Killing Time

What happens when a time-traveling ninja bounty hunter finds her husband's murderer?

FADE IN:
INT. SEVENTEENTH CENTURY JAPANESE HOUSE - ROOM - NIGHT
We are in a Japanese-style house. Specifically, a single
room of this house. An orange light, flickering, is emitted
from off screen; the source of this light is obviously a
fire, perhaps a candle or maybe the cooking fire.
For a moment, we take in our surroundings. We look at the
rafters of the pitched roof. Then to the plain, creamcolored
walls, sectioned by wooden beams. Keeping our gaze
on the walls, we slowly ease down until the tatami mats are
at the bottom portion of our view. The orange light is
flickering fiercely.
Wait a moment.
Suddenly, a crash is heard. Maybe it was a vase, maybe a
chair; we don’t know. However, two shadows are cast upon the
wall we are looking at: two people are struggling, one taller
than the other.
The taller figure’s legs are spread out as he tries to gain
leverage, but the shorter figure seems to have no such need
for this stance, obviously overpowering the taller figure.
But then the taller figure spreads his arms out, causing the
smaller figure to tumble back.
Actually, no, the smaller figure doesn’t tumble back; the
smaller figure performs a backhand spring, kicking the taller
figure in the chin and causing IT to tumble back. Recovering
from the handspring, the smaller figure quickly rushes in
before the taller figure can recover and tackles it to the
ground.
CUT TO:
We are now looking at the two figures whose shadows we were
looking at. The smaller figure is a Japanese female, clad in
a BLACK GI; she is a NINJA. The taller figure is a Hispanic
man, clad in a dark kimono; he is her TARGET.
The Target is still struggling and seems to be about to
overthrow his captor, when suddenly the Ninja draws a knife
from its sheathe on her hip, stabs the Target in the throat,
pulls the blade out, and then puts it away again; this
happens all within a second. She stands up.
A static-like VOICE comes in on the earpiece the Ninja wears.
VOICE (V.O.)
Aw, man, did you have to kill him?
NINJA
(bitter)
What’s it matter? I got the
target, preserved the timeline, and
we’re still getting paid.
VOICE (V.O.)
I know, but still... it’s just the
idea of killing another person.
Even if it IS for the timeline.
NINJA
And your moral issues are exactly
why I am the hunter. And you are
just the spotter. Now, how about
getting us out of here?
The sound of keys clicking came be heard from the earpiece.
Soon, a ray of light comes down on the Ninja and the Target,
first widening to engulf them both, but then still expands
until it consumes us.
INT. NINJA’S HIDEOUT - LIVING ROOM - DAY
The light recedes, and we see the Ninja standing alone on a
teleportation platform; she’s wearing some kind of BLACK
FUTURISTIC CLOTHING. We are in her hideout, a small, danky
area with daylight shone only through some cracks in the
wall. Cables of various widths run along the dirty floor,
some running to and from the teleportation device while
others don’t even go near it. A large wooden spindle acts as
a table. On one wall, various ninja equipment and weapons
rest; the other three walls have no decorations. A different
wall has two doors, one leading into a bedroom and the other
to the bathroom. And a third wall has a wooden door leading
outside.
In a corner of the hideout is a massive computer setup with
multiple monitors, harddrives, and keyboards. The Ninja’s
PARTNER, the man whose voice we heard earlier, is sitting at
this setup with soda cans, pizza boxes, and empty sushi
containers scattered around his area. Despite his apparent
eating habits, the Partner is very thin and has good hygiene.
PARTNER
I sent the corpse over to the HQ,
and they already deposited the
money to our account. They also
left us a note.
(mocking the officials)
2.
(MORE)
While you have not received a
penalty in your pay, please keep in
mind that we appreciate receiving
the bounties alive. Please be more
careful in the future.
(end mocking)
Really, why do you have to kill
them?
The Ninja enters the bedroom and calls out to her partner.
NINJA
(irritated)
Because there’s no reason to keep
them alive. Live people need to be
fed, and we’re only wasting our
resources feeding criminals.
INSIDE THE BEDROOM
The bedroom is relatively bare, with cracks in the walls like
the living room. A futon matress is on the floor, a door
leading to the bathroom at one wall, and a wooden dresser
against another wall. The Ninja walks to this dresser.
NINJA
Besides, if we don’t kill them,
there’s always the chance they can
escape and cause harm again.
