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Post by Movie Lord Productions on Oct 24, 2008 16:29:22 GMT -5
INT. WAREHOUSE - NIGHT
The scene opens in a dark warehouse. It is lit up, but dimly. A man is seen sitting on the floor, surrounded by stacks of crates that are at least 15 feet high. He is laughing, and has a towel, wiping blood off of his hands. He hears a gun c*ck and turns around, seeing another man pointing the gun at him.
MAN
What are you gonna do? Shoot me?
HITMAN
Quite possible.
MAN
Why?
HITMAN
Well, I'm a button man, so that's kind of what I do. You killed a guy yesterday, and judging by the towel in your hand, you killed one today, too.
MAN
So?
HITMAN
So, that's why I'm doing this. Goodbye, friend.
The hitman shoots the man in the chest. The other man shoots back, but the hitman rolls out of the way, shooting the other man again. He shoots him a third time, runs over to the body, picking up the casings to his bullets and running out the door. A bullet is seen rolling across the floor, stopping not far from the dead man, where blood is seen puddling larger and larger as time goes on and the camera pans out, eventually revealing that it is an aerial shot. Dramatic music plays and the scene cuts to black.
INT. APARTMENT - DAY - 1 WEEK LATER
The hitman is seen walking into an apartment, presumably his. He is fairly tall, a little over 6 feet, and he has a decently built frame. He passes a picture of him and a woman, possibly his wife, sitting on his dresser. He goes over to his refrigerator, and a shot inside shows that it is almost completely empty. He shuts the door. He sits down on his bed and hears his phone begin to ring. He walks over to it, picking it up and putting it to his ear.
HITMAN
Paul Schumann here.
VOICE
Hello? Paul, we know what you did, and we're not happy with you.
SCHUMANN
What are you talking about?
VOICE
In the warehouse last week. You shot a guy. I've been following you for quite a while, and I must say, you're clever. But you made a fatal mistake at the warehouse.
Paul hears a metallic sound in the background.
VOICE
Ya know what that is?
SCHUMANN
It's a bullet.
VOICE
That's right. It's your bullet. You must have dropped it when you shot that man. Why did you shoot him, by the way?
SCHUMANN
Because he murdered at least two other people. I was hired to eliminate him. I'm a button man. It's what I do.
VOICE
Sounds like a very righteous thing to do. Look, here's my point. I have a room right down the hall from you. If you try to escape, you will be killed. I have men looking up in your window and I have men heading toward your apartment now.
Paul hears voices outside his door.
SCHUMANN
Who in the hell are you anyway?
VOICE
Bull Gordon. Just call me Gordon. Me and the Senator have a request for you.
SCHUMANN
What do you want from a guy like me? I'm pretty assured that I'm worthless to ya.
GORDON
No, you really aren't though, son. We need you for something. We kind of have a job for you.
There is a knock at Paul's door, and he looks over to it.
GORDON
Answer the door, Paul.
SCHUMANN
Then?
GORDON
Well, first, I know that you have two guns. Our men outside are going to want those. Drop them out the window, or I will have you killed.
Paul looks at his two guns, waits a second and talks into the phone again.
SCHUMANN
There. I dropped them.
GORDON
And you lied. I can see my men, and they don't have two more guns. Now do it.
Paul walks over to the window, opening it, and the men outside point their guns at him. He walks back to the bed, picking up his guns and dropping them out onto the padded area, one after the other. He drops the ammo out right after the guns.
SCHUMANN
There.
GORDON
Good. Now, I want you to go to the door and follow the two fine gentlemen to me. Then we'll discuss what I want with you.
SCHUMANN
You got it.
Paul hears Gordon hang up the phone and he puts his own phone down. He hears a knock at the door again as he slips his shoes on.
SCHUMANN
I'm coming, I'm coming.
He opens the door and two tall buff men are standing in the doorway. They are about 4 inches taller than he is and definitely more built. They start heading down the hall and he follows close behind. They get to a door down the hallway and walk inside. There, they sit down. One sits on Gordon's left side. There is a man on Gordon's right, and Schumann recognizes him immediately as the Senator, and the other man sits on the Senator's right.
SENATOR
So, Mr. Schumann. We realize that you're a 'button man', as you folks like to call it.
SCHUMANN
Yes, I am.
SENATOR
We have an offer for you.
SCHUMANN
I'm all ears, Senator.
SENATOR
We would like to offer you a full pardon. You won't be in jail for a day.
SCHUMANN
And how do we go about this?
SENATOR
Well, you need to do us one small favor.
The Senator pulls a picture out of his coat pocket and throws it on the table in front of Paul.
SENATOR
We need you to kill this man.
SCHUMANN
Reinhard Ernst? Why?
SENATOR
For being a threat. As part of the Treaty at the end of the Great War, Germany had to have almost no army. He's rebuilding it secretly. We have spies over there, and they're telling us things that we do not want to be hearing.
Paul looks down at the picture.
SCHUMANN
So you want me to kill him, then you think that this whole thing will stop?
SENATOR
Not stop, exactly, but it will slow the process enough that we might be able to stop it before it happens.
SCHUMANN
And if I don't do this?
SENATOR
You spend a very long time in jail.
SCHUMANN
What if I try, but I don't get the job done?
SENATOR
We'll let you go, I mean, you tried, right? If you can't get it done, it might not have been your fault, and we can't hold you responsible. If it gets too dangerous, we'll pull you out immediately and you'll be free.
SCHUMANN
That easy, eh?
SENATOR
Basically. Here's the deal. You're going to need to know this. In Berlin, there is a German cafe. You can't miss it, it's right off the port. To the right of the cafe's front door, there is an alley. We need you to walk down this alley.
Paul nods along with the Senator as he tells him this.
SENATOR
A fairly short man will follow you into Dresden Alley. That's the alley I meant.
SCHUMANN
Alright, so far, I gotcha.
