Häufig gestellte Fragen (FAQ) for
Kill Bill: Vol. 1 (2003)

--This film (unlike Tarantino's other flicks) takes place in a different world, where you are allowed to carry your swords on the plane with you. During the shot where you see her sword, it is specifically designed to show other passenger's swords as well to get you to think about this. And if you look closely you will also see that the plane has special holders for the swords.

[Edit] Another (less likely) idea is that this particular flight service caters specifically to assassins, and all the people onboard simply observed an unspoken rule to keep their weapons to themselves. Since this film shows many unusual underground activities, this is feasible.

[Edit] - HERE'S THE REAL REASON. This information is prior to 9/11, and I'm not sure what other customs airlines have changed or not changed, but here is why she was allowed to have her sword on board. In Japanese culture, katana's are a symbol of grace and importance. It is an honor to bear a katana and because they are so deeply rooted in Japanese culture, they are allowed on a plane, but must never leave their owner, be left unattended, or unsheated through the duration of the flight.

[Edit] You can pass the sword off as decorative and ceremonial.

(SPOILERS FOR VOLUME 2) --In vol. one we are suppose to think of her simply as a killer. We don't know her or her background (or her name) so we can not connect with her on the same level. We don't really know why she is after the vipers except for the actual fact that they tried to kill her and her baby. But what i mean is, maybe she did something to screw them over that we were never shown and they had a good reason to 'get back' at her. But we do not know the whole score in the first volume so she is just an unknown killer, and if you take notice vol 1 is more bloody and less story. But in vol. 2 we learn her story and why she left the vipers and why she deserves her revenge. She does not seem like a nameless killer anymore and she earns a name. Hence vol. 2 having more story and practically no blood.

Another theory: Quentin Tarantino is greatly inspired by Sergio Leones spaghetti-westerns - specifically the `Dollar-trilogy` with Clint Eastwood. In these films we never get to hear the protagonists name. By not knowing `The Brides` actual name in Kill Bill: vol.1 is an homage to the spaghetti-westerns. So is several musical scores from Ennio Morricone.

--Because in some cultures they teach you a way to tell many many different things just by looking at the lines of the palm. So it is assumed that she read those lines to judge the amount of time she was out. Notice the close up shot of those lines before she says "4 years?".

--No, just like we are not suppose to believe that arterial spray is that insane and that a very very old Chinese man can stand on tip of an outstretched sword. But i have devised a way that we can possibly believe it. Well for one they were in the coma ward, where nurses probably didn't check on the patients that often. For all we know it could have been the begining of Buck's 8 hour (or possibly longer) shift when The Bride took him out. And maybe the next nurse coming in decided not to check on them for a while because s/he had other things to do. And no one found the bloody mess in the room for over 13 hours. Just a theory.

- And after all, it is just a movie and movies tend to be very much unlike real life.

- Also, I don't think the circumstances really pointed into the direction of someone killing Buck for the car. Therefore, if someone was investigating the crime, his car wouldn't necessarily have been a top priority.

--Well obviously we don't know seeing as how it wasn't explained. But the best theory is that Bill used Hanzo's teaching for evil. He solely used it to kill people for profit and personal gain. As far as we know Bill had no spiritual or moral benefit from his training.

--Well actually if you look at the windows while The House of Blue Leaves scene is taking place inside you can see the snow starting to fall. So i guess a small snow storm started when The Bride first came inside. Like for example when O-ren walks over the dance floor with the few Crazy 88's towards the begining of the chapter, there is a nice shot of a window and you can clearly see the snow falling.

You can also see the snow behind The Bride afterwards, as she explains to Sofie Fatale, who's laying in the trunk, why she can keep her "wicked life".

"Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra: Opening titles, "I was five and he was six/we rode on horses made of stick/he wore black and I wore white/he would always win the fight/bang bang" etc. Also plays when The Bride enters Hanzo's sushi shop, but only a brief riff.

"Music Box Dancer" by Richard Abel: Sounds like an ice cream truck; the Bride pulls up and stops in front of Vernita Green's house, checks her list, and rings the doorbell.

"Ironside (Excerpt)" by Quincy Jones: Commonly referred to [in the script anyway] as the Bride's "Vengeance theme", the screen turns orange as flashbacks of The Bride taking a pounding are shown. Means ass-kickery will ensue.

"That Certain Female" by Charlie Feathers: Cop drives through desert in car to wedding chapel; he's got sunglasses on his dashboard, wears a cowboy hat.

"Twisted Nerve" by Bernard Hermann: Elle whistles as she walks from her car to The Bride's room, the same tune a strange man whistles as he walks down the hall in Twisted Nerve. Elle gets dressed into her nurse's outfit and draws red liquid into a syringe.

