"KILL BILL VOL 1" (2003)

1. 112 11 2. T~e 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

"Revenge is a dish best served cold"

- Old Klingon Proverb - QUOTE FADES OUT

Then a MAN'S VOICE.talks over the breathing;

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 heating. Her face is bloody, beaten up, and torn. The high contrast B/W turning the red blood into black blood.

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

In another age men who shook the world for their own purposes were called conquerors. In our age, the men who shake the

And of the world's corrupters Bill stands alone. For while he

corrupts the world, inside himself he is pure.

He continues wiping away the blood.

Back to CU of The BRIDE.

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

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

BLACK SCREEN: Presentation Credit

"The 4th Film by QUENTIN TARANTINO" •

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

The BRIDE speaks to us i~ a VO;

CU A PRETTY YOIDJG WOMAN~n a frilly pink dress with two bullet holes i~ her.

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

AN OLDER MAN IN A BLACK SUIT shot fulla holes.

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

A DEAD OLDER WOMANslumped over an organ.

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

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

And then finally, The Bride.

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

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

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 one I'M driving to right now. The only one left. And when I arrive at my destination .....

TITLE SEQUENC~

As a :emale-sung ballad of heartbreaking lament plays on the soundtrack, we see the credits of "Kill Bill" play over the Bride in her bridal gown, driving to the film's climax.

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

Chapter one

"2"

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 11 or. it sits out in front of the lawn. We hear but don't see ice cream truck bells.

SUBTITLE APPEARS AT SCREEN BOTTOM:

"The city of PASADENA, CALIFORNIA"

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

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

•

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 tte blonde on her doorstep.

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

FLASHBACK - SPAGHETTI WESTERN S~YLE (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 TEE PORCH We Zoom quick out of her eyes to CU, a VENGEANCE THEME PLAYS LOUD ON TEE 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.

The white woman and the black woman FLY into the cen=er 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, som~ 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. •

0 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 aKNIFE in a sheath hanging from her belt known as a SOG.(A SOG is a long, double-edged knife that's as sharp asa 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 ..... .

LITTLE GIRL, carrying a lunch box steps inside.

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 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.

•

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

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.

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.

Nikki still says nothing, only stares.

•

I

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

THE HOUSE~IFE (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 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.

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

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

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

0>s_,_J

0 forgiveness I lack, not

rationality.

She pauses for effect -- the ham.

Vernita says her name;

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

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

well).

And not a goddamn fuckin thing

' you've done in the subsequent five CD' years - including getting knocked

up - is going to change that.

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

Pt VERNITA v When do we do this?

•

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.

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

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

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 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

e little girl locks eyes with the big girl, and holds her

stare.

As she talks to the little girl, she removes an already stained with blood white handkerchief with the name "BILL" sewn on it. And the blonde wipes the girl's mother's blood off her blade.

And with that apology, statement, and invitation, The Bride walks out the kitchen side door, leaving the little girl to her mourning.

The Bride walks down the dead woman's driveway to her vehicle. She glances at the lawn toys one more time as she makes here getaway.

•

She climbs into her big, yellow pickup truck, with the words "Pussy Wagon" written across the flatbed's hatch door in a pimpy font. She takes out a ringed notebook and turns to a page that's headline reads;

The first name has a line drawn through it with black ink.

The second name on the list is;

The Bride takes a black felt pen and draws a line through Vernita's name. Turns on the truck's engine and drives out of the residential district.

OVER BLACK TITLE CARD:

Chapter two

The comatose Bride

A SUBTITLE APPEARS: under her face.

"Five years and four months earlier in the city of El Paso, Texas"

Although we're only in a tight CU, we can tell a few things: one, she's in her hospital room; two, she's alone; three, it's night; and four, one hellva RAINSTORM is pounding outside.

The rain pisses down in buckets in front of the hospital ...

The car door opens and two yellow galoshes step out into the wet night.

CU the back of a head wearing a yellow rainslicker hood, framed by the red umbrella above it, which water cascades down and beats a rhythm against.

The figure in the yellow rainslicker with the red umbrella (who we can guess is female) starts walking towards the hospital.

WE GO TO SPLIT SCREEN

Left Side Right Side CU The Bride's unblinking The back of the yellow comatose sleep. slicker - walking in the rain towards the hospital's entrance.

CU her yellow galoshes slapping against the wet asphalt, and splashing through puddles.

,... CU The Bride in her coma CU the hospital's e - electrical doors -

CU The BRIDE EX CU OF A WHITE in her coma WOMAN'S SHAPELY BAREFOOT ANKLE AND LEG stepping into a sheer, white stocking.

INSERT: OF THOSE LONd, WHITE LEGS STEPPING INTO A WHITE NURSE'S UNIFORM.

INSERT: OF THE ZIPPER IN THE BACK ZIPPING UPWARDS.

INSERT: OF WHITE, SHEER STOCKING FEET STEPPING INTO WHITE NURSE'S ORTHOPEDIC SHOES.

INSERT: OF A SYRINGE NEEDLE STUCK IN A VIAL The liquid is drawn up into the syringe.

"A lethal cocktail of Bill's own concoction. He calls it, 'Goodbye forever'."

INSERT: THE DEADLY SYRINGE IS PLACED ON A NURSE'S TRAY

INSERT: A LITTLE WHITE NURSE'S CAP IS PLACED ON TOP of the woman's blonde head.

The door marked "ladies" is opened, and a beautiful 6-foot blonde in a white nurse's uniform, with a matching white eye patch over her left eye, steps out, carrying the nurse's tray with the "Goodbye forever"-filled syringe on it. She walks down the corridor towards The sleeping Bride's room.

SUBTITLE UNDERNEATH BLONDE NURSE:

"ELLE DRIVER

Member of The DEADLY VIPER ASSASSINATION SQUAD codename: CALIFORNIA MOUNTAIN SNAKE" END OF SPLIT SCREEN STAY WITH ELLE'S SIDE

The Bride, alone in her bed, alone in her coma, alone in her room.

Elle Driver opens the door to her room and steps inside. The female a~sassin approaches the comatose woman.

EX CU ELLE DRIVER'S EYE AND WHITE EYE PATCH looking down at her sleeping target, victim, rival, and opposite number.

EX CU The BRIDE'S EYES wide open - blank stare.

Elle standing over The Bride's hospital bed, says to her;

As she lifts the syringe off the tray ....

Her cell phone RINGS ....

She curses to herself ... there can be only one person on the other end .... she answers it.

The female assassin turns away from the wide-eyed stare of The Bride, and paces the hospital room talking in the cell phone.

you. ( :·:"; Elle pauses as Bill on the other line has his say. We don't3·.... ':' hear his side, we stay with Elle as he talks. We can tell by her face, he's making some sense. After awhile she answers back;

The female assassin puts the phone away and looks down at The comatose Bride with the open eyes. Even though her face is expressionless, she almost seems to be smiling.

Elle leans closer to the Bride's face.

The Bride does one of her motor reflex functions ... She SPITS in Elle's face.

Elle springs up, wipes the spit off her cheek and looks down at The comatose Bride in her bed.

She grabs The Bride by the front of her hospital gown ... \ .... Yanks Her up to a sitting position ...

... And PUNCHES her hard in the face three times.

Elle Driver in her nurse's uniform, angrily walks down the. hallway. She passes by a DOCTOR, STRUGGLING WITH A PATIENT BLEEDING PROFUSELY on a gurney.

Elle doesn't even look back.

She walks out of the SHOT.

Five years later.

The CAMERA is in a corner of the ceiling, looking down on the comatose Bride, who lies motionless in her bed.

WE HEAR the sound of a BUZZING MOSQUITO, doing loop de loops and figure eights in the air, looking for some warm blood .

The BUZZING stops ....

•

CU The Bride her wide-open eyes, that have stared in a constant gaze for the last five years, finally ... slowly ... softly ... shut.

The BRIDE SITS BOLD UPRIGHT IN BED. She has no idea where the fuck she is. WE DO A SHAW BROTHERS STYLE QUICK ZOOM INTO A CU OF HER FACE.

QUICK CUT TO A FLASHBACK SPAGHETTI-WESTERN STYLE back at the wedding chapel, gun pointed down at our face.

THE BARREL EXPLODES LEAT AT US - BANG!

QUICK CUT BACK TO The BRIDE IN HER HOSPITAL BED, - BANK still echoing in her ears. She lets out a SCREAM OF PAINu J and her hand goes to the side of her head, as if she were just shot.

Her hand feels the metal plate embedded in the side of her skull where the hole was. She knocks against it with her knuckle ... it goes ... TINK ... TINK.

Suddenly she says out loud;

Her hand goes down to her belly, unly to find it not swollen but flat. She doesn't understand, lifts up her hospital gown and sees a JAGGED SCAR which runs down her. abdomen. Her fingertips trace it.

She quickly looks at the palm of her and and counts the lines.

MACRO CU The LINES IN HER PALM look like a road map.

She stops counting, shocked;

®'

She counts again.

The Bride's two eyes. fill with tears as she realizes her baby is long gone.

WE SEE THE CINEMATIC EQUIVALENT OF A COMIC BOOK THOUGHT BALLOON by her head. INSIDE OF IT WE SEE BILL'S BLACK BOOTS walking across the wood floor of the wedding chapel.

We see a HOSPITAL ORDERLY'S bright red and white Reeboks softly slapping against the smooth surface of the institution's floor. They make a sound nothing like Bill's shoes.

BILL'S. VOICE ORDERLY (in time) (in time) She's right in here. She's right in here.

The Bride decides the best course of action; till she gets her bearings, is to play possum. She throws herself back down on the bed, just as the three men enter her room. They see just what they expected tb see, The Bride lying in her bed in her coma.

She duplicates her comatose eyes-wide-open-fixed stare. ~ Except knowing she's awake, and sees everything in front ~f\_J her, creates a slightly different effect.

