Ok, ich gebs zu, ich bin in letzter Zeit viel zu faul ne Geschichte zu schreiben deswegen nehm ich einfach eine geniale Hitman Geschichte
, wenn ihr englisch versteht, vielleicht sogar Hitman gespielt habt lohnt es sich wirklich.
‘HITMAN: THE AGENCY’
An inky blackness fills the screen. Moments pass.
Eventually, a voice penetrates the darkness:
FEMALE VOICE
…Frantz Fuchs was found dead in the shower of the Thermal Bath hotel. He was shot multiple times at close range in the head, chest and limbs…
Another voice permeates:
MALE VOICE
…the Hong Kong community was rocked today when the commissioner of police was gunned down in the Cheung Chau Fish Restaurant…
A LOW ROAR is heard, slowly getting louder as we hear:
FEMALE VOICE
…Pablo Belisario Ochoa, notorious drug runner, was found dead in his Brazilian Manor after having being mutilated by multiple gun shot wounds…
MALE VOICE
A doctor Ort-Meyer was found dead at his research facility earlier today. His neck appears to have been broken by an unknown assailant. Ort-Meyer was heading up the research of human cloning for a department of the CIA…
The ROAR grows until it is almost deafening before we hear blissful silence.
A GENTLE BREEZE is heard.
FADE IN:
EXT. THE OFFICE- DAY
A MAN stands at an open window in a high-rise office building, breathing deeply, his arms folded.
After a few moments, he SIGHS and closes the window. He turns, stretching while yawning, and checks his watch.
He picks up his jacket and puts it on as he heads out the door.
INT. RECEPTION- DAY
The Man walks along, straightening his jacket.
RECEPTIONIST
See you tomorrow, Mr. Simms.
SIMMS (as he now is) dismisses the receptionist with a raised hand as he continues walking without even looking in her direction.
INT. HALL- DAY
Simms presses the elevator call button and stands, arms folded once again. Eventually, we hear the reassuring DING of an elevator and Simms enters the open doors.
INT. INSIDE THE ELEATOR- DAY
Simms stands, presses the button for the lobby and YAWNS again. We hear PIPED IN ELEVATOR music. Simms is unimpressed. He SIGHS again as the doors close.
INT. THE ELEVATOR SHAFT- DAY
The CAMERA follows the elevator down into the darkness.
INT. INSIDE THE ELEVATOR- DAY
Simms stands in the center of the elevator as it moves down the shaft. Moments pass…
In one unsettlingly fast motion, the trapdoor of the elevator bursts open and a garrote wire is slipped neatly around Simms’s neck before he is hoisted up into the air, his head sticking out the trapdoor, out of view.
As the MUSAK continues, we hear SIMMS’ labored GARGLES as his hands grip the wire that chokes him, legs kicking franticly. After a while, the kicks become less frequent, the GARGLE less loud. Finally, they stop altogether.
From a WORMS EYE VIEW, we see Simms hit the ground, dead. A red ring of dead muscle tissue is visible around Simms’ neck. Seconds later, someone lands next to Simms, legs clad in trousers, feet in well-polished shoes. The MUSAK is a thing of the past as RATM’S ‘BULLS ON PARADE’ blares.
The CAMERA CRANES slowly upwards to allow us to see whom the mystery man is-
It is the Hitman, as stoic as ever. He straightens his tie as the elevator continues down to the lobby.
INT. THE LOBBY- DAY
The MUSIC FADES, as the doors open to a guard who stares into the elevator-
It is empty.
The guard walks in and presses a button, totally ignorant of the preceding occurrences.
INT. THE ELEVATOR SHAFT- DAY
The elevator moves up the shaft as we can make out the body of Simms lying near the cable.
The Hitman is not in sight.
INT. INSIDE THE ELEVATOR- DAY
BULLS ON PARADE fades back in as the CAMERA TRACKS UP to see the Hitman splayed across the roof of the elevator, his arms and legs outstretched to hold himself up.
The guard senses something…
The guard looks around… his eyes travel slowly up the walls of the elevator…
The Hitman’s and the guards’ eyes meet…
The pair launch into action: the guard desperately gropes for his 9mm while the Hitman drops to his feet.
Finally withdrawing his pistol, the guard manages:
GUARD
Police! Hands-
-before a Pentagon knife is swiped across his adam’s apple cutting off his words. With a GASP of the air escaping from the guards’ windpipe, he staggers back against the wall of the elevator.
A WORMS EYE VIEW of the Glock hitting the ground is seen, as blood quickly follows it, trickling down his arm. The body slumps to the ground, his eyes open but unseeing in death. We hear the DING of the doors opening. FOOTSTEPS slowly fade away as the Hitman walks away.