"7 Note In Nero (7 Notes In Black)" by Vince Tempera & Orchestra: The Bride kills the man who was going to rape her; begins shortly after the blackout. The Bride finds out her legs aren't working, falls flat on her face, finds a buck knife [how . . . well, not ironic, but still], and slices Buck's Achilles' Tendon.

"Truck Turner" by Isaac Hayes: The Bride searches the parking deck for Buck's Pussy Wagon. She finds it, checks the keys--yep, that's it.

"The Grand Duel, M10" by Luis Bacalov: The "Wiggle your big toe" scene.

"The Grand Duel (Parte Prima)" by Luis Bacalov: 1st part of the anime sequence.

"I Lunghi Giorni Della Vendetta" by Armando Trovajoli: O-Ren's father is killed by the Yakuza.

"Run Fay Run" by Isaac Hayes: Sniper O-Ren shoots a man in an entourage of limousines; he's got a beautiful woman on each arm.

"Bang Bang (Excerpt)" by Nancy Sinatra: The Bride enters Hanzo's sushi shop.

"Wound That Heals (aka Kaifu*u Suru Kizu)" by Salyu: The Bride looks over rack after rack of swords in Hanzo's attic. * = k (IMDb's censoring deletes the entire word if left uncensored)

"The Lonely Shepherd" by Zamfir: Hanzo inspects and gives the sword to The Bride.

"Armundo" by David Allen Young: The presentation of Sofie Fatale, GoGo Yubari and Johnny Mo

"Yakuza Oren 1" by The RZA: O-Ren speaks to the Crime Council after decapitating Boss Tanaka.

"Green Hornet" by Al Hirt: The Bride arrives by plane in Tokyo, walks through the airport. Gogo drives O-Ren through town surrounded by men on motorcycles. The Bride flies through town on her yellow motorcycle.

"Battle Without Honor Or Humanity" by Tomoyasu Hotei: The Bride speeds away at the stoplight; O-Ren and subordinates walk through House of Blue Leaves.

"I Walk Like Jane Mansfield" by The 5.6.7.8's: Ends as O-Ren enters.

"I'm Blue" by The 5.6.7.8's: Plays during the scene involving O-Ren's dart and Gogo's investigation.

"Woo Hoo" by The 5.6.7.8's: Long shot of The Bride walking through restaurant to bathroom, Sofie walking to bathroom, ends with The Bride hearing Sofie's ringtone.

"Ironside (Excerpt)" by Quincy Jones: The Bride sees Sofie in the ladies room. Vengeance theme.

"From Man to Man" by Ennio Morricone: The Bride calls out O-Ren Ishii. O-Ren watches The Bride slice off Sofie Fatale's arm, and the restaurant patrons exit the building as she bleeds profusely.

Soundeffects by Flip Sting: The Bride vs GoGo--The Bride backflips over Gogo's ball-and-chain.

"Crane" by The RZA: The Bride, surrounded by Crazy 88's looks at them in the reflection on her sword.

"I Giorni Dell'Ira (Day Of Anger)" by Riz Ortolani: The Bride removes a Crazy 88's eyeball; we switch to black-and-white.

"Champions Of Death" by Shuzsuko Kibushi: The Bride faces off against Johnny Mo's two swords upstairs.

"Super 16 (Excerpt)" by NEU!: O-Ren retreats to the garden.

"Police Check Point" by Harry Betts: The Bride fights Crazy 88's, flips over one's back.

"White Lightning" by Charles Bernstein: The Bride is cornered with a speared Crazy 88; gets an idea.

"Nobody But Me" by The Human Beinz: The Bride, two swords, slices off legs of Crazy 88's.

"Banister Fight" by The RZA: The Bride and Johnny Mo face off whilst standing on a banister. The Bride slices his legs off.

"Don't Let Me Be Misunderstood" by Santa Esmeralda: O-Ren removes her shoes and her and The Bride fight; ends when The Bride's back is sliced open.

"The Flower Of Carnage (Shura No Hama)" by Meiko Kaji: O-Ren drops her sword; she's been scalped.

"Yagyu Conspiracy" by Toshiaki Tsushima: Background music of the "second reason" speech The Bride makes to Sofie Fatale while she lies in the trunk of her car.

"The Lonely Shepherd" by Zamfir: The Bride writes her death list on the plane/end titles.

"Urami Bushi" by Meiko Kaji: End titles.

She gets scalped by the Bride.

No clear answer is provided, but the girl mentions she is around 4, the same age that The Bride's child would've been. But keep in mind Vernita has since been married and Bill never claims her as his.