SENATOR
When in Dresden Alley, he will make small talk. You ask him what tram would be fastest to take you to Alexander Plaza.
SCHUMANN
And he will reply with?
SENATOR
Tram 231.
SCHUMANN
Alright.
SENATOR
So treat him well, because he's important to this as well. Now, about how you're going to get there.
SCHUMANN
Yeah, that'd be nice to know.
SENATOR
Our ship for the Olympics leaves tomorrow. You'll be going with them. As of tomorrow, you're the sports reporter Thomas Jones. You box, correct?
SCHUMANN
Yes, I do.
SENATOR
Good. Then you were in the Olympics a few years ago for boxing, but an injury forced you out of the sport.
SCHUMANN
Works for me.
Paul sees another man sitting beside the Senator, laughing as the two are talking. Paul has a confused look on his face.
SCHUMANN
Who are you?
MAN
You know the play Annie?
SCHUMANN
Yes...
Paul doesn't see the point the guy is trying to get across. Paul looks at the mans face, but he just can't place where he's seen it.
MAN
Well, just think of me as Daddy Warbucks.
Paul nods, confused.
SCHUMANN
What's your re--
SENATOR
He doesn't need to tell you his life story, Schumann, we aren't paying you to find out everything about him. Oh, and it looks like you still need convincing. I am willing to give you 5,000 dollars if you succeed in killing Ernst.
Paul's eyes open wide.
SCHUMANN
Five thousand?
The Senator nods.
MAN
Oh, if we're offering money, I want in on this. If you do this for us, Paul... the five thousand he's offering you? I'll match that.
Paul's eyes widen even more.
SCHUMANN
Ten thousand dollars? Really?
The man nods.
SCHUMANN
I want it in cash though. No check.
The man laughs.
MAN
Whatever you want, Paul. Oh, and by the way, I'm Cyrus Clayborn.
Paul stares. He knew he recognized the man, but he just couldn't place it until he heard the name.
CLAYBORN
Yeah, we fought in the War together, Paul.
SCHUMANN
Well, you guys put up a convincing argument. I'm in. I'll do this. You just have to provide everything that I need.
SENATOR
Everything is taken care of Paul. We have a boardinghouse set up for you and everything you need will be provided for you as you see fit.
SCHUMANN
Alright. I'm leaving now, and I'll see you.
SENATOR
Good. You leave tomorrow morning at eight. Oh, and if you plan on catching a train to some Hooverville out west, I will have you killed.
Paul just looks. He had been planning on doing such, but now that's out of the picture. He changes the subject quickly before they realize he had the idea.
SCHUMANN
So, getting my record cleaned up is this simple?
SENATOR
If you want to call it simple, then yes.
Paul gets up, getting ready to leave, and the Senator calls him back.
SENATOR
I mean, if you thought we are good at tracking you, you're wrong. We're nothing compared to the Nazis. Absolutely nothing.
SCHUMANN
Alright.
Paul opens the door, walking out and shutting the door behind him as the scene fades to black.
EXT. DOCK IN BERLIN - 2 weeks LATER
The scene opens with a dock in Berlin, Germany, a few days after the meeting with Bull Gordon and the Senator. Paul is seen sitting on a bench, writing with a pad and piece of paper. He looks at his watch and stands up. He puts on the hat he's wearing and walks off, being closely watched by a man in a brown suit who follows him, but does what he can to not look suspicious. The scene cuts to several locations in Berlin, such as different fancy restaurants. Schumann finally finds the restaurant he is looking for. A sign reads 'Bierhaus' and Schumann recognizes it right away as 'Beer House'. He shakes his head, realizing that he's already quickly thinking in German.
SCHUMANN
(to himself)
That wasn't tough at all. This could be fun.
He sees the sign reading 'Dresden Alley' and he follows it. A man gets out of his chair outside of the restaurant and follows him. He keeps walking, and the man bumps into Schumann from behind. Schumann turns around, and the man looks up at him.
MAN
Sure is a nice shortcut, don't you think so?
SCHUMANN
Yes. Oh, and do you think you could assist me with something?
MAN
How may I help, sir?
SCHUMANN
Could you possibly tell me which tram would be the fastest to Alexander Plaza?
MAN
Why would you want to take the tram? The underground would be a lot faster for you.
SCHUMANN
(silently thinking)
Uh-oh. Wrong guy. Run, Paul, run.
Paul turns around to leave and feels a gun pressed against his back.
MAN
Thinking of running away, sir?
Paul swallows, knowing for sure that this is the end. He feels the gun leave his back and press against the back of his head. He hears a loud gunshot bouncing off the walls and feels the gun press against his skull, then fall away. He turns around, seeing another man, also fitting the description that the Senator gave. The man walks up to the body of the other man.
SCHUMANN
Excuse me sir, which tram would be the fastest tram to take to Alexander Plaza?
MAN
The 179 tra... No, the 231 would be better.
SCHUMANN
You Reggie Morgan?
The other man is now searching the dead man's pockets.
MAN
Yes, I am.
The man pulls out the dead guys wallet, facing away from Paul while he's searching the body. He looks at the wallet for a second, then he turns around, holding an "SA" card.
SCHUMANN
What's that card mean?
REGGIE
It means that we need to get you to the boardinghouse that you'll be staying it.
SCHUMANN
Why?
REGGIE
Because you've been in Berlin for less than an hour and we've already managed to kill a Nazi stormtrooper.
Paul looks on, shocked at what Reggie has just said, and he just keeps staring as Reggie starts to head for the street. Paul doesn't move, and Reggie turns around. Paul gets down on the ground, picking up the casings and shoving them into his pockets, Reggie turning around again quickly.
REGGIE
Come on!
Paul follows as the scene cuts.
INT. BOARDINGHOUSE - A FEW MINUTES LATER
Paul walks into the boardinghouse, seeing himself in a hallway the second he walks in. A woman, fairly skinny, attractive and blond comes down from the other end of the hallway. She reaches out to shake his hand, speaking in German.
