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 NURSE'S 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
boy, but he tells the same story every
year.
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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 War
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.
The room is quiet. The sound of the rain and the distant
foghorns from the harbor are louder here.
BILL (82) lies in the bed. He is frail, WITH skin like
Created using Celtx
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?
BILL
I was away.
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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?
The Reporter pauses. The old man's tone has shifted. The air
in the room feels heavier.
REPORTER
What do you see, Bill?
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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.
And I was twenty years old. Just like
you were in '66.
EXTREME CLOSE UP ON BILL'S EYE.
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BILL (CONT'D)
I drove a truck for the Reich by day.
And I bled for the Resistance by night
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
3 -
Forced Compliance in the Shadows
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.
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."
Created using Celtx
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.
JACK
The protocol has just been changed.
BILLY
Jack... what's going on?
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.
Created using Celtx
BILLY (O.S.)
Jack! Let me out! I have a shift!
The truck revs violently. It peels out of the alley, heading
into the dark heart of occupied London.
Genres:
["Drama","Sci-Fi","War"]
Ratings
Scene
4 -
The Keys to Victory
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 covers 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. Makes one wonder how they
did it.
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
They were fighting a two-front war
with finite resources. The math
doesn't add up.
A match strikes in the shadows. The flare illuminates a face
deep in the corner.
**OLD KRAUS (68)** sits in a chair. He is a ghost of a man.
Frail, skeletal, wearing a tattered cardigan over a once-
expensive dress shirt. But behind the wire-rimmed spectacles,
his eyes are dangerously sharp. He is smoking a pipe, his
hands trembling slightly-not from age, but from nerve damage.
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He is sharp, pristine, and speaks English with a clipped,
aristocratic German accent.
OLD KRAUS
The math works, my dear, if you know
the answers before the test begins.
Billy looks at Jack, confused.
BILLY
Who is he?
JACK
The man who built their world. And the
only reason we have a chance to break
it. Billy, Meet Dr Heinrich Kraus.
Kraus gets up and walks forward He looks at Billy with a mix
of pity and calculation. Speaks with a German accent
OLD KRAUS
You are the driver? You look young.
(He turns to the map) The Führer was
handed the four keys to the kingdom.
Billy confused
BILLY
What's he going on about, Jack?
JACK
Just listen to the old man, kid.
**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.
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**EXT. RED SQUARE - MOSCOW - DAY (SUMMER 1941)**
German Panzers roll past St. Basil's Cathedral. The sun is
shining. There is no snow.
OLD KRAUS (V.O.)
Key Two: The East. Hitler knew about
the harsh Soviet Winter. So they
attacked in May. They ignored the
Ukraine and drove the spear straight
into Stalin's heart. Moscow fellbefore
the first flake of snow hit the
ground.
**INT. REICHSTAG - BERLIN - DAY (DECEMBER 1941)**
Hitler stands at the podium. Behind him, reports of Pearl
Harbour. He smiles, but stays silent.
ELENA (V.O.)
Key Three: The Sleeping Giant. When
Japan attacked Pearl Harbour, Hitler
stayed silent. He never declared war.
Roosevelt was trapped fighting in the
Pacific. America never came to Europe.
**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 Physics.
Projekt Götterdämmerung...Twilight of
the gods.
We didn't need to invade England. We
just vaporized a city to make them
kneel.
Genres:
["War","Sci-Fi","Drama"]
Ratings
Scene
5 -
The Reluctant Recruit
**RETURN TO SCENE:****INT. RESISTANCE BUNKER - NIGHT**
Billy looking around at everyone in the room
BILLY
We learned in school that it was
inevitable. That the Aryan spirit was
unconquerable. They had the
intelligence, spies-
Created using Celtx
ELENA
It wasn't intelligence. And it
certainly wasn't spies. Spies get
lucky. Spies guess. The Reich didn't
guess. They knew.
OLD KRAUS
They had a cheat code William.
(beat)
You think they won because they where
smarter? No.
He points to the map
Imagine a game of chess. Now imagine
one player can stop the clock, walk
around the table, read his opponent's
notes, and then sit back down before
the second hand moves.
