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Home / Scripts / Kill Bill: Vol. 1 & Vol. 2 Transcript

Kill Bill: Vol. 1 & Vol. 2 Transcript

TABLE OF CONTENTS

PROLOGUE
1. “2”
2. The Comatose Bride
3. The Man From Okinawa
4. Showdown at House of Blue Leaves
5. Yuki’s Revenge
6. “Can She Backe A Cherry Pie…”
7. The Lonely Grave of Paula Schultz
8. The Cruel Tutelage Of Pai Mei
9. Elle and I
10. The Blood-Splattered Bride

OVER BLACK
We hear labored breathing.

BLACK FRAME
QUOTE APPEARS:

“Revenge is a dish
best served cold”

– Old Klingon Proverb –
QUOTE FADES OUT

WE STAY ON BLACK
…breathing continues…

Then a MAN’S VOICE talks over the breathing;

MAN’S VOICE (O.S.)
Do you find me sadistic?

CUT TO:

BLACK AND WHITE CU of a WOMAN
lying on the floor, looking up. The woman on the floor has
just taken a severe spaghetti-western-style gang beating. Her
face is bloody, beaten up, and torn. The high contrast B/W
turning the red blood into black blood.

A hand belonging to the off-screen Man’s Voice ENTERS FRAME
holding a white handkerchief with the name “BILL” sewn in the
corner, and begins tenderly wiping away the blood from the
young woman’s face. Little by little as the Male Voice
speaks, the beautiful face underneath is revealed to the
audience.
But what can’t be wiped away, is the white hot hate that
shines in both eyes at the man who stands over her, the
“BILL” of the title.

In another age men who shook the world for their own purposes
were called conquerors. In our age, the men who shake the
planet for their own power and greed are called corrupters.
And of the world’s corrupters Bill stands alone. For while he

corrupts the world, inside himself he is pure.

BILL’S VOICE (O.S.)
I bet I could fry an egg on your
head about now, if I wanted to.

He continues wiping away the blood.

BILL’S VOICE (O.S.)
No kiddo, I’d like to believe, even
now, you’re aware enough to know
there isn’t a trace of sadism in
my actions… Okay – Maybe towards
these other jokers – bot not your.

OVERHEAD SHOT
We see for a moment, A WIDE SHOT looking down at the woman on
the floor. Bill (from behind) bent down over her. Four others
in black suits, standing over her (three are female, one is
male). And about four DEAD BODIES lying in their own blood.
We also see we’re in a wedding chapel that’s been redecorated
by blood death and gunfire. And firstly or lastly, depending
on the viewer, that the woman on the floor is dressed in a
white bridal gown.
This woman is our Heroine, and from this moment forth she
will only be referred to as The BRIDE.

Back to CU of The BRIDE.

The BRIDE on the floor. Her pretty face is wiped clean.

BILL’S VOICE (O.S.)
No Kiddo at this moment, this is me
at my most masochistic.

While still in her CU The Bride speaks for the first time in
the picture. She looks up at the man standing over her and
says;

THE BRIDE
Bill, I’m pregnant. It’s your baby.

After saying the “y” in “baby”, we hear a BANG and The Bride
receives a bullet in the side of her head.

CUT TO:
BLACK SCREEN: Presentation Credit

“The 4th Film by
QUENTIN TARANTINO”

CUT TO:

B/W CU of a Young MAN in a TUXEDO. Shot to death.

The BRIDE speaks to us in a VO;

THE BRIDE (V.O.)
That’s Tim, Arthur’s best friend.

CU A PRETTY YOUNG WOMAN in a frilly pink dress with two
bullet holes in her.

THE BRIDE (V.O.)
That’s his girlfriend Janeen.

CU A PLUMP YOUNG WOMAN, shot to death, wedding bouquet still
clutched in her dead fist.

THE BRIDE (V.O.)
That’s my best friend from work
Erica.

AN OLDER MAN IN A BLACK SUIT shot fulla holes.

THE BRIDE (V.O.)
That’s the minister. I think his
name was Reverend Hillhouse.