The Bride, however, while she sees the Two Truckdrivers for what they are, when she sees The Orderly she sees Bill, when The Orderly talks she hears Bill. WE HOWEVERWILL NEVER SEE BILL'S FACE COMPLETELY.

The Orderly takes her shee covering off, and hitches up her hospital gown till her blonde pussy is exposed. He does kind of a "TA-DA" presentation of her vagina.

Trucker #2 (Gerald) would tend to agree, Trucker #1 (Warren) fronts.

CU The BRIDE EYES WIDE OPEN PLAYING POSSUM. She can't believe she's being exhibited in this manner. A look of chagrin crosses her trying-to-be expressionless face, "I've seen a fuck load better than ypu, fatass."

The Truckers pay the bill of fare.

As ,The Orderly counts The Truckers' money, he lays out the rules;

way, this little cunt's a spitter - it's a motor reflex thing but spit or no, no punchin. Now are we absolutely positively clear about rule number one?

The Orderly turns to leave, then remembers something, and turns b~ck. He takes out the most disgusting jar of vaseline in the history of cinema, and hands it to Warren.

- ' e~ )

And with that, The Orderly's gone.

The BRIDE'S POV: As soon as he leaves the Two Truckers start giggling. Warren begins to unbuckle the belt that lies beneath his belly. While he looks down to accomplish this, The BRIDE'S POV BLINKS.

•

she just did.

,,,,:;/'\'.:• Warren drops his Levi's to his ankles. (?'-...,

Warren begins to climb up on the bed and mount The Bride. Before he does he stops, and looks back to Gerald.

Gerald leaves the room; we go out with him in the hallway.

Gerald paces, waiting for his turn behind the door.

More falsetto SCREAMS behind the door ...

Gerald pushes open the door to see one hellva sight. His buddy, bloody and lying motionless on the floor, and The Bride lying haphazardly on the bed, in her coma.

He moves to his buddy, who's dead. Then moves to The comatose Bride ... Who SUDDENLY SPRINGS TO LIFE, GRABBING him by the front of his shirt, YANKING HIM DOWN TO HER, and PLUNGING the LV. NEEDLE in her arm DEEP INTO HIS TEMPLE, THEN TWISTING IT AROUND and AROUND, turning the right side of his brain into scrambled eggs a la The BRIDE. She tosses the now brain-dead Gerald to the floor.

The BRIDE upon waking, without leaving the bed where she lay the last five years, has just killed two men. She throws off the bloody blankets, whips her legs off the side of the bed, and tries to stand - THEN QUICKLY FALLS OUT OF FRAME. WE HEAR THE CRASH BELOW FRAME.

The Bride is flat on the floor. Her legs and feet don't work. Which means she's stuck on the floor with only a functioning top half, and a completely useless bottom half. What's a girl to do?

The elevator doors open, and The Orderly steps out.

BACK TO The BRIDE She hears the sound of Bill's boots approaching the room ... STEP ... STEP ... STEP ...

She sees Gerald has a Trucker's knife in a holster attached to his belt. Her hands removes it.

The Orderly swaggers down the hall to The Bride's room, red Reeboks slapping against the smooth floor.

CU The BRIDE She SNAPS the knife's BLADE OPEN in her CU.

The Orderly pushes open The Bride's door, stopping in shock. , @ , The ORDERLY'S POV: " He sees an empty bed with bloodstains on it, Two dead Truckers on the floor, and no Bride.

WE GO TO SLOW MOTION as he freaks, Then PAN DOWNHIM ... Past shirts - pants - to his Reeboks ... Once on the floor WE SEE The BRIDE, curled up low next to the doorway, behind his ankles, knife ready. WE GO BACK TO 24 FRAMES A SECOND. He steps into the room; when he does The Bride reaches out and SLASHES both of his Achilles tendons.

The STANDING ORDERLY lets out a "YELP," adn FALLS OUT OF FRAME.

The BRIDE (Confined to the_ floor) crawls over and drags the stunned fucker across the floor, placing his melon head between the door and the door frame. Then taking the door in her right hand.

SLAM!

SLAM!

SLAM!

SLAMMING HIS HEAD THREE TIMES BETWEEN THE DOOR AND THE DOOR FRAME.

The ORDERLY lies on the floor in a stange state of consciousness. He's in both excruciating pain, and quite sure he's lost his mind, since at this moment he's lying on the floor, looking up at The comatose Bride asking him questions.

SLAM!

He screams.

® . Bill! Where is Bill!

SLAM!

SLAM!

,_._., THE BRIDE , .

0 Where is Bill?

SLAM!

Suddenly The Bride sees the gold coke straw around his neck, that she thought she'd seen earlier on Bill. She snatches it from around his neck.

SLAM!

SLAMt

Then The Bride looks down and sees two tatoos on the Orderly's hand - one spelling "B.U.C.K." on each finger of

his left hand. And another spelling "F.U.C.K." on the fingers of his right. '' ® The Bride seems to look inside her own mind - Whenever she does this A SPECIAL THEME MUSIC WILL PLAY (We'll call it her REMEMBERING THEME).

WE DO A QUICK SHAW BROTHERS ZOOM INTO HER EYES - We see Buck enter her room that first night, five years ago .... He's holding in his hand one of those big flashlights you use in a tent when camping. -- It gives off a soft blue light. Buck examines The Bride through the blue.

He starts to unbuckle his belt.

WE ZOOM OUT OF HER EYES INTO A CU. The REMEMBERING THEME CUTS OFF. She looks down at Buck and says;

A "how the fuck does she know look," crosses his face.

The Bride looks down at him .... The VENGEANCE THEME BEGINS PLAYING LOUDLY ON The SOUNDTRACK, and the ,VEIN IN HER FOREHEAD BECOMES PRONOUNCEDand begins to PULSATE IN TIME WITH The MUSIC. Every time The Bride comes face to face with a tormenter, this Theme will play on the soundtrack. By mid movie this music should drive the audience wild with orgasmic anticipation of the carnage to come ...

... and With the door in her hand and one mighty slam, this Longview Texas boy is sent to the Promised Land.

She searches the dead man's pockets, coming up with a brown wallet that says on it, "BIG EL PASO PIMPIN," loaded with lettuce. She also pulls out a set of car keys on a pickup truck key chain that has the words, "Pussy Wagon" on it written in a pimpy font. She gathers up all these items, and Gerald's knife, then begins to strip Buck of his orderly uniform.

The elevator doors to the hospital's underground parking lot open, revealing The Bride in Buck's orderly scrubs in a wheelchair.

() arms spinning the wheels as she goes down the line of cars, '

looking for a pickup truck that Buck would owri ... she stops.

What made The Bride stop. The ass end of a big, yellow 4x4 hard-body pickup truck, with flames painted along the side, and the words, "PUSSY WAGON," written along the flat-bed hatch door. Pimpy font.

The Bride looks at Buck's key chain in her hand.

EX CU CAR KEY in truck door lock, it turns.

EX CU TRUCK DOOR LOCK POPS UP OPEN.

The Bride pulls herself up into the backseat of Buck's pickup truck. Once in the backseat, she shoves the wheelchair away.

It rolls out of control down the parking ramp, and CRASHES.

Now The Bride's lying vertically in Buck's truck's backseat. Seemingly out of danger - at least out of sight - but she's still stuck hiding in the hospital. And until she regains full use of her legs and feet, this little Bride ain't goin anywhere or doin anything.

Lying flat, with the back of her head propped up against the door, her long, lifeless legs stretched out in front of her, her two bare feet at the end of them, pointing to the sky, the Bride focusses her eyes, her stare, her thoughts; her strength, and all her concentration .... on her big toe.

SLOW ZOOM INTO BIG TOE., ..

SLOW ZOOM INTO HER FACE ... .

SLOW ZOOM INTO BIG TOE ... .

Toe doesn't move an inch.

THE BRIDE

✓.- ✓.-•• Wiggle your big toe.

It doesn't move.

'' THE BRIDE ®____,, Wiggle your big toe. (VOICE OVER) As I lay in the back of Buck's pickup truck, trying to will my limbs out of entropy, I could see the faces of the cunts who did this to me, and the dick responsible. Members all of Bill's brainchild; "The Deadly Viper Assassination Squad."

The IMAGE FREEZES ... AND THE SHOW'S TITLE (In an especially cool font) AND LOGO (The black silhouette of five sexy gals each with a samurai sword hanging from their hip, and one guy in a black suit) APPEAR BENEATH IT.

"The DEADLY VIPER ASSASSINATINO SQUAD the D.iV.A.S."

The SHOW CAST CREDITS START:

WE SEE The BRIDE doing something cool ... FREEZE

SCREEN GOES ORANGE except for a SCOPE-SIGHT RIFLE GRAPHIC WITH CROSSHAIRS over The Bride's face. OFF TO THE SIDE IS HER IDENTIFYING CREDIT;

"Starring (The Bride's real name is covered by a stamp that reads) CLASSIFIED as BLACK MAMBA"

A beautiful Japanese woman wielding a samurai sword - FREEZE ORANGE B.G. SCOPE-SIGHT GRAPHIC

"Starring O-REN ISHII as COTTONMOUTH"

VERNITA GREEN doing something cool - FREEZE SAME GRAPHIC

"Starring •

The older, male doing something cool - FREEZE SAME GRAPHIC

"Starring BUDD as SIDEWINDER"

ELLE DRIVER doing something cool - FREEZE ORANGE B.G. SCOPE-SIGHT GRAPHIC;

"Starring ELLE DRIVER as CALIFORNIA MOUNTAIN SNAKE"

As the DEADLY VIPER ASSASSINATION SQUAD OPENING THEME PLAYS WE SEE VARIOUS SHOTS of The Vipers (all dressed alike in the same BLACK, SKINTIGHT CAT SUITS, except for Budd, the male who wears a BLACK SUIT) all doing exciting shit. It ends with the reappearance of the six-heades snake logo, and the six, black silhouettes. The FINAL CREDIT APPEARS;

"Created and Produced by BILL"

WE MOVE INTO A HEAD and SHOULDERS CU OF The BRIDE'S BLACK SILHOUETTE.