KAETHE
I'm Kaethe Richter. You are Paul Schumann, no?
SCHUMANN
I am.
KAETHE
Welcome to Berlin.
SCHUMANN
Thank you. I hope to enjoy my stay here. Now, where will I be living?
KAETHE
Oh, yes.
She laughs, embarrassed that she forgot to show him to his room.
KAETHE
Please follow me.
She turns around, flashing Paul a smile before doing so, and starts heading down the hallway. The walls are a dark brown and the floor has a green carpet. They then head up a set of stairs, and people are seen walking down a hallway that Paul can only think of as a miniature version of a New York City street at this time of the day. They finally get to his room, room 139, and she turns back to look at him.
KAETHE
This is where you will be staying, Paul. Please, by all means, feel free to come and go as you please.
SCHUMANN
Thank you kindly.
Paul takes his bags and opens the door to his room and she hands him a key. He nods in thanks and she leaves, smiling the whole way down the hall. Paul just stares at her for a minute until she starts to turn around again. When he sees her getting ready to turn, he looks away, grabbing his bags and walking in. The scene then cuts.
EXT. DRESDEN ALLEY - THAT MOMENT
A car pulls up onto the street right off of Dresden Alley. Two men get out, one older and large, the other pretty small. Willi Kohl, the larger one, looks at Janssen, the smaller of the two men, speaking in German.
KOHL
So, what is the problem here?
JANSSEN
A murder in the Alley. I haven't gotten to see it yet, so I'm on the level with you.
KOHL
Of course.
The two walk down the alley, looking around. They spot the dead body and move toward it. They look around, finding no bullet casings anywhere.
KOHL
Strange.
JANSSEN
What is it, sir?
KOHL
Well, the dead body has been shot, but there are no bullet casings to be found.
JANSSEN
You're right sir. That is very strange.
KOHL
Well, that just means we have a challenge ahead. Whoever did this was a professional. Now, what do you think warranted him being murdered?
JANSSEN
I'm sure that I don't know, sir.
KOHL
Then first thing's first. We must find out why he was murdered. Motive is always key.
The two leave the alley as medical personnel put the body into a bag and cart it to an ambulance-style vehicle.
INT. BEDROOM - THAT MOMENT
A large bed is seen in the middle of a bedroom, except pushed against one of the walls. On the left of the bed is the door to the hallway outside of the room, and to the right is a window, showing a very sunny day outside. Birds are chirping on a tree outside. An older man, Reinhard Ernst, somewhere in his 60's, is seen laying in the bed. His eyes open slowly and he yawns. He takes off the blanket, revealing that he has on no shirt. There is a scar on his left shoulder that looks like it was caused by shrapnel. He walks out into the bathroom, coming out a minute later. He then goes back into the bedroom as the scene cuts.
EXT. PARK - ABOUT AN HOUR LATER
Paul is seen sitting in a park, Reggie Morgan sitting on a bench near him.
REGGIE
So, you've been given the rundown on what's going on, correct?
SCHUMANN
Yes, I have. So, how long will it be until I can get this done?
REGGIE
Well, it's going to need planned out. You're not just going to be able to see him in the middle of the street, shoot him dead, and expect the people of Berlin not to panic.
SCHUMANN
Of course. I'm going to need to figure out a schedule. No big deal, I've done it before.
REGGIE
Then you should have known that already, Paul.
SCHUMANN
So. How long will it be until I can get ahold of his schedule?
REGGIE
I have that figured out for you, my good friend. We must get into his office. I have spies working in the building, and they say that he keeps a schedule for every week on his desk.
SCHUMANN
So...we gotta get in there as soon as we can then, Reggie.
REGGIE
Paul, there is no real rush. We still have quite a while until the Olympics begin.
SCHUMANN
Yeah, but I'd like to get it done sooner than later.
REGGIE
What's the rush though? Seriously.
SCHUMANN
We ran into a spot of trouble on the ship. They might know that something's up, because one of their buddies happened to be spying on us on the boat.
REGGIE
Oh really?
Paul stands up, looking out into the street.
SCHUMANN
Yes, really.
Paul just keeps staring out into the street as the scene cuts.
EXT. SHIP DOCK - A WEEK EARLIER
Paul is seen with a boxer on the ship with the Olympic team on it. He and the boxer both have their gloves on and are circling the ring, staring each other on. The boxer takes a step in, throwing the first punch. Paul ducks out of the way, and throws a body shot, hitting the boxer in the stomach. Paul then throws a few more jabs in on the man's chest, then one to his face, but the face shot is blocked.
SCHUMANN
(blocking punches)
Good block.
BOXER
Good fight so far. You're tough.
The boxer throws a shot, catching Paul off-guard and hitting him in the side of the jaw, forcing Paul to back off a bit. The boxer moves in, throwing some quick jabs, then a hook to the side of Paul's head, and sending him against the ropes of the ring. Paul gets his balance, then the boxer throws another hook, knocking Paul down completely. The boxer takes off his gloves and helps Paul up.
BOXER
Wow. You said you did this a lot, didn't you?
SCHUMANN
Yeah, but it's been quite some time since I had the opportunity to do this. I really wish I'd practiced more.
BOXER
What are you here for, anyway?
SCHUMANN
I'm a reporter, and I'll be following the games this year.
BOXER
Oh yeah? Who you write for?
Paul looks at him for a second, trying to think of a quick lie. The Senator never told him what to say to that question.
SCHUMANN
I write freelance. I'll be selling stories to the different papers.
BOXER
I see. Sounds pretty good, so I'll see you around?
SCHUMANN
Probably.
The boxer walks off and Paul walks toward his room, holding a bag of ice against his jaw. He bumps into a black man who is running down the hall. Both of them fall over.
MAN
Whoa, sorry buddy.
They both get up and just look at each other.
SCHUMANN
That's quite alright. You need your practice.
MAN
Yeah. Hey, uh, I'm Jesse.
