16/01/2026, 18:05 Celtx - Script The Bell
FADE IN:
INT. HARBOUR VIEW CARE HOME - DAY ROOM - DAY (2005)
FOLKESTONE, KENT.
Rain lashes against the bay windows. Through the grey
drizzle, you can just make out the English Channel, choppy
and angry.
Inside, the room is decorated with sad, drooping bunting. A
banner reads, "VE DAY: 60TH ANNIVERSARY."
THE REPORTER (59) sits in a wicker chair. He wears a wet
beige raincoat. He holds a notepad with the header THE
FOLKESTONE HERALD.*
Opposite him is ARTHUR (88).
ARTHUR
...and we watched the doodlebugs
coming over the water. Buzz, buzz,
cut out. Then bang.
The Reporter scribbles "Doodlebugs" for the hundredth time
this week. He looks bored.
REPORTER
And you were here? In Folkestone?
ARTHUR
Hellfire Corner, son. We took the
brunt of it so London could sleep.
The Reporter forces a smile. He closes his notebook.
REPORTER
That’s great, Arthur. The Herald
thanks you for your service.
The Reporter stands up and walks to the NURSES STATION. He
looks at SARAH (40s), the head nurse.
REPORTER (CONT'D)
Is that it, Sarah? My editor wants a
full spread for the Sunday edition.
"Local Heroes." Arthur is a sweet old
(MORE)
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REPORTER (CONT'D)
boy, but he tells the same story every
year.
Sarah looks at her chart.
SARAH
Most of them are napping or have
passed on.
It’s been sixty years.
She glances toward the end of the hallway. Room 12.
SARAH (CONT'D)
There is Bill.
REPORTER
Bill? I don't think I've interviewed
him.
SARAH
He’s new. Transferred from a hospital
in Dover a few months ago. Terminal.
((Beat))
He keeps to himself. Just sits by the
window watching the ferries.
REPORTER
Does he have a story?
SARAH
He has no family. No visitors. And his
file is... sparse. He doesn't talk
about the war.
The Reporter caps his pen.
REPORTER
A mystery. Better than nothing. Let's
see if he will talk to the press.
Genres:
["Drama","Historical"]
Ratings
Scene
2 -
Echoes of the Past
INT. ROOM -12- MOMENTS LATER
The Reporter walks down the corridor. The sounds of the care
home—the TV blaring a quiz show, the clinking of teacups—fade
away.
He stops at Room 12. He knocks gently.
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The room is quiet. The sound of the rain and the distant
foghorns from the harbour are louder here.
BILL (82) lies in the bed. He is frail, WITH skin like
parchment. He is staring out the window at the grey sea.
On the bedside table: A glass of water. A Bible. And a SILVER
POCKET WATCH.
The Reporter knocks gently on the open doorframe.
REPORTER
Afternoon. Bill?
Bill doesn't turn his head
BILL
((Voice like gravel))
The nurse said the paper was coming.
REPORTER
That’s right. *Folkestone Herald*.
We’re doing a piece on the
anniversary.
The Reporter sits down. He clicks his tape recorder on.
REPORTER (CONT'D)
I know you're tired, so I'll keep it
brief. Were you local, Bill? Did you
serve during the war?
Bill finally turns. His eyes are milky but intense. He
studies the Reporter’s face.
A flicker of recognition? Or maybe just sadness.
BILL
I lived in Dover. Since '49.
REPORTER
(Writing)
Dover. Right. And before that? During
the war?
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BILL
I was away.
REPORTER
Army? Navy?
BILL
Auxiliary Corps.
The Reporter stops writing. He looks disappointed.
REPORTER
Ah. Home Guard. So you didn't see
action.
BILL
I saw enough.
REPORTER
((Trying to be polite))
Well, the Home Guard was vital.
Keeping the the lights on. Fire watch.
Bill lets out a dry, rattling laugh.
BILL
Is that what you think happened? Fire
watch?
REPORTER
It’s what the history books say.
BILL
The books...
Bill reaches out a trembling hand toward the window. Toward
the sea.
BILL (CONT'D)
You look out there and you see the
ferries. You see France on a clear
day. You see peace.
(beat)
Do you know what I see, Will?
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The Reporter pauses. The old man’s tone has shifted. The air
in the room feels heavier.
REPORTER
What do you see, Bill?
BILL
I see the invasion fleet. I see the
sky black with smoke. I see a world
where the invasion failed
because they knew we were coming.
The Reporter sighs softly. He reaches to stop the recorder.
REPORTER
Okay, Bill. I think that’s enough.
Maybe we can talk another time.
BILL
Don't turn it off.
Bill points a bony finger at the bedside table.
BILL (CONT'D)
Look at the watch.
The Reporter hesitates. He picks up the SILVER POCKET WATCH.
It is ruined. Scorched. The glass face is cracked.
REPORTER
It’s... it’s been through the wars.
BILL
London. 1966.
REPORTER
((Confused))
1966? Bill, the war ended in '45.
Bill shakes his head slowly.
BILL
Not where I came from.
((beat))
Where I came from, London was a
graveyard.
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BILL (CONT'D)
And I was twenty years old. Just like
you were in '66.
EXTREME CLOSE UP ON BILL’S EYE.
BILL (CONT'D)
I drove a truck for the Reich by day.
And I bled for the Resistance by night
Genres:
["Drama","War"]
Ratings
Scene
3 -
Forced Into Darkness
EXT. LONDON ALLEYWAY - NIGHT (1966 - ALTERNATE TIMELINE)
GREY. SMOG. RAIN.The alley is slick with oil and grime.
Through the mouth of the alley, we see Piccadilly Circus in
the distance. The neon lights are gone. The Statue of Eros is
gone, replaced by a massive, brutalist BLACK MONOLITH.Draped
down the side of the Regent Street buildings are fifty-foot
red banners. The SWASTIKA ripples in the cold wind.
A dirty SUPPLY TRUCK idles in the shadows of the alley. The
engine rumbles. YOUNG BILLY (20) stands by the tailgate. He
looks identical to the Reporter in the care home, just thirty
years younger. Same nose. Same eyes. But where the Reporter
is soft, Billy is gaunt, wire-thin, and terrified. He wears
the drab olive uniform of the "British Auxiliary Corps"—
collaborators. He checks his watch—a cheap, plastic thing. He
lights a cigarette with shaking hands.
Two figures steps out of the gloom. one huge. Scarred. MILLER
(50s). He wears a heavy trench coat. The other Captain Jack
(50s) athletic build wearing a battered bomber jacket.
MILLER
You're late, kid.
Billy flinches, dropping the cigarette. He relaxes slightly
when he sees it's Miller.
BILLY
Checkpoint on Oxford Street. They were
checking papers. I thought they were
going to search the back.
MILLER
But they didn't. Because you’re the
best liar we have.
Miller slaps Billy on the shoulder.
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JACK
Did you get it?
Billy looks around nervously. He reaches under the wheel arch
of the truck. He pulls out a HEAVY METAL CANISTER wrapped in
oilcloth.
Stenciled on the side: "PROJEKT RIESE—CLASSIFIED."
BILLY
Hydraulic coupling. Just like you
asked. (He wipes sweat from his brow.)
That's the last time, Jack. Seriously.
I’ve been running parts for you for
two years. I’m pushing my luck.
Jack takes the canister. He weighs it in his hands. It’s
heavy. Dense.
JACK
You've done good work, Billy. Since
'64, you've stolen enough parts to
build a tank.
BILLY
Good. Then I’m done. I want out. I put
in a transfer request to the kitchen
corps. Somewhere safe. Somewhere warm.
Jack looks at Miller. Miller grins, missing teeth showing in
the gloom.
JACK
Get in the back, Billy.
Billy freezes.
BILLY
Why? The drop is here. I need to go
back to the barracks. That’s the
protocol.
Miller grabs Billy by the collar of his coat and hoists him
effortlessly into the back of the canvas-covered truck.
MILLER
You’ve just been promoted, kid.
Miller slams the tailgate shut. LOCKING IT.
BILLY (O.S.)
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Jack! Let me out!
The truck revs violently. It peels out of the alley, heading
into the dark heart of occupied London.
Genres:
["War","Drama","Sci-Fi"]
Ratings
Scene
4 -
Keys to the Reich
INT. RESISTANCE BUNKER - NIGHT (1966)
The truck is parked in the damp gloom of a disused
underground tunnel.
Billy jumps down from the tailgate, shivering. He looks
around. The bunker is a mix of scavenged 1940s tech and
stolen 1960s futuristic German equipment. A massive tactical
map covers one wall. It shows a terrifying world: The
Swastika blankets all of Europe, Africa, and Russia. The USA
is greyed out—isolated. Billy stares at it.
BILLY
Such a vast empire.
A woman’s voice cuts through the dark. Sharp. Cold.
ELENA (40S) (OS)
Vast indeed.
Billy turns.
ELENA (40s) steps into the harsh light of a hanging bulb. She
is striking, but severe. She wears men’s heavy wool trousers
and a thick commando sweater. Her hair is pulled back tight
and functional. She has the eyes of a librarian who has been
forced to become a soldier—intelligent, but exhausted. She
holds a clipboard like a weapon.
ELENA (CONT'D)
Statistically, they should have lost.
A match strikes in the shadows. The flare reveals OLD KRAUS
(68) seated deep in the corner. Frail, skeletal. A tattered
cardigan over what was an expensive shirt.Behind the wire-
rimmed glasses- sharp calculatibg eyes. He is smokes a pipe,
his hands tremble slightly.
OLD KRAUS
The math works.. if you know the
answers before the test begins.
Billy looks at Jack, confused.
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BILLY
Who is he?
JACK
The man who built their world. And the
only reason we have a chance to break
it.
(beat)
Billy, meet Dr. Heinrich Kraus.
Kraus stands. Studies Billy — pity mixed with calculation.
OLD KRAUS
You are the driver?
((He turns to the map))
OLD KRAUS (CONT'D)
The Führer was handed the keys.
Billy frowns
BILLY
What's he talking about?
JACK
Listen.
INSERT FLASH BACK MONTAGE.
EXT. NORTH ATLANTIC - NIGHT (1940)
A British convoy sails through calm waters.
Suddenly-torpedoes streak from everywhere.
ELENA (V.O.)
Key One: The Enigma, The Nazi's false intel tells us the
Atlantic is safe. It lures the convoys into the wolfpacks.
Britain starves in six months
EXT. RED SQUARE - MOSCOW - DAY (SUMMER 1941)
German PANZERS roll past St. Basil’s Cathedral. The sun
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shines. No snow.
OLD KRAUS (V.O.)
Key Two: The East.
They attacked in May.
INT. REICHSTAG - BERLIN - DAY (DECEMBER 1941)
Hitler stands at the podium. Behind him — reports of PEARL
HARBOR. He smiles. Says nothing.
ELENA (V.O.)
Key Three: The Sleeping Giant.
Hitler never declared war.
EXT. LONDON - DAY (1943)
A V-2 rocket screams down from the sky.
Flash.
A nuclear mushroom cloud consumes the East End.
OLD KRAUS (V.O.)
And finally the pyhsics. Projekt
Gotterdammerung. Twilight of the gods.
RETURN TO SCENE:****INT. RESISTANCE BUNKER - NIGHT
Billy looking around at everyone in the room
BILLY
We learned in school it was
inevitable. That the Aryan spirit was
unconquerable.
They had the intelligence—
ELENA
It wasn’t intelligence.
And it certainly wasn’t spies.
She steps closer.
ELENA (CONT'D)
Spies guess. The Reich didn’t guess.
They knew.
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OLD KRAUS
They had a cheat code William.
(a beat)
You think they won because they where
smarter? No.
He points to the map
Imagine a game of chess.One player can
stop the clock, walk around the table,
read his opponent's notes..
(beat)
Then sits back down before second hand
moves.
A silence.
OLD KRAUS (CONT'D)
That is Die Glocke. The Bell.
Billy frowns.
BILLY
A time machine? That's comic book
trash.
ELENA
Is it?
She gestures to the map.
ELENA (CONT'D)
Enigma. Barbarossa early. Pearl
Harbour ignored.
(beat)
Hindsight. Weaponised.
Billy looks around. No one looks convinced. They are
terrified.
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BILLY
Okay. Say I believe you. Why me?
Jack steps into his space.
JACK
Exactly. You’re invisible.
(a beat)
A soldier gets questioned. A spy gets
shot.
(beat)
A bored delivery driver? He gets waved
through.
ELENA
You forge petrol rations. You steal
parts. You sell them on the black
market.
She studies him.
ELENA (CONT'D)
You're are a natural thief.
Billy looks at the heavy canister.
BILLY
What the hell is this thing?
OLD KRAUS
Xerum 525.The fuel
(a beat))
OLD KRAUS (CONT'D)
It sends us back to 1940.
Billy turns on him.
BILLY
How do you know about all this?
OLD KRAUS
Because I helped build it.
(beat)
(MORE)
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OLD KRAUS (CONT'D)
And now I must destroy it.
Kraus pins a photograph to the map.
OLD KRAUS (CONT'D)
Hans Vogel.
(a beat)
OLD KRAUS (CONT'D)
April 1945. As the Reich collaspsed,
Vogel stepped into the bell.
(beat)
In his breifcase-everything they did
wrong. Overloard. Russia. Bletchly
Park.
Jack steps in.
JACK
We use your truck. Forged ID's. Sealed
manifests.
(beat)
Dover. Calias. Priority freight to
Silesia.
(beat)
From there the Owl Mountains.We jump
back. We destroy the bell.
MILLER
Piece of cake, lad.
Billy turns back to Kraus.
BILY
If you built it. Why help us to
destroy it?
Kraus stares at the floor.
OLD KRAUS
Magda.
BILLY
Who?
Kraus swallows.
OLD KRAUS
My daughter.
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OLD KRAUS(CONT'D)
(a beat)
OLD KRAUS (CONT'D)
She was nineteen. Played the piano
like an angel.
His hands tremble.
OLD KRAUS (CONT'D) (CONT'D)
She fell in love. A violinist. A
Jewish boy.
A long silence.
OLD KRAUS (CONT'D) (CONT'D)
Thet shot my wife in the doorway. They
took Magda to the camps.
(softly)
She died three months later.
No one speaks.
OLD KRAUS
They kept me alive. Too vauluable.
(beat)
They exiled me here. To London. To rot
in the rain.
JACK
We grabbed him a month ago.
(beat)
Thought we'd tourture him.
A look at Kraus.
JACK (CONT'D)
Instead he poured us a drink.
Kraus meets Billys eyes.
OLD KRAUS
I gave them the future.
(beat)
Now i need you to drive it back.
Billy zips his jacket.
BILLY
Do I need to forge a manifest?
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ELENA
Already done.
BILLY
What happens if we destroy it?
MILLER
We don't come home.
OLD KRAUS
A one- way trip.
(beat)
We erase the machine. Every trace.
BILLY
So I'm stuck in 1940.
ELENA
We all are.
(a beat)
OLD KRAUS
Think of your family.
Billy stiffens.
BILLY
How do you know about them?
JACK
We know what happened.
(beat)
Your father was shot, your Mother sent
you away.
A pause.
JACK (CONT'D)
You can change it.
Billy swallows.
BILLY
And if it doesn't work?
(beat)
Kraus steps closer.
OLD KRAUS
I have seen when it doesn't.
(beat)
No VE Day. No victory.
(a beat)
(MORE)
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OLD KRAUS
Churchill dies fighting the Gestapo.
Billy buttons his coat. Hands shaking.
BILLY
Looks like we have a train to catch.