WE MOVE FAST TO O-REN ISHII'S SILHOUETTE, The SILHOUETTE BECOMES A POSED PICTURE OF O-REN in all her Deadly Viper glory.

.. . her FATHER (dressed in the uniform of a sergeant for the American Army) fighting THREE YAKUZA GANGSTERS. He kills one with his bare hands. The other two slice him to death with samurai swords ...

.. . and her MOTHER being raped by the same men. When they finish, they SHOOT her.

Little O-Ren watches, hidden from sight, withi the eyes and face of a stone. '

The Boss's screams cause TWO OF BOSS'S MEN to run into the room, only to be SHOT DOWNby O-Ren, as she removes a gun from a holster strapped to her thigh.

The 20-YEAR OLD O-REN ISHII on a rooftop with a high-powered, scope-sight rifle up to her eye. Her EYE is HUGELY MAGNIFIED in the SCOPE.

She fires.

•

A Central American General riding backseat of his government vehicle. TWO BEAUTIFUL LATIN WOMENin one-piece bathing suits

()

sit on either side of him. They both wear sashes down their front; one reads, "Miss Panama," the other reads, "Miss Venezuela." As we cut to this shot, he has both hands on each of their bare knees. He's laughing as the TOP OF HIS HEAD is BLOWNOFF.

The 23-YEAR OLD O-REN ISHII stands before Bill and The Bride. (Bill is not clearly viewed.)

The 25-YEAR-OLD O-REN ISHII BEATING UP the pregnant Bride with the other Vipers ...

POSED FIGURE of the BRIDE in all her pre-beating bridal gown glory. ,. ·1

CU The BRIDE IN BUCK'S TRUCK An hour and a half later from the last time we saw her.

CU The BRIDE'S BIG TOE wiggles - slightly.

.. ® ' BLACK FRAME SUBTITLE APPEARS:

"Thirteen Hours Later"

B_EGIN MUSIC MONTAGE

FADE UP ON

Pavement of the parking lot. We HEAR a CAR DOOR OPEN OFFSCREEN, then The Bride's bare foot comes from above FRAME, stepping down INTO The SHOT.

She walks around to the driver's side and climbs in.

She sticks Buck's ignition key in its slot and turns.

The truck's engine RUMBLES to life.

She spies a pair of Elvis T.C.B. SUNGLASSES lying on the dash. She puts them on.

The Bride drives Buck's big, yellow pussy wagon all over El Paso buying supplies.

WE FOLLOW Her bare feet into a clothing store.

Her feet, legs, and ass slip into a new pair of LEVI'S.

Her hands grab a pair of CHERRY BROWN COWBOYBOOTS.

Then slips on the cowboy boots.

Chooses another TOP.

And finds a warm JACKET;

She opens Buck's "BIG EL PASO PIMPIN" wallet, and pays for the items.

She emerges from the store wearing her new outfit, and climbs back in the truck.

She drives, stopping at a DEPARTMENT STORE, and walking inside.

She picks up a SHOVEL, a HAND PICKAXE, a big CAMPING FLASHLIGHT, a MAP OF TEXAS, a writing NOTEBOOK, and a bunch

of RED and BLACK FELT PENS.

While the Bride is buying items in the department store we'll CROSSCUT....

called, "The Texican" ....

... Her Registering with the OLD BASTARD of a desk clerk, getting the key, and paying him out of the "BIG EL PASO PIMPIN" wallet ....

... her drawing a bath in the bathroo~ of the motel room .. .

Shampoo is taken off the shelf of the department store .. .

... steam rises off the hot bathwater ...

... she pulls down a bunch of bath products, like,./ bubble bath, salts, apricot this - kiwi that, we see her pour all the items in the bathwater ...

.. . then Lower her whole body into the bathwater ...

... now submerged in the warm bathwater, by herself, perfect MUSIC CUE ON SOUNDTRACK, she begins to cry ... her poor heart has been shattered and five years of tears come flooding out of her.

She cries for her baby ...

She cries for the motherhood robbed from her ...

She cries for all the innocent people at the wedding chapel, who died simply because they were unlucky enough to cross her path ...

She cries for the betrayal at the hands of her lover ...

She cries for the treachery at the hands of her comrades .. .

She cries for the five years of life ~natched from her .. .

She cries for the countless violations she endured while incapacitated ...

And finally, she cries for all the misery she will cause the undeserving ...... enroute to Bill's retribution. Retribution that begins the minute she steps out of this bathtub.

She curls up into a fe.tal position inside the tub of warm water ... weeping.

We DOLLY back ... to give our heroine some privacy ... WE 0t DISSOLVE through the bathroom door ... Till we're on the other\5 side, filming a closed door with crying on the other side.

When she's finished shedding tears, is when she'll begin shedding blood.

When the bathroom door opens, the woman that emerges, has closed out all of her emotions ... save from one ... revenge.

It's that woman, in her new outfit, that climbs into the yellow pussy wagon, puts the T.C.B. Sunglasses over her eyes, and starts the engine that sets into motion the gory story to follow.

END OF MUSIC MONTAGE

POV THROUGH WINDSHIELD: The truck shines its headlight beams on an open patch of prairie wasteland. We see dirt, rocks, plants 1 and an oil derrick pumping up and down.

The Bride STOPS the truck.

Taking her flashlight with her, The Bride walks into the headlight beams towards one rock on the ground in particular.

She lifts it off the ground, there's an X on it's underside.

She smiles. If the X hadn't been there, she would have taken it as a sign that her vengeance quest was never meant to be. But as it is there, it would appear that fortune has smiled on The Bride and her bloody intentions.

She walks back to the truck, takes the shovel and the hand pickaxe out from the flatbed, reaches into the truck cab and CHANGES THE MUSIC TO A POUNDING HEAVY METAL ANTHEM.

CU The BRIDE'S COWBOYBOOTS next to the X ROCK IN TIME WITH The METAL, The Bride's cowboy boots count out ten paces from the rock. When the boots stop, the flashlight ENTERS THE SHOT illuminating the spot, THEN... the shovel ENTERS, striking deep in the unmarked earth.

Deep in the middle of Fuck-Knows Texas, lit by the headlights of Buck's 4x4, The Bride digs a hole in the ground ...... TILL .. .

She HITS SOMETHING HARD.

She gets down on her knees, hacking away at the dirt with the hand pickaxe, till a large box covered in plastic is revealed. She hoists it up out of the earth.

She rips off the plastic, revealing a large, green Army footlocker, untouched by the condensation of being buried in the ground for over five years. Flipping the two locks open, she lifts the lid, placing the big camping flashlight on the rim.

Unfolding a sleeping bag long-ways, she bought at the department store. The Bride begins collecting the contents of her buried treasure, and laying them on the sleeping bag.

We see her remove them from the footlocker, one by one.

The HEAVY METAL CONTINUES ON THE SOUNDTRACK.

2 9mm AUTOMATICS, w/ AMMO and HOLSTERS.

1 small HAND GUN, w/ AMMO and HOLSTER (which fits around the thigh).

1 SNUB NOSE .38 w/ ANKLE HOLSTER.

1 double-edged SOG KNIFE w/ HOLSTER

1 MOSSBERG PUMP ACTION SHOT GUN w/ AMMO

1 SILVER STEEL BOOMERANG, w/ a double-sided razor's edge w/ HOLSTER.

1 old fashioned STRAIGHT RAZOR

1 BLACK VERTICAL ATTACHE CASE. She flips it open, and inside broken down into four separate pieces is a HIGH-POWERED, SCOPE-SIGHT RIFLE.

1 MANILA ENVELOPE. She reaches in and pulls out a PHOTOCOPY OF HER SONOGRAM. There on the page is a photocopy of her unborn baby girl. A fierce grimness crosses her face as she places the sonogram back in the envelope.

1 CLEAR ZIP-LOCK BAG containing a PHONY I.D. and BANK BOOK both w/ the name "CANDY RALSTON" on them. Reaching back in the locker she pulls out the final item,

1 SMALL KEY attached to a "DEALY VIPERS" KEY CHAIN.

She rolls up the weapons in the sleeping bag, and drives off. The HEAVY METAL CONTINUES ...

CU SIGN reading, COMMONWEALTHBANK OF TEXAS

CU The BRIDE standing at a teller window, she holds up her key.

INSERT: 1 BANK BOOK and 1 DRIVER'S LICENSE w/ The Bride's photo on it and the name "CANDY RALSTON" on each.

The Bride, with .a big athletic bag slung over her shoulder, watches a TELLER remove four safety deposit boxes.

Where you look isnide your safety deposit box by yourself.

The Bride opens up,the first box ...

... It's filled w/ CASH.

She opens up the second box ....

... It's filled w/ CASH. ~ She opens up the third box .... \~,J

... . It's filled w/ CASH.

She opens up the fourth box ....

PASSPORTS and DRIVER'S LICENSES in 14 different names.

Also in the box, is one COMPACT REFRIG!j:RATOR CASE.' She opens it, inside are 2 BEAUTIFUL HANDMADEGOLD SYRINGES and 1 VIAL OF FLUID.

A SUBTITLE APPEARS UNDERNEATH:

TRUTH SERUM· of Bill's own concoction. He calls it, "The Undisputed Truth."

AS The HEAVY METAL CONTINUES ... WE see The BRIDE leaving the bank, all the weapons she needs, all the money she needs, taking the first step on her bloody trail ...

A RINKY DINK GRAPHIC OF A MAP OF JAPAN

The tiny figure of a black AIRPLANE flies over the map, leaving a dotted-line trail behind it. We move into the black

airplane and DISSOLVE to

Chapter Three

The MAN From OKINAWA

FADE UP ON

The ENTRANCE to a tiny sushi bar, covered by a Japanese curtain ....