Paul looks at him for a second, then a grin covers his face.
SCHUMANN
I know who you are. Good luck at the games, although you probably won't need it.
JESSE
Thanks, man.
Jesse runs off, and Paul walks into his room. There, Avery and Manielli are seen sitting on his bed.
SCHUMANN
What are you two doing here?
AVERY
We were sent on the ship behind you to make sure that you didn't decide you were going to run off when we got to Berlin. We were told to monitor you.
SCHUMANN
So then, Bull and the Senator just don't trust me?
MANIELLI
Do they have reason to trust you? You're a murderer.
SCHUMANN
Yes, and I was sent here to murder. You'd think that they'd think it was in my comfort zone or something.
AVERY
Well, you're murdering Ernst. He's just about the most important man in the nation of Germany at this point.
The camera zooms out, showing a bald man, wearing a crewman's uniform, peering into the door enough to see and hear them, but not be seen and heard. He then runs out to where he'll get the best signal for his portable telegraph and goes to the deck of the ship, punching away. The scene then cuts back into the room, Avery looking out the door.
AVERY
Somebody was just out there.
MANIELLI
You serious?
AVERY
Yeah. I heard him running off.
Avery pulls a pistol from his side and walks out, looking around. He goes out to the deck, seeing the man and squinting closely. He grabs the man from behind.
AVERY
So, someone's snooping around a little, are they?
MAN
You will not get away with this. I heard everything. The Fuhrer will be very upset.
Manielli and Paul come out, looking at the man, and Paul lets out a laugh, hearing what the man just said.
SCHUMANN
You're one of the American Nazis we have. You guys are the biggest pain in my ass, you know that? I kill guys like you all the time, and I mean before I make breakfast in the morning.
MAN
The Fuhrer will find out. He will have the three of you killed.
Manielli grabs the telegraph from the guy's hand and throws it down into the water.
MANIELLI
The Fuhrer isn't going to find out a thing. We'll keep an eye on you, just to make sure of that.
Manielli looks from the man to Avery.
MANIELLI
Avery. Keep him comfortable until we decide what to do with him.
AVERY
Gotcha.
Avery takes the man back into the room, sitting him down hard onto the bed and staring at him.
AVERY
I can't believe you actually thought we wouldn't find you out eventually. What did you honestly think would happen? That Hitler would actually award you somehow?
MAN
I think that the Leader would be very pleased with me. Maybe a cash reward when I arrived.
Avery shakes his head, leaving the room for a second. Looking at Manielli and Paul, who are deep in conversation.
AVERY
Manielli, you might want to talk to this guy. He actually thinks that Hitler gives a shit.
Manielli and Paul come walking toward the room and Avery turns around, now seeing the man convulsing and foaming at the mouth.
AVERY
Shit! Cyanide!
Paul runs in, hearing Avery shout, and reaches into the man's mouth, pulling out what he can. The man's eyes slowly roll back in his head as he dies, and Paul looks at the other two.
SCHUMANN
Well, there goes any chance at figuring out what he's told Hitler so far.
The three men continue looking at each other as the scene cuts out, and Reggie and Paul are still seen sitting.
REGGIE
Wow. So in other words, we have no clue whether Hitler and Ernst know that you're here.
SCHUMANN
Yeah, that's about right, Reggie. So we need to do some heavy searching to know what they know, that way I can find more than they know, and they won't see it coming.
Reggie nods and Paul looks out at the street, which suddenly starts to get pretty busy.
SCHUMANN
Alright, I'm off to see if I can find anything out.
Paul walks down the sidewalk, one hand in his pocket, the other swinging, as he walks down the street, whistling to himself. When there's a gap in the traffic, he starts crossing as the scene cuts.
INT. OFFICE - A FEW HOURS LATER
Three men are seen sitting in Reinhard Ernst's office, Ernst being one of them. One of the men is Adolf Hitler, wearing a brown uniform and long black boots. The other man, very short and portly, is seen, sitting right next to Hitler and looking Ernst in the eye. The man is Air Minister Hermann Göring. He, like Hitler, is wearing a brown uniform, several decorations on the right side of his chest. He is looking Ernst right in the eye as Hitler and Ernst talk.
HITLER
So, Ernst. You told me you wanted to do something big for the Olympics.
ERNST
I want to do a flyover. At the opening ceremony.
HITLER
I was also thinking that. We want to use a new ME-110. Show them what we're made of. It will scare the foreigners who are thinking of fighting us.
ERNST
So we obviously want this for different reasons. I want it to impress them. To show them that we have the advancements needed to be a successful nation.
HITLER
Well, I want to impress them as well.
ERNST
No, you want to instill fear. I want allies, you want enemies. There is a large difference, Adolf.
Ernst looks over to Göring.
ERNST
Minister, what would you be able to give us for a flyover?
GÖRING
Anything that you need, sir. I would be happy to supply all the planes necessary to make the Olympics a success.
ERNST
Alright. I want an ME-110, and two other planes. The two other planes will fly around, then we will show the 110.
GÖRING
Sir, we haven't revealed it to anyone yet though.
ERNST
Well, what better time to unveil the most advanced plane seen by most of the world than at the Olympics?
GÖRING
As you wish sir.
Göring gets up, leaving the room as Hitler and Ernst look at each other.
HITLER
Is this all that you wanted then, Reinhard?
ERNST
Yes. That is everything.
Hitler nods, getting up. The two men salute and Hitler walks out of the office, Ernst standing behind his desk, now staring out the window at the sunny day outside.
INT. BEDROOM - LATER THAT DAY
Paul is seen in his room, loading his pistol. He has a briefcase on his bed, open. Inside is a small rifle of some sort, another pistol, and what looks to be a portable telegraph. He closes the case, putting his other pistol in the side of his pants. He grabs a suit coat, putting it over the gun to hide it, and he picks the briefcase up. He walks out of the room and sees Kaethe coming. She speaks to him in German, and after every response, he hesitates, trying to get it all translated.