Genres:
["War","Sci-Fi","Drama","Thriller"]
Ratings
Scene
6 -
Checkpoint Tension
EXT./INT. BILLY’S TRUCK (MOVING) – DAY – PORT OF DOVER
The WHITE CLIFFS loom through rain and fog. A Reich-
controlled harbour bristles with floodlights. A colossal
ROLL-ON ROLL-OFF FERRY yawns open. A line of heavy trucks
crawls toward the checkpoint.
At the front —
THE RESISTANCE TRUCK.
INT. TRUCK CAB
JACK
Breathe, kid. You're just a driver
doing your job.
BILLY
(hyperventilating)
It’s not customs. It’s an SS port
unit.
JACK
Then don't give them a reason.
A heavy gloved fist slams against the window.
Billy flinches, winds it down.
An SS SCHARFÜHRER leans in. Greatcoat soaked. Salt beads on
the rim of his helmet. A torch snaps on — straight into
Billy’s eyes.
SS GUARD
(In German)
Papers.
Billy hands over the clipboard. His hand trembles.
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BILLY
(In fluent, nervous German)
Transport Seven-Delta. Priority Reich
cargo, Eastern Territories.
The Guard scans the manifest. The torch slides to Jack. Jack
stares ahead — bored, superior.
SS GUARD
Identification, Herr Major.
Jack doesn’t look at him. He snaps his fingers once. Billy
passes the forged booklet. The Guard studies it. Too long.
Then he gestures to the rear.
SS GUARD (CONT'D)
Open the back.
Billy freezes. Inside Miller, Elena, Kraus — weapons.
BILLY
(In German)
I wouldn't do that
(beat)
SS GUARD
Why?
BILLY
Sealed magnetic guidance core. Class-
One sensitive.
(beat)
Salt air degrades it.
(beat)
If it degrades, Reichsmarschall
Kammler will want to know why?
(a beat)
BILLY (CONT'D)
I will happily give him your name.
The Guard hesitates.Looks again at the manifest.PROJECT
RIESE. KAMMLER. Decision made. He steps back. Slaps the
truck.
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SS GUARD
Board immediately. Schnell.
Billy exhales — shaky, uncontrolled. Eases the truck forward.
UEXT. ROLL ON ROLL OFF FERRY RAMP-CONTINUOUS
The truck climbs the steel ramp, Tyres clang on wet metal. SS
guards line the ramp-silhouettes in mist. As the truck enters
the ferry’s belly, dock noise dies. Steel swallows sound.
INT. FERRY VEHICLE DECK- CONTINUOUS
Cavernous. Rows of trucks chained down. The Resistance Truck
is waved into position. Miller, Kraus, and Elena slip out the
back — dock workers now. Clipboards. Overalls. Eyes down.
Chains CLANK tight around the wheels. A klaxon sounds.
Through the open stern, Billy catches a last glimpse of
England: Floodlights.Rain The cliffs fading into fog The BOW
DOORS BEGIN TO CLOSE. Steel grinding on steel.
Genres:
["War","Drama","Thriller"]
Ratings
Scene
7 -
Crossing the Channel: A Journey of Resolve
INT. FERRY- BELOW DECK - MOMENTS LATER.
The doors SEAL with a thunderous CLANG. The engines rumble to
life. Miller drops the act, peeling off the overalls.
MILLER
We're committed now.
Old Kraus removes his POCKET WATCH — He checks the time.
OLD KRAUS
0200 hours. Once we clear the Channel,
there is no turning back.
Billy slides down the bulkhead, sitting hard.
BILLY
How long to Calais?
ELENA
Ninety minutes. After that...we belong
to them.
The ferry shudders, pulling away from the dock. Billy closes
his eyes. Above them, the CHANNEL SWALLOWS ENGLAND.
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INT. FERRY- BELOW DECK - MOMENTS LATER
Jack lights a cigarette.
JACK
You did well back there, kid, You're a
natural.
Jack offers Billy a cigarette. Billy hands trembling accepts.
Jack lights it. Billy takes a puff and begins coughing.
Miller laughs.
MILLER
First time, kid?
BILLY
You noticed. Yeah, never really been
my thing, but you know, when in Rome.
The team chuckles together.
MILLER
So, us last remaining resistance
fighters have known each other for
some years now. But what's your story
kid?
The engine thrum is constant now. Metallic. Inevitable. Billy
stares at the cigarette between his fingers, smoke curling
like a question he doesn’t want answered. He looks up at
Miller.
BILLY
What's my story?
(beat)
I nicked a loaf of bread when I was
twelve. Got caught. The officer said
if I cried, he’d break my fingers. So
I didn’t.
Miller watches him carefully.
BILLY (CONT'D)
My dad taught me how to drive when I was ten. Said, “Engines
don’t care who’s in charge, son. They only care if you
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listen.”
(beat)
He was shot two years later for printing leaflets in a
cellar.
Silence. Even Jack doesn’t joke.
BILLY
After that, I learned two things. One — keep your head down.
Two — if they’re watching everyone… they’re not really
watching anyone.
Elena nods. She understands this instinctively.
ELENA
Survival isn’t cowardice. It’s
adaptation.
Billy shrugs
BILLY
Tell that to my mum.
(beat)
She got me onto a transport heading
south. Said I’d be safer with my aunt.
His voice tightens.
BILLY (CONT'D)
She waved like she'd see me again. I
never did.
Kraus closes his eyes. The pocket watch TICKS — loud in the
quiet.
OLD KRAUS
History records men like your father as criminals.
(beat)
OLD KRAUS (CONT'D)
The future calls them heroes.
Billy looks at him — a flicker of something new.
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BILLY
Then let’s make sure there is a
future.
The words hang in the air. The ferry’s engines settle into a
steady, unforgiving rhythm.
Miller lets out a dry breath — almost a laugh.
MILLER
I said something like that once.
France. Nineteen forty.
(beat)
Five minutes before the bridge went up.
Billy looks at him now — really looks.
BILLY
You were there?
Miller nods
Royal Engineers. Demolitions.
My job was to make sure the enemy
couldn’t follow.
(beat)
Blew roads. Rail lines. Towns I’d
drunk in the week before.
He rubs his hands - old habit
MILLER
They told us we were buying time.
Turns out… we just never got paid
back.
Elena checks a pressure valve on the canister. Calm. Precise.
ELENA
Time is the only currency that
matters.
Billy turns to her.
BILLY
What did you do in the war?
She hesitates. Just a fraction.
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ELENA
I was eighteen. Didn’t fire a weapon.
Didn’t wear a uniform.
(beat)
Bletchley Park.
Billy blinks
BILLY
You helped break the Enigma?
ELENA
We broke patterns.
People think codes are clever.
(beat)
They’re lazy.
She finally looks up.
ELENA (CONT'D)
We could see convoys dying days before
they sank. Cities burning before the
bombers took off.
Her voice hardens.
ELENA
The Bell turned that kind of knowledge
into a weapon.
Jack shifts his weight against the bulkhead. Military without
the uniform.
BILLY
And you Captain?
Jack gives a thin smile.
JACK
British Army.
Sand. Smoke. Retreat.
That word lands heavy.
JACK
We left half the lads behind.
Spent the rest of the war pretending
(MORE)
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JACK (CONT'D)
it was a victory.
He meets Billy's eyes.
JACK (CONT'D)
Afterward, they needed officers who
could organise.
Then officers who could interrogate.
(beat)
I was good at both.
Silence.
Billy looks between them now — not just rebels, but ghosts.
Kraus closes his pocket watch. The CLICK echoes.
OLD KRAUS
And that is why you are here.
(A beat)
Soldiers. Engineers.Code-breakers…
People who know what the world cost
the first time.
The ferry lurches as it clears the harbour.
A distant HORN sounds.
Billy straightens.
BILLY
Alright.
(beat)
When we reach Calais... what changes?
Jack and Elena exchange a look.
JACK
That’s when the past starts pushing
back.
Miller smiles — grim. Familiar.
MILLER
And I get to do my old job again.
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The ferry cuts through the Channel fog, carrying the last men
and women who remember how the world was supposed to end.
Genres:
["War","Historical","Drama","Thriller"]
Ratings
Scene
8 -
Reflections on Time and Sacrifice
INT. FERRY – BELOW DECK – LATER
The others are further down the hold, giving space.
The ferry hums steadily now — deep, mechanical, almost womb-
like.
Billy sits on a coil of rope, staring at the canister.
Kraus approaches, careful, like an old man stepping onto thin
ice.
OLD KRAUS
You are wondering something.
Billy doesn’t look up.
BILLY
Yeah.
(beat)
What happens if we run into…
ourselves?
Kraus nods. He expected this.
OLD KRAUS
Well, I will.
BILLY
You will, but what about the others?
When we land... it’s 1940. Is there a
version of Elena working at Bletchly
Park?
Jack looks up. He smiles faint and sad.
JACK
And a version of me nursing a hangover
in Cairo.
BILLY
So if we die there..What happens to
them?
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Kraus answers to the point.
KRAUS
Nothing.
(beat)
They wake up. They fight the war. They
grow old.
BILLY
But they won't remember this. They won't know we died for
them.
KRAUS
No. They will live the life you had
stolen from you.
He leans closer
KRAUS (CONT'D)
You are not fighting for your
survival, William. You are fighting
for theirs.
Billy absorbs this.
He looks at his hands—shaking, dirty, scarred by the
dystopia. Then he imagines that other Billy. Young. Clean.
Unaware.
The fear vanishes, replaced by a strange, calm resolve. He
isn't a victim anymore. He's a guardian angel.
Billy finally looks at him.
BILLY
You’re certain?
OLD KRAUS
The facility was not built by
strangers, William. It was built by
men in their twenties who believed
they were saving the world.
(beat)
One of them was me.
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Billy absorbs that.
BILLY
So what — you talk to him? Tell him he
gets it all wrong?
Kraus smiles sadly.
OLD KRAUS
If only it were that simple.
He reaches into his coat and removes the POCKET WATCH. Worn.
Heavy with history. He opens it. Inside the lid — an ENGRAVED
INSCRIPTION. Kraus turns it so Billy can read.
OLD KRAUS (CONT'D)
My wife gave me this in December,
Before the snow. Before the
compromises.
(beat)
It says: “Für die Zeit, die wir noch
haben.”
For the time we still have.
Billy swallows.
BILLY
You think that’ll convince him?
OLD KRAUS
it will stop him running.
(beat)
When my younger self sees me with
this… he will know.
Kraus closes the watch gently.
OLD KRAUS (CONT'D)
He was proud. Arrogant. But he loved
her more than physics.
Billy frowns.
BILLY
And if he doesn’t listen?
Kraus meets his eyes — honest, unflinching.
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OLD KRAUS
Then I will destroy the machine
myself.
(beat)
With or without my younger self's
permission.
A distant CLANG echoes through the hull.
Billy nods slowly.
BILLY
And the rest of us? We just… stay
there?
Kraus sits beside him now. Two generations sharing the same
steel floor.
OLD KRAUS
We remain in 1940, yes. Time will
continue.
Billy’s jaw tightens.
BILLY
So I just disappear?
Kraus shakes his head.
OLD KRAUS
No.
(beat)
You are not a paradox, William. You
are a result.
Billy looks confused.
OLD KRAUS (CONT'D)
Your parents will still meet.
You will still be born.
(beat)
Only this time… they may live long
enough to see who you become.
Billy exhales — a breath he didn’t realise he was holding.
His eyes drift to the canister.
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BILLY
And that thing? Fuel.
Kraus follows his gaze.
OLD KRAUS
Xerum 525.
(A beat)
The Bell does not travel through time.
Billy looks up.
OLD KRAUS (CONT'D)
It bends it.
Kraus rests a hand on the canister.
OLD KRAUS (CONT'D)
The serum is a catalyst.
(beat))
When energised, it creates a moment
where cause and effect separate.
(a beat)
That moment is the jump.
Billy nods-he understands ⁷enough.
BILLY
And once it’s gone?
OLD KRAUS
No fuel. No Bell. No second chances.
The ferry’s horn BLARES somewhere above.
Kraus stands.
OLD KRAUS (CONT'D)
History will not remember us.
Billy looks up.
BILLY
I will.
(A beat)
(MORE)
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OLD KRAUS
Then it was worth it.
They sit in silence as the ferry cuts deeper into the Channel
— carrying a watch, a canister, and the last chance to choose
the right future.
Genres:
["Sci-Fi","Historical","Drama"]
Ratings
Scene
9 -
Journey into Occupation
EXT. PORT OF CALAIS – DAWN
The ferry’s bow doors open.
Grey light spills onto the vehicle deck.
The Resistance Truck rolls forward — swallowed by a continent
under occupation.
MONTAGE – THE JOURNEY EAST
CALAIS CHECKPOINT
French collaborators stamp documents without looking up.
A red wax seal PROJECT RIESE. Pressed hard.
— BELGIUM – DAY
Bombed-out villages rebuilt in brutal concrete. Reich banners
hang where church bells should be.
— GERMAN BORDER
A guard compares Billy’s face to his papers. Too long.
Billy doesn’t blink.
The barrier lifts.
— RAIL YARD – NIGHT
The truck is chained onto a flatbed rail car.
STEEL LINKS clank tight.
A locomotive couples - CLANG.
— INSIDE THE TRUCK – MOVING – NIGHT
Darkness. Engine vibration.
Kraus studies his pocket watch.
Elena checks the canister’s restraints.
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Miller sleeps sitting up- hand resting on a detonator like a
rosary.
Jack studies a folded map of Eastern Europe — the Owl
Mountains circled in pencil.
— TRAIN BARRELLING THROUGH FOREST – NIGHT
Headlights carve tunnels through snow-laden trees.
The wheels beat faster.
Relentless.
Imside the truck, the others brace instinctively — soldiers
again, whether they want to be or not.
INT. FREIGHT TRAIN – MOVING – NIGHT
Iron wheels SCREAM against steel. The freight train barrels
east through forest and snow.
Inside the RESISTANCE TRUCK, chained flat on a rail car.
Billy grips the wheel, staring through the narrow windscreen
slit at darkness racing past.
Kraus looks up - alert.
OLD KRAUS
That sound-
The train LURCHES. A VIOLENT JOLT throws everyone sideways.
Metal SHRIEKS. Couplings SNAP. Billy grabs the wheel on
instinct.
BILLY
What the hell was that?!
The WHINE builds becomess a ROAR.
Then—
EXT. RAIL LINE – CONTINUOUS
The track ahead has been TORN APART.
An explosion detonates beneath the rails.
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INT. FREIGHT TRAIN – CONTINUOUS
The world EXPLODES. The train DERAILS — cars jack-knife,
steel folding like paper. The Resistance Truck is TORN FREE
from its chains.
INT. TRUCK – CONTINUOUS
Billy is thrown HARD into the dash. Glass SHATTERS. The truck
SKIDS, SLAMS, then TILTS as the rail car begins to roll.
Genres:
["War","Sci-Fi","Drama","Thriller"]
Ratings
Scene
11 -
Derailment and Desperation
EXT. DERAILMENT – NIGHT
The train leaves the tracks in a fireball of sparks and
steam. Rail cars cartwheel into the trees. One car — carrying
the Resistance Truck — TEARS OFF the embankment.
INT. TRUCK – CONTINUOUS
The truck HANGS at an angle, half off the rail car. The
canister SHIFTS — STRAPS SNAP. Elena sees it sliding.
ELENA
The serum!
She dives, fingers catching the c handle as it SKIDS toward
open air. Below— darkness. Snow. Fire. Elena dangles, boots
scraping metal.
ELENA (CONT'D)
I’ve got it—!
The rail car SLAMS again. Elena loses her grip with one hand
— the canister DANGLES. Billy crawls toward her.
BILLY
Elena!
He grabs her wrist — just as—
INT. CARGO AREA – SAME TIME
Miller and Jack slam into stacked crates. A SECONDARY
EXPLOSION rocks the truck. Fire erupts from a ruptured fuel
line. Miller clocls it instantly.