(beat)
That is *Die Glocke*. The Bell. Time
travel William.
Billy frowns
BILLY
A time machine? That's just comic book
trash.
ELENA
Is it? Look at the history, Billy. The
Enigma code-fed with false intel.
Barbarossa-launched early to beat the
winter. Pearl Harbour-ignored by
Hitler to keep America asleep.
(beat)
It wasn't brilliant spy craft. It was
hindsight. Weaponized.
Billy looks at the team. He realizes they aren't crazy. They
are terrified.
BILLY
Okay. Say I believe you. Why me? You
have soldiers. You have... whatever
(MORE)
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BILLY (CONT'D)
she is. I'm just a driver. I haul
laundry.
Jack steps into Billy's personal space.
JACK
Exactly. You're invisible.
(beat)
We need to get that canister onto the
*Breitspurbahn* train to Poland. The
checkpoints are brutal. A soldier gets
questioned. A spy gets shot.
(beat)
But a bored delivery driver with
stolen manifests and a bad attitude?
He gets waved through.
ELENA
We've been watching you, Billy. You
forge your own petrol rations. You
steal parts to sell on the black
market. You are a natural thief.
Today, you're just going to help us do
something bigger.
Billy looks at the heavy canister.
BILLY
What the hell is in this thing?
OLD KRAUS
That my boy. Is Xerum 525. A liquid.
Fuel if you like. This is what will
send us back to 1940. Our only chance
to end this nightmare.
BILLY
How do you know about all this stuff?
OLD KRAUS
Because I helped build it. And now I
must help destroy it.
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Old Kraus pulls a picture from his pocket and pins it to the
map on the wall.
OLD KRAUS (CONT'D)
Meet Hans Vogel.
(beat)
In April 1945, as the Reich collapsed,
Vogel stepped into Die Glocke, In his
briefcase: a complete post-mortem of
defeat. Operation Overlord. The
failure in Russia. Bletchley Park.
Every decision, every error that led
to the fall of the Third Reich.
JACK
So here's the mission. We use your truck - forged Reich IDs,
sealed manifests - and roll straight onto the Dover ferry. No
questions, no delays. At Calais, the truck's transferred onto
a priority freight train. Same vehicle, same cargo. We stay
with it. Thirty-six hours later we're off the rails in Lower
Silesia. From there it's a short road run into the Owl
Mountains. We infiltrate the base. We jump back to 1940. We
destroy the Bell, secure Vogel's intelligence - and reset the
world to how it was meant to be.
MILLER
Piece of cake lad.
BILLY
Okay so say I help you. Kraus If you
built this machine and gave them the
world. Why are you helping the
resistance to destroy it?
KRAUS STARES AT THE FLOOR
OLD KRAUS
Magda.
BILLY
Who?
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OLD KRAUS
My daughter. She was nineteen. She
played the piano like an angel.
(beat)
In 1951, she fell in love. A
violinist. A boy named David. He was
Jewish. Hiding in plain sight.
KRAUS HANDS TREMBLE
OLD KRAUS (CONT'D)
I was a National Hero. I thought I was
untouchable. I thought I could protect
them.
(beat)
I was wrong. The Gestapo found them.
They shot my wife, Ingrid, in the
doorway. They took Magda to the camps.
(softly) She died of typhus three
months later.
The silence in the bunker is heavy.
OLD KRAUS (CONT'D) (CONT'D)
They didn't kill me. I was too
valuable. They exiled me here. To
London. To build their new
infrastructure. To rot in the rain.
Jack nods at Kraus.
JACK
We grabbed him a month ago. Pulled him
out of his flat. Thought we'd have to
torture him for intel.
(beat)
Instead, he poured us a drink and told
us how to end the world.
Created using Celtx
Kraus looks up at Billy.
OLD KRAUS
I helped give them the future,
William. Now I need you to drive that
truck so I can take it back.
Billy looks at the map. He zips up his jacket.
BILLY
Do i need to forge a manifest for the
train?
ELENA
Already done. You're hauling Class 1
Medical Supplies.
BILLY
(Nervous smile)
So, how do we get home if we destroyed
the machine.