KAETHE
Are you busy, Paul? Because I could come--
SCHUMANN
Actually, no, I'm not too busy. What did you need?
KAETHE
Well, I was wondering if you would like to take a walk.
SCHUMANN
Oh, that would be great, actually. Just let me put my briefcase in the room.
KAETHE
Alright.
Paul takes the key out of his pocket and unlocks the door, putting the briefcase carefully on his bed and comes back out, locking the door again. He then looks at Kaethe, still speaking in German.
SCHUMANN
So, where to?
Kaethe smiles and the scene cuts to black.
INT. POLICE STATION - THE NEXT DAY
It is a day later, and Janssen and Kohl are both seen sitting in front of each other, Kohl eating a sandwich. The two men are having a conversation about the body, speaking in German.
JANSSEN
Sir, I think that it's possible that it was suicide. Stormtroopers do kill themselves when in danger.
KOHL
Yes, but they do not shoot themselves, Janssen. They swallow cyanide capsules.
JANSSEN
Ah, yes. Excellent point, sir. I forgot.
KOHL
And I've been on this force for over 30 years, Janssen. I've seen enough suicides to know that this isn't.
JANSSEN
How is that, sir?
KOHL
Because the angle was wrong. And the wound size was definitely a distant shot.
Janssen nods. Kohl finishes his sandwich, standing up, and grabbing his coat. Janssen just stares at him.
KOHL
Well, are you coming back to the scene or not?
JANSSEN
You're taking a coat with you? It is very hot outside, sir.
KOHL
Yes, but the coat makes me looks so much more professional, my friend.
JANSSEN
But it could be dangerous for your health.
KOHL
What are you talking about? It's always good to sweat. Now come on.
Kohl puts the coat on, walking out of the room and Janssen follows him out.
INT. ERNST'S OFFICE - LATER THAT DAY
It is a few hours later, and Ernst is seen sitting in his office poring over paperwork that he is reading and filling out as needed. He hears a knock at his door and looks up from the papers, waiting a second.
ERNST
Yes?
An officer walks in, fairly his hair fairly neat under his hat. He has on a brown uniform, with a red swastika armband on. Ernst stands, and the man salutes. They then both sit.
ERNST
What is your purpose?
OFFICER
I come with a message from the Fuhrer. He wants to know if you're aware of the renovations.
ERNST
What renovations?
OFFICER
So apparently you are not aware of the renovations.
The officer pulls a paper out of his jacket, putting it on Ernst's desk.
OFFICER
The Fuhrer requests that renovations be made to your office, sir.
ERNST
(looking around his office)
I see nothing wrong with the way my office looks.
OFFICER
Apparently, the Fuhrer does.
The officer points to a line on the papers he put on Ernst's desk.
OFFICER
He requests that you sign this paper, giving your consent to renovate.
ERNST
I don't care what Adolf thinks, I'm not signing this paper, because I feel that my office looks fine the way it is!
The officer looks shocked that Ernst would use Hitler's first name in that tone, and he stands, grabbing the paper. The two men salute and the officer leaves quickly to avoid any more trouble.
INT. HITLER'S OFFICE - LATER
It is a little bit later, and the officer is now sitting on the opposite side of Hitler's desk, Hitler just staring at him, anger on his face, as though the officer already told him that Ernst refused to sign.
HITLER
Is the man nuts? Does he not know that I could have him killed by saying one little word?!
OFFICER
Would you really have your highest ranking secretary, the man behind everything that the Empire is, murdered because of a bad carpet and drapes scheme?
HITLER
The office is terrible, Howser. I'm fixing it with or without his consent. Set an appointment for this Monday, and have the contractor come to me with schemes and choices.
Hitler looks down at the paper in front of him, then he looks up and notices that Howser is still sitting in front of him.
HITLER
Howser. Why are you still sitting here?
HOWSER
Sir, I don't think it's right that you don't let Ernst have his office how he wants it. It's obvious that he likes it that way.
HITLER
I don't care, Howser! Now get out and get the contractor in here as soon as possible!
Howser quickly gets up, saluting, and Hitler dismisses him to go out of the office. Howser turns and leaves the room as Hitler rests his face in his hand, sighing.
EXT. TIERGARTEN - THAT NIGHT
It is later that night, and Paul is seen sitting at the Tiergarten, alone. He is sitting on a bench when a shorter man, curly dark brown hair in a very nice suit walks up to him.
MAN
Sir, may I ask you a question?
Paul looks up at the man.
SCHUMANN
What do you need?
MAN
My name is Otto Weber. I was wondering if you would be interested in helping me with a--transaction--of sorts.
SCHUMANN
What gives you the idea that it would interest me?
OTTO
Well, it just looked as though you would need a little help with something. I'm taking that as a no? The payout will be very nice, mind you.
Paul stands up.
SCHUMANN
It would be a plus to make a few friends while I'm here. What do you need?
OTTO
I am going to need you to help me relocate some items. From one warehouse to another.
SCHUMANN
Alright. I can do that.
OTTO
Well, we will move in the morning, as it is too dark now. Please though, come with me so I know where you're at when you're needed tomorrow.
Paul looks around, unsure.
PAUL
Alright.
Paul follows Otto out of the Tiergarten as the scene fades out and the camera cuts back slowly.
INT. WAREHOUSE - DAY
It is the next afternoon, and Paul is seen standing in a big warehouse, Otto standing right next to him.
OTTO
Well, here is the stuff that needs moved. That stack of six boxes over there.
Paul walks over to the boxes, picking the top one up.
SCHUMANN
Not too heavy, but where are we taking them? I can't take all six of them.
OTTO
There is a truck outside waiting for you.
Paul nods, walking to the door, pushing it open with his back, two boxes in his hands, blocking his vision. A man gets out of the truck, grabbing the boxes and putting them in the back of the truck, allowing Paul to get more boxes. Paul has the last two boxes in his hand now and a Nazi soldier is heard shouting in German.