MILLER
The explosives!
Old muscle memory kicks in. They rip open crates, grabbing
charges, rifles, ammo. Fire SPREADS fast.
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EXT. DERAILMENT – CONTINUOUS
Flames crawl along twisted rail cars. SS SHOUTS echo in the
distance. Survivors. Or worse — reinforcements.
INT. TRUCK – CONTINUOUS
Billy pulls with everything he has. Elena swings back in,
clutching the canister to her chest. They collapse together.
A SCREAM behind them. Kraus is pinned beneath a fallen steel
support, leg trapped. Fire inches closer.
OLD KRAUS
Leave me.
Billy doesn't look at him.
BILLY
Shut up.
Billy wedges a crowbar under the beam. It doesn’t move. He
panics — looks at the flames,then back to Kraus.
BILLY (CONT'D)
You said the future needed us!
Kraus meets his eyes — calm. Accepting. Billy SCREAMS and
heaves again. The beam SHIFTS. Jack appears- blood on his
face. He drops beside Billy. Braces. Pushes. Miller joins
them — teeth clenched. Together — they LIFT. Kraus’s leg
comes free. Billy drags him clear as— BOOM. The truck’s rear
ERUPTS. They tumble into the snow as the vehicle BURNS.
Genres:
["War","Drama","Action"]
Ratings
Scene
12 -
Escape to Sanctuary
EXT. FOREST EDGE – NIGHT
The team stumbles away from the wreckage, silhouetted by
fire. Elena still has the canister. Miller counts charges —
fewer now. Jack scans the treeline. SS SEARCHLIGHTS cut
through the forest in the distance. Kraus leans heavily on
Billy.
OLD KRAUS
((grim smile))
History doesn’t want to let go.
Billy looks back at the burning train.
BILLY
Then we drag it forward.
Jack gestures into the dark.
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JACK
Polish border’s ten miles east.
(A beat)
From here on — we walk.
They disappear into the trees as the train burns behind them
— steel, fire, and certainty collapsing together.
EXT. WOODED HILLS – LOWER SILESIA – NIGHT
Snow drifts softly between the trees. The team moves
carefully now. Slower. Kraus limps, supported by Billy.
Through the trees, a SMALL STONE CHURCH emerges. No lights.
No banners. Just age and silence. A single BELL hangs in the
tower — cracked, unmoving.
Miller exhales.
MILLER
We’re here.
Jack signals halt.
JACK
You sure?
Miller nods.
MILLER
If he’s still breathing.
INT. STONE CHURCH – NIGHT
Candles flicker along the walls.
A lone figure kneels at the altar — a MONK in a worn habit.
He doesn't turn
MONK
((in Polish))
Confession is tomorrow.
Miller steps forward.
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MILLER
Then I'll keep it short.
The monk freezes. Slowly, he rises and turns. JANUS (50s).
Calm eyes. Weathered face. He looks at Miller — recognition
without surprise.
JANUS
You are late.
MILLER
Train trouble.
Janus’s eyes flick briefly to Kraus’s injured leg.
JANUS
Bring him.
Genres:
["War","Historical","Drama"]
Ratings
Scene
13 -
The Hidden Path
INT. CHURCH – SIDE CHAPEL – LATER
Kraus lies on a wooden pew. Janus works with quiet efficiency
— binding the leg, setting it straight. No questions. No
judgment. Billy watches, absorbing everything.
BILLY
You trust him?
Miller doesn't look up.
MILLER
He hid twelve families under this
floor after we blew a bridge east of
here.
(A beat)
Never asked who we were.
Never told anyone we came.
Janus finishes the bandage.
JANUS
The bone will hold. Pain will remind
him not to run.
Kraus manages a faint smile.
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INT. CHURCH – CANDLELIT NAVE – NIGHT
The team sits in silence.
Janus pours thin soup into bowls.
JANUS
You are going into the mountains.
Jack nods.
JACK
We’re looking for something that
shouldn’t exist.
Janus meets his eye.
JANUS
Then you are in the right place.
Billy glances at the altar.
BILLY
What is it?
Janus gestures to a stone staircase hidden behind the altar.
Genres:
["War","Historical","Drama","Thriller"]
Ratings
Scene
14 -
Echoes of the Past
INT. CATACOMBS – NIGHT
Crates. Rifles. Explosives. Maps. And — carved into the stone
walls — NAMES. Hundreds. Scratched. Etched. Bloody.
Elena stops.
ELENA
These are prisoners.
Janus nods.
JANUS
Jews. Political men. Engineers who
asked questions.
(A beat)
They were brought into the mountains
to dig.
Kraus’s face collapses inward.
JANUS (CONT'D)
They said it was a weapon to end the
(MORE)
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JANUS (CONT'D)
war.
(A beat)
The work ended them instead.
Silence. Billy touches one of the names.
BILLY
No one ever came back?
Janus meets his eyes.
JANUS
Some things do not let witnesses
leave.
Genres:
["War","Historical","Drama","Thriller"]
Ratings
Scene
15 -
Atonement in the Sacristy
INT. CHURCH – SACRISTY – NIGHT
A small stone room behind the altar.
Icons. Shelves of herbs. A single oil lamp.
Janus washes blood from his hands in a basin.
Kraus sits on a stool, leg bound, exhausted.
For a moment, they are just two old men.
Janus glances at Kraus’s hands.
Long fingers. Scarred in the wrong places.
Janus freezes.
JANUS
(in German)
You are not a labourer.
Kraus looks up. Caught
OLD KRAUS
No.
Janus switches to precise, educated German.
JANUS
Engineers’ hands.
Men who draw lines.
(beat)
(MORE)
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JANUS (CONT'D)
What is your name?
Kraus hesitates.
OLD KRAUS
Hans… Kraus.
The lamp FLARES as Janus steps back.
JANUS
Kraus.
(beat)
Dr.Hans Kraus.
Silence drops like a slab of stone.
Janus’s jaw tightens. His breath becomes controlled —
dangerous.
JANUS (CONT'D)
Riese Project. Wenceslas Mine. Die
Glocke.
Kraus lowers his eyes.
OLD KRAUS
Yes
Janus SLAMS the basin over. Water spills across the floor.
JANUS
Do you know how many died digging
those tunnels?
Kraus doesn’t answer.
JANUS (CONT'D)
Do you know how many prayed for death
because their hands would no longer
close?
Kraus’s voice is barely audible.
OLD KRAUS
Every night.
Janus grabs Kraus by the collar, yanks him close.
Kraus lets out a grown in pain.
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JANUS
They sang hymns while they dug.
(beat)
Did your machine hear them?
Kraus finally looks up — eyes full, unshielded.
OLD KRAUS
No.
(beat)
And that is why I am here.
Janus releases him, turns away, shaking.
A long beat.
JANUS
You built hell.
Kraus nods.
OLD KRAUS
And now I am walking back into it.
Janus faces him again.
JANUS
Why should I let you live long enough
to do that?
Kraus reaches into his coat. Slowly. Carefully. He removes
the POCKET WATCH. He opens it. The inscription catches the
lamplight. Janus reads it. Something cracks — just slightly.
OLD KRAUS
My wife wrote that before the first
shovel broke ground.
(beat)
I chose the machine over her.
Janus exhales — a sound like grief, not forgiveness
JANUS
You will not be forgiven.
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OLD KRAUS
I know.
Janus steps closer.
JANUS
But if what you say is true…
If this ends the Bell…
(A beat)
Then God will decide what I cannot.
Janus turns and leaves. Kraus remains — smaller now. Billy
appears in the doorway. He heard enough.
BILLY
You okay?
Kraus shakes his head.
OLD KRAUS
No.
(A beat)
But I deserve that.
Billy sits beside him. Outside, the wind rattles the cracked
bell. Not ringing. Judging.
Genres:
["Drama","Historical","War"]
Ratings
Scene
16 -
The Hollow Mountain's Warning
INT. CHURCH – DAWN APPROACHING
The team rests among pews and stone.
Snow taps softly against stained glass.
Janus stands with Jack and Miller over a MAP of the Owl
Mountains.
He circles a region.
JANUS
The mountain is hollow here.
(A beat)
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JANUS (CONT'D)
The earth rings when you strike it.
Jack looks at Kraus.
JACK
That it?
Kraus nods grim.
OLD KRAUS
That’s the lair.
Janus rolls up the map.
JANUS
I will take you as far as the old
paths.
Billy studies him.
BILLY
Why help us?
JANUS
Because whatever you are carrying…
(A beat)
JANUS (CONT'D)
…it already killed enough people.
Above them the cracked bell TOLLS once — moved by the wind.
Not a call to prayer.
A warning.
Genres:
["Drama","Thriller","Historical"]
Ratings
Scene
17 -
Echoes of the Past
EXT. OWL MOUNTAINS – NARROW PATH – DAY
Snow crunches under boots. Janus leads. Kraus limps behind,
supported by Billy. The mountain looms — quiet. Watchful.
Billy breaks the silence.
BILLY
If they can change time… why haven't
they already stopped us?
Janus doesn’t turn. Kraus answers.
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OLD KRAUS
Because they are not gods.
(A beat)
They are men with a machine.
Billy studies him.
BILLY
Then why not go back further? Kill us
before we even meet?
Janus slows slightly — listening now.
OLD KRAUS
Because the Bell has a beginning.
(A beat)
It cannot reach behind its own shadow.
Billy absorbs that.
BILLY
So once it’s gone—
OLD KRAUS
—there is no voice left to warn them.
Janus stops.
The others halt.
Janus turns to Kraus — calm, controlled, dangerous.
JANUS
And the men who built it?
Kraus meets his gaze.
OLD KRAUS
They believed they were saving
Germany.
(A beat)
I believed I was saving my family.
JANUS
The prisoners believed they were
(MORE)
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JANUS (CONT'D)
digging graves.
Silence.
Billy looks between them.
BILLY
So this is it. One chance.
Kraus nods.
OLD KRAUS
One.
Janus studies Kraus for a long moment.
JANUS
When you reach the lair… will you meet
the man you were?
Kraus swallows.
OLD KRAUS
Once we have jumped. Yes.
JANUS
Do not ask him to be forgiven.
(A beat)
JANUS (CONT'D)
Ask him to stop.
Kraus inclines his head. Respect. Acceptance.
OLD KRAUS
That is all I intend to do.
Janus turns and continues up the path. Billy moves with Kraus
again.
BILLY
You think he’ll listen?
Kraus looks up at the mountain — It's weight pressing down.
OLD KRAUS
No.
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OLD KRAUS (CONT'D)
(A beat)
But I think he’ll understand.
Ahead, the wind carries a faint, unnatural HUM — too steady
to be the mountain. Janus stops again.
Genres:
["Drama","Sci-Fi","Thriller"]
Ratings
Scene
18 -
The Fork in the Path
EXT. OWL MOUNTAINS – RIDGELINE – DAY
JANUS
We are close.
Billy feels it now — in his teeth, in his bones. The Hum is
already there.
Janus stops at a break in the trees. Beyond it: raw rock,
mist, and a mountain that feels wrong.
JANUS
I go no further.
No ceremony. No sentiment. He turns to Kraus.
JANUS (CONT'D)
When the Bell misbehaves…
they do not send soldiers.
(A beat)
They send engineers.
Billy clocks this.
JANUS (CONT'D)
And engineers never arrive unarmed.
Kraus nods.
OLD KRAUS
Thank you.
Janus inclines his head once. Then turns back down the path,
swallowed by trees. The team stands alone. The HUM grows
slightly louder.
Billy exhales.
BILLY
So.
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BILLY (CONT'D)
(A beat)
BILLY (CONT'D)
The truck’s gone.
Jack adjusts his grip on his rifle, eyes on the mountain.
JACK
We get eyes on the site.
(A beat)
JACK (CONT'D)
Then we improvise.
Billy nods. They move. Kraus lags for a moment — thinking.
OLD KRAUS
There may be another way.
The group slows. Kraus gestures off the main path, toward a
rocky outcrop half-hidden by pine.
OLD KRAUS (CONT'D)
During the early excavation… we cut a
ventilation shaft.
Miller frowns.
MILLER
Why wasn’t that on the plan?
Kraus doesn’t meet his eyes.
OLD KRAUS
Because I never intended anyone to
need it.
(A beat.)
ELENA
How far?
OLD KRAUS
Not far.
(A beat)
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OLD KRAUS (CONT'D)
If it still excists.
Jack considers.Then nods once.
JACK
Show us.
Genres:
["Action","Thriller","Historical"]
Ratings
Scene
19 -
The Sealed Shaft
EXT. VENTILATION SHAFT CLEARING – DAY
They push through brush into a shallow clearing. Rock walls.
Old concrete. Rusted bolts. And there it is ——or where it
was. The shaft entrance has been BRICKED UP.
Newer stone. Careful work. Miller runs a hand over it.
MILLER
I can open it.
(A beat)
But the whole mountain’s gonna hear
it.
Jack scans the treeline. The HUM vibrates through the rock.
Kraus stares at the sealed shaft — something like grief
crossing his face.
OLD KRAUS
I built this place to last forever.
(A beat)
OLD KRAUS (CONT'D)
Turns out forever is very good at
closing doors.
A distant VOICE carries on the wind. German.
Jack stiffens.
JACK
Contact.
An SS PATROL crests the ridge — rifles slung, relaxed but
alert. Billy’s hand goes to his weapon. Elena mirriors him.
Miller sets his jaw. This is it.
Kraus straightens. Pain flashes across his face — then
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something else replaces it. Authority. He steps forward
before anyone can stop him.
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
20 -
Bluffing Authority
EXT. VENTILATION SHAFT CLEARING – CONTINUOUS
The SS PATROL approaches — six men. Muddy boots. Rifles loose
ready.
An SS SERGEANT (40s) clocks the weapons immediately.
SS SERGEANT
(in German)
Hands where I can see them.
Jack’s jaw tightens. Billy’s pulse hammers. Kraus does not
raise his hands.
He steps forward.
OLD KRAUS
(German)
Lower your weapon.
The Sergeant blinks — not expecting that.
SS SERGEANT
This is a restricted—
OLD KRAUS
—site.
(A beat)
OLD KRAUS (CONT'D)
Yes. I know.
Kraus gestures to his injured leg, annoyed, not weak.
OLD KRAUS (CONT'D)
We were on the Riese supply train.
Containment equipment. Medical grade.
He indicates the CANISTER in Elena's hands.
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OLD KRAUS (CONT'D)
It derailed twenty kilometres west.
Everything else burned.
The Sergeant studies the canister. The symbols. The seals.
That HUM vibrates through the rock. The Sergeant feels it.
SS SERGEANT
Your papers.
No hesitation.
OLD KRAUS
Lost with the rest of it.
(A beat)
OLD KRAUS (CONT'D)
Or we walk back down the mountain and
explain to Berlin why the activation
window was missed.
Berlin lands. The Sergeant swallows.
SS SERGEANT
Who authorised this visit?
Kraus steps closer - quiet, dangerous.
OLD KRAUS
Kammler.
(A beat)
OLD KRAUS (CONT'D)
And nO - It wasn't logged locally.
The Sergeant stiffens. He understands.
SS SERGEANT
Why are you armed?
Miller shifts.Jack tenses. Kraus looks genuinely offended.
OLD KRAUS
When the chamber destabilises,
guards panic.
(A beat)
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OLD KRAUS (CONT'D)
Engineers do not.
Silence.
The Sergeant looks at the brickwork sealing the shaft.
SS SERGEANT
This entrance is sealed.
Kraus nods, irritated.
OLD KRAUS
Yes.
(A beat)
Which is why you will unseal it.
