Kill Bill Page #5

Synopsis: The murderous Bride is back and she is still continuing her vengeance quest against her ex-boss, Bill, and taking aim at Bill's younger brother Budd and Elle Driver, the only survivors from the squad of assassins who betrayed her four years earlier. It's all leading up to the ultimate confrontation with Bill, the Bride's former master and the man who ordered her execution!
Director(s): Quentin Tarantino
Production: Miramax Films
  Nominated for 2 Golden Globes. Another 21 wins & 81 nominations.
 
IMDB:
8.0
Metacritic:
83
Rotten Tomatoes:
84%
R
Year:
2004
137 min
Website
6,869 Views


She counts again.

THE BRIDE:

(a statement)

Five years.

The Bride's two eyes fill with tears as she realizes her baby

is long gone.

WHEN SUDDENLY...

She hears the STEP...STEP...STEP...OF BILL'S BOOTS WALKING

TOWARDS HER ROOM....

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.

INT. HOSPITAL CORRIDOR(THE BRIDE'S FLOOR) - NIGHT

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.

SCREEN GOES TO SPLIT SCREEN

LEFT SIDERIGHT SIDE

The BRIDE listening to them Orderly's Reeboks walking

getting closer. WE HEAR the down the hospital

STEP...STEP...STEP...in time corridor.

with Orderly's sneakers.

CAMERA MOVES UP TO

Orderly's face, leading

two TRUCKDRIVERS.

The Bride HEARS BILL'S

VOICE SPEAK FOR THE ORDERLY;

BILL'S VOICE ORDERLY

(in time)(in time)

She's right in here.She's right in here.

SPLIT SCREEN FINISHES

STAY WITH The BRIDE'S SCREEN

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 to 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 of

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 HOWEVER WILL NEVER SEE

BILL'S FACE COMPLETELY.

The Orderly takes her shee covering off, and hitches up her

hospital gown till her blonde p*ssy is exposed. He does kind

of a "TA-DA" presentation of her vagina.

THE ORDERLY:

Now is that the cutest little

blonde p*ssy you ever saw, or is

that the cutest little blonde

p*ssy, YOU-EVEA-SAW?

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

fronts.

WARREN:

I seen better.

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 f*** load

better than you, fatass."

THE ORDERLY:

Yeah, in a movie - maybe. But I

know damn well this is the best

p*ssy you ever saw you had touchin

rights to. The price is seventy

five dollars a f*** gentlemen, you

gittin your freak on or what?

The Truckers pay the bill of fare.

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

rules;

THE ORDERLY:

Here's the rules; Rule number one;

no punchin 'er.

Nurse comes in tomorrow an she got

'er a shiner - or less some teeth,

jig's up. So no knuckle sandwiches

under no circumstances. And by the

way, this little c*nt'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?

TWO TRUCKERS:

Yeah.

THE ORDERLY:

Rule number two;

No monkey bites, no hickeys - in

fact no leavin no marks of no kind.

But after that, it's allll goooood.

Her plummin down there don't work

no more, so feel free to cum in 'er

all ya wont. Keep the noise down -

try not to make a mess, and I'll be

back in twenty.

The Orderly turns to leave, then remembers something, and

turns back. He takes out the most disgusting jar of vaseline

in the history of cinema, and hands it to Warren.

THE ORDERLY:

Oh by the way, not all the time,

but sometimes this c*nt's c*nt can

get drier than a bucket of sand.

If she dry, lube up with this and

you'll be goo to go. BON-APPETIT,

gentlemen.

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.

GERALD:

Hey Warren, she just blinked.

WARREN:

He said she can't blink.

GERALD:

I know what he said, I'm tellin ya

she just did.

Warren drops his Levi's to his ankles.

WARREN:

Just wait, when I get through with

this little dumbbell, she gonna

stand up and recite the Gettysburg

Ad-dress.

Warren begins to climb up on the bed and mount The Bride.

Before he does he stops, and looks back to Gerald.

WARREN:

Hey, Gerald.

GERALD:

Yeah?

WARREN:

This sh*t ain't no peep show. Go

out in the hall and I'll let ya

know when it's your turn.

GERALD:

Awww c'mon, I gotta leave the room?

WARREN:

I can't get no errection wit you

lookin at me, so go on.

GERALD:

Well, just hurry up then.

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

INT. HALLWAY(HOSPITAL) - NIGHT

Gerald paces, waiting for his turn behind the door.

THEN...

He hears behind the door a commotion, then Warren SCREAM LIKE

A B*TCH. He bangs on the closed door and says;

GERALD:

He man, keep it down in there, I

can hear your ass out here.

More falsetto SCREAMS behind the door...

THEN...

The HEAVY THUD of a body falling. Not what the expected.

INT. THE BRIDE'S ROOM - NIGHT

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

I.V. 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?

INT. HOSPITAL CORRIDOR - NIGHT

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.

ORDERLY:

Oh sh*t!

WE GO TO SLOW MOTION as he freaks, Then PAN DOWN HIM... 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.

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Quentin Tarantino

Quentin Jerome Tarantino (born March 27, 1963) is an American director, writer, and actor. His films are characterized by nonlinear storylines, satirical subject matter, an aestheticization of violence, extended scenes of dialogue, ensemble casts consisting of established and lesser-known performers, references to popular culture, soundtracks primarily containing songs and score pieces from the 1960s to the 1980s, and features of neo-noir film. He is widely considered one of the greatest filmmakers of his generation. more…

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