SUBTITLE APPEARS:

'\ "The City of OKINAWA, JAPAN"

.... The fabric is moved aside, and The Bride enters the shot, and the tiny establishmeμt.

The little fish and sake bar is the definition of the wotd cozy. Besides The Bride, the only other person inside is The SUSHI CHEF, who smiles at her behind the midget bar.

This Japanese man in his mid-fifties greets the tall, blonde western girl with a turned-on-for-the-tourists affability.

The Bride smiles at this and walks further inside. She doesn't come across as one of the world's deadliest assassins, but instead as a sweet, slightly airheaded, American tourist.

The Sushi Chef gives an exaggerated look of surprise, and says;

THE BRIDE \ENGLISH) Nooo, just a few words I learned since yesterday. - May I sit at the bar?

The Sushi Chef YELLS IN JAPANESE, to someone OFFSCREEN.

The Bride thinks the restaurant so small it's almost hard to imagine there could be a back room to it.

Before getting a response from whoever it was he was yelling to a moment ago, The Sushi Chef turns back to The Bride.

The Bride puts on a thinking face.

•

.. ·-~

The Sushi Chef goes "Oooh~ like he's just discovered the answer to a mystery.

The Bride smiles and lets loose with a girlish giggle.

Whenever the Sushi Chef doesn't either hear your or understand you, he yells the word;

And everybody always speaks LOUDER and CLEARER immediately afterwards.

The Sushi Chef proclaims as if he should know;

SUSHI CHEF (ENGLISH)

A Most definitely, most definitely \3 Japanese in another life.

He sets an order of colorful, raw fish in front of the young blonde woman, that not only looks good, it looks beautiful.

I I I

He YELLS OFFSCREEN in Japanese agai. A little BALD JAPANESE MAN with a shitty attitude, comes out from the back room. He heads for the tall blonde asking in a grumbly voice in Japanese, "What she wants to drink?"

The Sushi Chef pantomimes drinking.

In Japanese he YELLS/ORDERS the warm sake, the little Bald ~an disappears. The Bride takes a bite out of her fish.

The Sushi Chef continues slicing .... ,

There's a break in the Sushi Chef's slicing. After a beat, he brings a bloody finger INTO FRAME and sticks it in his mouth.

The little Bald man appears with a bottle of warm sake, he pours one for The Bride, then disappears again.

As The Bride sips the sake, she looks at the chef.

As The Sushi Chef sucks his finger, he looks at The Bride.

The Sushi Chef drops the voice he had been using up to that point ... and IN JAPANESE SUBTITLED IN ENGLISH asks;

The Bride answers in Japanese;

0 THE BRIDE (JAPANESE)

I need Japanese steel.

The trap door in the floor opens up, and HATTORI HANZO (Sushi Chef), climbs. inside the room, followed by The Bride.

The room has many hqndcrafted samurai swords in hand-carved ' wooden sheaths resting on wooden racks running the length of ' ® the second half of the attic.

The Bride walks down the row of Japanese steel, looking and touching the shiny wood. She looks behind her to Hanzo who is still by the trap door, and says;

The Sushi Chef answers in ENGLISH;

She starts reaching for one ...

She finds it lying sleeping in its shiny, black sheath.

Her hand lifts it from the rack.

She UNSHEATHS the steel, partially .... then with GREAT FLOURISH .... completely.

Hanzo's mouth froms a smile.

He pulls a baseball out of his pocket.

THEN SUDDENLY - HE THROWS THE BASEBALL HARD, right at The Bride's head ....

QUICK AS A WHIP, SHE SLICES THE BALL IN HALF, IN MID AIR.

The two perfectly cut baseball pieces, hit the floor.

He gives her a slight nod, then crosses the attic towards her.

Hattori Hanzo goes to a dusty window, and writes the name, "BILL" on it with his finger.

The blonde girl nods her head yes.

The proud warrior moves over to the door in the floor, throwing it open.

He points into a corner ...

She smiles slightly ... then moves over to the window, takes out a handkerchief, and wipes Bill's name off.

"One week later"

Under black we hear Hattori Hanzo's voice in Japanese and read the subtitles;

EX CU The HANZO SWORD

TRACKING EX CU of the Hanzo sword in its shiny, black wood sheath. At the base of the sheath, by the handle, he's carved the face of a lioness ...

We go back and forth between CU of HANZO reciting the doctrine like a samurai drill instructor and the Bride repeating it.

The Bride repeats this ...

The Bride repeats.this ...

The Bride repeats this ...

HANZO (JAPANESE)

•

-~- ···-··---·~-·•-w •--~--- -~----·······-··...., •~~•- - • ••' .• -"-•. '

... Kill whoever stands in thy way, even if that be Lord God, or Buddha himself ... 0

The Bride repeats this ...

The Bride repeats this ... Her eyes look at the greatest maker of swords on this earth and says;

EX CU The Hanzo Sword, her white hand with her long fingers COMES INTO FRAME and removes the beautiful, artful instrument of vengeance.

Chapter Four

A BLANK PIECE OF DRAWIN.GPAPER A hand comes in and, as the Bride talks over this image, draws with a piec~-of charcoal, a portrait of the geisha regaled O-REN ISHII.

- ---------,---

of course, when one manages the difficult task of becoming queen of

0 the Tokyo underworld, one doesn't

keep it a secret, does one?

The charcoal drawing gets color and becomes ANIMATED, turning into a JAPAMATION O-REN ...

Japamation images of O-Ren and her Army, taking on ANOTHER YAKUZA ARMY, among falling cherry blossoms.

WE CUT BACK AND FORTH between cartoon images of this and the real life real McCoy samurai sword battle.

O-Ren's ability is simply amazing.

O-Ren has just become the official leader of crime in the city of Tokyo. The six Yakuza clan bqsses, each with TWO BODYGUARDSstanding behind them, toast their new leader, with much laughter and drinking ... all except one ... BOSS TANAKA.

•

Nfl¥1ftlttdiit·'Crii1ffl • ·-·7-.,..

Boss Tanaka is the picture of angered ambiance amor.g the alcohol-fueled frivolity.

Boss Tanaka brings his fist down on the table, smashing the plate in front of him into itty bitty pieces.

The party comes to a halt as all eyes go to the leader of the Tanaka Crime Family.

CRIME FAMILY LEADER #2 (JAPANESE) Tanaka? What's the meaning of this outburst? This is a time for celebration.

The BOSSES react again ... O,Ren;

Silence! ( then composed)

() Of what perversior. do you speak,

Tanaka?

Boss Tanaka looks at the female half-breed A~erican and says;

Then ...

Faster than you can say Jimminy Cricket, ...

O-Ren's samu~ai sword is ~nsheathed ...

Boss Tanaka's head is liberated from its body ...

The head hits the floor ...

And from the spot between its shoulder blades, a geyser of blood shoots up in the air.

The BOSSES who were shocked at Tanaka's words are even more flabbergasted at O-Ren's resonse.

The two bodyguard's, standing behind Boss Tanaka, hands go to their swords and draw them.

O-Ren turns her blade in their direction.

The Bosses and their bodyguards say nothing, ... only watch.

The lady looks across at the two men and says in and authoritative voice;

They look at her for a moment, then they lower their swords.

They do .

•

w::a:::::E:X'T'.- -:rw ,&M•i!i

-----

They do.

0-REN (JAPANESE) Get on your knees.

They do.

0-REN (JAPANESE) Put your foreheads on the floor.

T:iey do.

0-REN (JAPANESE) Keep your mouths shut.

You better believe they do.

The mistress' eyes got to the other bosses looking at her.

As she speaks Er.glish, bodyguard translators translate for their bosses.

0-REN I'm going to say this in English so you know how serious I am. As your leader, I encourage you to from time to time and always in a respectful manner, and with the complete knowledge that my decision is final -- to question my logic. If you're unconvinced a particular plan of action I've decided-'is the wisest, tell me so. But allow me to convince you. And I will promise you, right here.and now, no subject will be· taboo ... except the subject that was just under discussion.

0-REN (JAPANESE) ( to a bodyguard) Hand me that head.

He picks it off the floor and meekly offers it to the Queen.

She takes it by the hair and holds it up as she speaks.

0-REN (ENGLISH) •

'I The price you pay for bringing up

either my Chinese or my American

if

heritage as a negative is, I collect your fuckin head.

1,1 (now completely American)

Just like tr.is fucker here. Now if any of you sonsabitches got anything else to say, now's the fuckin time.

Nobody says anything.

0-REN (E:N'GLISH) I didn't think so. (pause) Meeting adjourned.

The entire 0-Ren Ishii crew moves through the restaurant. The CUSTOMERS all look up now as the crew passes. The restaurant staff acts as if the Shogun himself has just showed up on their doorstep demanding a meal. No doubt if the meal is not satisfactory the staff will gladly slice off a finger. The door to a private dining room is slid open, the crew steps inside, the door is slid shut. ,·.,

The private dining area of the Japanese restaurant. The patrons are surrounded by white paper walls. The CAMERA CIRCLES around 0-REN ISEII.

Sitting in between her, two personal bodyguards, the Yubari sisters, YUKI AND GO GO. The Yubari sisters are younger than 0-Ren; Yuki is sixteen ar:d Go Go is seventeen. Both girls are dressed in Japanese schoolgirl uniforms complete with plaid skirts and matching blazers.

On her right is her French and Japanese lawyer, SOFIE FATALE.

The bunch of mop-topped young men, who all wear black suits, white shirts, thin black ties and Kato masks over their eyes, are her soldiers, "The CRAZY 88."

•

x:a::z::s::z·s:r::rz::z: · WI

And finally there's a tall dark American in a black suit sans Kato mask -- that's O-Ren's head of security, MR. BARREL.