She opens the dresser and pulls out a bathrobe and towel.
Among various throwing stars, smoke bombs, and other ninja
gear is a PICTURE OF A MAN. The Ninja slowly reaches in and
takes up this picture.
She looks at it for a moment.
EXT. A BACK YARD - DAY - FLASHBACK
We are looking at a face-down corpse; though we can not see
the face, it is the man in the picture we just saw. He is
wearing a TUXEDO. A pool of blood surrounds his body.
BACK TO NINJA’S ROOM
The Ninja quickly shakes her head and puts the picture away.
She quickly closes the dresser and heads for the bathroom
door.
3.
PARTNER (CONT'D)
PARTNER (O.S.)
Well, we’ve got another bounty
offered.
NINJA
(irritated)
Not right now. I haven’t had a
shower for three days. I’m
surprised that my stench didn’t
give away my cover. Go ahead and
order something to eat.
Refusing to let the conversation go any further, the ninja
opens the bathroom door and quickly shuts it behind her.
LATER - TWILIGHT
We are staring at a carton of Chinese takeout. We then move
around to see the Ninja is staring at the carton of Chinese
takeout. She’s in a very concealing bathroom, and a towel
wrapped around her hair. While the Ninja isn’t touching the
stuff, her Partner is chowing down.
Daylight no longer enters the cracks in the wall, so a shanty
overhead light fixture is the only source of light.
PARTNER
(mouth full of food)
What’s wrong? Why aren’t you
eating?
The Ninja simply raises her head to stare blankly at her
partner. He doesn’t have a clue.
NINJA
(like, duh)
I’m Japanese, remember? This food
is Chinese. I’m not touching it.
PARTNER
It’s Americanized Chinese.
NINJA
That makes it even worse!
With that, the Ninja quickly swats the food carton away,
spilling food all over the floor and various cables. The
partner stares wide-eyed at the mess, until the ninja slams
her hand on the table to get his attention back to her.
4.
NINJA (CONT'D)
Look, fine, forget the food. Just
tell me about the bounty.
During the next few pages, all voice overs are to be laid
over the action. Voice overs are applied to the action above
them.
SLAM CUT TO:
The Ninja is in her FUTURISTIC CLOTHING, standing on the
teleportation platform. The white beam of light comes down
and begins devouring her, threatening to devour us. But
before it gets to us, our attention is diverted to the
Partner, at his computer setup; he’s wearing black goggles to
keep himself from being blinded by the light.
PARTNER (V.O.)
This time, you’re going to the year
2007. It’s a time when pirates
were sailing on the seas of the
Internet, downloading and
redistributing music, software, and
movies. Your target is one such
pirate.
Although we can’t see the Partner’s eyes, we can see his
eyebrows arch as his eyes widen. Some black smoke can be
seen passing over his head (off screen is a fire).
EXT. CITY STREETS - NIGHT
Establish.
After a moment, a beam of light opens up on the sidewalk and
deposits the ninja; she is wearing DARK BLUE JEANS AND A
BLACK T-SHIRT.
PARTNER (V.O.)
You’ll be going to New Mexico,
where film companies have migrated
to shoot films.
INT. PIRATE HQ - FULL MOON NIGHT
It’s a large dark area, the only light is given off by
computer screens and the MANY PAIRS OF GLASSES which reflect
them. The computers are arranged on either side of room; if
this was a boat, the positions would most likely be at the
oars. The only sounds in the room are of keyboards clacking
and computer fans humming. All windows are open.
5.
PARTNER (V.O.)
As is the case in California, films
are often leaked by inside people
days, or even weeks, before their
public release. Your target is
using this opportunity to leak a
very high-class film that the MPAA
is keeping a close eye on.
Our attention is on a particular section of the COMPUTER
GEEKS. At first we are at desk-level with the geeks, behind
them, as they seem to be whispering peas and carrots to each
other’s face. However, an OVERLORD comes to this station and
stops next to them. Clearing his throat to make his presence
know, the two geeks quickly stop whispering and resume their
work. The overlord walks away, and the two geeks watch him
go, then resume whispering peas and carrots.
NINJA (V.O.)
And why is that a timelinethreatening
crisis?
PARTNER (V.O.)
That’s information is classified
because it’s not relevant to the
mission. But the amount of money
is.
NINJA (V.O.)
Well how much is it?
PARTNER (V.O.)
Look at this.
We then look up above the geeks to an open window just behind
their station. The Ninja crawls through the open window
right behind the two geeks’ computer station, then half-drops
down; she holds onto the window ledge so her arms are up and