MILLER
We don't lad.
OLD KRAUS
It's a one-way trip, William. We plant
the charges before the jump. No
return. No one follows. We destroy the
designs, the early infrastructure. We
erase every trace of the machine.
BILLY
Wait, what so i am stuck there. During
the war. You are all crazy.
ELENA
We all are Billy. It is a sacrifice,
we are all prepared to make.
BILLY
1940. I haven't even been born.
OLD KRAUS
Think of your family William. You can
save them.
BILLY
How do you know about my family?
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JACK
We know what happened to them. Your
father was shot for distributing anti-
regime propaganda. Your mother got you
out - sent you to your aunt - before
they took her. A camp. So-called
rehabilitation.
(beat)
You can change all of it.Save them.
BILLY
How do we know- If we do all this-
that the world changes?
OLD KRAUS
Because I've seen the world when it
does'nt.
(beat)
If Vogel gets that intel to Berlin,
the Allies don't win.There is no VE
day parade in London. Edward becomes a
puppet king. Dunkirk becomes a
slaughter.
Kraus steps closer.
OLD KRAUS (CONT'D)
And Churchill doesn't die in bed. He
dies in his war room fighting the
Gestapo.
Billy buttons his coat. His hands are shaking, but he nods.
BILLY
Look's like we have a train to catch.
I/E. BILLYS TRUCK (MOVING) DAY MORNING-PORT OF DOVER
The White Cliffs loom, half-lost in rain and fog.
The old harbour has been transformed into a Reich maritime
terminal - concrete ramps, floodlights on steel pylons,
banners snapping violently in the wind.
A colossal ROLL-ON ROLL-OFF FERRY squats at the quay, its bow
Created using Celtx
doors open like a steel mouth. Searchlights rake the docks.
A line of heavy trucks crawls toward a militarised checkpoint
at the ferry ramp. At the front of the queue is the
RESISTANCE TRUCK.
Genres:
["War","Sci-Fi","Drama"]
Ratings
Scene
6 -
Checkpoint Deception
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. They don't just check papers.
They disappear people.
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. His greatcoat is soaked. Salt
spray 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.
BILLY
(In fluent, nervous German)
Transport Seven-Delta Priority Reich
cargo, Eastern Territories.
The Guard scans the manifest. His torch moves to Jack. Jack
stares straight ahead - bored, superior.
SS GUARD
Identification, Herr Major.
Jack doesn't look at him. He snaps his fingers once. Billy
quickly hands over the forged ID booklet. The Guard studies
it. Too long. Then he gestures toward the rear of the truck.
Created using Celtx
SS GUARD (CONT'D)
Open the back.
Billy freezes. Inside are Miller, Elena, Kraus - and enough
weapons to ignite a war. Billy leans out of the cab.
BILLY
(in German)
I would't do that.
SS GUARD
Why?
BILLY
The cargo is a sealed magnetic
guidance core. Class-One sensitive.
Exposed to salt air, it degrades.
(beat)
If it degrades, Reichsmarschall
Kammler will want to know why his
shipment sat open on a dock in Dover.
I will happily give him your name.
The Guard hesitates. He looks again at the manifest. The
stamp: PROJECT RIESE. The name: KAMMLER. That decides it. The
Guard steps back sharply. Slaps the side of the truck.
SS GUARD
Board immediately. Schnell.
Billy exhales - shaky, uncontrollable. He eases the truck
forward.
UEXT. ROLL ON ROLL OFF FERRY RAMP-CONTINUOUS
The truck climbs the steel ramp, tyres clanging on wet metal.
SS guards line the ramp, silhouettes in the mist. As the
truck enters the ferry's belly, the dock noise vanishes,
replaced by the hollow echo of steel.
INT. FERRY VEHICLE DECK- CONTINUOUS
The space is cavernous. Rows of trucks already chained down.
The Resistance Truck is waved into position. Miller, Kraus,
and Elena slip out the back - now dock workers, clipboards,
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overalls, faces down. Chains CLANK tight around the wheels. A
klaxon sounds. Through the open stern, Billy catches a final
glimpse of England: Floodlights, Rain The cliffs fading into
fog The BOW DOORS BEGIN TO CLOSE. Steel grinding on steel.