The Sergeant hesitates — Kraus leans in.
OLD KRAUS (CONT'D)
Or you can explain to Kammler why a
preventative vent was left
inaccessible during an active cycle.
That does it. The Sergeant snaps to attention.
SS SERGEANT
Escort detail.
The patrol moves — rifles lowering, not relaxing, but
obeying. Billy exhales, barely. Jack shoots Kraus a look:
bloody hell.
The SS PATROL forms up around the team. Not aggressively.
Procedurally. The SS Sergeant gestures downhill.
SS SERGEANT (CONT'D)
You’ll come with us.
Kraus nods — as if this was inevitable.
Genres:
["War","Historical","Thriller"]
Ratings
Scene
21 -
Approaching the Lair
EXT. ACCESS ROAD – CONTINUOUS
They move along a narrow, switchback road carved into the
mountainside. Ahead, the Lair entrance emerges from the rock.
Not a bunker.
A Cathedrel Of Concrete and steel A colossal reinforced arch
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sunk directly into the mountain face.
Floodlights. Guard towers. Weathered Reich eagles still
intact. The HUM is louder now — rhythmic, oppressive. Felt
ithe chest.
Billy leans toward Elena.
BILLY
(low)
We’re really doing this… aren’t we?
ELENA
We stopped improvising five minutes
ago.
Miller clocks the layout instinctively — blast doors, vents,
guard rotations.
Jack mutters, almost amused.
JACK
We walk through the front door and no
one fires a shot.
(A beat)
JACK (CONT'D)
World’s officially gone mad.
They continue towards the entrance.
The HUM swells.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
22 -
The Gate of Secrets
EXT. MAIN GATE – CONTINUOUS
Two massive steel doors stand shut. Armed guards snap to
attention as the patrol approaches.
The SS Sergeant steps forward.
SS SERGEANT
Maintenance detail.
Riese complex. Priority access.
A GATE OFFICER eyes the group — the weapons, the canister,
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Kraus’s limp.
GATE OFFICER
We weren’t informed—
Kraus steps in, irritated,precise.
OLD KRAUS
Because if this site is discussed
openly... it ceases to exist.
(A beat)
Now open the doors.
The Gate Officer hesitates — then looks again at the canister
At the HUM vibrating through the concrete beneath his boots.
He swallows.
GATE OFFICER
Open up.
The DOORS GRIND APART.
A BLAST OF WARM, ELECTRIC AIR pours out — metallic, ionised.
Billy stares into the darkness beyond.
BILLY
(under breath)
Jesus…
Genres:
["Action","Thriller","War"]
Ratings
Scene
23 -
Into the Heart of Die Glocke
INT. DIE GLOCKE LAIR – ENTRY TUNNEL – CONTINUOUS
They step inside.
The doors SEAL behind them with a thunderous CLANG.
The tunnel stretches impossibly far — concrete ribs, cables
snaking along the walls, warning lights pulsing in time with
the HUM.
The sound is everywhere now.
In the chest.
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In the skull.
Billy flinches.
BILLY
That’s not just a machine.
Elena nods, pale.
ELENA
It’s bending something.
Ahead, the tunnel opens into a vast interior space.
INT. DIE GLOCKE LAIR – MAIN CAVERN – CONTINUOUS
The team steps onto a gantry overlooking the cavern.
And there it is.
DIE GLOCKE.
Suspended above a reinforced chamber.
Bell-shaped. Vast. Blackened metal etched with symbols and
cooling veins. Cables as thick as tree trunks feed into it.
Generators thrum like restrained beasts.
Technicians move below — small, insignificant.
Billy can barely breathe.
BILLY
They built…this ?
Kraus closes his eyes for a moment.
Not pride.
Regret.
OLD KRAUS
We told ourselves it would end wars.
(A beat)
Instead… it taught men how to repeat
them.
The SS Sergeant gestures sharply.
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SS SERGEANT
You have twenty minutes.
Then the chamber cycles.
Kraus nods.
OLD KRAUS
That will be enough.
The Sergeant turns and marches away.
Jack watches him go.
JACK
Alright.
Everyone knows their job.
Miller peels off toward a service corridor, tool bag over his
shoulder. No one stops him.
Elena and Kraus head for the control platform - the CANISTER
between them.
Billy follows — trying to look like he belongs.
NT. DIE GLOCKE LAIR – SERVICE CORRIDOR – CONTINUOUS
Miller moves with purpose.
He kneels, quietly opening junction panels, planting CHARGES
with practised hands. A flickering gauge catches his eye.
MILLER
(mutters)
Jesus…
The ELECTROMAGNETIC FIELD ripples.
Lights shimmer.
INT. DIE GLOCKE LAIR – CONTROL PLATFORM – CONTINUOUS
Kraus works fast despite the pain.
Elena scans the instruments — radiation, temporal distortion.
ELENA
Field’s already unstable.
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OLD KRAUS
It always was.
Billy watches technicians below — too close.Too many.
BILLY
How long before they notice?
Kraus doesn’t look up.
OLD KRAUS
They won’t.
(A beat)
They never do — until it’s too late.
Genres:
["Action","Thriller","War","Drama"]
Ratings
Scene
24 -
The Alarm Sounds
EXT. DIE GLOCKE LAIR – MAIN GATE – SAME TIME
The massive STEEL DOORS grind shut.
The SS SERGEANT exhales - routine restored.
Then-
A distant ENGINE NOISE.
He looks down the access road.
A LORRY crawls uphill-
mud-splattered, overheating.
The Sergeant steps forward, raises a hand.
The lorry GRINDS to a halt.
Two MEN climb out
ACTUAL MAINTENANCE TECHNICIANS. Clean uniforms. Legitimate
papers. Confused.
SS SERGEANT
Halt.
This is a restricted area.
MAINTENANCE TECH
We were delayed.
Lorry overheated.
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(A beat)
We’re here for the Bell cycle.
The Sergeant freezes. The realisation hits-slow, sickening.
SS SERGEANT
Then who the hell did I just let
inside?
The HUM from within the mountain deepens.
The Sergeant turns, RUNNING for the alarm post.
INT. DIE GLOCKE LAIR – CONTROL PLATFORM – SAME TIME
Elena stiffens
ELENA
Kraus-
The HUM SPIKES.
Red WARNING LIGHTS flicker to life.
Billy looks up.
BILLY
That doesn’t sound good.
Kraus slams the CANISTER into its housing.
OLD KRAUS
It means we’re out of time.
EXT. DIE GLOCKE LAIR – MAIN GATE – SAME TIME
The Sergeant SLAMS the ALARM SWITCH.A KLAXON HOWLS across the
mountain. Red lights ignite. Guards snap to action.
Genres:
["Action","Thriller","War"]
Ratings
Scene
25 -
Sacrifice in the Bell Chamber
INT. DIE GLOCKE LAIR – MAIN CAVERN – SAME TIME
The alarm BLARES. Technicians freeze — then scatter. Jack
raises his weapon.
JACK
That’s our cue.
Miller’s voice crackles over comms.
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MILLER (V.O.)
Charges are set — but the EM field’s
chewing through my timers.
Elena looks at Kraus — fear now unavoidable.
ELENA
We’re committed.
Kraus nods.
OLD KRAUS
Then let’s not waste it.
THE BELL’S HUM BECOMES A ROAR. TIME ITSELF
STARTS TO BEND.
GUNFIRE ERUPTS.
Bullets RICOCHET off the steel framework of the control booth
— sparks explode inward like fireflies. Inside, Kraus, Billy
and Elena duck instinctively. Billy screams as a round
punches through a console, showering him with shattered
glass.
BILLY
Jesus-
Kraus drags him down, slamming his body between Billy and the
controls.
OLD KRAUS
Elena! Type in the coordinates Don't
stop!
Elena’s hands tremble over the keys. She forces them still.
Outside — Jack and Miller pivot as one, weapons up.They
RETURN FIRE.
A German soldier spins backward, drops. Another dives for
cover behind a concrete pillar.
JACK
There closing in.
Miller fires again — controlled, efficient. More BOOTS
thunder in the tunnel. Shouted German orders echo, sharp,
panicked.
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Then—
SS OFFICER (O.S.)
**HALT! HALT!**
The gunfire falters.
A MAN steps into view — 60s, grey hair, faint scar on his
left cheek, spectacles, composed, furious. His presence alone
cuts through the chaos. He takes in the scene in a single
glance:
the booth, the machine, the distortion building in the air.
SS OFFICER
(to his men)
Do not shoot the booth.
A soldier hesitates, confused.
SS OFFICER (CONT'D)
Are you deaf?! You will kill us all!
The HUM of the Bell swells again, vibrating through bone and
steel. Loose debris lifts from the floor. The SS Officer
feels it now — the wrongness. His confidence cracks for the
first time. Inside the booth — Elena slams the final
sequence.
ELENA
Coordinates locked!
Billy looks up, eyes wide.
BILLY
Kruas-
Kraus is already watching the distortion grow, calculating.
OLD KRAUS
Good.
Outside, Jack locks eyes with the SS Officer across the
widening chaos. Two men on opposite sides of history.
JACK
(to Miller)
Buy them some time.
Miller nods. Raises his weapon. The Bell’s ROAR surges toward
something irreversible.
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The SS OFFICER steps fully into the light now. OLD VOGEL.
Older. Harder. Eyes burning with recognition — and hatred. He
takes in Kraus, the Bell, the distortion rippling through the
air. A thin, satisfied smile.
OLD VOGEL
(cold precise)
Kill them.
No hesitation. German soldiers OPEN FIRE. Jack and Miller are
forced back as bullets chew into concrete around them. They
RETURN FIRE, pinned but relentless.
Inside the booth —Elena struggles with the final sequence.
Her fingers slip, sweat streaking down her temples.
ELENA
Come on, come on.
The Bell’s HUM surges, deeper now. Angrier. Kraus watches the
chrono.
OLD KRAUS
You are doing well Elena, a natural.
We have three minutes.
Billy looks at him, terrified.
BILLY
Three-
OLD KRAUS
Minutes. Then we must go. Now.
Elena slams the final input.
ELENA
It's operational.
The chamber below SHUDDERS. Light bends violently toward its
centre. Kraus grabs Billy and Elena.
OLD KRAUSS
No time to lose.
They bolt from the booth, racing down the metal steps toward
the Bell chamber. Outside — Jack fires, reloading on
instinct.
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JACK
Elena!
ELENA
(running)
Move!
Miller fires back, ducking as rounds crack inches from his
head.
MILLER
(grim,breathless)
We’re coming! Just got a slight
problem — the army of Krauts trying to
kill us!
Jack almost laughs as he fires again.
JACK
You ready to blow this as we jump?
MILLER
(tight smile)
As ready as I’ll ever be.
They break cover — sprinting.
Bullets CLANG off railings, RIP through cables. Sparks rain
down.
The Bell’s countdown ticks —2:00
Jack and Miller DIVE into the chamber. Jack SLAMS the heavy
steel door shut. Bullets HAMMER the outside — deafening,
metallic.
Silence inside.
Just the ROAR of the Bell.
Miller turns, reaching for the detonator. He freezes. His
face drains of colour.
JACK
Miller?
Miller checks it again. Nothing.
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MILLER
(horrified)
Jack…
He opens the casing. Dead.
MILLER (CONT'D)
It's drained.
Jack stares at him. The Bell’s light surges higher.
The countdown continues. The Germans are closing in. The Bell
chamber SHUDDERS. The countdown burns red. 1:00 Kraus turns
to Billy.
He moves stiffly now. One leg drags slightly — the injury
from the jump never healed properly.
For the first time, his voice softens.
He removes the battered POCKET WATCH and presses it into
Billy’s trembling hand.
OLD KRAUS
Find me, William. Tell me what will
happen to Ingrid... and Magda.
Billy swallows hard, barely holding himself together.
BILLY
I-I will-
Kraus grips his wrist. Firm. Final.
OLD KRAUS
Save us all.
Billy understands. There is no choice. Kraus turns. He
reaches for the detonator. Miller hesitates — then hands it
over.
MILLER
It won’t trigger. The chamber door’s
blocking the signal.
Kraus nods. He already knows. Miller unholsters his revolver
and offers it.
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MILLER(CONT'D)
I’ll do what needs to be done.
Kraus shakes his head.
OLD KRAUS
No. (gentle) You must go.
He takes the revolver. Kraus moves to the chamber door.Each
step costs him. Jack catches his eye.
JACK
Kraus-
Kraus looks back once.A small nod. Nothing more.
He UNBOLTS the chamber door. Then SLAMS it shut from the
outside. The bolts LOCK.Inside the chamber — Billy stares at
the sealed door. Frozen. Shattered.The countdown ticks.
0:45
Outside — German soldiers flood the chamber level. Weapons
raised. Kraus limps toward the control booth. Power surges
through the cables. Battery levels climbing. The Bell
SCREAMS.
0:30
Vogel steps forward. He sees Kraus clearly now. Recognition
hits him like a blow. The pieces snap together. Kraus and
Vogel lock eyes across the chaos.
No words.
Vogel understands exactly what Kraus intends to do.
OLD VOGEL
(Shouting)
Fire!
Gunshots ERUPT. A round tears into Kraus’s shoulder. He
stumbles, collapses — then forces himself upright. Pure will.
Kraus raises the revolver. Two SHOTS. Two soldiers drop.He
keeps moving.
0:20
Another burst. Bullets punch into him — one in the gut,
another in the chest. Kraus crashes to the floor. For a
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moment, it looks over. Then — He crawls.
Metal screams as bullets RICOCHET inches from his
hands.Inside the chamber — Billy sobs silently. Jack grips
the wall, helpless. Miller closes his eyes. The Bell surges.
A MASSIVE BURST of PURPLE ELECTRICAL ENERGY tears through the
chamber.
Soldiers are hurled into the walls like rag dolls.
Vogel shields his face.
The Bell reaches FULL THROTTLE.
Inside the chamber —
Reality FOLDS INWARD.
Light consumes everything.
The team VANISHES.
Silence.
Smoke.
Sparks drift down.
Kraus lies slumped against the booth door -barely breathing.
He looks at the detonator in his bloodied hand.
A faint smile.
OLD KRAUS
(Whisper)
For Magda.
He pulls the trigger.
Vogel’s eyes widen.
Pure understanding.
Pure terror. WHITE LIGHT.
THE WORLD EXPLODES.
FADE IN
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Genres:
["Action","Thriller","War"]
Ratings
Scene
26 -
Through the Storm: A Struggle for Resolve
EXT. SNOWFIELD – DAY 1940.
Silence.
A wide, white expanse. Snow drifts lazily from a pale sky.
The TEAM lies SCATTERED, but close — as if thrown there by
the same violent hand.
Billy is on his knees, VOMITING into the snow. His body
trembles uncontollably.
Jack lies on his back, staring upward -pale disoriented.
Elena sits hunched, arms wrapped around herself, fighting
waves of nausea.
Miller groans as he pushes himself up, spits into the snow.
MILLER
Did it work?
He wipes his mouth, unsteady, then forces himself upright.
Elena squints against the light, pressing her fingers to her
temples.
ELENA
Kraus warned us about jump sickness.
Billy drags himself to his feet,wipes his mouth with the back
of his sleeve.
BILLY
(hoarse)
He wasn’t wrong.
Billy suddenly freezes.
A sudden panic. He digs frantically through his coat pockets
.
BILLY (CONT'D)
No....no-
His fingers close around metal.
He pulls out the POCKET WATCH.
Stares at it.
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Snowflakes melt against its scratched glass. The ticking is
steady. Real.
Billy’s expression shifts — grief, responsibility, resolve.
Jack steps beside him. Quiet. Careful.
JACK
He had to do it, Billy.
Billy doesn’t respond
. Jack watches him closely.