her back is against the wall. After dangling for a second,
she drops to the ground without a sound.
NINJA (V.O.)
That’s quite a bit.
PARTNER (V.O.)
Yeah. We could get one of those
industrial teleporters that can
transport a small army. Or even a
new supercomputer that—
NINJA (V.O.)
What’s the catch?
6.
PARTNER (V.O.)
(pause)
He has to be brought in alive.
We follow the Ninja as she drops into a crouching position,
leaping over the two geeks and their computers to come down
next to her. We follow her as she sneaks towards the edge of
the computer desk, and as she checks both directions, so do
we.
NINJA (V.O.)
He’s got a bounty that big, AND he
has to be brought in alive? Who is
this guy?
The Overlord is coming back up the aisle. The Ninja quickly
backs up out of his sight.
PARTNER (V.O.)
Can’t tell you.
The Overlord stops next to the two chattering geeks, once
again clearing his throat to announce his presence.
NINJA (V.O.)
There’s no picture. How am I
supposed to find him?
The Ninja quickly shoved up against the table, causing it to
fall over onto the geeks. Before the Overlord can reach for
his weapon, the Ninja uses the momentum of her pushing motion
to spring out at him, quickly latching to him for a moment to
stab him in then neck and then springing off his chest.
PARTNER (V.O.)
He’s dressed as a pirate, including
an eyepatch. That’s all HQ is
saying.
NINJA (V.O.)
Are you hiding something?
PARTNER (V.O.)
No, no! Not at all!
The Ninja lands at another work station of geeks, the
computer users already distracted by the noise. She quickly
elbows the geek closest to her in the mouth, causing that one
to domino into the other.
7.
NINJA (V.O.)
I think you are. But I don’t care.
We need the money, so I’ll take the
job.
The Ninja grabs a monitor and pulls at it, the cords
connecting it to the computer and power source snapping. She
heaves it towards another group.
PARTNER (V.O.)
Remember, we need him ALIVE.
NINJA (V.O.)
Yeah, yeah.
ANOTHER OVERLORD appears from the shadows, charging towards
the Ninja’s backside. The Ninja quirks her head to see her
oncoming foe closing quickly, and quickly leaps into the air
to avoid the charging foe. As she comes down, she lands on
the Overlord’s back and drives her dagger into the back of
his skull, pulling it out with a twist as she jumps off.
Landing on the floor, the Ninja sees the capacitated geeks
are fleeing through some doorway. However, she notes that
the geeks are splitting into rows of two, fleeing on either
side of a single figure which is standing still. Though he
is only a silhouette against the light of the full moon, he
is dressed in a FANCY PIRATE CAPTAIN’S OUTFIT complete with
EYEPATCH and plum hat.
Once the other geeks have fled, the PIRATE approaches the
Ninja. The moonlight pouring in from the windows offers us
glimpses of his attire, but we never see his face.
Until the Pirate is directly across from the Ninja.
The Ninja has a horrified look on her face.
INT. BACK YARD - DAY - FLASHBACK
We are back to the face-down corpse in a pool of blood.
After looking at it for a moment, we look up and see the
Pirate, wearing a TUXEDO and WITHOUT THE EYEPATCH, laughing
as he holds a bloodied sword.
BACK TO THE COMPUTER ROOM
The Ninja’s face turns from shock to hatred, and she launches
herself at the Pirate, dagger poised to kill. The Pirate
quickly steps to the side to avoid the launch, while swinging
his sword to dislodge the dagger from the Ninja’s grasp.
8.
The Ninja lands, her dagger having been successfully removed,
and attempts a reverse sweep; the Pirate simply jumps back.
PIRATE
Now, now. Is that any way to greet
an old friend after such a long
time.
NINJA
Friend my a*s! You killed my
husband!
This time it’s the Pirate’s turn to attack, bringing his
sword down in an arc to split the Ninja’s skull in half. She
quickly rolls backwards, pulling a throwing star from her
pouch as she does so. When her roll stops, she quickly
throws the star at the Pirate’s neck; he deflects it with his
sword.
PARTNER (V.O.)
(on radio)
Hey, what’re you trying to do!? We
need him alive, remember?
The Pirate quickly closes the gap.
NINJA
(to partner)
You knew who this man was, didn’t
you!? You hid it from me so I
would take this mission!
The Pirate swings down at the Ninja again, and she rolls to
the side. Finding herself near her dagger, she quickly
retrieves it and uses it to parry another attack from the
Pirate. She quickly spings herself backwards from her
crouching position, putting much space between herself at the
Pirate.
PIRATE
You’re a ninja. You should know
better than to fight out of rage;
it’s clouding your concentration.