Final.
Genres:
["War","Thriller","Historical"]
Ratings
Scene
7 -
Departure into the Unknown
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.
Genres:
["War","Sci-Fi","Thriller"]
Ratings
Scene
8 -
Voices Below Deck
INT. FERRY- BELOW DECK - MOMENTS LATER
Jack lights a cigarette.
JACK
You did well back there kid, your 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
(MORE)
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BILLY (CONT'D)
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
listen."
(beat)
He was shot two years later for printing leaflets in a
cellar.
Silence. Even Jack doesn't joke.
BILLY (CONT'D)
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.
Created using Celtx
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)
The future calls them heroes.
Billy looks at him - a flicker of something new.
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.
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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.
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)
Created using Celtx
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 (CONT'D)
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.
(beat)
Dunkirk.
That word lands heavy.
JACK (CONT'D)
We left half the lads behind.
Spent the rest of the war pretending
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.
Created using Celtx
Kraus closes his pocket watch. The CLICK echoes.
OLD KRAUS
And that is why you are here.
(beat)
Soldiers, engineers, code-breakers…
People who know what the world cost
the first time.
The ferry lurches slightly 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.
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","Thriller"]
Ratings
Scene
9 -
Reflections Below Deck
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.
Created using Celtx
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 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.
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,
(MORE)
Created using Celtx
OLD KRAUS (CONT'D)
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.
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
Created using Celtx
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 back to the canister.
BILLY
And that thing? Fuel.
Kraus follows his gaze.
OLD KRAUS
Xerum 525.
(beat)
The Bell does not travel through time.
Billy looks up.
Created using Celtx
OLD KRAUS (CONT'D)
It bends it.
Kraus places a hand on the canister.
OLD KRAUS (CONT'D) (CONT'D)
The serum is a catalyst.
When energised, it creates a localized
temporal shear - a moment where cause
and effect separate.
(beat)
That moment is the jump.
Billy nods, half understanding - enough.
BILLY
And once it's gone?
OLD KRAUS
No fuel. No Bell. No second chances.
The ferry's horn BLARES somewhere above them.
Kraus stands.
OLD KRAUS (CONT'D)
History will not remember us.
Billy looks up at him.
BILLY
I will.
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:
["Drama","Sci-Fi","War"]
Ratings
Scene
10 -
The Journey East: Tension on the Road
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.
Created using Celtx
MONTAGE - THE JOURNEY EAST
CALAIS CHECKPOINT
French collaborators stamp documents without looking up.
A red wax seal pressed hard: PROJECT RIESE.
- BELGIUM - DAY
The truck passes bombed-out villages rebuilt in brutal
concrete. Reich banners 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 lock tight.
A locomotive couples with a violent CLANG.
- INSIDE THE TRUCK - MOVING - NIGHT
Darkness. Engine vibration.
Kraus studies his pocket watch.
Elena checks the canister's restraints.
Miller sleeps sitting up, hand resting on a detonator like a
rosary.
Jack stares at 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 now.
Relentless.
Behind him, the others brace themselves instinctively -
soldiers again, whether they want to be or not.
Created using Celtx
Genres:
["War","Sci-Fi","Thriller"]
Ratings
Scene
11 -
Train Derailment: Chaos Unleashed
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 sits in the cab, staring through the narrow windscreen
slit at darkness racing past. Kraus looks up sharply.
OLD KRAUS
That sound-
The train suddenly LURCHES. A VIOLENT JOLT throws everyone
sideways. Metal SHRIEKS. Couplings SNAP. Billy grabs the
wheel on reflex.
BILLY
What the hell was that?!
The WHINE becomes a ROAR.
Then-
EXT. RAIL LINE - CONTINUOUS
The track ahead has been TORN APART.
An explosion detonates beneath the rails.
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.
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.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
12 -
Precarious Rescue
INT. TRUCK - CONTINUOUS
The truck HANGS at an angle, half off the rail car. The
canister SHIFTS - STRAPS SNAP. Elena sees it sliding.