SOLDIER
Someone has broken in! Kill them!
Two more soldiers grab their guns, shooting at Paul. Paul is barely missed by one, and the other goes into a window a story up. He jumps into the back of the truck, closely followed by Otto, as the truck speeds off, the soldiers shooting at them, but not doing a very good job of hitting them. The truck goes around a turn and the soldiers stop running as the scene cuts.
INT. HITLER'S OFFICE - LATER THAT DAY
Hitler is seen sitting in his office, writing something on a sheet of paper. He hears a knock on his door and looks up.
HITLER
Come in.
A soldier walks into Hitler's office.
SOLDIER
Sir, someone broke into the warehouse in downtown Berlin.
HITLER
And?
SOLDIER
Stole several crates of weaponry.
HITLER
What did they look like?
SOLDIER
There was a muscular man. He was carrying the crates. He had very short brown hair. A short portly man. Jumped into the truck behind the big man. I didn't catch who was driving.
HITLER
Damn. How many weapons did they steal?
SOLDIER
The entire new shipment, sir.
Hitler looks on. He looks down at his papers and back up at the soldier as the scene cuts again.
EXT. OTTO'S HIDEOUT - THAT MOMENT
Paul is seen sitting on the ground, leaning against the wall right outside of Otto's 'Operation Headquarters'. He has a glass bottle in his hand, and he is looking right at Otto.
SCHUMANN
So, that was illegal, what we just did?
OTTO
Yes. I did not expect that we would get caught.
SCHUMANN
You could have warned me first though. I'm not exactly hoping to be wanted in several countries.
OTTO
Wanted in SEVERAL countries?
SCHUMANN
Long story. But that isn't the point.
OTTO
Then what is?
SCHUMANN
There really isn't one, I guess. Look. Just give me my money so I can get out of your hair.
Otto reaches for his wallet, pulling out 1,000 dollars in American money, handing it to Paul. Paul quickly pockets it.
OTTO
If you ever need anything from me, I can be found at the club right beside the warehouse that we robbed.
Paul nods and walks the other way, Otto looking at the crates of stolen weapons as the scene cuts.
EXT. DOWNTOWN BERLIN - THE NEXT DAY
Paul is seen standing on the sidewalk in downtown Berlin, leaned against a wall. He has a pad and pen in his hand and he appears to be writing something. The camera changes to his POV, and it shows that he's staring at Nazi headquarters, examining who goes in and out and at what times. The camera then cuts to show his paper.
"5:30 am, Hitler Enters"
"6:15 am, Goering Enters"
"7:45 am, Ernst Enters"
He starts writing some more names down as higher ups in the chain walk in, then he closes his pad, putting the pen and pad in his jacket pocket and picking up his briefcase. He walks to a nearby bench and waits. He sits for about an hour when Ernst comes back out. He looks around and starts following Ernst, staying close enough to see him, but far enough to not catch attention. Ernst looks back and Paul ducks behind a tree as the scene cuts.
INT. PAUL'S APARTMENT - THREE DAYS LATER
Paul is seen sitting on his bed, Reggie Morgan on a chair next to him as they discuss the schedule that Ernst follows.
SCHUMANN
He follows the schedule every day, or one could safely assume. It would probably be best to do this when he was out of his office.
REGGIE
That would make some sense, I suppose.
SCHUMANN
So I'm thinking tomorrow morning at about 10:30 would do?
REGGIE
Yep.
SCHUMANN
And what exactly would be best to look for when I'm in there?
REGGIE
You'd probably want to get the best shot possible, so I'm thinking that something around or in the Olympic Stadium. Find out when he's there, and you're golden.
SCHUMANN
That'll work.
The two sit and Reggie gets up, gathering his things, and walks out of the room. Kaethe comes into the room right after Reggie leaves.
KAETHE
I'm sorry, am I disturbing you?
SCHUMANN
Not at all.
KAETHE
I was wondering. There were some suspicious looking men who came in earlier. They were looking for you.
SCHUMANN
Nothing to worry about. I know who they are, and they're fine.
KAETHE
Alright, just wondering.
Kaethe begins looking out, and Paul gets up from his bed.
SCHUMANN
Kaethe.
She turns around.
SCHUMANN
Would you mind staying a little? I have something for you.
KAETHE
Of course I can stay. What is it?
Paul gets up, wrapping his arms around her waist and kissing her passionately. He pulls away from her, and her face has a smile, almost ear to ear. He picks her up and lays her down on the bed, laying next to her, as the scene cuts.
INT. NAZI MAIN OFFICE - NEXT MORNING
It is the next morning, and Paul is seen wearing a contractor's uniform, walking into the HQ of the Nazi operations. He goes to the front desk.
SCHUMANN
Excuse me, ma'am. The Fuhrer said he would like to see me this morning?
RECEPTIONIST
Right this way, sir.
The lady gets up from her desk, and Paul follows her into Hitler's office. She introduces the two and leaves. Paul sits down in front of Hitler after saluting him.
SCHUMANN
So, sir. You asked if I could come and remodel Ernst's office?
HITLER
Yes. He's not here at the moment, which would probably be for the best, as he doesn't want it done.
SCHUMANN
Alright. What would you like?
Paul pulls several examples of what he has available out of a pocket on the inside of his clothes, and Hitler looks at them for a minute. He picks what he wants and Paul nods, assuring him that it will be finished in a few hours.
INT. ERNST'S OFFICE - MOMENTS LATER
It is just a few minutes later, and Paul is in Ernst's office. He turns the light on, and looks around for a moment. He goes over to the desk, moving around some papers, and sitting in Ernst's chair. He finds a paper that looks like a schedule and starts reading down it.
"Saturday, July 24, meet Hitler and Goering at Olympic Stadium"
Paul writes the note down on a small piece of blank paper and shoves it into a pocket. The office door opens, and Paul gets out of the seat quickly, pulling a ruler from the side and looking as though he's measuring. Ernst walks in.