They're all drinking and having a good time as Sofie tells a joke in Japanese.

SUDDENLY O-Ren hears someth~ng. Like a deer in the forest, her head springs up on a:ert. It's almost as if she's listening to The Bride's narration.

The Bride's NARRATION SUDDENLY STOPS IN MIDSENTENCE

O-Ren removes a SMALL DAGGER-DART from the folds of her robe and THROWS IT in the direction of the sound.

CU The BRIDE dressed in a kimono on the other side of the private dining room's paper wall. The DART FL~ES THROUGH The PAPER, STREAKS BY HER FACE, almost taking off the tip of her nose in the process.

INSERT: DART EMBEDS ITSELF IN A WOOD POST.

O-Ren's action instantly brings the room's frivolity to a halt. Mistress Ishii silently orders Go Go and Yuki to retrieve the eavesdropper.

The white paper door to Q-Ren's dining room SLAMS OPEN. Yuki and Go Go step into the corridor.

All trace of the Bride has vanished.

They look out over the restaurant, patrons look normal.

Whoever was there is gone now.

Go Go removes the small dagger from the wood post and the Yubari sisters go back into the private dining room, SLAMMING the door behind them. I • ,

WM •

,-n~m

I

The Bride PUNCHES her in the face.

Aside from drinking like fishes, what is the queen of the Tokyo underworld - Mistress O-Ren Ishii - and her private army doing when we cut back?

s·inging karaoke, of course.

It's Crazy 88 MIKI's turn at the mike and he's having a whale

•

ft HfiNl#MfitttfNWD

of a good time singing Dionne Warwick's "Walk On By," in Japanese ....

The Crazy 88 spring to their feet. One slides open the door.

They see 0-Ren's lawyer, Sofie Fatale, standing ic the middle of the restaurant, her left arm completely outstretched, hand gripped around a post. She has a terrified look on her face. Before anybody on 0-Ren's side of the room can say anything ... The Bride seeps out from behind Sofie.

O-R2:N'S reaccion shows how effective the element of surprise turned out to be. She says The Bride's name softly to herself; it's BLEEPED OUT.

The Bride The VENGEANCE THEME BURSTS ON TEE SOUNDTRACK... The Vein on her forehead begins to pulsate. WE DO A QUICK SHAW BROTHERS ZOOM INTO HER EYES. A SPAGHETTI-WESTERN FLASHBACK of 0-Ren beating the shit outta her at the wedding chapel IS SUPERIMPOSED OVER HER EYES. The FLASHBACK DISSOLVES, we ZOOM BACK INTO A CU, the vein stops pulsating, and the theme STOPS PLAYING OVER THE SOUNDTRACK, LEAVING A CLEAN, COLORFUL CU of The Bride loaded for bear.

She raises her Hanzo sword, and Slices off Sofie's Arm ac the Shoulder with one stroke.

The CRAZY 88 run out into the dining area and create a human wall between themselves and their Mistress.

,MR. BARREL AND GO GO

take pos~tions on either side of 0-Ren.

0-REN seated in a shogun's seat, rises furiously to her feet.

0-REN (JAPANESE) •

-··-·-·-- ------z:z-z---,z z z·-··---~-- •••., A - ••A-~----•~~--•>--,. - •---- •--•":"•~ - -

You bast:ardJ

T~e Bride does a swipe in the air with her sword; Sofie's blood flies off the blade.

The entire floor of the dining room lies between the two warring parties.

The Bride vs. The Crazy 88

The restaurant's STAFF and PATRONS sit or stand rigidly in fear.

0-Ren says loudly to the room;

0-REN (JAPANESE) Sorry everybody, but I'm afraid we're going to have to close the place. There's some private business that we must attend to now.

The Staff and The Customers Stampede the exits.

) The Bride, The Crazy 88, and 0-Ren hold their ground without C / mov::.ng a muscle, till the dining roorr,, as well as the entire

restaurant known as "The House of Blue Leaves," is deserted of every human not engaged in the face-off that precedes combat.

0-Ren gives a simple order;

MIKI, one of The Crazy 88 (The little one), steps forward, unsheaths his sword, and yells at the yellow clad blonde.

Raising his samurai sword high, he Charges, Screaming A Banzai Scream ...

The Bride turns to face him.

Miki Charging and Screaming ...

The Bride slowly raises the Hanzo Sword into Striking Position.

•

I

,-,.•----.• --- .,. _____ -_-•_-•_•--,_•••---•- ... - .... •._-'-•.:.------•---•---••.;..• -----•---•----•---•--•------•-•-••-•----•-••-•'""-•--•-•-_,.~•---•-•-----•-••_ .. ,._._-•_--_•_•---•--------•-·---------•~••-~-,-~-••-•-••---~-••-~•~,----••-•-- - '-""-,a"

Miki Charging and Screaming, almost on top of her.

The Bride, sword in position, waits for her opponent to arrive.

~iki arrives at his destination, he Swings ...

The Bride Swings ...

The Hanzo Sword Slices Miki's inferior blade in half. Miki looks down at the impotent weapon in his hand.

The Bride Thrusts her sword through Miki's abdomen, then Lifts the little guy off the ground straight up in the air.

Miki screaming, Impaled on her blade like a fish at the end of a spear. Held up in the air, restaurant light fixtures in the E.G.

O-Ren and her crew watch stunned.

The Bride Drops the shishkabobbed Miki into the koi pond that starts outside the restaurant and ends inside, with a huge blue splash. Kai pond - Blue water - Orange and yellow fish - Red blood - Dead man.

The BRIDE looks up from the pond, across the length of the floor, into the eyes of O-Ren Ishii. She takes one step forward, hears the slightest noise, Twirls the samurai sword in the air once, drops to one knee, and thrusts the sword into the beige-colored carpet-covered floor. The sword sticks in the floor half way ...

The Sound of human death rises from underneath the floor ...

Leaving the sword stuck in the floor, handle sticking straight up in the air, The Bride rises up from her one knee, and straight and tall, staring down the queen of the Tokyo underworld.

O-Ren her eyes narrow with rage. She screams out another order;

The six remaining Crazy 88 unsheath their swords at the same time with a GREAT SOUND EFFECT.

They circle the Bride.

•

I

--T - - T x·, --.-.,.- -

r·--·····

I '

The BRIDE

:j f , Inside the circle of Combatar.ts who surrounded her. She Whips I I '-~,,__,..,./ the sword out of the floor and raises her blade diagonally in

front of her. Her eyes are reflected in the shiny steel.

Holding her sword in the diagonal position, The Bride can see reflected in the shiny blade, whoever stands behind her.

The six Crazy 88 Attack ...

The BRIDE does a Zatoichi-:..ike SWISH-SLASH-SWISH with her steej_ blade.

Four boys die an immediate samurai blade-infiicted death, SCREAMING GRUNT, TWITCHING BODY, FROZEN IN THE STANCE IT WAS SLASHED :N, RED BLOOD SQUIRTING FROM WOUNDS, ~HEN A CRASHING COLLAPSE TO THE FLOOR.

The last two put up more of a fight ... but then one of them is SLASHED and FALLS and the last one is SLASHED Ai."1DCRASHES THROUGH the restaurant's big picture window.

EX CU The EYES of The Bride, pointed down at the bodies by ~er feet,

... BEAT

... they Look back up at 0-Ren.

0-REN standing in between Go Go and Mr. Barrel. Her eyes narrow.

The BRIDE swipes the air with her sword, the blood of the dead attackers flies off.

GO GO and MR. BARREL unsheath their swords.

The BRIDE looks from the reinforcements to 0-Ren.

0-REN smiles.

0-REN (ENGLISH) (to the Bride) You didn't think it was going to be that easy, did you?

•

- - - - -- - -, - -• -u•- - -•.----- •- -- ---- --•-• - --- ------••- --- ••• -------• -•- - - - ---- -• - ~ - - - - - - -- ~. ,---~--·-·----. - --···· --,--- -

(~} THE BRIDE (ENGLISH) '·--~..-· (to O-Ren) You know, for a second ~here, yeah : did.

0-Ren smi2.es ...

Both O-Ren and the Bride finish the phrase together, ...

This is something they used to say back when they fo~gr.t alongside of each other as "Vipers."

T~e seventeen Crazy 88 reinforcements come rur-r-ing into the restaurant and with drawn swords surround The Bride.

As a HEAVY METAL COMBAT BEAT begins to PULSATE ON THE SOUNDTRACK, The Boys and The Bride have a Spaghetti Western Stand-off.

We do a 360 INSIDE the CIRCLE of The Crazy 88, who surround ~he yellow-haired warrior. Not all have Sanurai swords; one JUGGLES TWO HATCHETS, another TWIRLS A THREE-STAFF TRIPLE IRON over his head.

As the Heavy Metal music builds ... We Cut to various Shots of The Two Opposing Forces Preparing to Strike .... Hands on Sword Handles ... Feet finding Combat Stance ... etc .. .

... At that point, the Metal EXPLODES OVER THE SOUNDTRACK... IN TIME WITH The BRIDE EXPLODING INTO A VIOLENT KILLING MACHINE ON SCREEN.

As she matches skill with the army of black-suited boys, arms flailing, silver blade Clashing and Slashing, long blonde hair whipping like a whirling dervish .... ... She's a Goddess of War Venus.

Not only is the FIGHT CUT TO THE HEAVY METAL MUSIC, but The Bride seems to be somewhat dancing to it as she fights.

This explosion of furious violence is punctuated CINEMATICALLY BY THE COLOR IN THE FILM POPPING OFF, and the fight being filmed in HIGH CONTRAST BLACK AND WHITE, turning the squirting, spewing geysers of BLOOD FROM CRIMSON RED TO OIL BLACK.

•

Many members of The Crazy 88 are Sliced, Slashed, and liberated from the limbs they were born with at The Bride's blade.

