOTHER BLACK-SUITED SATELLITE hurries down the stairs,
reaching for his weapon ...
She FIRES the shotgun into his kneecap ...
He TUMBLES down the stairs landing at her feet.
•
She points the shotgun straight down at his face.
THE BRIDE
Hello Manny.
She FIRES ... Then moves further into the house.
Apparently, this is the do-the-unexpected part of her plan.
Fuck the charade, storm the camp, kill everyone she comes
across, send Bill to hell, scoop up her daughter, and head
for parts unknown.
So far, so good.
She enters the butcher block kitchen, and finds Bill 1 s cook
and housekeeper, Josephina.
Josephina stares at the shotgun barrel pointed at her.
THE BRIDE
Hello Josephina.
Hello Miss
JOSEPHINA
Beatrix.
•
She grabs the housekeeper, and shoves her into the kitchen
•
pantry .
THE BRIDE
Stay in here and don't come out. If
you leave this room I 1 ll shoot you,
comprende?
JOSEPHINA
Yes.
She closes the pantry door, and moves into the hallway
leading to the living room.
With her back against the wall, holding her weapon tight, she
moves down the hall. As she creeps, an unseen Bill yells to
her from around the corner.
BILL'S VOICE (O.S.)
Kiddo! If you're through shooting
the servants, I'm in the living
room. You remember how to get to
•
the living room, don'tcha? Go down
to the end of the hall, and make a
left.
Back against the wall she creeps down the hall to the end.
She pumps the slide, and TURNS THE CORNER - SHOTGUN RAISED -
READY TO FIRE ...
WHEN...
EX CU The BRIDE'S EYES - blink once.
EX CU HER FINGER comes off the trigger.
What the Bride sees in front of her is, Bill in a tuxedo,
holding a small, orange squirt gun pointed at her. Standing
next to him is five-year-old little B.B., dressed up in a
very pretty party dress, arm outstretched holding a orange
squirt gun, aimed at The Bride.
The three look at each other for a moment, then Bill says;
BILL
(loudly)
Bang Bang!
• Then
shot.
he suddenly clutches his abdomen like he 1
s just been
•
BILL
Oh B.B., Mommy got us.
B.B. lowers her gun and plays out a big dying scene alongside
her dad ... Bill falls to the floor.
BILL
Oh, I 1 m dying ... Itm dying ...
B.B. parrots this.
B.B.
Oh, I 1 m dying ... I 1 m dying ...
Bill on the floor, says up to his little girl;
BILL
Fall down sweetheart, Mommy shot
you.
The little girl falls down pretend dead.
The Bride,
is truly
Bill
breath;
still
thrown.
delivers his
absentmindedly
lines from the
pointing
floor,
her
spoken
weapon
like
at them,
a dying •
BILL
You did it Quick Draw Kiddo. You
are-the fastest.
And with these last words, pretends to die.
But then while pretending to be dead, he speaks in a dramatic
narrator's voice.
BILL
But ... little did Quick Draw Kiddo
know, ... that five-year-old B.B.
Gunn was only playing possum, due
to the fact she was impervious to
bullets.
B.B. raises her head off the floor and says;
B.B. •
(to Mommy)
I 1 m impervious to bullets, Mommy.
BILL
(to B.B.)
Hey, get back down there, you're
playing possum.
The little girl 1
s head drops back down.
Bill continues his dramatic narration;
BILL
So, as the smirking killer
approached, what she thought, was a
bullet-ridden corpse, ... that's when
the little B.B. Gunn fired.
B.B. springs up holding her tiny orange squirt gun and says;
B.B.
Bang bang!
The Bride continues watching in gobsmackery.
Bill raises his head off the floor, and says to her in his
normal voice;
BILL
Mommy, you 1 re dead - so die.
The Bride shakes off her confusion, and acts out a big death
scene fo her little girl.
THE BRIDE
Oh, B.B., you got me. I should have
known, you are the best.