JACK (CONT'D)
We can still save him.
(A beat)
The balls in our court now.
Billy closes his hand around the watch.
Nods once.
The wind whisoers across the snow.
Billy looks toward the horizon.
The future feels… different.
EXT.OWL MOUNTAINS – SNOWFIELD – DAY
The wind has teeth now.
Snow begins to fall - thick, deliberate flakes — A storm
gathering.
The TEAM trudges uphill through knee-deep snow.
Exhausted. Still shaken.
Billy checks the horizon, then the watch in his hand.
BILLY
We should be close now, surely?
Ahead — barely visible through the snowfall-
A STONE CHURCH, isolated against the mountainside.
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Its bell tower is dark.
MILLER
(grim)
We don’t stay long.
Storm’s rolling in fast.
They push on.
Genres:
["Drama","Thriller","Historical"]
Ratings
Scene
27 -
Cautious Approach to Janus's Church
EXT. JANUS’S CHURCH – DAY
The church looms out of the snow.
Ancient stone. Weather-beaten. Silent.
Jack raises a hand -Stops them.
JACK
We don't rush this.
Billy nods.
BILLY
Janus will be younger.
He won't know us.
ELENA
But he'll know danger.
Miller exhales slowly.
MILLER
Leave him to me.
Jack studies him - weighing that.
JACK
You sure?
Miller nods once.
MILLER
He told me something once.
(A beat)
Something he never told anyone else.
Jack understands.
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They move to the door.
Genres:
["Thriller","Historical","War"]
Ratings
Scene
28 -
Sanctuary in the Storm
INT. JANUS’S CHURCH – DAY
Warmth.
Candlelight flickers against rough stone walls.
A handful of MONKS freeze as the door creaks open -fear
flashing across their faces.
Behind them, MEN, WOMEN, AND CHILDREN huddle together —
exhausted, frightened.. alive.
A YOUNG MAN steps forward.
This is JANUS (30s) — broad, solid, watchful.
Not yet worn down by decades.
His hand moves instinctively beneath his robe.
JANUS
(in German)
Stop.
Jack raises his hands slowly.
JACK
We are not soldiers.
Janus’s eyes sweep overthem — clothes, weapons,desperation.
JANUS
Everyone says that.
Miller steps forward carefully.
MILLER
You hid three families last winter.
In the wine cellar.
When the search dogs came.
Janus stiffens.
That was not known.
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JANUS
How do you know that?
Miller swallows.
MILLER
Because later… you told me you could
still smell the dogs.
Even years after.
Janus’s breath catches.
(A beat.)
JANUS
Who are you?
Miller hesitates — then commits.
MILLER
You once said the hardest part wasn’t
lying to soldiers.
(A beat)
It was praying afterward…
wondering if God forgives survival.
Janus stares at him now.
Not anger. Recognition.
Fear — of a different kind.
JANUS
(quiet)
I never told anyone that.
The monks exchange glances.
The refugees watch -hopeful, terrified.
Janus steps closer.
JANUS (CONT'D)
When did I tell you?
Miller meets his eyes.
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MILLER
Not yet.
Silence.
Snow HOWLS outside.
Janus looks at each of them — the exhaustion, the restraint,
the way none of them flinch.
Finally—
He steps aside.
JANUS
Come inside before this storm buries
us all.
Billy exhales- the first real breath since the jump.
As they move in, Janus locks eyes with Miller again.
JANUS (CONT'D)
(low)
If you’re lying to me-
MILLER
Then I die here.
Janus nods.
Fair terms.
The door closes behind them.
The wind screams outside.
CUT TO BLACK.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Storm of Secrets
INT.JANUS’S CHURCH – UNDERCROFT – NIGHT
Candlelight flickers against ancient stone. The storm outside
builds, but inside there is a fragile stillness. Weapons lie
on a wooden table. Maps spread beside them. Janus watches the
TEAM closely — guarded, unsettled.
JANUS
You know things you shouldn’t. Not
plans. Not rumours. Me.
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His eyes never leave Miller.
JANUS (CONT'D)
That story… I never told it to God,
let alone another man.
Miller doesn’t rush the answer.
MILLER
You told me years from now. After it
was all over.
Janus scoffs — not cruel, but shaken.
JANUS
There is no after. Only survival.
Jack steps in, grounding the moment.
JACK
We don’t need you to believe us. Just
to listen.
Janus studies them again.
Finally—
JANUS
Then speak.
Billy steps forward, pocket watch visible in his hand.
BILLY
Vogel arrives in forty-eight hours.
Near the construction site in the
mountains.
Janus stiffens at the name.
JANUS
Vogel?
JANUS (CONT'D)
I know that man. Or what follows him.
Billy and Elena exchange a glance.
JANUS (CONT'D)
Wherever Vogel goes, people disappear.
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He gestures toward the mountains.
JANUS (CONT'D)
He and Kraus command something up
there. I do not know what it is.
A beat
JANUS (CONT'D)
Only that it feeds on suffering.
Miller leans forward.
MILLER
That's enough to know.
Janus studies them now — weighing something deeper.
He looks directly at Billy.
JANUS
Then tell me this. How do you know
Vogel will come?
Billy hesitates. For the first time, he doesn’t try to sound
convincing. He just tells the truth. Silence. This is the
real question. Billy meets his gaze.
BILLY
We didn't see it.
Janus’s eyes narrow slightly.
JANUS
Then who did?
Billy looks down at the POCKET WATCH in his hand.
BILLY
Kraus.
A beat.
BILLY (CONT'D)
He lived long enough to see what Vogel
became…and where he went.
Elena steps in, steady.
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ELENA
He watched Vogel arrive. He watched
him leave.
Janus absorbs this.
JANUS
And he told you.
BILLY
Date. Time. Vicinity.
JACK
He didn't guess.
Silence. The storm moans outside the stone walls. Janus turns
away, thinking.
JANUS
I am risking everything for you. My
church. These people.
He gestures toward the refugees.
JANUS (CONT'D)
These people.
(A beat)
JANUS (CONT'D)
And still you have not answered the
most important question.
Silence
JANUS (CONT'D)
Why should i believe you?
Miller exhales.
This is it.
He steps forward — not loud, not theatrical.
MILLER
Because only a few weeks ago an SS
unit searched these premises.
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Janus turns slowly.
JANUS
How do you know about that? Explain.
Miller holds his gaze.
MILLER
Three trucks.
Twelve men.
Janus’s jaw tightens.
MILLER(CONT'D)
And four dogs.
(A beat.)
Janus’s eyes flicker — just for a moment.
JANUS
How do you, it's-
Miller nods.
MILLER
The officer tells you it’s “routine.
(A beat)
MILLER
He smiles when he says it.
Janus’s breathing slows.
JANUS
How do you know the mans words were to
me?
Miller doesn’t answer immediately.
He chooses carefully.
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MILLER
He says to you- in your private
quarters —
(A beat)
If God is hiding them, Father, then
God will forgive us for looking.
Janus recoils- the words strike like a blow.
JANUS
Those words were spoken to me.
In my quarters.
The room is utterly still.
MILLER
You offered him wine.
Just after midnight.
Janus’s voice trembles despite himself.
JANUS
No one was there.
MILLER
No.
Just you and the Kraut.
A long silence.
Then-
JANUS
(Whispers)
I was warned.
Miller nods.
MILLER
A man from the resistance.
Janus closes his eyes.
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JANUS
He was shot two weeks later.
Miller swallows.
MILLER
Charged with crimes against the Reich.
Janus opens his eyes again.They are wet.
Miller steps back.
He has said enough.
Janus looks around- at the strangers. At Billy, at Elena, at
the refugees huddled in fear.
The storm howls like judgment.
Finally—
Janus removes the small wooden cross from his neck. Holds it
in his hand.
JANUS
((soft, shaken))
If you are liars… then you are the
cruellest people I have ever met.
He looks at Miller.
JANUS (CONT'D)
And if you are telling the truth...
(A beat)
-then God has not sent you to warn me…
He turns toward the altar.
JANUS
He has sent you to act.
Janus turne back.
Resolve hardens.
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JANUS (CONT'D)
I will help you complete Gods work.
We leave at dawn.
Outside, the storm rages.
The clock is ticking.
CUT TO BLACK.
Genres:
["Drama","Thriller","Historical"]
Ratings
Scene
30 -
Revelations in the Storm
INT. JANUS’S CHURCH – SIDE CHAPEL – NIGHT
The storm rages outside. Inside, the chapel is dim, lit by
candles set into cracks in the stone. Billy and Elena sit
opposite THREE JEWISH SURVIVORS — two men and a woman. Their
coats are threadbare. Their eyes are hollow, watchful. No one
speaks for a long moment.
Finally—
ELENA
Janus says you worked near the
mountains.
One of the men nods slowly.
MAN 1
Not near. Inside.
Billy stiffens.
BILLY
The construction site?
The woman lets out a short, bitter laugh.
WOMAN
That is what they called it.
She rolls back her sleeve. Faded scars. Burned skin.
WOMAN (CONT'D)
They told us we were workers. Then
they said we were volunteers.
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Elena’s breath catches.
ELENA
Volunteers for what?
The second man looks away, unable to meet their eyes.
MAN 2
For the tests.
Billy swallows.
BILLY
What tests?
A long silence.
MAN 1
Time.
Elena’s face drains of colour.
ELENA
How long?
The man shakes his head.
MAN 1
Minutes. Three, maybe four.
Billy closes his eyes.
BILLY
And did they come back?
The woman nods. Tears finally spill.
WOMAN
Pieces did.
Elena covers her mouth.
WOMAN (CONT'D)
An arm. A face. Sometimes half a body.
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Billy’s voice cracks.
BILLY
Alive?
The woman nods once.
WOMAN
Screaming.
The second man speaks now, barely above a whisper.
MAN 2
Others came back… wrong.
Billy opens his eyes.
MAN 2 (CONT'D)
Melted. Like wax left too close to a
flame.
Elena grips Billy’s sleeve.
ELENA
Liquid?
MAN 1
They scraped it from the floor. Put it
in jars.
Billy looks at Kraus’s watch in his hand. The ticking feels
obscene.
BILLY
(quiet, shaking)
Who was there?
The woman hesitates.
WOMAN
Vogel came once. He watched. He
smiled.
Billy’s jaw tightens.
WOMAN (CONT'D)
The man they called Kraus. He was
different. He did not look away, but
he did not smile either.
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WOMAN (CONT'D)
A beat
MAN 1
He told us the pain would mean
something. Someday.
Billy exhales — grief and rage mixing.
BILLY
It will.
Elena nods, tears streaking down her face.
ELENA
We'll make sure of it.
BILLY
Why didn’t you tell Janus?
The question hangs. The woman looks at the men beside her.
Then back to Billy.
WOMAN
We wanted to.
Elena leans in.
ELENA
Then why didn't you?
The man answers, quietly.
MAN 1
Because if he had known… he would have
fought.
Billy nods already undersranding.
MAN 1 (CONT'D)
And if he had fought… we would all be
dead.
(a beat)
WOMAN
Janus saves lives by waiting.
Silence.
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The truth settles heavily.
Billy looks down at the watch in his hand.
Time.
Waiting.
Cost.
BILLY
((quiet))
Not anymore.
Elena meets his eyes.
Outside the storm rumbles.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
31 -
Dawn of Decision
EXT. JANUS’S CHURCH – DAWN
The storm has passed.
Fresh snow blankets the mountains, untouched and unforgiving.
Grey morning light creeps over the ridge line.
The TEAM stands outside the church, breath fogging in the
cold. Janus studies the mountains in the distance — where
something unseen waits.
JANUS
Whatever they are building no one
walks in.
Billy tightens his grip on the pocket watch.
BILLY
There has to be a way to get close. To
stop it.
Janus turns.
JANUS
Close yes. Inside? No.
He points toward the narrow mountain road below.
JANUS (CONT'D)
Only what is expected is allowed
through.
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MILLER
Supplies.
Janus nods.
JANUS
Food. Fuel. Parts. Paperwork waved
through without thought.
Elena exhales slowly.
ELENA
A supply truck.
Janus looks at her now — measuring.
JANUS
It passes this way once a week. Same
driver. Same escort.
Jack glances down the road.
JACK
How many men?
JANUS
One guard. Sometimes two.
A beat
Miller nods to himself.
MILLER
Manageable.
Janus raises a hand.
JANUS
It does not get you everything.
Billy looks at him.
BILLY
What do you mean?
Janus turns back to the mountains.
JANUS
If you follow the truck… you reach the
(MORE)
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JANUS (CONT'D)
lair.
JANUS (CONT'D)
If you wait here… you can intercept
Vogel when he arrives.
The implication lands. Jack and Elena exchange a look.
ELENA
We don't have time to both together.
Janus meets her eyes.
JANUS
No.
Silence. Wind whispers through the trees. Jack looks between
them — the weight of the choice settling in.
JACK
We secure this truck then we split.
Billy studies Jack.
BILLY
You sure?
Jack nods.
JACK
Billy you go with Miller and blow the
bell.
Jack look at Elena.
JACK (CONT'D)
We will take care of Vogel.
Elena doesn't hesitate.
ELENA
He can't be allowed to disappear into
Berlin.
Janus steps closer.
JANUS
If Vogel reaches the city…whatever he
carries will live on.
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Jack tightens his jaw.
JACK
Then he doesn't reach it.
A distant ENGINE HUM cuts through the cold air.
They turn.
Far down the road, a SUPPLY TRUCK emerges from the mist-
slow. eoutine. unaware.
Janus watches it approach.
JANUS
Once you take that truck.. there is no
going back.
Billy looks at Kraus's watch. The ticking steady.
BILLY
There never was.
A brief, silent exchange between them.
No speeches.
No goodbyes.
Janus steps back toward the church.
JANUS
God be with you.
The truck draws closer.
The calm is over.
Genres:
["Thriller","Drama"]
Ratings
Scene
32 -
Ambush on the Mountain Road
EXT. MOUNTAIN ROAD – MORNING
The SUPPLY TRUCK crawls uphill through fresh snow.
Engine straining.
Tyres crunching.
Inside the cab — a DRIVER (40s) and a single GERMAN ESCORT
sit in silence, breath fogging the windscreen.
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Ahead, the road narrows.
A fallen TREE blocks the way.
The driver slows.
DRIVER
(in German)
That wasn't there yesterday.
The escort grips his rifle- uneasy.
ESCORT
Go around.
The driver leans forward — then stops.
Figures emerge from the treeline.
Jack steps into view first. Calm. Hands visible.
Elena follows, holding a folder of PAPERS wrapped in oilskin.
Billy and Miller remain back, half-hidden among the trees.
JACK
(In German)
Engine off.
The escort raises his rifle —
Miller steps forward just enough for the barrel of his weapon
to be seen. Not aimed.
Just present.
(A long beat.)
Snow drifts between them.
The escort looks to the driver.
Then slowly lowers the rifle.
The engine dies.
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Silence.
Jack approaches the cab.
JACK
Step out.
Slowly.
They do.
Elena moves immediately — efficient, precise.
She takes the escort’s rifle and hands it to Billy.
Billy checks the road.
Empty.
ELENA
(To the driver)
You are not in trouble.
The driver doesn't believe her.
DRIVER
You are resistance.
Elena meets his eyes.
ELENA
No.
Do as we ask and I assure you- will be
safe.
The escort swallows. He sees no mailice in Elena's face.
ESCORT
If we're late they will send a search-
MILLER
You'll be on time.
Miller steps closer, voice lower.
MILLER(CONT'D)
Same truck.
Same papers.
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ESCORT
And us?
Jack gestures towards the trees.
JACK
You wait.
Billy glances down the road.
BILLY
We don't have long.
Jack nods.