A DEAD OLDER WOMAN by his side in an old-fashioned flower
print dress.

THE BRIDE (V.O.)
That’s his wife.

A DEAD OLDER WOMAN slumped over an organ.

THE BRIDE (V.O.)
Organ player, don’t know her name.

A YOUNG MAN IN A TUXEDO WITH HIS FACE BLOWN OFF.

THE BRIDE (V.O.)
That’s Arthur. Arthur Plympton. The

name on his driver’s license was
Charles Arthur Plympton, but for
some reason he preferred Arthur.
Maybe if he went by Carles people
would have called him Charlie. If
that was his reason for going by
Arthur I can understand it.
Nothing wrong with the name
Charlie, except he didn’t look like
a Charlie, he looked like an
Arthur.
Obviously you’ll have to take my
word on this. Speaking of names, I
was about two seconds away from
becoming Mrs. Charles Arthur
Plympton.

And then finally, The Bride.

THE BRIDE (V.O.)
And that, that’s me. I’m the Bride.

We do a DISSOLVE from the Bride looking dead in the bridal
gown

To

The Bride, still in B/W, still in a bridal gown, but the
asswippin she took in the scene before must have been in the
past, because she looks like a million dollars
now…….three million even.

INT. CAR (MOVING) – NIGHT

The Bride behind the wheel of a Volkswagen Karman Ghia
convertible. Her long blodne hair whipping in the wind. A
PROCESS SHOT PLAYS behind her.

THE BRIDE (V.O.)
Looked dead, didn’t I? Well I
wasn’t, but it wasn’T for lack fo
trying, I can tell you that.
Actually Bill’s last bullet put me
in a coma. A coma I was to lie in
for five years.
When I woke up, …I went on what
the movie advertisements refer to
as a Roaring Rampage of Revenge. I
roarded and I rampaged and I got
bloody satisfaction. In all, I’ve
killed 33 people to get to this
piont right now.
I have only one more.
The last one.

The one I’M driving to right now.
The only one left.
And when I arrive at my
destination…..
…. I’m gonna Kill Bill.

TITLE SEQUENCE

As a female-sung ballad of heartbreaking lament plays on the
soundtrack, we see the credits of “Kill Bill” play over the
Bride in her bridal gown, driving to the film’s climax.

The sequence ends with the Bride arriving at Bill’s home.

WE FADE TO BLACK

BLACK FRAME
TITLE APPEARS:

Chapter one

“2”

CUT TO:

EX CU The BRIDE’s EYEBALL IN GLORIOUS COLOR
WE CUT OUT ONE…TWO…THREE…TO A
CU of The BRIDE IN GLORIOUS COLOR
She’s sitting in a parked pickup truck. Her eyes focused on
something.

The BRIDE’S POV:
A very homey three-bedroom house in the affluent suburb of
Pasadena, California. A purple Dodge Neon sits parked in the
driveway. A tricylce, a big wheel, and a few toys sprinkle
the grass on the front yard. A mailbox with the name “The
BELLS” on it sits out in front of the lawn. We hear but don’t
see ice cream truck bells.

SUBTITLE APPEARS AT SCREEN BOTTOM:

“The city of
PASADENA, CALIFORNIA”

We hear a Car Door Open and Close….THEN….The Bride Walks
into the shot, heading for the front door.

EX CU: A long, white female finger pushes a doorbell.

EXT. RESIDENTIAL PASADENA STREET – DAY

The front door opens and an attractive black HOUSEWIFE the
same age as The Bride stands in the doorway.
The Housewife’s face shows immediate recognition of the
blonde on her doorstep.

The BRIDE
on the porch; we do a quick Shaw-Brothers-style Zoom into her
eyes.

FLASHBACK – SPAGHETTI WESTERN STYLE
(That means our Heroine is remembering something, and we see
it with an orange filter.) We’re back inside the wedding
chapel. The Bride is taking the beating of her life by four
people in black suits. A black woman PUNCHES HER in the
face… WE see it’s the black housewife, five years earlier.