She falls to the floor and pretends to die.
The little girl in her party dress, runs over to the big girl
in her wedding dress, and kneels over her mommy.
Mommy opens her eyes .
• Don 1 t die
playing.
B.B.
Mommy, I was just
•
From the floor, looking up at her daughter, she speaks to her
for the first time.
MOMMY
I know baby.
They embrace each other.
B.B.
I waited a long time for you to
wake up, Mommy. Did you dream of me
- I dreamed of you?
The female killer says to her daughter as mommieness begins
to creep into her voice;
THE BRIDE
Every single night, baby.
She holds her daughter out at arm 1 s length to get a better
look at her.
THE BRIDE
Now let me look at you. My my my ...
What a pretty girl you are.
•
B.B.
You 1 re pretty too, Mommy.
B.B. starts stroking her mother's long blonde hair.
THE BRIDE
Thank you.
All of a sudden, Bill has joined them on the floor.
BILL
When I showed you Mommy's picture,
tell Mommy what you said.
The little girl gets shy.
BILL
c 1 mon shy girl, you know what you
said, tell Mommy, it 1 ll make her
fell good.
As she strokes her long blonde hair, little B.B. says;
B.B.
I said - I said - You 1 re the most
beautiful woman I ever saw in the
whole white world.
BILL
That 1
s the truth. That's what she
said.
B.B. points to Manny 1 s blood, which splashed a little on the
Bride 1 s wedding gown.
B.B.
What's that?
• dress.
MOMMY
Oh, Mommy spilled something
B.B.
on her
Blood?
MOMMY
No. Kool-Aid. Do you like Kool-Aid?
B.B.
No.
BILL
Do you not like it, or do you not
know what it is?
Parroting Bill;
B.B.
I do not know what it is.
MOMMY
Well, it 1 s a very tasty beverage
that I used to drink, when 1 was a
little girl. It comes in a lot of
different flavors and colors, and
it 1 s really good. Maybe we should
fix some sometime. Want to do that?
The little girl gives a big nod, yes.
BILL
Speaking of fixing and drinking and
eating, I think it 1
s dinner time
don I t you?
B.B. does an exaggerated nod, yes.
BILL
(to Mommy)
When you were doin all that fancy
shootin, you didn 1 t happen to shoot
a nice Mexican woman about forty
•
five years old, did ya?
MOMMY
No.
BILL
(wiping imaginary sweat
off his brow)
Whew, then dinner should be done.
(shouting to the other
room)
Josephina! You can come out now,
we I re ready for dinn_er.
JOSEPHINA (O.S. I
Yes' Mr. Bill.
He offers his hand to Mommy, and helps her to her feet. Then
says to B.B.;
BILL
Want to go on top of the world?
She says excitedly;
• He scoops
Yeah!
the little
B.B.
girl up, puts her on his shoulders, and
as the mommy and the daddy and their little girl walk through
the house towards the dinner table, Bill and B.B. Sing The
Carpenter 1
s song, "Top Of The World.n It 1 s obviously one of
their songs.
INT. DINNER ROOM - NIGHT
The dining room of Bill 1 s house. The family, mother father
and daughter, sit at the dinner table eating.
BILL
B.B., don't you think Mommy has the
prettiest hair in the whole wide
world?
• Yes
In fact
I do.
it's
B.B.
BILL
better than pretty.
What's better than pretty?
B.B.
Gorgeous.
BILL
Very good, gorgeous. Mommy is
gorgeous.
The Bride shows no sign of thawing around Bill.
BILL
You know baby, Mommy's kinda mad at
Daddy .
• B.B.
Why? Where you a bad daddy?
I 1 m afraid
daddy.
BILL
(to Mommy)
I was. I was a real bad •
Our little girl learned about life
and death the other day.
(to B.B.)
You want to tell Mommy about what
happened to Emilio?
B.B.
I killed him. I didn 1
t mean to, but
I stepped on him and he stopped
moving.