JACK
Here's how this works.
Jack turns to Billy.
JACK (CONT'D)
You drive.
You speak only when spoken to.
You do exactly what you did back in
Dover.
Billy takes a breath.
Then nods.
MOMENTS LATER
Genres:
["Drama","Thriller","War"]
Ratings
Scene
33 -
Paths of Mercy
EXT. MOUNTAIN ROAD – MORNING
The driver and escort stand off to the side of the road,
shaken but unharmed.
Elena moves with efficiency, checking papers, memorising
stamps.
ELENA
Fuel delivery. Machine components.
Scheduled inspection window.
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She looks at Jack.
ELENA (CONT'D)
It's clean.
Billy climbs into the drivers seat.
BILLY
I can manage this.
Miller throws a coat over his shoulders and climbs into the
back.
MILLER
Once we’re through the gate, I stay
out of sight.
Jack steps closer to Billy.
JACK
You keep moving No hesitation. No
heroics.
Billy nods jaw tight.
BILLY
We get close. We end it.
Jack turns to Elena.
JACK
We peel off before the checkpoint.Head east. Vogel lands in
less than twenty-four hours.
Elena nods.
ELENA
We'll be there.
A brief moment. No speeches. No embraces. Just understanding.
JACK
Once the trucks secure, you do what we
came here to do.
Billy grips the wheel.
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BILLY
Same to you.
The SUPPLY TRUCK disappears up the road, swallowed by falling
snow. The wind rises.
Jack and Elena stand with the DRIVER and the ESCORT near the
treeline. The two men are shaken now — not defiant, not
angry. Just afraid.
The escort stares after the truck.
ESCORT
(quiet, in german)
Vogel will have us shot.
Jack studies him. Sees it — not guilt, not ideology. Fear.
JACK
You didn't fight.
The driver shakes his head.
DRIVER
There was no point.
(A beat)
DRIVER (CONT'D)
We just want to go home.
Jack reaches into his coat and produces a FLASK. He unscrews
it. Hands it to the driver.
JACK
Drink.
The driver hesitates — then does. The escort takes a sip
next. His hands shake. Snow begins to fall harder now.
ESCORT
If we go back we are dead.
Jack nods.
JACK
Then don't go back.
The men look at him. Confused.
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JACK (CONT'D)
There’s a church in the mountains.
Stone walls. Bell tower.
The escort stiffens.
ESCORT
A priest?
JACK
A man named Janus.
The name lands.
JACK (CONT'D)
Tell him Jack sent you. He will keep
you safe.
Elena watches the men closely.
ELENA
He's already hiding people. You won't
be the first.
The driver swallows.
DRIVER
And if we are followed?
Jack looks to the sky. The snow thickens, visibility dropping
fast.
JACK
You won't be.
A long beat.
The escort nods once — not in gratitude, but in relief.
ESCORT
Thank you.
Jack doesn’t respond.
He simply steps back.
JACK
Go.
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JACK (CONT'D)
Before the weather makes the decision
for you.
The two men turn and head into the trees.
Not running.
Not hiding.
Just walking.
Trying to survive.
Jack watches them disappear. Elena looks at him.
ELENA
You trust Janus that much?
Jack nods.
JACK
I trust men who choose mercy when they
don't have to.
The wind howls.
Jack turns east.
JACK (CONT'D)
Let's move.
They disappear into the snow.
Two paths now — both paid for in blood and restraint.
Genres:
["War","Drama","Thriller"]
Ratings
Scene
34 -
Reflections in Transit
INT. SUPPLY TRUCK- MOVING-DAY
The engine hums.
Snow streaks across the windscreen.
Billy drives.
(A beat)
BILLY
You got family back home?
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Miller keeps his eyes forward.
MILLER
Had.
Billy nods,gentle.
BILLY
Your parents?
Miller nods once.
MILLER
London.
(A beat)
The Blitz.
Billy absorbs that.
MILLER (CONT'D)
My father, worked in a factory. Parts
for the spitfire. Killed running to
the shelter.
Billy glances at him.
MILLER(CONT'D)
Didn't matter in the end.
The Spitfires where no match for the
Luftwaffe's two-six-twos.
A quiet beat.
BILLY
Your mum?
Miller exhales.
MILLER
Heart gave out a couple of years
later.
Silence.
The road climbs.
BILLY
You where away?
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MILLER
The army had me by then.
(A beat)
Couldn't get back.
Ahead the checkpoint comes into view.
Miller's tone shifts.
MILLER (CONT'D)
Here we go kid.
Billy nods.
The truck keeps moving.
Genres:
["War Drama","Historical Fiction"]
Ratings
Scene
35 -
Checkpoint Chaos
EXT. THE BELL LAIR – CHECKPOINT – DAY
The SUPPLY TRUCK grinds to a halt beneath brutal concrete.
Searchlights sweep lazily through falling snow.
Routine.
Boring.
Billy and Miller climb down from the cab together.
They carry the DOCUMENT FOLDER between them.
A BOOTH WINDOW slides open.
An SS GUARD inside barely looks up.
GUARD
(in german)
Papers.
Billy hands the folder forward. Miller stands just behind him
— close enough to see everything.
The guard flips through the papers. Uninterested.
Another GUARD steps out of the booth, stamping his feet
against the cold.
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GUARD 2
Fuel again?
GUARD 1
Always fuel.
The SECOND GUARD walks toward the barrier.
Billy watches it begin to lift. Metal clanking.
Relief creeps in.
The first guard flips to the final page.
Reaches for the stamp.
THUMP. Ink hits paper.
The guard slides the folder back across the counter.
GUARD 1 (CONT'D)
Drive on.
Billy exhales.
Reaches for the folder.
Takes it with both hands.
Miller freezes.
He sees it instantly.
The guard doesn’t react at first. Then—
He doesn’t release the folder.
For half a second, all three of them hold it.
The guard gently pulls it back.
Places it flat on the desk himself.
One hand.
Perfectly aligned.
Then slides it forward again.
Now he looks at Billy.
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Really looks.
Miller knows.
It’s over.
The SECOND GUARD stops walking. The barrier freezes halfway
up.
A DOG barks somewhere inside the compound.
GUARD 1 (CONT'D)
Step back.
Billy obeys — confused.
The guard’s eyes flick to Miller.
Just a flick.
That’s enough.
Miller moves.
Miller draws and FIRES intp the booth.
Glass explodes.
The first guard drops.
The second barely turns before Miller cuts him down.
ALARMS SHRIEK.
Guards shout from every direction.
MILLER
Run!
Billy turns — runs.
Snow.
Boots.
Shouting.
He reaches the edge of the access road —
Sees it.
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Floodlights.
Rifles.
Dogs.
No escape.
Billy hesitates — then drops to his knees.
Hands up.
Guards swarm him- dragging him down, pinning his arms.
As Billy is hauled back toward the booth —
He sees Miller.
Pinned behind the shattered window.
Weapon blazing.
Miller drops two more guards.
Then—
CLICK.
Empty.
For a moment, Miller just stands there.
Calm.
Accepting it.
The guards open fire.
Miller is torn apart in a hail of bullets.
Billy screams — muffled as his face is slammed into the snow.
EXT. CHECKPOINT – MOMENTS LATER
Billy is dragged to his feet.
Hands bound.
Blood in his mouth.
Smoke rises from the booth.
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Miller’s body lies broken inside it.
Billy is forced forward — past the barrier, deeper into the
mountain.
Toward the Bell.
The watch ticks in his pocket. Billy doesn’t look back.
Genres:
["War","Drama","Action","Thriller"]
Ratings
Scene
36 -
The Turning Point
INT. THE BELL LAIR – INTERROGATION ROOM – DAY
Concrete walls.
A single bulb hums softly. Billy sits cuffed to a metal
chair. Blood dried at his lip.
Breathing controlled, but shallow.
A GUARD stands by the door. The door opens.
HANS VOGEL fresh faced (early 40s) enters. Immaculate
uniform. No rush. No escort. He closes the door himself. The
GUARD straightens instinctively.
Vogel doesn’t look at Billy. He takes in the room — the
chair, the cuffs, the blood — like a man inspecting
equipment.
VOGEL
(soft, precise)
Leave us.
The guard hesitates for half a second.
Vogel turns his head slightly.
That’s all.
The guard exits.
The door shuts.
Silence.
Vogel removes his gloves. Places them neatly on the table.
Only then does he look at Billy. Curious. Not angry.
Interested.
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VOGEL
You ran.
Billy says nothing. Vogel nods, as if confirming a theory.
VOGEL (CONT'D)
Sensible.
He circles Billy slowly. Not predatory — clinical.
VOGEL (CONT'D)
Your friend did not run.
Billy's jaw tightens.
VOGEL (CONT'D)
He understood something you did not.
Vogel stops behind Billy. Close enough to be felt.
VOGEL (CONT'D)
That this place does not reward
bravery.
Only usefulness.
He steps away. Walks to the sink. Turns on the tap. Washes
his hands. Unhurried.
VOGEL (CONT'D)
Do you know what interests me?
Billy lifts his eyes slightly.
VOGEL (CONT'D)
You did not scream.
(a beat)
VOGEL
Most men do.
Especially when they realise they have
failed.
He dries his hands and turns back.
VOGEL (CONT'D)
You are still thinking.
Billy meets his gaze now.
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BILLY
(quiet)
I'm not finished.
Vogel smiles. Small. Genuine.
VOGEL
Everyone believes that.
Vogel stands opposite Billy arms folded behind his back.
VOGEL (CONT'D)
Explosives.
Billy lifts his eye.
VOGEL (CONT'D)
Sabotage.
(a beat)
You came here to destroy something.
Billy says nothing. Vogel nods, faintly impressed.
VOGEL (CONT'D)
Do you know how many men work in these
mountains?
Billy swallows.
VOGEL (CONT'D)
How many uniforms? How many
clearances?
Vogel leans in slightly.
VOGEL (CONT'D)
And yet you came here with your friend
to place charges.
Billy exhales blood in his mouth.
BILL
(quiet)
We came to change it.
Vogel freezes. Just for a fraction of a second.
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Then— A slow smile. Not cruel. Revelatory.
VOGEL
To change it.
He straightens. The idea has landed.
VOGEL (CONT'D)
Then it works.
Billy look up. Vogel turns to look at the door.
VOGEL (CONT'D)
Bring Kraus.
A GUARD moves instantly. Vogel returns his attention to
Billy.
VOGEL
Who else?
Billy doesn't answer.
VOGEL (CONT'D)
Names.
Billy shakes his head. Vogel sighs. Almost disappointed.
VOGEL
Guards.
They move in. The beating is efficient. Controlled. No
shouting. Just impact. Billy grunts, slumps, is hauled
upright again. Kraus enters midway through it. Stops.
Watches. His face tightens — not in anger. In recognition.
VOGEL (CONT'D)
This man believes he can alter
history.
Kraus doesn’t answer. The guards continue. Billy’s head
lolls.
VOGEL (CONT'D)
Who helped you?
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Billy spits blood. Silence. Vogel nods once. Satisfied.
Suddenly — DISTANT SHOUTS. ALARM BELLS deeper in the
facility. Vogel’s head snaps toward the sound.
GUARD
Herr Vogel-
Vogel raises a hand. Listens. The disturbance grows. Vogel
turns back to Kraus.
VOGEL
See if you can get any sense out of
him.
He looks at Billy.
VOGEL (CONT'D)
He seems imaginative.
Vogel exits.
The door slams.
The guards follow.
Billy slumps forward. Chains rattle. Something slips from his
pocket. The POCKET WATCH. It hits the concrete. ROLLS. Ticks
echo in the room. The watch rolls… and stops. Right at
Kraus’s feet. Kraus stares down at it. The ticking fills the
silence. Billy is barely conscious.
BILLY
(whisper)
Find me.
Kraus slowly bends. Picks up the watch. Stares at it. Time
ticks. And for the first time— Kraus understands.
The watch is old. Worn. Kraus reaches instinctively to his
waist. His own watch. New. Precise. Two watches. Both
ticking. Billy’s voice, barely there—
BILLY (CONT'D)
Your daughter.
Kraus freezes.
BILLY (CONT'D)
She's young.
Kraus looks at him now.
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BILLY (CONT'D)
She plays the piano. Like an angel.
Kraus shakes his head.
KRAUS
You don't know that.
BILLY
In 1951 she is in love.
(a beat)
A violinist named David.
Kraus breath catches.
BILLY (CONT'D)
He's Jewish. Hiding in plain sight.
Kraus turns away.
BILLY (CONT'D)
You're a national hero by then.
Decorated.
Protected.
Billy meets his eyes.
BILLY (CONT'D) (CONT'D)
You think you're untouchable. You
think you can protect them.
Silence.
BILLY
You're wrong.
Kraus grips the table.
BILLY (CONT'D)
The Gestapo came for them.
(A beat)
They shoot your wife- Ingrid- in the
doorway. She's just trying to protect
them.
(A beat)
Kraus closes his eyes.
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BILLY (CONT'D)
They take Magda to the camps.
Billy's voice lowers.
BILLY
She dies of typhus.
Three months later.
The two watches tick slightly out of sync.
KRAUS
(broken)
And this is because-
BILLY
Because Vogel succeeds.
Kraus looks up.
BILLY (CONT'D)
The one from 1945.
Kraus stiffens.
BILLY (CONT'D)
He carries the future with him. If he
reaches Berlin-
Billy doesn't finish.
He doesn't need to.
KRAUS
The bell must be destroyed.
Billy shakes his head.
BILLY
And all knowledge erased.
(a beat)
And Vogel does not reach Berlin.
Kraus looks at the old watch.
Then his own.
He removes his watch and places it on the table.
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Lets it tick.
Then stops it.
Kraus pockets the old watch.
KRAUS
Then there is no later.
Billy exhales.
BILLY
There never was.
Footsteps outside.
Voices.
Kraus steps closer to Billy.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
Storm at the Bell Lair
NT./EXT. THE BELL LAIR – PERIMETER – DAY
Am SS Officer hurries to Vogel-
OFFICER
Herr Vogel- Resistance fighters B-
sector.
Vogel stops.
VOGEL
How many?
OFFICER
Half a dozen.
Perhaps more.
They hit a supply line.
Cut communications.
Vogel considers this.
Not alarmed.
Annoyed.
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VVOGEL
They're early.
The officer doesn't understand.
OFFICER
Sir?
Vogel looks towards the mountain -Then toward the
interrogation wing.
VOGEL
It doesn't matter.
He turns away.
VOGEL (CONT'D)
Contain them.
The officer hesitates.
OFFICER
And the prisoner?
Vogel doesn't slow.
VOGEL
Kraus will decide what's useful.
(a beat)
VOGEL (CONT'D)
He always does.
Vogel disappears into the storm.
The gunfire grows louder.
Smoke rises in the distance.
The Bell hums, low, constant. Unstoppable.
For now.
Genres:
["Action","Thriller","War"]
Ratings
Scene
38 -
Escape Amidst Chaos
INT. INTERROGATION ROOM-DAY
The cuffs hit the floor.
Billy slumps forward
—Kraus catches him -steadies him.
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Billy’s legs barely hold.
BILLY
(breathless)
You don't have to-
KRAUS
I know.
Kraus grips Billy's arm and pulls him towards the door.
Outside- shouts, Boots. Distant gunfire.
The distraction is growing.
Kraus cracks the door open.
Peers out.
Two guards rush past - moving away from them.
Kraus turns back to Billy.
KRAUS (CONT'D)
They think the threat is outside.
Billy nods trying to focus.
BILLY
The Bell-
KRAUS
I know where everything is.
(a beat)
I helped build it.
That lands.
Kraus moves.
Billy follows.
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
The Deception
INT. THE BELL LIAR-CORRIDOR- MOVING
They move fast controlled.