NINJA
Shut up!
PIRATE
You might have thwarted my plans,
but I’m afraid, my dear, that I
will not be going back with you. I
have other plans.
9.
As a portal of light opens up over the Pirate, the Ninja’s
eyes widen in an “aw hell no!” manner. She quickly races
forward to leap at the Pirate, but is too late; he vanishes
just out of her reach. The Ninja throws her dagger to the
ground with a silent curse, then crouches down on the floor
with her hands to her face.
She might be crying, but we don’t know.
PARTNER (V.O.)
Hey, you okay?
The Ninja regains her composure and stands up again. After
inhaling deeply and quickly exhaling, she answers.
NINJA
He got away.
PARTNER (V.O.)
Yeah, I know. But since the job
description required he be brought
in, we don’t get any money even for
preserving the timeline.
NINJA
I need to go after him.
PARTNER (V.O.)
Look, just forget it. Even though
you didn’t get any money—
NINJA
This isn’t about money! It’s about
finding that son of a b***h and
making him pay! You remember I
told you that if they don’t die,
they’ll just escape and do harm
again?
PARTNER (V.O.)
(meekly)
Yea...
NINJA
Well that’s exactly what happened
here. He wasn’t killed the last
time he was taken in, and he got
out, killed my husband, and tried
to screw up the timeline AGAIN.
10.
INT. NINJA’S HIDEOUT - NIGHT - SIMULTANEOUS
We’re on the floor, looking up at the Partner as he looks
down at us.
NINJA (V.O.)
Get me out of here.
PARTNER
I can’t.
NINJA (V.O.)
Why?
We slowly rise from the floor and come around to look over
the Partner’s should; he’s looking at a mess of scorched
wires and burned floor.
PARTNER
That food you knocked over... well,
after you ported out, it caused a
fire. I can’t get you back until I
get it repaired.
BACK TO THE COMPUTER ROOM
Establish.
NINJA
Son of—
(pause)
How long will it take?
PARTNER (V.O.)
I ordered the parts as soon as I
put the fire out. Since they can’t
teleport the parts to us, it’ll
take about a week to deliver them,
and then a couple days for repairs.
At first, the Ninja has an irritated look on her face, but
then it becomes one of exasperation and she arches her back
in defeat.
After a moment, she looks up and out the window towards the
moon. The crest of the Sandias can be seen.
NINJA
(exhausted)
Well, I guess there’s nothing else
we can do.
11.
(MORE)
It looks like there’s mountains
here, so I’m going to meditate.
Get back to me when the teleporter
is fixed.
FADE TO BLACK.
FADE IN:
EXT. SANDIA MOUNTAIN WOODS - DAY
The Ninja is sitting on a rock in a meditative position, eyes
closed. Her breathing is relaxed.
We slowly approach her.
INT. BACK YARD - DAY - FLASHBACK
We are once again at the scene of the massacre. Our focus is
on the Pirate. As we circle around him, we see that he is
standing over the corpse, but the Ninja is also kneeling and
crying next to the bloody body; the Ninja is wearing a
WEDDING DRESS. Next to her is a woman in a nice dress, also
dead. In the background are several more people, all dressed
for the occasion; some are dead, others are alive and holding
weapons. The priest is also dead.
The Pirate steps closer to the Ninja, and she looks up at
him, tears still flowing. TWO LACKEYS approach her from
behind and grab her arms, forcing her to her feet. The
Pirate stares menacingly at her, and moves closer to kiss
her.
She’s visibly terrified.
Then, with a sudden burst of courage, she pulls her head away
from the Pirate’s and then thrusts forward, biting into his
eye. He quickly brings his hands to his head, releasing a
silent scream.
With the two lackeys holding her in shock, the Ninja manages
to kick one in the face with her opposite foot. He releases
her, holding his face also, she manages to spin around behind
the other one holding her other arm and suplex him.
By now, the other lackeys standing around the yard have come
to their senses and are preparing to open fire. At first,
the Ninja seems ready to die, spreading her arms wide. But
then a gust of wind kicks up and blows leaves around her,
creating a thick veil, and also covers the lackeys.
When the gust of wind dies, the Ninja is gone.
12.
NINJA (CONT'D)
BACK TO THE MOUNTAIN
We are exactly where we stopped when we cut to the flashback,
and still enclosing on the Ninja. Once we have a closeup on
her face, we stop, and she opens her eyes. We begin circling
around her. As we come around behind her, we see the HUSBAND
standing in front of her, in his wedding tuxedo.
The Ninja stands.
HUSBAND
Is vengeance really that important
to you?
She nods.
HUSBAND (CONT'D)
Why? Killing him won’t bring me
back. You know that.
NINJA
It’s more than that. He tried to