BILL
Emilio was her goldfish. She came
running into my room holding the
fish in her hand, crying, 11
Daddy
daddy, Emilio 1 s dead. 11 And I said,
•
11
Really, that 1 s so sad. How did he
die?n And what did you say?
B.B.
I stepped on him.
BILL
Actually young lady, the words you
so strategically used were, "I
accidentally stepped on him."
Right?
8.8.
Yeah.
BILL
To which I queried, 0
And just how
did your foot accidentally find its
way into Emilio 1 s fishbowl? 11
And
she told me no no no, Emilio was on
•
the carpet when she stepped on him.
(beat)
Hummmmmm, the plot thickens. And
just how did Emilio get on the
carpet? And Mommy, you would have
•
been real proud of her, because she
didn 1 t lie. She said she took
Emilio out of his bowl, and put him
on the carpet. And what was Emilio
doing on the carpet, baby?
B.B.
He was - flapping.
BILL
And then you stomped on him?
B.B.
Uh-huh.
BILL
And when you lifted your foot up,
what was Emilio doing then?
• Nothing.
B.B.
BILL
He stopped flapping, didn 1
t he?
B.B.
Uh-huh.
BILL
And you knew what that meant,
didn 1 t you?
B.B.
Uh-huh.
•
BILL
What did that mean?
•
B.B.
He was dead.
BILL
(to Mommy)
She told me later, that the second
she lifted up her foot and saw him
not flapping, she knew he was dead.
Is that not the perfect visual
image of life and death? A fish
flapping on the carpet, and a fish
not flapping on the carpet. So
powerful even a five-year old child
with no concept of life and death
knew what it meant. Not only did
she know Emilio was dead, she knew
she had killed him. So she comes
running into my room, holding
Emilio in both of her little hands -
it was so cute - and she wanted me
to make Emilio better. And I asked
her, why did she step on Emilio?
And she said, she didn't know. But
I knew why. You didn't mean to hurt
Emilio, you just wanted to see what
would happen if you stepped on him,
right?
Uh-huh.
B.B.
•
BILL
And what happens when you stomp on
Emilio, is you kill him. And you
discovered that, didn 1 t you?
B.B.
Uh-huh.
BILL
So we drove down to the beach,· had
a little funeral, and gave Emilio a
burial at sea. And right now I 1 m
sure he 1 s happy as can be, swimmin
around in fish heaven.
•
But the point being, our child
learned two very important lessons.
One, about life and death. The
other, somethings once you do, they
can t be undone.
1
I knew just how
•
she felt
Ito B.B.)
You loved Emilio, didn 1 t you?
B.B.
Uh-huh.
BILL
Well sweety, I love Mommy, but I
did to Mommy what you did to
Emilio.
B.B.
You stomped on Mommy?
BILL
Worse.
(making his finger a gun)
I shot Mommy. Not pretend shoot,
•
like we were just doing. I shot her
for real.
B.B.
Why?
BILL
I don 1
t know.
B.B.
Did you want to see what would
happen?
BILL
No, I knew what would happen to
Mommy if I shot her. What I didn 1
t
know, is when I shot Mommy, what
would happen to me .
• What
B.B.
happened?
I was very
learned,
they
BILL
sad.
somethings
can never
And that
once
be undone.
was when
you do,
I
•
B.B.
What happened to Mommy?
BILL
Why don't you ask Mommy.
B.B.
Are you okay Mommy. Does it hurt?
BILL
No sweety, it doesn 1
t hurt anymore.
Did it
B.B.
make you
MOMMY
It put me to sleep.
sick?
That 1 s why I
•
haven't been with you B.B., I 1 ve
been asleep.
B.B.
But you 1
re awake now, right?
MOMMY
I'm wide awake, pretty girl.
EXT. PORCH - DAWN
Bill sits on the steps of his porch in the back of the house
drinking a glass of red wine. The steps lead to the beach and
the sea.
