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Anyone ever wonder what Sakura and Archer’s interactions would have been like? Just imagine Sakura, a girl who has loved Shirou since forever and wanted to keep him safe, seeing a version of the man she loved who had gone through so much misery that left him jaded and wanting to kill himself...
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Hey @me-fish, I know you are working on a comic just now, but doing a fic in comic-script form was a really interesting experiment and I could not resist trying it. If you want to do a long comic in future, well, here is a script to work from showing my version of how the Berlin!AU begins.
Warning: This is the saddest thing I have ever written. Just so sad. Really, brutally sad. If you want a different story @me-fish I could write one.
Also, warning for a major character death.
 ....
PAGE 1
WHOLE-PAGE IMAGE
A disused airfield at night. The rebel unit are scattered across the view, backlit by the spotlights of the Nazi armoured vans driving into view. Archer, Harry, Sylvia and the King (in his wheelchair) are silhouetted in the foreground, all in attitudes of horror.
 Rebel 1: Get the king out of here!
 Rebel 2: It's an ambush!
 Rebel 3: Everyone, draw back!
 Off-screen rebel: Quickly, here, we have to get His Majesty away.
Title: 'Dying Ashes' emblazoned on the image.
 PAGE 2
A SERIES OF THREE JAGGED IMAGES SLOTTING TOGETHER
Archer turns to see a rebel soldier beckoning from a dark doorway. He is armed with a machine gun.
 Rebel: Down here. It's a tunnel.
The group follow the soldier down a sloping tunnel into the darkness, Sylvia pushing the King's wheelchair. Harry brings up the rear, looking uneasily behind him towards the viewer. He is the nearest and most brightly lit.
The airfield from Harry's viewpoint: the SS unit are engaged with the rebels, flashes of gunfire illuminating the darkness. The back of Harry's head all we see of him.
The next image shows Harry following the others, retreating out of sight into the shadows.
LONG RECTANGULAR PANEL
The group emerge into a dark underground chamber with several tunnels leading off it. The rebel has turned on his torch now, illuminating a wet stone floor and the entrances of the service tunnels.
 Rebel: If we are lucky we can get him away while the unit are distracted -
 Of screen: Hey!
 PAGE 3
LONG RECTANGULAR PANEL
Hausser and several of Huth's men, all armed, all with blank pitiless faces, arranged in a line against the mouth of a tunnel. Hausser is front and centre.
 Hausser: Surrender.
LONG RECTANGULAR PANEL
The rebel soldier fires his machine gun, mouth wide, face absolutely desperate. Behind him, the group look on in horror.
 Rebel: GET OUT OF HERE!
LONG RECTANGULAR PANEL
An areal shot of the chamber. The Nazis fire back against the rebel, some already dead or injured. Sylvia wheels the King into one tunnel, while Archer and Harry run into another
 PAGE 4
A SERIES OF SQUARE PANNELS, LIT IN BLACK AND RED
Archer twists round, realising the separation. Harry is behind him.
Close on Archer's worried face.
 Archer: Sylvia!
Close on Harry's regretful face.
 Harry: Too late now. Leave it, Doug.
They proceed into the darkness
WIDE PANEL
There is a red light attached to the wall up ahead. As the men advance, an open space comes into view at the mouth of the tunnel. There are crates stacked against the walls, and a service elevator.
Archer stands with his back to the viewer. Just behind him is another entrance leading off the tunnel they are in. In his hand is a pistol he has been carrying from the start. Harry is up ahead, looking out of the tunnel, into the open space. A shadow in the foreground cuts across the floor, warning us that the two men are not alone.
 Archer: We have to try to find them.
SERIES OF SMALL PANELS
A black gloved hand brutally grabs his wrist from the side tunnel.
Huth's stick comes down on his wrist hard, and he drops the pistol with an exclamation of pain.
A black boot kicks the pistol, sending it skidding out of reach.
 PAGE 5
A ROW OF THREE TALL, NARROW IMAGES
Huth is out of the side tunnel and attacking without mercy. He and Archer are entirely silhouetted, black on red.
First he hits Archer in the stomach, doubling him up.
A second blow knocks him to his knees.
A third blow sends him to the floor.
THREE LONG, RECTANGULAR IMAGES
Sylvia from behind, wheeling the King rapidly through a partially-flooded tunnel.Â
The same view is transformed as the light from a Nazi torch silhouettes her, turning the image into black and blinding white as he blocks her escape.
 Nazi: [unseen] surrender
Sylvia draws a gun, frightened but defiant in the face of impending death. She aims over the head of the King.
 Sylvia: You have a fight on your hands, you bastard.
 PAGE 6
LONG, RECTANGULAR PANELS
Archer's eye takes up the whole image, big and black and shocked. In the pupil, a reflection of Huth. He has a gun in one hand, his stick in the other. The mouth of the gun is a black hole in the centre of the image.
 Huth: Surrender
 Harry: [off-screen] Hey!
Huth turns towards Harry, his back to us. Harry is furious, protecting his surrogate son, gun in hand. He has never looked more human, or more outmatched. Behind him, a dark row of SS men are advancing across the water-filmed floor.
 Harry: Get away from him you Nazi bastard.
Huth, from a high angle, looms over Archer, turned away from him and towards the advancing Harry. Archer, prone on the floor, is clearly losing consciousness. At the edge of the image, the advancing SS are closing in.
 Archer [Small] No.
Archer's eye as he loses consciousness, still holding a dark reflection: Harry standing to fight as the SS move closer still, Huth in the foreground.
A black panel as Archer loses consciousness.
 Archer: Please no.