Some SPECIFIC MOMENTS

While Clashing swords, rhe Bride whips the silver Boomerang out of its holster, and ~hrows it ...

.... It Twirls Through the Air ...

... Embedding itself longways in one of the boy's faces.

The Bride does a Mid-Air Somersault over the head of an Attacker, landing solid on her feet behind him ... Slash, he's Out.

The Bride is knocked to the floor, ~er Attacker stands over her to Spear the young blonde, Her Legs Spring Up In The Air, Ankles Lock Around T~e 3oy's Neck.

She throws him down =oche ground. With his neck still in the vise-like grip of her ankles, She removes The SOG Knife from it~ ~heath and Plunges it Deep Into The Boy's Chest.

While still on the ground, an Attacker Charges at her. Yanking the Boomerang out of the Dead Boy's Face, She Sends It Flying in the Charging Man's path ...

... Boomerang Twirling Through the Air Close to the Ground ...

.. . Chopping Off the Charging Attacker's Foot in Mid Step, he falls flat. r The Bride jumps up onto an attacker's shoulders. She locks.f her legs around him so he's helpless at shaking her off .

... she swings down with her sword, and cuts the man's hands off.

So while the helpless man with no hands screams, the now nine foot tall Bride fights with the others.

When she's through she brings the blade across the man she's perched on's throat. He falls to his knees, bringing the Bride back to the floor like an alevator.

As soon as her soles touch ground, she's off his shoulders, somersaulting on the floor, bringing her blade up between an ~ttacker's legs into his groin.

He lets out a scream, as she yanks her blade free.

ONE ATTACKER steps out from the rest, "The Best One." He Twirls his sword expertly, challenging the young woman to, "Come get a piece."

The Bride does a screaming charge towards him .... ... Sword raised, The Attacker stands his ground, calm - steady, waiting for the blonde-haired locomotive to

•

collide ..... They mees ..... ('"'~: SWI~G - CLASH - DANCE - SEPARATE - SWING - CLASH - SPIN - •---~~v••• CLASH - LOCK - TWIR~ - SEPARATE -

They match each other blow for blow, till one makes a mistake. It's the male. The Bride's swing, that's neither clashed or blocked, slices off his right arm .

floor.

The Bride pushes the Hanzo Sword right through the middle of his chest.

Only half of the Crazy 88s that started the fight remain alive, or intact ... They start to approach ... The Bride, still holding the sword that's still impaling the skilled Attacker, backs up, keeping his body between her and the remaining killers.

Like a boxer, ..The Bride uses the momentary break in the action, to rest on her feet ..... THEN... yanks the blade from his chest cavity .... The Body Twitches - Spasms - Grunts and Crashes to the floor.

The Attackers start to close in ... The Bride readies herself for their attack .... THEN (in perfect time with the Heavy Metal) ... Drops to the floor on her back, Spin~ing like a top. She Swings and Slashes and Cuts down below at their legs and feet, like some hellish samurai sword-weilding turtle flipped over on its she:: ....

Many black-suited, mask-wearing boys drop to the ground .

.. . Still Spinning :ike a break dancer, she spins ~p on top of her head, and Pops back up on her feet.

And then there were seven.

The seven remain~ng sword-weilding, black-suited boys moved out of range of the Bride's blade when she dropped ~o the floor. Now spread out, they make a large half-circle.

,The Bride, slowly points the tip of her blade to the floor, lowers herself to one knee and slightly bows her head. In repose.

EX CU The Bride's eyes pointed up, watch them move closer, COLOR COMES BACK INTO THE FILM. We see her face is splashed with blood.

GO GO stands by the restaurant's junction box, she flips the switch.

The room goes dark.

•

The Crazy 7 make a wide circle around the blonde who's still on the floor ....

... Looking down on her breathing hard in the shadows. As she breathes in and out, The FACE OF A LIONESS IS SUPERIMPOSED OVER HER FACE.

Breathe in (Bride) - Breath~ out (Lioness) - Breathe in (Bride) - Breathe out (Lioness)

The Bride rises to her feet ...

The Crazy 7 move in a circle arour-d The Bride, she moves in a circle inside of their circle, all eight of them move in rhythm with the Metal ...

?he Heavy Metal Music builds .... to a big finish ... ?HEN both Music and The Bride Explode!

WIDE SHOT - FRAMED LIKE A KABUKI STAGE With the lights off, The White paper wall the eight killers fight in fro:it of turns a Psychedelic Bright BL1e. The snow falling o~tside is reflected against the paper wall like black snow falling on a blue shadow puppet: stage.

The eight samurais are Black Silhouettes against the blue backdrop. They begin to combat in a dance of blood, steel and death. The Bride does a sword-weilding dosey-doe with all sword-weilding partners.

She CLISH-CLASH-CLISH-CLASHES with all of them - They seperate - stalk each other for a moment to the beat - t::i.en CLISH-CLASH-CLISH-CLASH again, with The Bride killing or hacking the limbs of one unlucky dance partner at each encounter - Sometimes during the separation, The Bride crouches down low in repose while the others continue to circle stalk ... THEN... She Strikes again.

We Cut in closer whenever we need to.

Finally the last of O-Ren's soldiers falls to the Bride's sword.

The BRIDE Splashed all over with blood. Bldod painting the floor, walls and ceiling. Dead bodies, several limbs, and horribly wounded men who have yet to die, litter the ground.

With a big "Whoosh" in the air, the blood of O-Ren's subordinates fly off the blonde avenger's blade.

Then saying to the foes who litter the ground .

THE BRIDE (JAPANESE)

•

Those of you luc:,;:y enough to still have your lives. Take them with you. 3'..lt leave the limbs you've lost. They belo~g to me now.

The wounded men, crawl out of the restaurant.

The yellow-haired crimson-covered woman, looks to the last remai~ing combatants ... Mr. Barrel, Go Go Yubari, and O-Ren Ishii.

Go Go steps forward and removes her weapon, it's not a samurai · sword .---'It's a. heavy metal ball at the end of· a long chain. She begins TWIRLING it above her head. Each rotation makes a WHOOSHsound in the air.

3ALL AND CHAIN in a 3-D-like effect, the metal ball comes right at us.

The BRIDE ducks out of the way, -the heavy ball destroying a large chunk of wood post behind her.

Go Go eyes focused on her enemy ... WHOOSH.... WHOOSH.... WHOOSH... she le.ts fly ...

The ball and chains wrap around the blade of the Hanzo sword ...

... Go Go yanks ...

The BRIDE removes her boomerang and THROWS it at Go Go.

The BOOMERANG TWIRLS through the air heading right for Go Go.

Bride on the floor. The Bride rolls out of the way, the metal bal: PUNCHES a hole in an overturned table instead.

The weaponless Bride wrestles a table leg loose from its purpose.

She hops up on a table, table leg in hand, ready to fight. •

Go Go hops up on a table ...

As they fight they hop from table to table ...

Go Go throws her ball and chain ...

BATS it away with the table leg.

Go Go lets loose with the balls and chain ... it wraps around the _Bride's ankle ... Go Go YANKS...

CRASHING through another table.

Go Go jumps on top of the Bride, attackir.g her with a samurai short sword. The Bride uses the table leg to block it.

The women fight fiercely, locked in grapple, each face ugly with struggle. Go Go lets her left earlobe get too close to the Bride's mouth ... the Bride BITES DOWNon it. Go Go screams as the lower part of the appendage is bitten off, and she rolls off the Bride. The Bride comes at her, bringing the table leg -- WHOOPS UPSIDE HER HEAD -- WHOOP-WHOOP-SIDES-HER HEAD.

The girl in the schoolgirl uniform falls on her back, and

~ delivers a powerful "C.K." to the Bride from below, dropping "-_) her to her knees.

O-Ren is UP, and wraps the chain around the Bride's neck and begins to strangle.

The chain digs into the Bride's throat.

The Bride brings the table leg, which has a co~ple of nasty looking nails in it, hard against the Japanese girl's thigh. The nails cut through the plaid school uniform skirt into her flesh ... the Bride rips out the nails, taking some leg meat with them.

Go Go lets out a horrific scream.

The Bride brings the table leg down on the toe of the young girl's white tennis shoe. The nails stick in, the white shoe becomes stained with red.

Go Go SCREAMS letting loose of the chain ... falling on the floor.

The Bride unwraps the chain around her neck, and begins breathing air into her lungs.

Go Go tries to escape, dragging her fucked-up leg with her ...

The Bride rises from the floor and begins, twirlir.g Go Go's weapon above her head.

Go Go, fast as she can, climbs up the stairs to the second ::loor ...

The Bride star-ds at the bottom of the stairs, twirling the ball and chain over her head.

Go Go frantica:ly, and in great pain, climbs the s~airs ... She gets to the top.

The Bride lets loose with the ball and chain ...

It HI?S the female bodyguard and one half of the Yubari sisters, smack DAB in the back of the head.

Like a discarded rag doll, Go Go Yubari TUMBLES down the staircase landing in a pile at the Bride's feet. Dead before the tumble began.

The Bride throws the ball and chain to the floor. Her eyes go ~o the last two remaining combatants ...

M~. Barrel says;

MR. Bli,RREL And you're Black Mamba.

m U'

THE BR:DE Tell me Mr. Barrel, why don't you wear your Kato mask? Are you and iconoclast?

Mr. Barrel takes out a kato mask on a stick, like from a 17th Century costume ball, and holds it over his eyes.

0-REN ISHII Screams at her" ... last line of defense;"

0-REN (ENGLISH) What are you waiting for? Are you on a date? Attack her you fool!

0-REN is furious, and slaps Mr. Barrel on the shoulder.

0-REN (JAPANESE) Attack, Goddamn you!

The Bride acts like she's embarrassed to witness what she just saw.

Mr. Barrel spins in 0-Ren's direction shooting her a look she's never seen from him before.