Beatrix
across
steps out
from him.
onto the porch, and sits down on the steps
•
Between them the dawn sky breaks.
BILL
Did she go to sleep easy?
THE BRIDE
It took her a little bit. She was
excited. She 1 s quite the little
chatterbox.
BILL
Well, if she doesn 1 t like you, you
got to kill her to say hello. But
if she likes you, you can 1 t shut
her up. She 1 s a chip off the ole
blonde in that regards.
He holds up the bottle of vino.
BILL
Red wine?
She shakes her blonde head, no.
BILL
C 1 mon, Bea, you 1 re a whole lot more
fun with a couple glasses of wine
in ya.
She gives him a look.
BILL
(pointing towards the
beach)
We 1 re going to go out there and
have at it, aren 1 t we?
She shakes her blonde head, yes.
BILL
Well, I've already had a glass. So
unless you want to win by an unfair
advantage,· you should have a glass
of wine, So we 1 re both on the same
footing wine wise.
She holds out the empty glass, and he fills it with red.
BILL
You know, there 1 s an old man down
here, his name is Esteban Viharo.
He was a pimp. I knew him when I
was a child. He was a friend of my
mother 1 s. I told him about you.
When I showed him your picture he
smiles and said;
(imitating his accent)
"Yesss, I see the attraction. 11
He
told me a story about taking me to
the movies when I was five. It was
a movie which had Lana Turner in
it. And whenever she would appear
on screen, he said I would stick my
thumb in my mouth and suck it, to
an obscure amount. And he knew
right then, this boy will be a fool
for blondes.
THE BRIDE
Who would of ever thought you 1
d be
such a good father?
BILL
Well not you, that's for damn sure.
She gives him another look.
THE BRIDE
Must we have to endure your little
zingers?
BILL
No we mustn't. But if you're going
to say sentences like that, in the
future, I will resist the
temptation.
THE BRIDE
Baby, you don 1 t have a future.
Bill drinks some wine.
•
BILL
•
I sent you to L.A. and you never
came back. I thought you'd been
killed. Do you know how cruel it is
to make someone think someone they
love is dead? I mourned you. Then
in the third month of my mourning,
I track you down. I wasn 1 t trying
to track you down, I was trying to
track down - the fucking assholes -
who I thought killed you. And when
I find you, what to I find? Not
only are you not dead, you're
getting married - to some fuckin
jerk - and you're pregnant? How do
you expect me to react?
THE BRIDE
Why do you think I hid?
BILL
Why did you leave in the first
place? You have cold eyes towards
me now. I understand their
temperature, but they were warm the
second to the last time I saw them,
or was that just my imagination?
THE BRIDE
No.
The Bride decides to tell all. As she tells this story, parts
will be shown on the screen.
To give herself a running start with the story she starts it
off in Japanese;
THE BRIDE (JAPANESE)
You sent me to L.A. to kill that
lady scoundrel, Lisa Wong.
Bill interrupts her.
BILL (ENGLISH)
You are you talking in Japanese?
• The Bride explodes;
THE BRIDE (ENGLISH)
•
What the hell do you care what I
talk in? Don 1 t you know when to
keep your mouth shut? I 1 m trying to
tell you what you want to know, if
you 1 ll just shut up and listen and
stop talking! Now may I continue?
BILL
You 1 re right, I'm wrong, continue.
THE BRIDE
The morning I left, I threw up. I
don't feel like speaking in
Japanese anymore - on the plane, I
threw up. When I got to my hotel, I
threw up. So naturally I started
thinking, maybe I might be
pregnant. So I bought one of those
home pregnancy kits. Went back to
my room and took the test. The
little strip said blue. I was going
to have a baby. I tried to call
you, but you weren't there, so I
•
just thought I'd call back later.
BILL
But you never did.
THE BRIDE
- Would you shut up, I'm trying to
tell you how I feel.
BILL
My apologies, please continue.