 PAGE 7
A SERIES OF IRREGULARLY SIZED PANELS
A panorama of a room in the house Huth uses in the last episode. Archer is lying on a mattress laid out on the floor in one of the rooms. A blanket is half-pulled over him. Their is an air of bareness and abandonment about the room, but it was clearly beautiful once. It is the earliest hours of morning. The light is very different to anything seen previously, bluish and diffuse.
Archer wakes. His head is bandaged. He is lying on his side, his face and one arm in the foreground. He is oblivious to Huth, who is leaning against a doorway in the background, watching him.
 Huth: Good morning.
In the foreground, Archer pushes himself onto his elbow, not looking round. There is a tear in one of his eyes. Huth watches from the background, now more obviously concerned.
 Huth: Glad you're awake. I was afraid I had hit you too hard.
Archer touches the bandage on his forehead, still not looking round. Huth begins to advance across the room.
 Huth: Courtesy of the medic. I had him take time to look at you after you were injured in  your struggle...your brave struggle...with the terrorist Harry Woods.
Archer finally looks around as Huth squats beside him. We cannot see all of his face, just his chin and mouth as he speaks.
 Huth: You have spent days observing the traitorous Woods, who I knew to be working for  Mayhew. On my orders, you tracked him as he made this attempt to free the King. And  heroically, you engaged with him and retrieved the plans.Â
Huth takes the case containing the plans from his breast pocket. His face is out of sight, only his gloved hand and a portion of his torso visible. Beyond these, Archer's battered face.
 Huth: I was just in time of course, or he would have killed you. Who better to keep the plans  for Mayhew than a man most people would overlook? Who most would take for a fool? He  was to accompany the King to America, taking the plans with him.
He replaces the plans in his pocket. Archer's expression barely changes.
 Archer: No.
  Huth: No?
 PAGE 8
Archer's face, cropped close, his eyes taking up much of the space.
 Archer: Is Harry dead?
Huth's face is in profile, shown from a low angle, Archer's viewpoint.
 Huth: He died bravely, I will say that for him. Brave...hard to tell the difference from  foolishness sometimes...he loved you like a son.
Archer sits against the wall, looking up at Huth who looms over him in the foreground. Huth's attitude is odd: solicitous, conciliatory but the manner of a captor. Archer is beyond dissembling, just staring up at him.
 Archer: Did you fire the shot that killed him?
 Huth: No.
Both their profiles. Archer tries to read Huth's expression. Is he lying?
 Archer: And Sylvia?
 Huth: Got away. Killed one of my men. The King is in custody though.
A SERIES OF SMALL IMAGES
Huth's hands as he takes out two cigarettes, lights one and hands the other to Archer. He is still wearing his black, fingerless gloves. He talks as he handles the cigarettes.
 Huth: Mayhew is a master. He almost had me believing I had him in the vice. Within days of my arriving here, he was confessing to a plot to fly the top scientists out of  Britain.
Archer takes the cigarette. Huth lights it for him.
 Huth: All he wanted was for me to cause a distraction while a real attack was launched. In  the meantime he sent you and the King -
 Archer: To die.
Archer's lips, the cigarette between them.
 PAGE 9
A SERIES OF IRREGULAR IMAGES
View through the doorway. Archer sits against the wall on one end of the matress, smoking. Huth has made himself comfortable, settled on the other end of the mattress.
 Archer: The King was never meant to escape. He was infirm. Britain would have looked  washed up, had he tried to represent us. The plan was for him to die a hero, in the same  operation as brave Americans. What about the attack?
 Huth: I had a spy in Mayhew's inner circle. He forewarned me days ago. Anything of value  was removed from harms way, and I ensured there were more than enough defences. The Americans will have had a wasted trip.
Archer, alone, against the wall. He closes his eyes, then opens them in terrible realisation.
 Archer: It was Mayhew who killed Spode. It was him who burnt the papers. He just didn't  want the Americans to get the information too easily. He wanted them to fight for it.
Huth's face as he processes this.
 Archer: Spode  came to him for help, in getting the papers to America. If he had let him send  them off as he intended, America would have gotten the weapon...but not necessarily have  entered the war.
Archer looks down.
 Archer: So. You're the hero of the hour.
Close on Huth's face. His heart is breaking for Archer.
 PAGE 10
Huth, leaning forward, concerned and irritated.
 Huth: were you not listening? So are you.
Archer's eyes, taking up the whole space, blank and hurt.
 Archer: It's a lie.
 Huth: So?
 Archer: Like spitting on Harry's grave. He...
 Huth: Let the dead take care of the dead. You are alive. Life is better than death, Archer.
Archer's face. Feeling is coming back to it now, brittle and edging on hysteria.
 Archer: Tell me why.
Huth stands up. He does not look at Archer as he speaks.
 Huth: I told you I like winners. You have so much potential.
Archer, alone against the wall.
 Archer: What a winner. You got me. You got us all.
Huth, tall and bitter.
 Huth: No. Life got you. You have to come to terms with reality, or the world will tear you  apart. Well, it tore you. I warned you that it would. I wanted none of this, Douglas. I came  down rather than attend to the attack in the hope that I could get you out alive.
Close on Huth's face.
 Huth: Don't cling, Douglas. Don't cling to the lies you were told. Don't die because you want  those lies to be true. You have a son to live for. Remember?
Archer, looking up. He feels like Faust, looking into the eyes of Mephistopheles.
   Huth: Be what you were meant to be, Douglas.
Archer closes his eyes. How he feels about Huth, he really could not say. He opens his eyes and looks at Huth, at the viewer.