The BRIDE ON THE PORCH
We Zoom quick out of her eyes to CU, a VENGEANCE THEME PLAYS
LOUD ON THE SOUNDTRACK. (Whenever we hear this theme
throughout the picture, we’ll quickly learn what accompanies
it is The Bride goin Krakatoa all over whoever’s ass happens
to be in front of her at that moment.) As the Vengeance Theme
plays, a Vein in The Bride’s forehead begins to pulsate. When
the Vengeance Theme stops, The Bride ATTACKS The Housewife.

INT. HOUSEWIFE’S NICE HOME – DAY

The white woman and the black woman FLY into the center of
the living room, CRASHING onto her coffe table in front of
the sofa.

These two wildcats go at each other savagely, TUMBLING OVER
the couch, clawing and scratching all the way, landing
together on the plush carpet.

The HOUSEWIFE
KICKS The Bride, sending her CRASHING backwards into the
small table where the phone, a note pad (for messages), and
the mail is kept.

The Housewife scrambles up on her feet, but is caught by a
FLYING TACKLE from behind by The Bride that sends them both
into……..

An ornamental iron and tempered-glass bookcase that has
framed family photos, display toys, some African art, and a
collection of painted commemorative plates depicting the
negro experience in the American military. Starting with a
plate featuring Cripis Atkins in the revolutionary war, negro
troops in union blue during the civil war, Buffalo soldiers
fighting Indians, the Jim Crow troops of the first world war,
the colored troops of world war two, Korea, Vietnam, and
finally Colin Powell….The Bride and The Housewife CRASH
THROUGH all this reducing everything to rubble.

They land hard on the floor covered in broken glass, locked
in grapple, each trying to get the best of the other one,…
When The Housewife HEADBUTTS The Bride in the nose.

The HOUSEWIFE
hops off The Bride, runs into the kitchen, opens a drawer and
comes out with a HUGE MOTHERFUCKIN BUTCHER KNIFE.

The BRIDE
rises from the floor, and WHIPS OUT a KNIFE in a sheath
hanging from her belt known as a SOG. (A SOG is a long,
double-edged knife that’s as sharp as a razor, and is what
Navy Seals use to kill humans with.)

The Bride backs up into the mess of the now totally
demolished living room.

The two woman stalk each other, each holding her blade, each
looking like they know how to use it, each waiting for the
other to make a mistake so they can plunge their blade deep
into the other one.

Blood and sweat dript off of the faces of the two women
locked in life and death combat……

….When The back kitchen door opens, and a FOUR-YEAR-OLD
LITTLE GIRL, carrying a lunch box steps inside.

FOUR-YEAR-OLD GIRL
Mommy, I’m home!

The two warrior women whose eyes reflect only combat
concentration, suddenly switch upon hearing the four-year
old’s voice. The Housewife’s eyes flash a look of pleading to
the eyes of The Bride.

The Bride seems to answer back; “Okay.”

The Black woman and the white woman hide their edged weapons
behind their backs, as the Four-Year-Old Little Girl walks
into the newly destroyed living room.

The Housewife switches to her mommy voice.

THE HOUSEWIFE
Hey baby, how was school?

The Little Girl is flabbergasted at the mess, and the
condition of her mother, who looks like she’s just been in a
bar room brawl.

LITTLE GIRL
Mommy, what happened to you and the
T.V. Room?

THE HOUSEWIFE
Oh, that good for nothin dog of
yours, got his little ass in the
living room and acted a damn fool,
that’s what happened.

LITTLE GIRL
Barney did this?

She says it with the slightest hint of skepticism, then tries
to enter the living room.

THE HOUSEWIFE
Now baby, you can’t come in here,
there’s broken glass all over the
floor, and you gonna cut yourself.

The little girl’s eyes go to the blonde lady in the living
room who she ain’t never seen before, who also looks like
she’s been fighting.

The Bride smiles at the confused Little Girl.

THE HOUSEWIFE
This is a old friend of mommy’s I
ain’t seen in a long time.