CAMERA SLOW ZOOMS to a pool of blood that lies near the guard. We hear HEART BEATS as the CAMERA zooms.
CREDITS ROLL.
Red fills the screen as the HEART BEATS continue. The screen changes into a flowing blood stream where the HEART BEATS cause the screen to go black before fading back in. With each HEART BEAT, we briefly see part of the credits. Finally, the screen FADES TO BLACK.
FADE IN:
INT. THE CONTROL ROOM- DAY
Using the same bloodstream effect, we can only just make out a TV screen where the body of the guard in the elevator is seen, obviously from a security camera. The CAMERA TRACKS BACK.
The LOW ROAR returns.
The CAMERA CUTS away to show an OPERATOR sitting by the monitor near an AGENT, who stands behind the Operator’s chair.
AGENT
Most impressive.
OPERATOR
He was quite single-minded. We’ve never seen such dedication to duty before.
AGENT
Perhaps. One test remains.
OPERATOR
Hasn’t he proved himself sufficiently?
AGENT
No. Ort-Meyer lies dead at the hands of 47. We will proceed with the test. To please our creditors, you see.
OPERATOR
Should I patch it through?
AGENT
Wait until he gets home first.
The CAMERA CUTS TO another TV screen where we can just see the Hitman enter his hotel room.
CUT TO:
INT. THE HOTEL ROOM- DAY
The Hitman enters, obviously drained of energy. He wonders over to his bed and collapses on the soft linen.
Scant seconds later, a green glow shakes him from his rest and he looks to the source: his laptop.
He groans.
HITMAN
No rest for the wicked…
He raises himself off the bed and walks over to the laptop.
CLOSE ZOOM on the screen as the Agency symbol appears. A chat room prompt appears:
SCREEN
OPERATOR: Well done on the hit. It will take months for them to find the bodies.
The Hitman sits back before typing:
SCREEN
47: All in a days work.
OPERATOR: We have a new job for you. Patching through now.
The chat room disappears and the screen is filled with scrolling text, pictures, maps, etc. We read the text as it scrolls.
SCREEN
Our creditors are considering you for another hit. But first we must give you a little test. After your little stint with Ort-Meyer our financers are skeptical. Thus, we have a new target for you. A Mr. Servance.
We see diagrams of his house, the method of transportation he uses to get to and from work, various candid pictures, etc.
The Hitman leans in. We hear his thoughts:
HITMAN
Gregory Servance, wealthy business man, local celebrity and financer of several charities. However, it has been recently been reported to
MORE
CONT’D
us how he amassed his fortune more speedily. Servance has been dealing
in drugs, mostly using children from the nearby Saint Claire’s Orphanage to push his goods when they grow up, which he invests into heavily.
As the Hitman continues reading we see a short video shot from a high angle through a window of Servance’s mansion. It shows a room filled with packets of drugs. Servance enters with a teenager. Video ends.
HITMAN
Usually we’d use one of our lesser hitmen on such a rank amateur, but in this case there are certain matters that require your skills. Namely his friend:
Another picture pops up showing a graying man in his fifties.
HITMAN
Albert Schwan. Schwan, an international dealer in drugs, is coming to discuss some matters with Servance. Part one of the test is that you perform a hit on both parties and strike a death blow on drug pushing throughout the country.
INT. THE CONTROL ROOM- DAY
The bloodstream effect returns. A door opens and a man enters, he is MCINNERY.
AGENT
Good morning Mr. McInnery.
McInnery nods his greetings.
MCINNERY
Agent, Operator. The man upstairs has asked me to come down to discuss a few things with you two.
AGENT
Certainly.
MCINNERY
I must say, the expenditure that this department has made is quite disgraceful. And to no guarantee.
MORE
CONT’D
How can we be sure that the money spent on Ort-Meyer’s experiments has any chance of paying off?
AGENT
The investment has paid off three fold.
MCINNERY
This 47 you speak so highly of killed his creator. Not a glowing reference on his character.
AGENT
Ort-Meyer could not stifle 47’s sense of justice and free thought. Meyer’s 48 series were utter failures compared to 47. 47 mowed them down. You see, with free thought comes 47’s ability to think his way out of a situation, which is where the 48 series failed.
MCINNERY
Justice?
AGENT
Yes. 47 has only killed criminals.
MCINNERY
That is unsatisfactory. You must test him on an innocent. We need blind obedience here. What would happen if he found out the truth?
AGENT
It won’t happen.
MCINNERY
I hope it wont. Proceed with the tests. Keep me informed.
He leaves.
OPERATOR
Is all of that true?
AGENT
Not all. 47 is more human than we’d like to believe.