THE BRIDE
So I just figured I 1 d call you back
later. I was just so happy, I put
on music and danced by myself in
the hotel suite, holding my little
blue strip.
What I didn 1 t know, was at some leg
of my journey, I was spotted. With
me in Los Angeles it didn 1 t take
Lisa Wong long to figure out
someone put a hit out on her. So
she sent an assassin of her own to
kill me in my hotel room. As I was
•
dancing in euphoria, the killer
came down the hall.
There's a knock on the hotel room door.
The Bride stops dancing and goes to the door 1 s peephole.
PEEPHOLE POV, A pretty KOREAN WOMANin the blazer and skirt
outfit of a hotel manager. She 1 s holding a basket of flowers.
The Bride says through the door;
THE BRIDE
Hello, can I help you?
HOTEL WOMAN
Hello, I 1 m Karen Kim, I 1 m the
hospitality manager of the hotel. I
have a welcome gift from the
management.
Seeing it through the peephole .
• possibly
THE BRIDE
Oh, it 1 s beautiful.
busy at this second,
But I'm kinda
come back later?
could you
As she talks, she accidentally drops the blue strip, she
bends down to pick it up ...
WHEN...
A SHOTGUN BLAST BLOWS A HOLE in the door, right where the
bent over woman was previously standing.
Karen kicks open the door, Pump Action Shotgun in hand.
1
The Bride s on her back, on the floor below her.
Karen aims the shotgun down at her,
With her foot, The Bride kicks the front door.
It SLAMS BACK HITTING Karen in the face.
The Bride scrambles to her feet, running for cover.
•
Karen pushes the door aside, steps into the room, and FIRES
the shotgun The Bride 1 s way .
The Bride DIVES out of the way.
The BLAST DESTROYS the side of the room it HITS.
The
and
Bride comes up from the floor
THROWS IT across
Karen BLOCKS the thrown
sticking
and drops
the room at
knife with her
in the weapon 1 s wooden stock.
it to the floor.
with her
Karen ...
shotgun.
SOG in
She removes
her
The blade
the knife,
hand,
•
The Bride is a sitting duck. There's nothing she can do
except wait to get shot.
KAREN
So you came here to kill Lisa Wong,
huh? Well that 1 s my sister, bitch.
I'm Karen Wong, and I 1 ve come here
to kill you.
She raises the shotgun, and takes aim at The Bride ...
THE BRIDE
Wait a second!
Karen stops.
Yes,
come here
THE BRIDE
I 1 m an assassin.
to kill
I 1 m not gonna do that
Yes I did
your sister.
now.
But
•
KAREN
Oh, I know you 1 re not --
THE BRIDE
- listen to me! I just found out,
right now - not two minutes before
you blew a hole in the door, I 1m
pregnant.
Karen looks at her, nwhat?n.
THE BRIDE
On that table is the home pregnancy
kit. On the floor by the door is
•
the strip that says I 1 m pregnant.
I 1 m telling you the truth, I don 1 t
want to and I won 1 t kill your
sister. I just want to go home.
KAREN
What is this, bullshit story number
twelve in the female assassin 1 s
handbook?
THE BRIDE
Any other time you 1 d be a hundred
percent right. But this time you 1 re
a hundred percent wrong. I 1 m the
deadliest woman in the world, but
right now I'm scared shitless for
my baby. Please, you hafta believe
me. Look at the strip, it 1 s on the
floor.
Karen looks over to the door, and sees the tiny strip on the
floor.
KAREN
Sit down on that bed and put your
hands behind your head.
• The Bride
the floor.
directions
complies.
Then takes
on the box.
Karen
the
THE BRIDE
bends
package
down
it
and picks the strip
came in and reads the
off
Blue means pregnant.
KAREN
I'll read it myself, thank you.
It is blue, Karen 1
s starting to believe her.
KAREN
Okay, say I were to believe you,
what then?
THE BRIDE
Just go home. 1 1 11 do the same.