Sirens echo.
Red warning lights pulse along the concreate walls.
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Kraus opens a steel cabinet- pulls out a leather folder.
Schematics. Notes. Handwritten calculations.
BILLY
The data.
Kraus doesn't slow.
KRAUS
This is everything that Vogel would
need.
He shoves the folder under his arm.
They turn a corner-
Two SS guards appear at the far end.
Kraus steps forward.
KRAUS (CONT'D)
(German, authoritative)
Security breach. The Bell chamber. I
am escorting this prisoner to a secure
location.
The guards hesitate- just long enough.
Them they break and run past them.
Billy exhales.
BILLY
That won't work twice.
KRAUS
It won't have to.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
40 -
Countdown to Destruction
INT. BELL CONTROL ROOM-MOMENTS LATER.
The heart of the project. Cables snake across the floor.
Instruments hum. The bell hums beyond reinforced glass.
Alive.
Kraus moves to the master console. Billy watched dread and
awe mixed.
BILLY
Can you shut it down?
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Kraus shakes his head.
KRAUS
No.
Kraus opens his leather folder. Begins ripping pages out.
Blueprints. Calculations, years of work.
He feeds them into the industrial shredder. Paper screams.
Billy watches stunned.
BILLY
That's-
KRAUS
My life.
The shredder jams. Kraus slams it. Keeps going. Outside- A
massive explosion. The walls shake. Dust rains down. Billy
looks at Kraus.
BILLY
Whatever is happening out there..it
bought us minutes.
Kraus nods.
KRAUS
Then we use them.
He moves to the charge panel and starts setting timers. Hands
steady. Billy watches him barely able to stand. Kraus studies
the readouts.
KRAUS (CONT'D)
The field amplification-
He adjusts a dial. The hum spikes. Lights flicker.
KRAUS (CONT'D)
It was never meant to run this long.
Billy swallows.
BILLY
Can you overload it?
Kraus nods- calm, precise.
KRAUS
Not directly, but I can make it
(MORE)
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KRAUS (CONT'D)
consume itself.
He opens a secondary panel- handwritten notes taped inside.
Calculations in Kraus's own hand.
KRAUS (CONT'D)
The bell draws power by stabilising
the field.
He flips a switch. The hum warps-becomes uneven.
KRAUS (CONT'D)
If I collapse the stabiliser during
peak output-
Billy feels the vibration under his feet.
BILLY
What happens?
Kraus doesn't look at him.
KRAUS
The field inverts.
(a beat)
It eats the machine from the inside
out.
A low warning tone begins. Red lights ignite across the
panel.
BILLY
And the data?
Kraus gestures to the consoles.
KRAUS
Everything tied to the bell is encoded
on the field.
He pulls a lever. The tone rises.
KRAUS (CONT'D)
When it collapses- there is nothing
left to recover.
Billy stares at the bell- now vibrating violently.
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BILLY
You sure?
Kraus finally turns.
KRAUS
I designed it.
A distant explosion echoes through the mountain.
SS shouts. Gunfire. Time is bleeding away. Kraus inputs the
final sequence. A countdown appears. 01:30. Billy's breath
quickens.
BILLY
What about you?
Kraus doesn't stop moving.
KRAUS
I need to get you out of here, and
save my family.
BILLY
You'll be blamed.
Kraus nods.
KRAUS
Good.
Another shudder.
The Bell screams-metal under impossible stress.
Kraus slams shut the final panel.
BILLY
Is that enough?
KRAUS
The field is unstable.
It will fail now.
Another distant explosion echoes through the mountain.
Billy looks at him.
BILLY
That'll be Janus.
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Kraus doesn't answer.
He is already moving.
INT.BELL LAIR-CORRIDOR- MOVING.
They move fast now.
Sirens blare. Red warning lights pulse.
SS troops rush by them in the other direction- toward the
disturbance.
No one looks twice.
A charge detonates somewhere above.
The mountain shudders.
Dust rains down.
SS guards emerge ahead.
KRAUS
(in German, controlled)
Containment breach. Vogel has ordered
evacuation of nonessential personal.
The guards hesitate.
Another explosion
Closer this time.
That decides it.
The guards turn and run past them.
Billy exhales.
BILLY
Jesus, It worked again.
Genres:
["Drama","Thriller","War"]
Ratings
Scene
41 -
Running Behind History
INT. SERVICE TUNNEL- CONTINUOUS.
Narrow. Damp.
Bare bulbs flicker overhead
The hum of the bell is muted here, but still present-
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like a distant heartbeat.
Billy stumbles. Kraus catches him.
KRAUS
Easy.
Billy steadies himself.
BILLY
Jack and Elena.
Kraus nods.
KRAUS
Friends of yours?
Are they here?
Billy shakes his head.
BILLY
No, they are going after Vogel.
The one with the intel.
The Vogel who will hand Hitler the
keys to Europe.
Kraus stops walking.
Looks at Billy.
KRAUS
Vogel will have jumped from 45.
We can't change that now.
We must stop him.
Billy swallows.
BILLY
And if they have missed him-
KRAUS
Then we are all running behind
history.
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Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
Fleeing the Bell's Shadow
EXT. OWL MOUNTAINS-FOREST EDGE- NIGHT.
Snow lashes sideways now.
The mountain is alive Shouts. Searchlights. Gunfire.
Billy and Kraus burst from a concealed exit.
Cold air slams into them.
They drop low
.Ahead a figure waves from the treeline.
A monks silhouette.
Janus.
He doesn't approach.
Just gestures.
They sprint.
Bullets tear into the rock behind them.
Janus leads without looking back-confident. Prepared.
They dive into the trees and vanish into the forest.
Behind them, the mountain groans-
Deep unnatural.
The bell's hum begins to break- warping into a violent,
tearing roar.
EXT. FOREST- MOVING-NIGHT
They run. Branches whip past. Breath ragged.
Janus finally slows.
Turns sharply to Kraus.
His weapon comes up- steady, trained.
JANUS
You.
Kraus doesn't flinch.
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KRAUS
You must be Janus.
Janus keeps his weapon trained.
JANUS
I should shoot you in both legs and
leave you to the wolves.
Billy steps between them.
BILLY
If you do Vogel, and the Reich win.
Janus studies Kraus- the uniform, the face, the guilt.
JANUS
You built it.
KRAUS
I did.
No defence.
No excuse.
A distant explosion echoes the mountain.
Janus's jaw tightens
JANUS
Two German boys came by my church.
Billy looks at him.
JANUS (CONT'D)
Said you took their truck.
(beat)
I waited.
Another explosion- closer now.
JANUS (CONT'D) (CONT'D)
When nothing happend..I knew something
had gone wrong.
Janus finally lowers his weapon- but he does not relax.
JANUS (CONT'D) (CONT'D)
So I came to make a noise.
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He glances back toward the mountain- chaos now visible.
JANUS
Looks like I was right.
Janus turns back to Kraus.
JANUS (CONT'D)
This doesn't mean I forgive you.
Kraus meets his eyes.
KRAUS
I am not asking for it.
Janus nods once.
Not acceptance.
Permission.
Janus looks past Billy.
JANUS
Where is Miller?
Billy doesn't answer at first.
Then-
BILLY
He bought me some time.
Janus holds Billy's eyes. Understands imediatley.
JANUS
Of course he did.
Janus turns away.
JANUS (CONT'D)
Then we do not waste it.
Janus moves.
Billy follows
Kraus hesitates-
then follows.
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Genres:
["War","Drama","Thriller"]
Ratings
Scene
43 -
Struggle Against the Storm
EXT. OWL MOUNTAINS FOREST SLOPE - DAWN
A grey dawn bleeds slowly into the snow - covered forest.
Snow lashes sideways now.
The wind howls through the trees, swallowing all sound.
Jack and Elena push uphill- boots sinking, breath ragged.
Jack stops.
Holds up a fist.
They listen.
Nothing.
Just wind.
Jack checks his compass- then his watch.
JACK
We're drifting.
Elena wipes snow from her eyes.
ELENA
The markers should be here.
She looks around.
Nothing looks familiar anymore.
The forest has erased itself.
A sudden gust almost knocks her off her feet.
Jack grabs her arm- steadying, not gentle.
JACK
If we stop we, freeze.
They move again.
EXT. RIDGELINE- MOMENTS LATER
They break through the trees onto a narrow ridgeline.
Below them, visability is poor- The valley swallowed by the
snow and mist.
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Jack squints.
JACK
That's the valley.
Elena shakes her head.
ELENA
Too far east.
Jack looks again -then realises.
JACK
The storm pushed us.
Elena's jaw tightens.
ELENA
Vogel won't be pushed.
That lands.
Jack scans the horizon.
A faint, unnatural hum cuts through the wind- barely audible.
Elena freezes.
ELENA (CONT'D)
(quiet)
Did you hear that?
Jack nods.
JACK
That wasn't the weather.
They exchange a look.
Not panic.
Recognition.
Genres:
["Thriller","Drama"]
Ratings
Scene
44 -
Race Against Time
EXT. FOREST-CONTINUOUS
They move fast now- sliding. slipping.
Branches tear at them.
Jack nearly goes down- catches himself.
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Elena grabs him, hauls him upright.
ELENA
If Kraus was wrong-
JACK
He wasn't.
They crest another rise-
Suddenly- The air shimmers.
Just for a second.
Then it's gone.
Elena stops dead, staring.
ELENA
That was it.
Jack scans the tree.
Nothing.
No body.
No sound.
Just snow.
JACK
We missed him.
The words hang - heavy.
Then, far off-
An engine.
Low. Distant.Growing louder.
A German Heinkel bomber roars overhead, vanishing into cloud.
Jack's face hardens.
JACK (CONT'D)
Luftwaffe.
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(beat)
Liegnitz.
The airfield.
That's how he gets to Berlin.
Elena turns toward the soound.
ELENA
If he gets there-
JACK
Then the bell doesn't matter.
Jack breaks into a run- reckless now.
Elena follows.
EXT. FOREST- MOVING-DAWN.
They run blind through the storm.
Two figures chasing a man they never saw.
Behind them- deep in the mountain -
The Bell screams.
Metal tearing under forces it was never ment to hold.
History itself straining.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
45 -
Descent into Chaos
INT. BELL LAIR- LOWER LEVEL CORRIDOR- DAWN.
Alarms scream.
Red lights pulse against concreate walls slick with
condensation.
The mountain groans- deep, structual, wrong.
Vogel (1940's) strides through the chaos.
Calm, controlled.
Fury buried just beneath the surface.
Two scientists round the corner at speed-panic- stricken,
coats torn. They skid to halt when they see him.
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VOGEL
You two. With me.
SCIENTIST 1
Herr Vogel- We must evacuate. The
field is-
BANG.
The shot cracks through the corridor.
Scientist 1 drops instantly.
Blood splashes across Scientist 2, who freezes-eyes
wide,breath gone.
Vogel lowers his pistol.
VOGEL
You.
The second scientist trembles.
SCIENTIST 2
Yes...mein Herr.
Vogel steps closer. Unblinking.
VOGEL
You will send me back.
Twenty-four hours.
SCIENTIST 2
Herr Vogel, I don't- the equations are
gone-
Vogel presses his pistol into his forehead.
VOGEL
You will try.
A distant inhuman scream ripples through the mountain.
Metal tearing. Energy warping.
The bell devouring itslef.
The scientist nods- broken.
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SCIENTIST 2
(whispering)
Yes.. Herr Vogel.
Vogel turns.
Moves toward the Bell chamber.
Not running.
Marching.
Genres:
["Thriller","Drama","War"]
Ratings
Scene
46 -
The Descent into Chaos
INT. BELL CONTROL ROOM-MOMENTS LATER.
The room is a nightmare.
Sparks rain from shattered conduits.
Instrumentation flickers-
unreadable, unstable.
Beyond reinforced glass, THE BELL convulses — its surface
warping, pulsing, breathing.
SCIENTEST 2
scrambles at the console. Hands
shaking.
Vogel watches the bell.Not the man.
VOGEL
I need twenty-four hours.
SCIENTIST 2
Herr Vogel... people have died trying
just minutes.
Vogel tuns slowly.
VOGEL
Then learn from them.
The assistant swallows. Begins inputting commands.
The Bell shrieks.
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A countdownflashes — unstable, fluctuating.
00:20… 00:17… 00:23…
SCIENTIST 2
The timing is all wrong..
Vogel steps forward into the chamber.
VOGEL
Send me.
The assistant slams the control.
The Bell erupts in blinding light.
Reality buckles.
Vogel is engulfed.
INT. THE BELL -LIMINAL SPACE
For a split second..
Vogel exists between moments.
Not travelling.
Not arriving.
His body distorts- fragments lag behind the rest.
He understands.
Too late.
The Bell turns inward.
Consumes itself.
Consumes him.
No scream.
Just silence.
INT. BELL CONTROL ROOM-CONTINUOUS.
The light implodes.
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A violent shockwave blasts outward.
The chamber is empty.
Where Vogel stood —
Nothing remains.
The Bell convulses once more, then begins to collapse in on
itself.
Metal folds.
Systems fry.
Data erases in cascading failure.
Scientist 2 is hurled against the wall.
The Bell is dying.
EXT. OWL MOUNTAINS-DAWN.
The mountain exhales.
A deep, unnatural rumble fades into silence.
Whatever the Bell was —
it is no longer whole.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
47 -
The Grotesque Emergence
EXT. OWL MOUNTAINS-WOEK CAMP-DAWN.
A handful of Prisoners work in silence near the tree line.
Cold.
Exhausted.
Watched.
The mountain looms above them.
Then—
A deafening bang tears through the air.
A blinding purple flash erupts higher up the slope.
The ground knocks them off their feet.
Snow rains down.
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Tools scatter.
For a moment —
Nothing but ringing ears and drifting ash.
The guards are gone.
The prisoners slowly push themselves up.
Stare toward the source.
From the smoke —
Something moves.
A figure emerges.
Staggering.
Unrecognisable.
Its uniform is torn, blackened- half-melted, fused to what
remains of a body.
Skin sloughs from bone.
Flesh hangs where structure should be.
A wet, chemical stench rolls downhill.
The prisoners instinctively back away.
One of them whispers —
PRISONER
(hushed)
Gott.
The figure lurches forward.
One arm barely works.
With grotesque effort, it reaches up —
Straightens its cap.
Smooths what remains of its collar.
Habit.
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Rank.
Reflex.
The prisoners realise.
This was a man who commanded them.
A superior race, reduced to this.
The figure takes two more steps.
Then—
Its legs give way.
The body collapses inward on itself.
Dissolving into a steaming,putrid mass.
Uniform fabric floats atop it-
like skin shed by something dead.
Silence.
The prisoners don’t cheer.
They don’t speak.
They simply stare.
One turns away.
Another backs off, crossing himself.
Behind them, the mountain emits a final, low groan —
Then falls silent.
The purple mist thins.
Nothing remains.
Genres:
["War","Drama","Sci-Fi","Horror"]
Ratings
Scene
48 -
Race Against Time in the Owl Mountains
EXT. OWL MOUNTAINS-FOREST TRACK-DAWN
A narrow service road cuts through the trees.
Mud.
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Snow.
Ice.
VOGEl black leather trench coat, briefcase and a fresh scar
on his left cheek. He moves fast.
Breath controlled.
Boots sure.
He is no longer sick.
Whatever weakness the jump caused- it's gone.
He checks his watch.
Adjusts his coat.
Behind him, the mountain groans — distant now.
Like something dying slowly.
Vogel does not look back.
EXT. WOODLINE-RIDGE-SAME
JACK and ELENA break through the trees onto higher ground.
They stop.
Below them — the road.
Jack raises binoculars. Scans.