He then looks back to the Bride.

Her eyes are waiting for his. She says with just the slightest hint of plea in her voice;

He looks at her a BEAT longer ... then says as he resheaths his sword;

INSERT: The Blade sliding back down into the Sheath, The Handle locks into place with a Click.

He looks back over his shoulder at his former Mistress, and says;

0-Ren fries and egg on her head.

Then with his sheathed Sword in his right hand, and his left hand in his pants pocket, he walks across the carnage-strewn room and out the front door. As he walks, when he's parallel with the Bride, He stops and says;

He continues walking withbut a look back. Before he Exits the restaurant, he throws a look in Sofie's direction, Who's lying minus her arm in a pool of her own blood, and says;

He exits the Movie.

0-REN and The BRIDE match eyes. The Japanese gal says;

0-REN (ENGLISH) Very funny. (pause) Your instrument is quite impressive.

0-REN (JAPANESE) Where was it made?

0-REN (JAPANESE) Whom in Okinawa made you this steel?

0-REN (JAPANESE) YOU LIE!!

The Bride just smiles at her rival's response.

0-Ren's composure returns.

0-REN (JAPANESE) Swords however never get tired. I hope you've saved your energy. If you haven't, you might not last five minutes. (pause)

Have you seen the garden in this establishment?

O-Ren moves out of the position she's stood in for the entire battle. She steps on the doormat of a corpse, that serves the same purpose of a bottom step, and moves over to the white paper wall and slides it open .... REVEALING....

.... . A WHITE WINTER WONDERLAND, set against a Jet Black sky. A Snow-covered Japanese Garden awaits right outside. Snow falls from the sky (Slightly artificial, not phony - but Operatic/Theatrical). O-Ren stands next to the Bride in the doorway looking out'into the white night.

The Queen of the Tokyo Underworld steps outside ...

The Bride follows her ...

As snow falls around them, they stand the correct distance from one another.

COMBAT MUSIC BEGINS PLAYING, but not Japanese drums - Spanish Flamenco Guitar ...... .

The Bride Unsheaths her Sword Quickly ... Holding it out in front of her ... Tip of Blade pointed at O-Ren ... Sword's Handle and her Fingers wrapped around that handle, up by her cheek ... Her eyes are Reflected on the Blade ... Snow falls around her.

O-Ren begins walking forward towards the Bride ... She raises up her Sword, still in its sheath, in front of her face vertically ... then begins slowly unsheathing it ... Snow falls around her.

The BRIDE Holding Sword ... Eyes reflected in Blade.~ .her Yellow Sneakers Crunching snow underneath them ...

0-REN when her Sword is fully unsheathed, the Japanese combat artist holds both arms straight out at her sides, Sword in one hand - Wood sheath in the other, like a bird ....

... . The Two Women circle each other ....

They SWING - CLASH - DANCE - SEPARATE ... CIRCLE ... SWING - CLASH - DANCE - SEPARATE ...

o~REN LEAPS in the air does a Somersault over the Bride's head, landing behind her opponent•. She brings her Sword down in a Slashing Swing ...

SLASHING The BRIDE across her back - Spinning her around ...

0-Ren goes in for the kill ... The Bride meets her blade ... The Blades Clash and Lock ... The Two .Women's faces come together as the Blades be.come entangled ...

0-Ren moves her arm in a counter-clockwise motion that loosens the grip enough to bring her sword handle hard into The Bride's mouth ...

Knocking her backwards over a small, stone bench - Flat on her ass in a koi pond.

- The Combat Guitar Stops -

0-Ren doesn't charge the fallen blonde, She laughs;

0-REN (ENGLISH) Silly Caucasian girl likes t9 play with samurai swords. Bill might of humored you, but you will find neither humor nor mercy at my blade. Now unless you intend to commit sepeku among the koi, stand up and fight. You may not be able to fight like a samurai, but you can at least die like a samurai.

The Combat Guitar starts again ... As The Bride slowly rises out of the koi pond. She brings up her sword and Says Calmly to .0-Ren in Japanese;

The Two Women Clash Swords furiously, their attack ends with

The Bride's Striking 0-Ren - not fatally - but deep. They separate ...

... breathing hard ... Cold Air coming out of their mouths like two locomotives .. .

0-Ren looks down to her wound, then back up to The Bride. The respect for the Bride's ability is transparent.

The Two Women Circle Stalk each other again ...

Red Blood running down Yellow Legs onto Yellow Sneakers ...

Wooden Clogs crunching the Snow, Blood trail dripping down legs staining White Socks with Red ...

They Attack, the Geisha figurine and The tall western girl with the mane of Whipping Blonde Hair. They Swing - Twist - Turn - Clash, matching blow for blow till they. both back off.

Both Women are out of breath and have to stop to recuperate. As they both drink the harsh cold air into their lungs, leaving red blood stains in the white snow, the two females have the same thought. The next clash will be their last.

0-REN (JAPANESE) I apologize for ridiculing you earlier.

They continue breathing ...

0-REN (JAPANESE) Yes.

The Flamenco Guitar begins again, as The Two Women Circle each other for their final attack.

With all the quickness and skill at their command, they clash in a superb display of Samurai Swordplay ... TILL ... They Find themselves on opposite sides of a garden wall .. .

... The Bride and 0-Ren both begin Running diagonally through the snow, Swords held up high, Facing each other, Continuing to run even after they passed the wall, Screaming their Samurai hearts out ...

... can't tell who got who ...

A SCALP OF LONG, BLACK HAIR FLIES THROUGH THE AIR, landing in the white snow.

Her sword FALLS from her grip ... in the snow by her feet.

O-Ren FALLS to her knees, toppling forward.

Left Cheek in the snow, just barely alive, She says;

The Last thing she says before she dies;

With her cheek resting against the snow, her eyes close and she's gone.

The BRIDE removes a white handkerchief (The One we saw her sewing earlier with "Bill" in the corner), and uses it to wipe the blood, once belonging to the first name on her death list, off her Hanzo Steel.

EX CU THE HANZO SWORD

is returned back to its sheath. The LION'S HEAD that Hanzo carved into the wood seems pleased.

The BRIDE now wearing a yellow, faceless motorcycle crash helmet on her head, stands FRAMED in a TRUNK SHOT.

The BRIDE slams the trunk, SCREEN BOES BLACK...

The MAZDA driving down the road.at supersonic speed.

The BRIDE behind the wheel wearing her crash helmet. It looks like an insert from "GRAND PRIX."

When she speaks it comes out of a VOICE BOX at the bottom of the helmet. Turning her voice deeper and electron.ically spooky. The two women speak Japanese to each other.

I

Sofie offers up her remaining arm.

She injects Sofie with the gold syringe.

Sofie is injected.

THE BRIDE {JAPANESE) Awwww poor baby. What do you think she'll do when she finds out what happened?

(JI).' SHOCK CUT TO

YUKI YUBARI upon hearing the news of her sister's death ...

She SCREAMS!

Yuki staring out into space, says with a drunken voice;

She slowly turns to face the older Japanese man in the business suit.

The man in the business suit giggles at her boldness; she gets annoyed;

, YUKI (JAPANESE) Don't laugh! Do you want to fuck me, yes or no?

We see she has stabbed him in the belly with a samurai short sword, and is slowly dragging the blade across his abdomen, creating a big red grin across his mid-section.

TWO SHOT YUKI AND BUSINESS SUIT Yuki focused, Business Suit penetrated ... She opens him up more ... he feels every inch of the blade's progress.

Blade cuts deeper ...

And with her last line, does the final disemboweling slice that sends his insides spilling out onto the barroom floor.

you, I don't know who will win. But what I do know is, she will find you.

The Bride takes this in ... then moves on.

The big hospital of TOKYO is located by a hill by the highway. Sofie's MAZDApulls off the highway to the side.

The Bride hops out of the car, runs to the back, opens the trunk, takes out Sofie's body, and rolls it down the hill .... Sofie stops rolling in front of the entrance of the huge hospital.

He shhhh's her off screen;

BACK TO THE BRIDE AT THE TRUNK

Then with SUPERMAN X-RAY VISION we see through the helmet to the Bride's face inside as she says the last line.

Bill says off screen;

Yuki blows a pink bubble gum bubble, it pops and she says in English;

CU The BRIDE'S BARE BACK What he's sewing is, the NASTY SLASH 0-Ren gave the Bride on her back, closed with a simple needle and thread.

CU The BRIDE lies naked on her stomach, head up, chin resting on her folded hand, feeling no pain at the needle piercing her flesh. The sleeping giant is awake, and in her eyes we see she's filled with a terrible resolve.

As Hanzo sews, he recites in Japanese the Yagu mantra, the Bride recites in Japanese after him.

EX CU: O-REN ISHII'S name written in the Bride's notebook with the number one next to it. A black felt pen comes into frame and draws a line through the name.

Chapter five

MONTAGE OF YUKI coming to Los Angeles cut to music.

We see YUKI dressed in her Japanese private schoolgirl outfit with white blouse, plaid skirt, bobby socks, blazer, and barrettes in her hair, flying on a jet enroute to Los Angeres. She paints her fingernails with bubble gum-colored nail polish.

Yuki walks through LAX.

Yuki standing next to a CAR SALESMAN on .a California car lot. She points at a car in front of her.

We see her cool convertible sports car and her finger pointing at it.

We see Yuki behind the wheel of the sports car, driving as fast as she can through the twists and turns of the Hollywood Hills, laughing all the way.

We see Yuki running around all over LA, Hollywood and Disneyland taking pictures with her disposable Barbie camera.

PHOTO: ,Yuki in front of theThe plane lands in L.A. Chinese Theatre.

PHOTO: Yuki at Grauman's Chinese Theatre, wearing a The Bride walks off the cowboy hat, in front of Royplane with the other Rogers' and Trigger's hand passengers. foot and hoof prints. She holds her fingers like a six-shooter.