• Karen
leaves,
does ... She
she says;
starts backing out of the room ... before she
KAREN
You fucked with the Wong sisters.
BACK ON THE PORCH
THE BRIDE
Facing Karen Wong, was the most
frightening moment I have ever
experienced. And that includes
three years with that evil bastard
Pai Mei. Before that strip turned
blue, I was a woman, I was your
woman. I was a killer, who killed
for you. Before that strip turned
blue, I would have jumped a
motorcycle on to a speeding train
... for you. But once that strip
turned blue, I could no longer do
any of those things. Not anymore.
Because now I was a mother. A
mother who only had one thought on
her mind. Please don 1 t harm my
baby. Can you understand that?
Yes. But
then?
BILL
why tell me now, and not •
THE BRIDE
You wouldn- 1 t have let me go.
Specially once you found out I was
pregnant. You would've tried to
talk me out of it. It would have
been a big scene. I just said fuck
it.
Starting to get mad.
BILL
Fuck who?
THE BRIDE
Bill, you couldn 1 t know I was
•
pregnant, ,once you knew, you I d
claim it, and I didn't want that.
•
BILL
That 1
s not your decision to make.
THE BRIDE
Yes, but it 1 s the right decision.
And I made it for my daughter.
Everybody on this earth deserves to
start with a clean slate. But with
us - my daughter would be born into
a world she shouldn 1
t be. Robbing
her of the one thing everybody
deserves. She would be born with
blood stains. I had to choose. I
chose her.
She takes a sip of wine. It's morning now. And now it 1 s her
turn.
THE BRIDE
You know five years ago, if I had
to make a list of impossible things
that could never happen.
You performing a coup de grace on
•
me by bustin a cap in my crown,
would be right at the top of the
list.
(beat)
I 1 d 1 ve been wrong, wouldn 1
t I?
Bill listens stoney, then;
BILL
I 1 rn sorry was that a question? Of
impossible things that could never
happen - yes in this instance you
would have been wrong.
The Bride listens stoney, then;
THE BRIDE
Well?
BILL
Well what?
• Explain
THE BRIDE
yourself.
I already
story
dead.
felt?
BILL
have. When I told
of when I thought
you the
you were
Didn 1 t you get how badly I
•
THE BRIDE
You call that an explanation?
BILL
Well if that 1 s too cryptic let 1 s
get literal.
(beat)
There are consequences to breaking
the heart of a murdering bastard.
You experienced some of them.
That's his explanation.
She hears it.
They both understand one another.
You and
THE BRIDE
I have unfinished business.
•
BILL
Baby, you ain 1 t kidding.
They both laugh.
BILL
You know how proud I am of you,
don't you?
THE BRIDE
Yes.
BILL
•
You know I was rooting for you,
don't you?
THE BRIDE
I figured.
BILL
You know on that beach out there I
want you to be the victor?
She nods her head, yes.
BILL
You also know you 1 re going to have
to defeat me. I can 1 t just give it
to you, even though I want to.
THE BRIDE
It won 1 t be necessary for you to
give me anything. I've surpassed
you. I 1 ll take it.
BILL
Well, as they say in Missouri, show
me.
EXT. THE BEACH - MORNING
As the blue waves of the Gulf of Mexico crash on the beach,
The Bride in her bridal gown, and Bill, his tuxedo jacket
off, face each other in a combat stance.
The BRIDE
Breeze blowing her blonde hair, holding her Hanzo sword in
its sheath.
BILL
stares across the sand to the figure of the Bride, his
student, facing him at sunrise with a weapon he taught her to
use. This is where all who teach combat artistry may end up.
Facing a Frankenstein monster of their own creation. He
removes his Hanzo sword from its sheath with GREAT FLOURISH.
WIDE SHOT
The two combatants ... quite far from each other ... they intend
to charge/attack ... stand in showdown stance.
The BRIDE
- The VENGEANCE THEME EXPLODES ON THE SOUNDTRACK.