Then —
JACK
There.
Elena takes the binoculars. A single figure moving fast along
the track.
ELENA
He's on foot.
Elena lowers the binoculars.
JACK
That means he's late.
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Elena stiffens.
ELENA
Or confident.
Jack gauges the distance. Too far to shoot. Too far to shout.
JACK
He's heading for the airstrip.
Elena looks past Vogel- toward the valley beyond.
Faint shapes in the distance. Hangers. A runway.
ELENA
We don't have much time.
Jack scans along the ridge. Sees it-
Steep. Dangerous. Direct.
JACK
Shortcut it is then.
Jack starts down.
Elena hesitates- only for a second- then follows.
EXT. MAINTENNANCE DECENT- CONTINUOUS
They slide,stumble, half- run down the slope.
Loose rock skitters into the void.
Jack goes down hard- catches himself on a tree root.
Elena grabs his arm.
ELENA
Don't die on me now.
Jack almost smiles.
Almost.
They keep moving.
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Genres:
["Action","Thriller","Drama"]
Ratings
Scene
49 -
No Loose Ends
EXT. FOREST ROAD-DAWN
Vogel slows.
Listens.
Nothing.
He reaches into his coat. Removes a folded paper--
coordinates, times, names.
He strikes a lighter.
The flame catches. Paper curls. Ink blackens.
Burns it with a lighter.Vogel watches until it becomes ash,
drifting in the snow.
Watches it disappear into ash.
VOGEL
(to himself)
No loose ends.
He pockets the lighter.
Steps back onto the road.
Breaks into a run.
EXT. FOREST-EDGE OF CLEARING- SAME
Jack and Elena burst from the trees —
They’ve closed the distance.
Vogel is closer now.
Still ahead.
Still unreachable.
Elena raises her rifle. Jack gently pushes it down.
JACK
Not yet.
Elena nods.
They move.
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Genres:
["Action","Thriller","Drama"]
Ratings
Scene
50 -
Dawn Vigil
EXT. OWL MOUNTAINS- RIDGE ABOVE- DAWN
High above the valley-
Kraus, Billy and Janus watch from the treeline.
Smoke still coils upaward from the mountain. The Bell is
silent now.
Janus lowers his binpculars.
JANUS
It is finished.
Kraus closes his eyes.
Just for a moment.
Billy doesn't look at the mountain. He's watching the road
below. watches the road below.
Movement.
BILLY
He's on the move.
Janus raises the binoculars again. Follows Billy's line of
sight.
A lone figure ,moving fast along the road.
Then-
Two more shapes , cutting through the trees at pace.
JANUS
Then so are they.
Billy recognises them intantly.
Jack and Elena.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
51 -
Dawn at the Checkpoint
EXT. FOREST CHECKPOINT- DAWN.
A narrow mountain road choked by a makeshift checkpoint.
Sandbags.
Barbed wire.
A half - track idling, Engine rumbling in the cold.
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Two soldiers stiffen as Vogel steps out from the trees.
They recognise him immediatley.
SOLDIER
Herr Vogel-
Vogel doesn't slow.
VOGEL
I need transport.
The soldier gestures towards the half- track.
SOLDIER
Of course, sir.
Vogel climbs in.
Slams the door.
He leans forward,eyes already on the road ahead.
VOGEL
You.
( (to the second soldier))
Request back up.
Sweep the woods. There are resistance
fighters in the area.
The second soldier hesitates.
SOLDIER 2
How many?
Vogel finaly looks at him.
Flat.Certain.
VOGEL
Enough.
The half-track lurches forward, crunching into the snow.
Vogel does not look back.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
52 -
Ambush and Escape
EXT. FOREST RIDGE-SAME
From, cover watch the half-track disappear down the mountain
road.
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Elena's shoulders sag-just a fraction.
ELENA
He's got transport.
Jack lowers the binoculars slowly.
JACK
He planned for this.
They exchange a look.
No speeches.
No miracle ideas.
Just math-and the math is bad.
EXT. FOREST -LOWER SLOPE- MOMENTS LATER
Jack and Elena move fast through dense trees. —
Then—
Shouts.
Dogs barking.
Searchlights rip through the forest.
Jack spins —
Gunfire erupts..
They dive for cover as bullets chew through bark and snow.
Branches explode overhead.
TElena fires back — controlled, precise.
Jack reloads under pressure.
JACK
We're boxed in.
A bullett slams into the dirt inches from Elena's face.
ELENA
We're not making that strip.
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Another burst. Closer now.
Then-
A deep engine roar cuts through the chaos.
Not a truck.
Not infantry.
Something heavier.
The soldiers hesitate- confused.
Out of the trees bursts a German armoured truck, ploughing
straight towards the firefight.
The hatch slams open-
Janus standing behind a mounted heavy machine gun.
calm.Controlled. Furious.
JANUS
Heads down.
The machine gun opens up.
The forest erupts.
Soldiers scatter. dogs break. Searchlights die.
Jack stares- stunned.
Elena blinks - disbelief giving way to relief.
The truck skids to a halt besides them.
At the wheel-Billy.
Passenger seat Kraus,grim,focused.
Janus grins darkly as he keeps firing.
JANUS (CONT'D)
I took this from the base.
(beat)
Thought they wouldn't be needing it.
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Jack and Elena don't hesitate.
They scramble aboard.
The truck roars away as bullets chase them into the trees-
and for the first time in a long while, Vogel is the one
being hunted.
Genres:
["Action","Thriller","War"]
Ratings
Scene
53 -
Race Against Time
EXT. FOREST ROAD-MOVING-DAWN.
Inside the armoured truck-chaos, breath, adrenaline.
The engine howls. Snow lashes the windscreen.
Jack leans forward gripping the seat.
JACK
Vogel's got a head start.
Billy keeps his eyes on the road. Doesn't answer immediately.
Elena looks past Jack-finally clocking the man in the
passenger seat.
Young.
Pale.
Alive.
Her eyes narrow.
ELENA
Billy..
Billy glances at her- then back to the road.
BILLY
This is Kraus.
Jack stares at Kraus. Disbelief flickers- then calculation.
Elena scans the truck. Counts bodies.-
ELENA
Where's Miller?
Billy swallows.
BILLY
He didn't make it.
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Silience.
Even the engine feels louder now.
Jack looks away- jaw tight.
Elena closes her eyes- Just for a second.Then refocuses.
ELENA
Is it destroyed?
Kraus answers before Billy can.
KRAUS
It is done.
It can not be re- built.
(beat)
All plans. All data. Gone.
Elena turns on him sharp.
ELENA
They'll brand you as a traitor the the
Reich.
Kraus doesn't deny it.
ELENA (CONT'D)
They'll come for Ingrid and Magda.
That lands.
Kraus's jaw tightens- fear breaking through discipline.
KRAUS
I know.
From the hatch above Janus speaks- calm,steady,absolute.
JANUS
Word should have reached them by now.
Everyone looks up.
JANUS (CONT'D)
A monk left the church before dawn.
(beat)
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JANUS (CONT'D)
If Ingrid followed the plan. She and
the girl are already gone.
Kraus exhales- A breath he's been holding for years.
KRAUS
(quiet)
Thank you.
Janus doesn't look down.
JANUS
Don't thank me yet.
The truck hits a bump -everybody lurches.
Jack refocuses. Leader again.
JACK
Vogel is heading for that airstrip.
Billy nods.
BILLY
If he gets airbourne-
JACK
Then none of this mattered.
Janus swings the machine gun forward.
JANUS
Then we stop him here.
Ahead, through the thinning trees-
The valley opens.
Hangers.
A runway.
Engines warming.
The clock is ticking.
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
54 -
Dawn Assault at the Airstrip
EXT. LUFTWAFFE AIRSTRIP- DAWN
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Grey light. Low cloud. Wind knifing across the tarmac.
A transport plane idles at the far end of the runway-.
engines warming.
An armoured truck bursts through the perimeter fencing.
Janus is already on the heavy machine gun- suppressive fire
thunders.
SS SOLDIERS scatter, diving for cover.
JANUS
Go!
The truck skids sideways to a halt.
Jack and Elena jump out, weapons up. Billy stays behind the
wheel.
KRAUS grips the doorframe — helpless, watching.
Jack and Elena run.
EXT. RUNWAY- CONTINUOUS
Elena breaks left.
Jack covers her — firing, moving, bleeding.
A bullet slams into Jack's side. He stumbles- stays upright.
JACK
Elena!
Elena doesn't look back.
She reaches the ladder. She climbs fast.
Genres:
["Action","Thriller","War"]
Ratings
Scene
55 -
Cockpit Confrontation
INT. PLANES COCKPIT-CONTINUOUS
The pilot reaches for the throttle.
ELENA
Don't.
The Pilot turns. Elena stands in the doorway, chest heaving.
She fires ONE SHOT. The Pilot slumps.
Elena scrambles over the body. She grabs the yoke. She isn't
trying to fly it. She jams her pistol into the instrument
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panel.
VOGEL(O.S.)
Fräulein.
She freezes.Turns.
VOGEL stands in the hatchway. Luger raised. He looks
impressed.
VOGEL
Codebreaking. Sabotage. You are
talented.
ELENA
(Smiling)
And your're grounded.
She yanks the mixture control lever hard,snapping it off.
The plane lurches.
Elena turns to move-
Vogel steps into the cockpit doorway. Gun already raised.
Vogels expression tightens. He fires.
Elena drops instantly.
No sound.
Just impact.
Vogel steps over her without a glance, shoves the dead pilot
aside. Grips the controls.
EXT. RUNWAY-SAME
Jack is sprinting despite his wounds.
He had seen the muzzle flash in the cockpit.
The plane lurches forward, picking up speed despite the
damage
Jack drops to one knee. He's exposed a sitting duck. He
raises his pistol. He knows he can't pierce armour.
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JACK
(whispering)
Come on, Come on...give me something.
He sees it. A fuel vapour vent on the starboard wing, leaking
slightly from the rough start.
Jack steadies his breathing.
Crack.Crack.
The plane it accelerates.
INT.COCKPIT
Warning lights scream. Vogel wrestles the yoke.
Genres:
["Action","Thriller","War"]
Ratings
Scene
56 -
Final Moments on the Runway
EXT. RUNWAY
Machine gun fire from the perimeter tower stitches across the
tarmac.
Jack takes two rounds in the chest. He is thrown onto his
back.
He stares up at the grey sky. The roar of the plane engines
turns into a whine. A sputter. Smoke trails from the right
wing.
Jack watches the plane bank dangerously low. It clears the
ridge... but the smoke is black and thick.
Jack smiles. Blood on his teeth.
JACK
(softly)
We got him El.
His eyes close. Snow begins to cover him.
From the truck Billy watches- heart in his throat.
BILLY
No...
Kraus closes his eyes.
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Janus stops firing.
The plane climbs into the low cloud.
For a moment-
It looks like Vogel has escaped.
EXT. OWL MOUNTAINS-DISTANT RIDGE- MOMENTS LATER
The plane reappears-wrong.
Struggling.Banking unevenly.
Losing altitude.
Then- It disappears behind the ridge.
A dull distant impact echoes through the mountains.
Silence.
Billy exhales shaking.
Janus lowers the gun.
Kraus opens his eyes.
No one speaks.
They turn away.
EXT. RUNWAY-DAWN.
Jack lies still.
Elena lies where she fell.
Wind drifts across the tarmac.
History settles.
EXT. LUFTWAFFE AIRSTRIP- PERIMETER ROAD- DAWN
The armoured truck tears away from the airfield.
Sporadic gunfire cracks behind them — wild, uncoordinated.
Janus fires a short, disciplined burst from the rear hatch.
Return fire falters.
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Then thins.
Then dissolves into confused shouting.
The truck crests a low rise.
The airfield vanishes from sight.
Silence replaces chaos.
EXT. FOREST ROAD-MOVING- MORNING.
Snow falls heavier now.
The truck slows.
No one speaks.
Kraus looks back through the slit in the rear door.
Through the trees —
A column of black smoke rises into the pale sky.
Distant.
Obscured.
Final.
Billy sees it too.
He says nothing keeps moving.
Genres:
["Action","Thriller","War"]
Ratings
Scene
57 -
Silent Acceptance
EXT. JANUS'S CHURCH-DAY
The small stone church comes into view.
Unchanged.
Ordinary.
The armoured truck turns off the road and disappears behind
the trees.
The smoke is gone from sight.
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INT. CHURCH – SIDE CHAPEL – DAY
Billy sits alone on a wooden bench.
Blood stains his sleeve — not his. Kraus stands nearby,
staring at the bare stone wall. Not praying. Not moving.
KRAUS
They will call it an accident.
Billy nods. He understands the language of history.
BILLY
They always do.
Janus enter quietly no rush. No ceremony.
JANUS
The monk returned before dawn.
Kraus stiffens.
JANUS (CONT'D)
Ingrid followed the plan.
(beat)
They crossed into Switzerland.
Kraus exhales- a breath held for years.
KRAUS
(quiet)
And Magda?
JANUS
With her.
Silence.
No relief.
Not joy.
Just truth.
Genres:
["Drama","Thriller"]
Ratings
Scene
58 -
Quiet Resolutions
EXT. COUNTRYSIDE-SERIES OF SHOTS-VO BEGINS.
OLD BILLY (V.O.)
They tell you history is fixed.
That what happened.. happened.
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OLD BILLY (V.O.) (CONT'D)
It isn’t.
It bends. It strains.
A distant church bell. Not Janus's
OLD BILLY (V.O.) (CONT'D)
And sometimes… it breaks quietly.
EXT. ENGLAND-SERIES OF SHOTS-YEARS PASS.
Kraus reunites with Ingrid.
No tears. Just holding on.
Magda, older now, confident, plays piano in a concert hall.
Applause — respectful earend.
Kraus teaches children in a modest classroom.
Chalk dust. Laughter. No photographs on the wall.
No medals.
No records.
OLD BILLY (V.O.)
Some lives were returned.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
59 -
Reflections of Unseen Heroism
EXT. LONDON STREET-DAY
Billy stands across the road from a modest house. Through a
window: A family eats together.
A younger Billy laughs.
Billy watches from a distance.
He does not cross.
OLD BILLY (V.O.)
Others were already lived.
EXT. VARIOUS- MONTAGE CONTINUES.
–
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JACK
, leading men through smoke on D-Day. Purpose. Resolve. No
hesitation.
–
MILLER
, laughing as a bridge collapses behind him. Victory and fear
tangled together.
–
ELENA
, focused at Bletchley Park, Paper. Silence. Cipher wheels
turning.
OLD BILLY (V.O.)
Hero's don't always know what they've
done.
Genres:
["War","Historical","Drama","Action"]
Ratings
Scene
60 -
The Echo of Time
INT. CARE HOME- 2005- PRESENT DAY.
Billy — old now — sits opposite a reporter.
Between them, on the small table rests the pocket watch.
The reporter studies it.
Then he looks at Billy.
really looks.
Something unsettles him.
REPORTER
If you could do it again..
Billy considers this.
(A long beat)
OLD BILLY
I already did.
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EXT. JANUS'S CHURCH-SUNSET (1950)
Janus stands alone.
Older.
Frail.
He rings the bell once.
The sound carries across the valley.
OLD BILLY (V.O.)
Janus stayed.
He died quietly.
(beat)
Like most good men do.
EXT. CARE HOME CONTINUOUS.
Billy’s eyes close.
The reporter waits.
Then understands.
The pocket watch has stopped.
EXT. OWL MOUNTAINS-DAWN (YEARS LATER)
The mountains sit in silence.
No Bell.
No hum.
Just wind through trees.
OLD BILLY
(v.o.)
History didn’t remember us.
FADE OUT
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TITLE CARD
THE BELL.
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