THE BRIDE
Hello sweety, I’m *(BLEEP)*, what’s
your name?

* Whenever during the picture somebody says The Bride’s real
name, it will be BLEEPED OUT ON THE SOUNDTRACK, …that is,
till I want you to know. *

The shy, suspicious little girl doesn’t say anything, she
just stares at the blond lady.

THE HOUSEWIFE
Her name is Nikki.

THE BRIDE
Nikki. What a pretty name for such
a pretty little girl. How old are
you Nikki?

Nikki still says nothing, only stares.

THE HOUSEWIFE
Nikki, *(BLEEP)* aked you a
question.

NIKKI
(to The Bride)
I’m four.

THE BRIDE
Four years old, aye. You know I
once had a little girl. She’d be
five right now. Maybe you two could
of played with each other.

THE HOUSEWIFE
Now baby, me an *(BLEEP)* have some
grown-up talk to talk about, so you
go in your room now and leave us
alone till I tell you to come out.

The child doesn’t move, so the mother repeats herself.

THE HOUSEWIFE
(snapping her fingers)
Nikkia – in your room – now.

The little girl slowly walks away and disappears behind the
door of her bedroom.

The two women turn to face each other, masquerade and combat
both finished.

THE HOUSEWIFE
Want some coffee?

THE BRIDE
Yeah, sure.

The two women move into the kitchen. The Bride re-sheaths her
SOG, and The Housewife puts the butcher knife back in the
drawer.

The Bride sits down at the kitchen table, while The Housewife
pours both of them coffee.

THE HOUSEWIFE
Cream and sugar?

THE BRIDE
Both, please.

As The Housewife fixes the coffee, we hear The Bride’s
VOICEOVER ON THE SOUNDTRACK:

THE BRIDE (V.O.)
This Pasadena homemaker’s name is
Jeanne Bell. Her husband is Dr.
Lawrence Bell. But back when we
were acquainted, five years ago,
her name was VERNITA GREEN. Her
code name, was “COBRA”….. Mine
was BLACK MAMBA.

The two combat artists sit at the kitchen table, drinking
coffee out of Vernita’s coffee mugs.

THE BRIDE
Were you expecting me?

VERNITA
Yes and no. Bill got in touch with
me right after you woke up, and
then again a little later after
your episode in Japan.
(pause)
So I suppose it’s a little late for
a apology, huh?

THE BRIDE
You suppose correctly.

VERNITA
Even if I was sincere?

THE BRIDE
Oh. I’m quite positive you’re
sorry, now.

Vernita says to the Bride across the table furiously but with
low volume;

VERNITA
Look bitch, I need to know if
you’re gonna start anymore shit
around my baby girl!

THE BRIDE
You can relax for now. I’m not
going to murder you in front of
your daughter.

VERNITA
That’s being more rational than
Bill led me to believe you were
capable of.

THE BRIDE
Well that’s a demonstration of
Bill’s complete ignorance when it
comes to the subject of me, and
what I’m thinking, and what I might
do. It’s mercy, compassion, and
forgiveness I lack, not
rationality.

She pauses for effect — the ham.

THE BRIDE
I’ll wait for now, but I won’t wait
for long. I’ll allow you to choose
a time and place for us to meet
again, preferably as far away from
Nikki as possible.
I could have just HIT you, I
didn’t, I demand respect for that.
Since this is not a HIT, consider
it a DUEL. And as two former Deadly
Vipers, we will observe Viper rules
of honor. One on one – no help – no
bushwhackin – no treacherous
weapons – on weapon of choice – our
skill and our bodies.

Vernita says her name;

VERNITA
*(BLEEP)*

THE BRIDE
– I’m not through telling you.
Failure to keep our date, or
duplicity of any kind, will result
in me putting a xoxo hollow point
bullet into the back of your skull
from a window of a building across
the street from Nikki’s elementary
school. Now, feel free to respond.

VERNITA
Look…I know I fucked you over. I
fucked you over bad. I wish to God
I hadn’t, but I did.

The blonde listens to the black woman with a poker face.