She takes
remove
her combat
hand is wrapped around
stance.
her sword from its
But what she doesn 1 t do is
wood sheath. The fist
the wood sheath 1 s center.
of her left
Her right
empty hand, raises and makes a beckoning gesture to Bill.
Then with a face completely devoid of emotion, says in
Japanese;
THE BRIDE (JAPANESE)
Attack me.
She 1 s facing him, sword in sheath, hand far from handle, in a
standing still position, not moving a muscle of blinking an
eye, staring her laser beams in Bill's direction waiting for
his attack.
He stands in a combat position, sword raises in a combat
grip, to charge her.
BILL
(to himself)
That 1 s my girl.
He screams a samurai scream ... and charges her ...
She stands motionless ...
Unblinking ...
Watching him coming ...
No fear ....
No expression ...
We go back and forth, close, wide, low.
TILL ...
They meet ...
Using only her left arm, with the sheathed Hanzo sword in its
grip, she blocks all of his blows, right arm unmoving down at
her side ... sort of like Pai Mei did to her earlier ... his
sword and her sheath lock together ... they're close to each
other, she brings up her right arm, sticks out two fingers,
and hits Bill on ten different pressure points on his body.
Then hits him straight on in the heart with her palm. His
body jolts, like he 1 s just had a heart attack ... he coughs up
a little blood ... he looks at her.
Their faces are very close ...
The face of the cold ice woman Ninja, melts away before our
eyes, and the face of Beatrix Kiddo is filled once again with
compassion.
BILL
He taught you the ten point palm
•
exploding heart technique?
THE BRIDE
Of course he did.
BILL
Why didn 1
t you tell me?
She doesn't have an answer.
She looks at him apologetically;
THE BRIDE
I don 1 t know ... Because ... I 1m
a ... bad person.
He smiles at her duplicitly, and says with blood on his lips;
BILL
No. You 1 re not a bad person. You're
a terrific persqn. You 1 re my
favorite person. But every once in
awhile .. . you can be a real cunt.
They smile at each other.
Then ...
Bill turns his back to her ...
And walks five steps in the opposite direction ... with each
step his heart swells, on the fifth ...
It BURSTS ... WE HEAR A SOUND, like of a tire blowout ...
He falls to the beach ... dead.
The Bride walks over to his body.
She unsheaths her Hanzo sword.
Blood lies in a pool, by Bill 1
s mouth.
She dips the tip of the blade in the blood, leaving the
tiniest of crimson smudges.
She then removes the Bill handkerchief, and wipes Bill 1
s
blood from off the blade onto the white cloth.
She lets the Bill handkerchief drop onto his body.
The Jingi sword Hattori Hanzo created, just for her, for this
•
purpose, has come to the end of its journey.
Beatrix, in a moment of enormous generosity, allows herself,
one final tear, shed for her corrupter, her enemy, the father
of her child, ... her MAN. The tear is for her as well. For
she 1 s very aware she will never ever be completely any other
man 1 s WOMAN.
EX CU The Hanzo BLADE slowly sliding into the wood sheath.
EX CU the single teardrop, sliding down her cheek.
The blade disappears inside the sheath.
The teardrop falls of her chin.
Her journey, her revenge, her victory, her unfinished
business, is completed,
The Bride exits the beach.
Bill doesn't.
SERIES OF SHOTS END FILM
As a female voice sings a song on the soundtrack.
We see the Bride, get B.B.
The Bride and B.B. are driving away.
The Bride and B.B. eating in a coffee shop.
The Bride and B.B. in a motel room. They both wear bath
towels and both of their blonde heads are wet. The Bride sits
behind her on the bed, combing the little one 1 s head.
The Bride spooning B.B. from behind, both of them are asleep.
It 1
s the morning ...
B.B. Sits on the motel room bed, watching Saturday morning
cartoons on T.V.
INT. MOTEL ROOM BATHROOM - MORNING
The Bride is on the floor of the motel room bathroom, crying
her eyes out.