Created using Celtx
ELENA
The serum!
She dives, fingers catching the canister's handle as it SKIDS
toward open air. Below it - darkness. Snow. Fire. Elena hangs
there, 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 are thrown into a wall of crates. A SECONDARY
EXPLOSION rocks the truck. Fire erupts from a ruptured fuel
line. Miller sees it instantly.
MILLER
The explosives!
Jack and Miller move - old muscle memory kicking in. They
tear open crates, grabbing charges, rifles, ammo. Fire
SPREADS fast.
Genres:
["War","Thriller","Action"]
Ratings
Scene
13 -
Desperate Rescue at the Derailment Site
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.
Behind them - a SCREAM. Kraus is pinned beneath a fallen
steel support, leg trapped. Fire inches closer.
OLD KRAUS
Leave me.
Billy ignores him.
BILLY
Shut up.
Created using Celtx
Billy wedges a crowbar under the beam. It doesn't move. Billy
PANICS - looks at the flames - at 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","Thriller","Drama"]
Ratings
Scene
14 -
Into the Darkness
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 forest.
JACK
Polish border's ten miles east.
(beat)
From here on - we walk.
They disappear into the trees as the train burns behind them
- steel, fire, and certainty collapsing together.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
15 -
Arrival at the Abandoned Church
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.
Created using Celtx
MILLER
We're here.
Jack signals halt.
JACK
You sure?
Miller nods.
MILLER
If he's still breathing.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
16 -
A Midnight Confession
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.
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.
Created using Celtx
Genres:
["War","Thriller","Drama"]
Ratings
Scene
17 -
Healing in Silence
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 away.
MILLER
He hid twelve families under this
floor after we blew a bridge east of
here.
(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 smiles faintly.
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
The Hidden Path
INT. CHURCH - CANDLELIT NAVE - NIGHT
The team sits quietly.
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
Then you are in the right place.
Billy glances at the altar.
BILLY
What is it?
Created using Celtx
Janus gestures to a stone staircase hidden behind the altar.
Genres:
["Thriller","Historical","Adventure"]
Ratings
Scene
19 -
Echoes of the Past
INT. CATACOMBS - NIGHT
Crates. Rifles. Explosives. Maps. And - carved into the stone
walls - NAMES. Hundreds. scratched. Etched. Bloody. Elena
stops dead.
ELENA
These are prisoners.
Janus nods.
JANUS
Jews. Political men. Engineers who
asked questions.
(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
war.
(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:
["Drama","Historical","Thriller"]
Ratings
Scene
20 -
Confrontation 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.
Created using Celtx
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)
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.
Created using Celtx
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.
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.
Created using Celtx
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.
OLD KRAUS
I know.
Janus steps closer.
JANUS
But if what you say is true…
If this ends the Bell…
(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.
(beat)
But I deserve that.
Created using Celtx
Billy sits beside him. Outside, the wind rattles the cracked
bell. Not ringing. Judging.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
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.
(beat)
The earth rings when you strike it.
Jack looks at Kraus.
JACK
That it?
Kraus nods grimly.
OLD KRAUS
That's the lair.
Janus rolls up the map.
JANUS
I will take you as far as the old
paths.
Billy looks at him.
BILLY
Why help us?
JANUS
Because whatever you are carrying…
(beat)
…it already killed enough people.
The cracked bell above the church TOLLS once - moved by the
wind. Not a call to prayer. A warning.
Created using Celtx
Genres:
["War","Thriller","Drama"]
Ratings
Scene
22 -
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.
OLD KRAUS
Because they are not gods.
(beat)
They are men with a machine.
Billy looks at him.
BILLY
Then why can't they just go back
further? Kill us before we even meet?
Janus slows slightly - listening now.
OLD KRAUS
Because the Bell has a beginning.
(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, still dangerous.
JANUS
And the men who built it?
Kraus meets his gaze.
Created using Celtx
OLD KRAUS
They believed they were saving
Germany.
(beat)
I believed I was saving my family.
JANUS
The prisoners believed they were
digging graves.
Silence. Billy watches both men.
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.
(beat)
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 - at the weight of it.