disrupt the timeline before, but
was stopped and captured. Then he
got out, killed you, and tried to
disrupt it again.
HUSBAND
Well, you know, I was the one who
helped him get out.
NINJA
Exactly! You took pity on him,
gave him the benefit of the doubt,
and helped free him. Because he
was your childhood friend. And
then he did this to you. To US!
HUSBAND
You won’t get money for killing
him.
NINJA
It’s not about the money!
She looks down to the ground, tears coming to her eyes. The
Husband reaches a hand out to her shoulder, and she looks up
to him.
HUSBAND
I saved you that day in hopes that
you would be able to go on living
without hate.
13.
(MORE)
Granted, this situation came to
you; not like you were going around
looking for him. But killing him
for my sake is not something I
would want. You know that.
The Ninja looks back to the ground, defeated.
NINJA
I know.
HUSBAND
So don’t feel you have to avenge
me. Capture him alive. Use the
money to buy upgrades so that you
can put more villains like him
behind bars where they belong.
We circle around the Ninja and Husband, slowly pulling out as
we do. As we pass an obstacle, a tree or rock or something,
the Husband disappears in a wind-driven cloud of leaves.
PARTNER (V.O.)
Hey, you there?
Suddenly, we cut to a moment earlier, where we are at an
extreme close-up on the Ninja’s face as she sits on the
ground with her eyes closed; a single tear runs down her
face. Her eyes suddenly shoot open and we pull away.
PARTNER (V.O.) (CONT'D)
Hello! Can you hear me?
NINJA
(irritated, she stands)
Yes, I can hear you. What is it?
PARTNER (V.O.)
Finally! Been paging you for the
past six hours! Anyway, the
teleporter is fixed. Ready to be
beamed back?
NINJA
Did you get a fix on the target?
PARTNER (V.O.)
What? You still want to go after
him?
NINJA
Yes. But I’m not going to kill
him.
14.
HUSBAND (CONT'D)
PARTNER (V.O.)
Sudden change of heart?
NINJA
Just shut up and get me out of
here. Then get ready to send me
back after him.
With that, the beam of light comes down on her and devours
her and us.
ON WHITE:
HUSBAND
And remember. Just because he
needs to be brought in alive,
doesn’t mean you can’t maim him.
EXT. JAPANESE SADO HOME AREA - NIGHT
The white light recedes, and we are in this area. The place
has an overall peaceful feeling, with Sakura Blossom Trees
scattered about and a couple benches. And it’s on one of
these benches that the Pirate sits, his back to the Ninja;
she is in her NINJA GI.
PIRATE
I thought ninjas were supposed to
make stealthy appearances. Not
flash lights every time they came
on set.
NINJA
Cut the talk and face me.
With a sigh, the Pirate stands from the bench and turns to
his enemy.
Both of them draw their respective weapons.
And stare at each other.
Then the two charge at each other, the Ninja running faster
than the Pirate. The Pirate attempts his downward swing
again, but the Ninja parries this attack as she leaps over
his head. As she does this leap, grabs the Pirate’s head
with her hands and throws him over her shoulder as she lands;
he lands on his face and slides forward.
15.
The Ninja quickly chases after her downed target and delivers
a punch to the upper part of his spine, paralyzing him with a
LOUD CRACK. She then quickly lifts the Pirate’s head up and
gouges out his other eye.
Leaving the Pirate screaming like a baby, the Ninja slowly
gets up and takes two steps away. She then contacts her
partner.
NINJA (CONT'D)
Okay, I’m ready to get the hell out
of here.
The beam of light comes down.
FADE OUT.
16.

Author's Note

Yes, this is not the correct format for screenplays. It got butchered somewhere in the C&P process.

Reviews

[Lou Evans]

I didn't get a chance to finish, I'm busy + have a headache and the format is hard to read. But anyhow. I read everything up until the first part with dialogue. And thought I would make a few comments today. Sorry...I'm confused. There's a little too much going on with the description of the background then the description of the action. It took me a few times to read before I could figure out the basics of what is happening. And it does seem interesting. Maybe if it was a little more clear wording wise, it would help keep the attnetion of the readers. Although if this were a movie, I'm sure you'd still have the attention of the audience since it is very visual.

[TL Boehm]

the usual format for screenplays is frustrating to get on WC anyway when cutting and pasting. This is visceral, graphic and carries lots of action. Good solid dialogue, but I had to giggle at the comment about the characters surprise that stench did not give her away. Nice touch.