VERNITA
If I could go back in a machine I
would, but I can’t. All I can tell
you is I’m a different person now.

THE BRIDE
I don’t care.

VERNITA
Be that as it may, I know I do not
deserve mercy or forgiveness.
However, I beseech you for both on
behalf of my daughter.

THE BRIDE
— Bitch, you can stop right there.

The B-word stops Vernita short, almost like a cold-handed
slap in the face (it should affect the audience that way as
well).

THE BRIDE
(leans in close)
Just because I have no wish to
murder you before the eyes of your
daughter, does not mean parading
her around in front of me is going
to inspire sympathy. You and I have
unfinished business.

And not a goddamn fuckin thing
you’ve done in the subsequent five
years – including getting knocked
up – is going to change that.

VERNITA
You have every right to wanna get
even —

THE BRIDE
— But that’s where you’re wrong,
Vernita. I don’t want to get even.
To get even, even Steven. I would
have to kill you, go into Nikki’s
room, kill her, then wait for your
old man, Dr. Bell, to come home and
kill him. That would make us even.
No, my unborn daughter will just
hafta be satisfied with your death
at her mother’s hands.

Vernita knows no matter what else is said, blood will spill.

VERNITA
When do we do this?

THE BRIDE
It all depends… When do you want
to die? Tomorrow? The day after
tomorrow? That’s about as long as
I’ll wait.

VERNITA
How bout tonight, bitch?

THE BRIDE
Spendid. Where?

VERNITA
There’s a baseball diamond where
our little league has its games,
about a mile from here. We meet
there around two-thirty in the
morning, dressed all in black, your
hair in a black stocking, and we
have us a knife fight, we won’t be

bothered. I have to fix Nikki’s
cereal.

As they continue to talk, Vernita pulls down a cereal bowl
for her daughter and lays it on the kitchen counter.

THE BRIDE
Bill said you were one of the best
ladies he’d ever seen with an edged
weapon.

Vernita moves to another kitchen cabinet, and pulls down a
box of the sugar cereal, “Kaboom.”

VERNITA
Fuck you, bitch, I know he didn’t
qualify it, so you can just kiss my
motherfuckin ass, Black Mamba.
(snorts to herself)
Black Mamba, I shoulda been
motherfuckin Black Mamba.

As the two females continue to talk, Vernita reaches her hand
inside the cereal box.

THE BRIDE
Weapon of choice? And if you want
to stick with your butcher knife,
I’m cool with that.

VERNITA
Very funny.

Vernita FIRES A GUN from inside the cereal box at The
Bride….

…. The bullet explodes out of the cardboard box, and HITS
the coffee mugh directly in front of The Bride, BLOWING IT TO
SMITHEREENS.

The Bride THROWS HERSELF ON THE FLOOR….

Vernita pulls the gun out of the cereal box and FIREES
again…

…The bullet HITS THE FLOOR of the tiny kitchen…

…The Bride moves under the kitchen table, then using her
back, LIFTS THE TABLE OFF THE GROUND, RAMMING IT STRAIGHT
INTO Vernita, pinning her flat up against the table top, and
the kitchen counter.

While her left hand holds the table, her right hand goes to
the SOG on her belt, her fingers wrap around the blade’s
grip, lifting it up out of the sheath and PLUNGING IT THROUGH
THE TABLE TOP up to the handle, with all the SOG’s steel
entering Vernita’s abdomen.

The table falls back to the floor with the dying homemaker
pinned to it. The two former colleagues meet eyes.

VERNITA
Sorry, bout the bushwhack. Please
don’t…

THE BRIDE
Do to your daughter, what you did
to mine…
(she takes her hand)
…I won’t.

Vernita dies.

The Bride removes her Sog, looks up and sees little Nikki
standing in the doorway of her room. The little girl sees her
mother dead on the floor, lying in her own blood. And she
sees the blonde lady standing over her mother, bloody knife
still in her hand. But oddly enough, Nikki doesn’t cry. The
little girl locks eyes with the big girl, and holds her
stare.

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