She shoves a towel in her mouth so B.B. won 1 t hear her.
We wonder for a moment what's wrong ...
Till we see her face in CU ...
•
Her tears are tears.of joy.
She can't believe this is even happening.
Her daughter is alive. They 1
re together. They get to begin
•
again .
She covers her mouth so B.B. won 1 t hear her crying and get
worried or confused.
But as the deadliest woman on the planet, lies on the motel
room bathroom floor, smile on her face, twinkle in her eyes,
happier than she 1 s ever been, she thinks one thought. Over
and over again ....
Thank you god ... thank you god ... thank you god ... thank you
god.
She washes her face in the sink, when she 1 s presentable, she
walks out of the bathroom, jumps on the bed with her baby,
hugs her from behind as the two watch Saturday morning
cartoons.
TWO SHOT CU
Both blonde heads, the big one and the little one, next to
each other, watching T.V.
The lioness has been reunited with her cub, and all is right
in the jungle.
CUT TO,
• BLACK FRAME
TITLE APPEARS,
WRITTEN
&
DIRECTED
By
Quentin Tarantino
You might also like
- Goal To Go Episode 3.32 "Buckeyes" by David PolkNo ratings yetGoal To Go Episode 3.32 "Buckeyes" by David Polk59 pages
- Unforgiven (The William Munny Killings)No ratings yetUnforgiven (The William Munny Killings)121 pages
- Suitors and Sabotage Anstey Cindy Download100% (1)Suitors and Sabotage Anstey Cindy Download39 pages
- The Norwegian Runic Poem As A Mnemonic DeviceNo ratings yetThe Norwegian Runic Poem As A Mnemonic Device5 pages
- Signing With A Sword: Signature Sign Patterns of Semiotics As Connotative Constructs Applied To Chinese Martial Arts Cinema100% (1)Signing With A Sword: Signature Sign Patterns of Semiotics As Connotative Constructs Applied To Chinese Martial Arts Cinema35 pages
- The Ferocious and The Erotic: "Beautiful" Medusa and The Neolithic Bird and SnakeNo ratings yetThe Ferocious and The Erotic: "Beautiful" Medusa and The Neolithic Bird and Snake19 pages
- Cummins Engine Datasheet: Engine Model 6Bta5.9-G2 Performance Curve FR 92306No ratings yetCummins Engine Datasheet: Engine Model 6Bta5.9-G2 Performance Curve FR 923065 pages
- Technical Data: Reversible Vibratory Plates BPR 70/70 D, BPR 100/80 DNo ratings yetTechnical Data: Reversible Vibratory Plates BPR 70/70 D, BPR 100/80 D2 pages
- CX330 SM (2015 - 04 - 27 03 - 24 - 45 Utc)100% (6)CX330 SM (2015 - 04 - 27 03 - 24 - 45 Utc)672 pages
- FORD Fiesta, 3-dr Hatchback, 96-02 FORD Fiesta, 5-dr Hatchback, 90-95, 96-01 MAZDA 121, 3-dr Hatchback, 96-03 MAZDA 121, 5-dr Hatchback, 96-03No ratings yetFORD Fiesta, 3-dr Hatchback, 96-02 FORD Fiesta, 5-dr Hatchback, 90-95, 96-01 MAZDA 121, 3-dr Hatchback, 96-03 MAZDA 121, 5-dr Hatchback, 96-038 pages
- Pre-Delivery Inspection and Periodic Maintenance: - . - . - . - . - . ForewordNo ratings yetPre-Delivery Inspection and Periodic Maintenance: - . - . - . - . - . Foreword2 pages
- Bab I Pengenalan Unit Dan Komponen: 1.1. Spesifikasi, Fungsi Dan Tugas Alat100% (2)Bab I Pengenalan Unit Dan Komponen: 1.1. Spesifikasi, Fungsi Dan Tugas Alat35 pages