Created using Celtx
OLD KRAUS
No.
(beat)
But I think he'll understand.
They walk on. Ahead, the wind carries a faint, unnatural HUM
- too steady to be the mountain. Janus stops again.
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
Into the Unknown
EXT. OWL MOUNTAINS - RIDGELINE - DAY
JANUS
We are close.
Billy feels it now - in his teeth, in his bones. The Bell is
already waiting.
Janus stops at a break in the trees. Beyond it: raw rock,
mist, and a mountain that feels wrong.
JANUS (CONT'D)
I go no further.
No ceremony. No sentiment. He turns to Kraus.
JANUS (CONT'D)
When the Bell misbehaves…
they do not send soldiers.
(beat)
They send engineers.
Billy clocks this.
JANUS (CONT'D)
And engineers never arrive unarmed.
OLD KRAUS
Thank you.
Janus inclines his head once, then turns back down the path,
swallowed by the trees. The team stands alone. The HUM grows
slightly louder. Billy exhales.
BILLY
So.
(beat)
The truck's gone.
Created using Celtx
JACK ADJUSTS HIS GRIP ON HIS RIFLE, EYES
ON THE MOUNTAIN.
JACK
We get eyes on the site.
(beat)
Then we improvise.
Billy nods, accepting that. They start moving again. 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.
(beat)
If it still excists.
Jack considers this, then nods once.
JACK
Show us.
Created using Celtx
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
24 -
Confrontation at 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.
(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.
(beat)
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 does the same.
Miller sets his jaw. This is it. Kraus straightens. Pain
flashes across his face - then something else replaces it.
Authority. He steps forward before anyone can stop him.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
25 -
The Bluff at the Ventilation Shaft
EXT. VENTILATION SHAFT CLEARING - CONTINUOUS
The SS PATROL approaches - six men. Muddy boots. Rifles loose
but 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 pounds. Kraus doesn't
raise his hands. He steps forward instead.
Created using Celtx
OLD KRAUS
(in clipped German)
Lower your weapon.
The Sergeant blinks - not expecting that.
SS SERGEANT
This is a restricted-
OLD KRAUS
-site.
(beat)
Yes. I know.
Kraus gestures to his injured leg, annoyed rather than weak.
OLD KRAUS (CONT'D)
We were on the Riese supply train.
Containment equipment. Medical grade.
He points to the CANISTER that Elena is holding.
OLD KRAUS (CONT'D) (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 beneath their feet. The
Sergeant feels it.
SS SERGEANT
Your papers.
Kraus doesn't hesitate - because hesitation is death.
OLD KRAUS
Lost with the rest of it.
(beat)
If you'd like, we can walk back down
the mountain and explain to Berlin why
the activation window was missed.
The word Berlin lands. The Sergeant swallows.
SS SERGEANT
Who authorised this visit?
Created using Celtx
Kraus steps closer now. Quiet. Dangerous.
OLD KRAUS
Kammler.
(beat)
And before you ask - no, this was not
logged locally.
The Sergeant stiffens. He knows exactly what that means.
SS SERGEANT
Why are you armed?
Miller shifts slightly. Jack tenses. Kraus looks genuinely
offended.
OLD KRAUS
Because when the chamber destabilises,
guards panic.
(beat)
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.
(beat)
Which is why you will unseal it.
The Sergeant hesitates - just long enough. 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.
Created using Celtx
SS SERGEANT
Escort detail.
The patrol moves - rifles lowering, not relaxing, but
obeying. Billy exhales, barely. Jack gives 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.
Jack glances at Billy. A look that says this is insane. Kraus
doesn't react. He simply nods - like this was always
inevitable.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
26 -
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 CATHEDRAL OF CONCRETE AND STEEL. A colossal
reinforced arch sunk directly into the mountain face.
Floodlights. Guard towers. Reich eagles weathered but intact.
The HUM is louder now - rhythmic, oppressive. 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:
JACK
We walk through the front door and no
one fires a shot.
(beat)
World's officially gone mad.