ERNST
Who are you?
SCHUMANN
I'm the contract. Hitler wanted me to remodel.
ERNST
Damn him!
Ernst charges out of the office and Paul leaves, running toward the door as fast as he can without being noticed and hopping into the car sitting outside. Reggie is seen in the driver's seat.
REGGIE
So, how did it go?
SCHUMANN
Almost got caught. Now drive.
Reggie drives off as the scene cuts. The scene opens back up with them still driving. Reggie looks over to Paul.
REGGIE
So, when and where is it?
SCHUMANN
Olympic Stadium on July 24.
REGGIE
Sounds great.
The car turns on an intersection as the scene cuts again.
INT. PAUL'S APARTMENT - The NEXT DAY
Paul is seen in his apartment, a few guns laying on his bed. He has a pistol in his hand, which he is currently loading. He puts the ammo into it, then he closes it back up, putting it beside a rifle and shotgun. He picks the rifle up, now beginning to load that up. He hears a knock on his door. He looks up, hiding his guns as quickly as he can.
SCHUMANN
Just a second!
He hides the guns and goes to the door. Reggie is seen standing outside.
REGGIE
You ready to go, Paul?
SCHUMANN
Yep. Give me a minute.
Paul grabs everything he will need, and he reaches for his rifle mount.
REGGIE
Don't worry, Paul. I have that. You can use what I've got in the van for your advantage.
SCHUMANN
Alright. That will be fine.
REGGIE
So, other than that, you're all ready to go?
SCHUMANN
Yes.
INT. RESTAURANT - THAT MOMENT
Willi Kohl and Janssen are seen in a restaurant, a drawing of the dead man from the alley in Kohl's hand. He looks at the man behind the counter.
KOHL
Excuse me, could I speak to the man who runs this establishment?
OWNER
That would be me.
KOHL
Well, could you answer a question for me?
OWNER
Happy to.
KOHL
Could you tell me if you recognize this man? He was shot a few days ago, and we found that this had been the last place he'd gone to.
Kohl holds up the drawing of the man and the owner takes it, examining it very carefully.
OWNER
Yes, I do know him. He was a quiet man though. We very rarely spoke. It wasn't the language, he was just very secretive. Usually sat by the window reading the paper or a book. Liked to keep to himself a lot.
KOHL
The language?
OWNER
Yes, of course. He was an American man.
KOHL
Do you know what his name was?
OWNER
Of course. He was Mr. Reginald Morgan.
Kohl nods.
KOHL
Thank you, sir. You've been a great help to us.
OWNER
Any time, sir.
Kohl leaves the restaurant and the scene cuts again.
EXT. OLYMPIC STADIUM - LATER THAT DAY
Reggie drops Paul off near a shed just outside of the Olympic Stadium. Otto Webber is seen standing there, awaiting the two of them.
OTTO
Ah, there you are, Paul.
SCHUMANN
Thank you for doing this for me, Otto.
OTTO
Not a problem. Anything for a friend.
REGGIE
Who's this clown?
SCHUMANN
He's a friend I met a few days ago. His name's Otto. Basically, he's got the Nazi stormtrooper outfit on because he's going to lure Ernst out here, giving me a good shot at him.
REGGIE
I see. You have this all planned up then, don't you?
SCHUMANN
Yeah, just about.
REGGIE
Well, I'm gonna pull around to the other end, call if you need me.
He tosses Paul a small radio to talk into if he needs Reggie's help, and Reggie drives off after Paul pulls the sniper rifle and mount out of the back of the van.
OTTO
Whenever you're ready, Paul, I'll be able to get in.
SCHUMANN
Alright, just hang on a second. Gotta get my stuff here.
Paul carries the stuff into the shed, putting the tripod up, then mounting the gun onto it. He aims it straight at a small room behind a low wall. He nods to Otto, who then walks into the stadium, flashing his ID to a guard and walking into the door.
INT. BOOTH - A MINUTE LATER
Otto walks into the booth where Hitler, Goring, and Ernst are all seen, a camera in front of them.
OTTO
Mr. Ernst, you have an important visit waiting outside.
ERNST
Who is it?
OTTO
I'm not positive sir, but it is said to be urgent. About your wife sir.
Ernst looks at Hitler and Hitler nods after letting out a sigh.
HITLER
Try to be quick, Ernst, if at all possible. I'd like to get this over with.
Ernst nods and follows Otto out of the booth. The scene cuts back to Paul, who is awaiting, looking through the scope. The scene then cuts to his POV, showing the view through the scope. He sees Otto come out, then he sees Ernst come out a minute or so later, still behind the wall. Ernst is looking around, and Otto has a confused look on his face. Paul fires, and Ernst is seen hitting the ground. The scene then cuts to Ernst's POV, showing that Reggie had tackled Ernst. He drags Ernst behind another wall.
REGGIE
Sorry, sir. You're life was in danger.
Otto runs off, and Reggie fires at him, missing him as Otto turns the corner and out of sight.
ERNST
So, who are you?
TAGGART
I'm Robert Taggart, an American who has underwent very vigorous activity to keep you safe. I have information that a plot was set out to have you killed.
ERNST
Oh really?
TAGGART
Yes. If you would be kind enough to wait here for a moment, I could show you the man who's been planning this out for a few weeks.
Taggart turns around, looking toward the shed, seeing the barrel of the gun moving back and forth, as though Paul is still searching for Ernst.
TAGGART
Wow, what an idiot. He thinks that you're going to suddenly appear in sight again, because he must know he missed.
Taggart looks the other way, seeing the whole in the wall.
TAGGART
Yep. Does know that he missed. Too bad he doesn't know that he's about to spend the rest of his life in prison.
ERNST
Hm?
TAGGART
The man was sent to kill you or spend the rest of his life in prison. The American Government found him, and they made a deal with him. I'll find him and you can do what you want with him.