PHOTO: Yuki posing with a The Bride walking

celebrityshe's bilmped into.through LAX.

Yuki behind the velvet ropes of a Hollywood premiere with the other fans. She watches the STARS walk the red carpet with her autograph book in her hand.

YUKI screaming on a roller- coaster.

PHOTO: At Disneyland. Doing a Bonnie and Clyde-style pose with a Captain Hook. And another photo in between Chip N' Dale.

CU YUKI CU The BRIDE walking, stalking, and walking through LAX. eating huge ice cream waffle cone.

Yuki driving her sports car. The Bride renting a Stalking. motel. We see Yuki's car drive by in the B.G. through the motel's picture window.

MEDIUM CU of Yuki wearing a YUKI'S POV: whiteuniform, and taking The Bride entering her money. Her eyes watch yellow pickup truck something off screen. parked in front of Vernita's house.

We see Yuki is dressed like EX CU: VERNITA GREEN'S an ice cream man, and is name in the Bride's selling ice cream to kids notebook. She draws a from an ice cream truck on black felt pen through Vernita's block. the name.

CU Yuki's face as she watchesThe Bride driving away the Bride drive away. from the scene of her latest victory.

CU Yuki, smiles. Now's the YUKI'S POV: The yellow time. pussy wagon drives away.

Yuki, at night, sitting in YUKI'S POV: The the surveillance seat of her exterior of the motel, sports car. Her hands are the Bride is staying in. busy below frame. The motel is located on a Hawthorne residential street. Her yellow pickup truck is parked on the street.

SPLIT SCREEN{CONT'D}

YUKIIs SIDE THE BRIDEIs SIDE Yuki loading an Israel The Bride, on the phone, compact sub-machine gun booking .her flight out that lays on her plaid of LA to Texas, as she skirt lap. packs her crap inside her motel room.

The Bride carries her stuff, the Hanzo sword, her money in a backpack, and her other stuff in a canvas duffle bag.

CU YUKI watches. Weapon She carries the stuff locked,loaded, and ready. from indoors to She makes a line of baby outdoors to the yellow blue powder on the pickup. dashboard, then snorts it up her nose.

A SUBTITLE APPEARS UNDERNEATH:

DRUG of Bill's own concoction. He calls it, "The Blues."

The drug affects her. Now's the time.

Yuki gets out of the car YUKI'S POV: We see the and heads for the Bride from a distance, oblivious Bride. by her truck.

Cu Yuki walking towards the YUKI'S POV: Approaching Bride. the Bride from behind.

A camera behind Yuki as she walks, holding the sub-machine gun behind her back.

The Bride is in the b.g., back to us packing her trunk, just about ready to make a clean getaway ...

We see the back-turned figure of the Bride slightly freeze upon hearing the Japanese greeting. Without turning around she says;

THRILLER MUSIC begins on the soundtrack.

The Bride turns around to face the young avenger.

Yuki giggles.

Yuki giggles.

Yuki giggles. Then she takes out a flashlight, and switches on the beam.

Yuki shines the flashlight beam in the Bride's face.

Yuki then shines the flashlight up into her own face.

Yuki giggles.

THE BRIDE {JAPANESE) Don't make me kill you.

,]!" YUKI (ENGLISH) Okay.

Yuki removes the Israel sub-machine gun from behind he~ back and FIRES A LOUD INTENSE VOLUME of firepower at The Bride.

The Bride dives out of her way, just as her yellow pussy wagon is demolished by the ammo.

The Bride, with her samurai sword in her hand, and her backpack full of money, takes off running across a couple of front lawns ...

Yuki chases her with machine gun fire ...

The Bride LEAPS over a long hedge ... disappearing Behind it.

Yuki runs after her, firing all the way, destroying the hedge ...

The Bride darts across the street, she hits the ground and rolls under a Volkswagen van.

Bullet FIRE EXPLODES all around the Bride as she rolls out on the other side. She removes her 9mm automatic and' returns fire from behind the van.

Yuki yells to her in English;

She takes out a hand grenade, removes the pin with her teeth, and slides it towards the Bride.

The Bride sees the live hand grenade skidding and sliding on the asphalt towards her .. .

She takes off running ... as the Volkswagen van EXPLODES BEHIND HER.

She cuts through the backyard of a house - - .THE CAMERA TAKING OFF WITH HER -- over their fence, in the backyard over the fence into another yard. She trips, falling into the other house's swimming pool. Instead of splashing around, the Bride swims like she was in the Olympics, till she's in the shallow end. Without breaking her stride, she runs out of the pool. Now with her gun out, the sopping wet Bride gets to the front of the house. It's located on a cul de sac.

Both women see the other.

Yuki hits the gas, firing her machine gun out the window of her car as she speeds down the dead-end street.

The Bride, runs across lawns and hides behind parked cars on the street, as the bullets rip up homes, lawns, and

When Yuki's car reaches the end of the dead end, ...

She jerks the wheel ...

SPINNING the car around, pointing it in the opposite direction.

SHE HITS THE GAS AGAIN ...

SHE PULLS THE MACHINE GUN TRIGGER AGAIN ...

BULLETS TEAR UP the cars lining the street.

In the hail of bullets, the Bride tries to fire back.

Yuki reaches the end of the street and spins the car around.

She gets ready to make a third pass.

Some PEOPLE in the house behind the Bride, look out of their front door.

The Bride yells at them;

Yuki speeds after her, but this time she pops the curb and drives across the front lawns on the street heading right for her.

The Bride runs into the house she's in front of.

She runs through the living room, to the kitchen and the back door, but the kitchen's where the family that lives here is hiding and they block the door.

Yuki's sports car pulls up in front of the house. She stands up in the convertible. Takes out a grenade, pulls the pin and says;

She lobs the grenade up on the porch, then throws herself face down on the lawn.

The porch and the front of the house explodes into splinters.

Everybody in the kitchen is blown back.

Realizing there's no getting out of the back door, the Bride runs back into the living room that's now missing a wall, and runs up the home's staircase leading to the bedrooms.

Yuki steps into the house, sub-machine gun in hand ...

The Bride makes it to the top of the stairs; and is just about to disappear behind the upstairs hallway wall ...

The upstairs hal·lway, two bedroom doorways line both sides of the hallway. The Bride crashes to the floor -- SCREAMING -- blood pours out of her gunshots.

Yuki charges up the stairs ... machine gun blazing, tearing up the house.

The Bride aims her 9mm where she expects Yuki to emerge.

Yuki gets to the top of the stairs, and st~ps into the hallway.

The Bride fires ...

The Bride's bullet wings Yuki in the left breast, knocking her through a bedroom doorway.

Yuki screams like a little girl at the pain. She yells from the doorway into the hallway;

The Bride answers Yuki back with an imitation of Yuki's giggle', which makes the youngin blow her top.

She fires her machine gun around the corner, tearing up everything around the Bride.

When the young girl stops firing, the Bride yells;

From her hiding place, Yuki snorts a line of baby blue powder. It gives her energy.

Slapping a new clip in her machine gun.

Yuki comes around the corner FIRING her machine gun in the

Bride's direction, ripping up everything around her.

The Bride lying flat on the floor fires her 9mm.

The explosion of ammo creates the hysteria of warfare combat.

Yuki charges the Bride, Kamakazi style.

Three more bullets rip into the Bride, the Bride fires up at Yuki, hitting her three times in the body, knocking her off her feet, and sending her tumbling down the stairs.

The Bride shot up, pulls herself to the top of the stairs. She sees Yuki lying at the bottom, dead.

Yuki's face, dead, eyes closed ... then they pop up open ... Guess what ... she's not dead. Though she's bloody and her schoolgirl uniform is filled with bullet holes she rises. Her head turns in the direction of the Bride ...

The Bride sees this and can't believe it ...

They lock eyes ...

... Yuki, who no longer has the machine gun, takes out a deadly looking knife and snaps it open with a smile that builds to a scream ...

She charges up the steps at the Bride.

The startled Bride fires at her ... the 9mm's empty ...

Yuki charging up the steps, yelling, knife raised high ...

The Bride, hurriedly removes the pistol she keeps in her ankle holster.

Yuki chargin ...

The Bride cocks back the hammer ...

... Yuki charging, getting closer ...

The Bride FIRES

Bullet hits Yuki, stops her for a quarter of a second, but she keeps charging ...

The Bride fires again ...

Yuki jerks but keeps on charging ...

Bride fires ...

Yuki jerks, but keeps charging ...

Bride fires ...

Yuki jerks, keeps chargin, almost at her, knife raised high ...

The Bride FIRES

Yuki jerks, but keeps charging, knife ready to do its duty ...

The Bride fires, but her gun jams .. .

Yuki leaps on her with the knife .. .

They struggle for a moment ...

side.

j THE BRIDE Goddamn, what a wildcat.

The phone rings and a black woman in a nurse's uniform with a name tag on it that reads, "B. Owens," answers the phone.

CU The Bride on her cell phone, a business card in her hand, with a number written on the back that says, "B. Owens," and her phone number. She's bleeding from her five bullet holes. Sitting in a pool of her own blood. She's starting to tremble. We can't see where she's at, but it's somewhere surrounded by wood planks. The moon shines into the structure.

I don't know how you got my number, but you can just rip that shit up, because

Her last line has an effect on the hard-hearted nurse.

Nurse Owens likes that last line.

The Nurse hangs up the phone.

The Bride sits in her own blood waiting for Nurse Owens.

Nurse Owens' head pops up from the door in the floor.

The nurse hands the Bride a big bottle of Wild Turkey.

(refers to the bottle) So git busy.

The Bride screams.

The TV is turned up loud to hide'the screams.

The fifth slug is placed in an ashtray next to three cigarette butts and other balls of lead.

The Bride, drunk as a skunk, says to her savior;

Smoking her menthol Kool, Nurse Owens says;

She passes out.