The scene then cuts to outside near the shed, where Taggart is holding a pistol toward the shed. He kicks the door open and sees a very ingenious idea, where there is a string attached to the hinge on the shed door, causing the barrel of the gun to move, although it is unmanned.
TAGGART
Damn! He's gone!
Taggart looks back to Ernst and shakes his head. Ernst sighs as the scene cuts.
INT. PAUL'S ROOM - LATER THAT DAY
Robert Taggart is seen standing in Paul's room, Paul's bags sitting on Paul's bed. Taggart looks around for a little bit, not seeing Paul.
TAGGART
Come out, come out wherever you are.
Paul doesn't respond or come out. Taggart looks around again, seeing Paul's shoes sitting on the floor, meaning Paul is walking around in his socks, meaning it's quiet. Taggart reaches for his gun, now knowing to be more protective than before, and he turns to a closet, the door hanging open slightly. Taggart starts walking for it, slowly and cautiously. He quickly swings it open and feels an arm wrap around his throat. The scene cuts to Taggart's point of view, and the scene is shown getting blurry and slowly fading. Taggart eventually passes out, and Paul is seen standing over him. He grabs his bag and runs out of the room, shutting the door behind him. Kaethe is seen walking quickly toward him.
KAETHE
Paul! There are men looking for you. They're with Hitler! You need to get out of here!
PAUL
I know. Don't worry. But, uh, I want you to come with me.
KAETHE
Back to America?
PAUL
Yes. And not want, need. I need you to come.
Kaethe looks back and sighs.
KAETHE
I can't. I just...need to stay here.
PAUL
I can make us happy. I know we both want to be together, and I obviously can't stay here.
KAETHE
Well...alright.
PAUL
Alright, but we need to act fast. Just get enough stuff to keep you good for a few days. I have a phone call to make.
KAETHE
Alright.
Kaethe runs back down the stairs, and two Nazi soldiers are seen coming toward Paul.
PAUL
Oh, shit.
Paul pulls a pistol out from his side and shoots twice, hitting both soldiers, blood spattering on the walls, and both soldiers hitting the ground, dead. Paul runs back into his room and grabs the phone, putting in a number quickly.
PAUL
Pick up... Oh, Avery, it's Paul. I need you to meet me at the airport. Yes. Now. Get there as quickly as you can.
He hangs up and walks back out of the room, his bags in hand. Kaethe is seen running up the stairs, and Otto comes up a minute later.
OTTO
I came as soon as I could, but I was obviously too late. Paul, I need to get you to safety.
PAUL
I know, Otto. I know. I know exactly where you need to take me, too.
OTTO
Well, I'm obviously a wanted man, so if you're going back to the states, I want to come.
Paul looks at the clock in his room.
PAUL
Sure. I'm sure the guys have room for one more on that plane.
KAETHE
We have to leave now though!
PAUL
Working on it!
Paul runs to the stairs, followed by Kaethe and Otto. Otto hops into his van from before and Paul and Kaethe get into the back, shutting the doors. Two Nazi cars are seen chasing after them, firing at them as the scene cuts.
EXT. AIRPORT RUNWAY - MOMENTS LATER
The van stops in a runway, the two Nazi cars about 150 yards behind. The three get out of the van and run for a lone plane seen sitting there, Avery and Manielli seen waving Paul toward it. Kaethe kicks her shoes off, making it first and getting into the fairly small plane. Paul is in a close second, carrying all the baggage that he can, and Otto, being slower and less athletic than Paul, is falling behind. Paul dives to dodge shots fired at him, and he rolls onto his back, shooting at the Nazi soldiers with his gun. He hits one, but misses the others, and gets back up, picking the bags up. Otto is now slightly past Paul, but it doesn't last long as he starts to wear out.
PAUL
Hurry up, Otto!
OTTO
I can't go any faster, Paul.
Otto starts lagging behind, and Paul hands his bags to Avery and runs back for Otto. Otto stops running completely, dropping to his knees. He falls onto his stomach, and a hole is seen in his back, blood pouring out of it, and another hits Paul in the ear. Paul gets back up, holding his ear and running for the plane. Him, Avery, and Manielli all get into the plane and it starts moving, taking off and going steadily upward as the camera pans out, showing Otto with a pool of blood surrounding him, and the soldiers getting into their cars and driving away. The scene fades to black and pictures of characters are shown with captions. First a picture of Reinhard Ernst with a caption.
"Ernst: Ernst was never murdered, but died about a month after these occurrences. He died of a mix between a stroke and complications due to shrapnel lodged in his body during the First World War."
"Taggart: Taggart was sent back to America and congratulated for saving Ernst. He was eventually made head of the Secret Service, and when Washington found out that Bull Gordon and the New York senator were behind the plot, both their reputations in Washington only went down, never really going back up. Their reputations to America remained great."
"Hitler: Hitler went on to create World War II, committing suicide in 1945."
"Paul: Paul got back to the States, and as promised, was rewarded for his efforts. He married Kaethe about a year after his return, and they had a child together, naming him Hermann, after Kaethe's first husband."
"Tiergarten: The Tiergarten, where Paul and Kaethe spent all their time together in Germany, translating into English as the 'Garden of Beasts' played a big part in the second World War as the spot where Hitler's plans went down between Nazi soldiers."
The credits roll:
Kiefer Sutherland as Paul Schumann
Donald Sutherland as Bull Gordon
Dennis Hopper as The Senator
Terry O'Quinn as Cyrus Clayborn
Alan Tudyk as Reggie Morgan/Robert Taggart
Diane Kruger as Kaethe Richter
Ian McKellen as Reinhard Ernst
David Ogden Stiers as Willi Kohl
Elijah Wood as Janssen
Bruce Campbell as Otto Webber
Michael Emerson as Adolf Hitler
Josh Lucas as Avery
Matt Keeslar as Manielli
Donnie Wahlberg as Bund
Neil Patrick Harris as Officer Howser
Debra Winger as Receptionist
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