Genres:
["Action","Thriller","War"]
Ratings
Scene
27 -
The Gate of Secrets
EXT. MAIN GATE - CONTINUOUS
Two MASSIVE STEEL DOORS stand shut. Armed guards snap to
Created using Celtx
attention as the patrol approaches. The Sergeant steps
forward.
SS SERGEANT
Maintenance detail.
Riese complex. Priority access.
A GATE OFFICER eyes the group - the weapons, the canister,
Kraus's limp.
GATE OFFICER
We weren't informed-
Kraus steps in, irritated.
OLD KRAUS
Because if this site is discussed
openly, it ceases to exist.
(beat)
Now open the doors.
The Gate Officer hesitates - then looks at the canister
again. At the HUM. 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:
["War","Thriller","Drama"]
Ratings
Scene
28 -
Into the Depths 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. In the skull.
Billy flinches.
BILLY
That's not just a machine.
Elena nods, pale.
Created using Celtx
ELENA
It's bending something.
Ahead, the tunnel opens into a vast interior space.
INT. DIE GLOCKE LAIR - MAIN CAVERN - CONTINUOUS
The team steps out 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.
(beat)
Instead… it taught men how to repeat
them.
The SS Sergeant gestures sharply.
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 slips 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
Created using Celtx
junction panels, planting CHARGES with practised hands. He
clocks the power levels on a flickering gauge.
MILLER
(mutters)
Jesus…
The EM FIELD makes the lights SHIMMER.
INT. DIE GLOCKE LAIR - CONTROL PLATFORM - CONTINUOUS
Kraus works fast despite the pain. Elena reads instruments -
radiation, temporal distortion.
ELENA
Field's already unstable.
OLD KRAUS
It always was.
Billy watches technicians nearby - too close.
BILLY
How long before they notice?
Kraus doesn't look up.
OLD KRAUS
They won't.
(beat)
They never do - until it's too late.
Genres:
["War","Thriller","Historical"]
Ratings
Scene
29 -
The Imposter's Entrance
EXT. DIE GLOCKE LAIR - MAIN GATE - SAME TIME
The massive STEEL DOORS grind shut behind the team. The SS
SERGEANT exhales, satisfied. Routine restored. A distant
ENGINE NOISE. He looks down the access road. A LORRY crawls
uphill toward the gate - mud-splattered, overheating. The
Sergeant steps forward, raising a hand. The lorry GRINDS to a
halt. Two MEN climb out - ACTUAL MAINTENANCE TECHNICIANS.
Clean papers. Confused.
SS SERGEANT
Halt. Who are you? This is a
restricted area.
MAINTENANCE TECH
We were delayed. Lorry overheated.
Created using Celtx
(beat)
We're here for the Bell cycle.
The Sergeant freezes. A horrible realisation crawls up his
spine.
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.
Genres:
["Thriller","War","Historical"]
Ratings
Scene
30 -
Sacrifice in the Bell Lair
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.
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.
MILLER
(V.O)
Charges are set - but the EM field's
chewing through my timers.
Created using Celtx
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.
Then-
SS OFFICER (O.S.)
Created using Celtx
**HALT! HALT!**
The gunfire falters.
A MAN steps into view - 50s, 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.
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
Created using Celtx
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.
JACK
Elena!
Created using Celtx
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.
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.
Created using Celtx
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.
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
Created using Celtx
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
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. Two German
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.
Created using Celtx
FADE IN
Genres:
["Action","Thriller","War"]
Ratings
Scene
31 -
Through the Storm
EXT. SNOWFIELD - DAY
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 whole body shakes. Jack lies on
his back, staring up, pale and disoriented. Elena sits
hunched, arms wrapped around herself, fighting waves of
nausea. Miller groans as he pushes himself up, spitting into
the snow.
MILLER
Did it work?
He wipes his mouth, unsteady, then gets to his feet. Elena
squints against the light, pressing her fingers to her
temples.
ELENA
Kraus warned us about jump sickness.
Billy forces himself upright, wiping his mouth with the back
of his sleeve.
BILLY
(hoarse)
He wasn't wrong.
Billy suddenly freezes. A thought hits him. He digs
frantically through his coat pockets - panic rising.
BILLY (CONT'D)
No....no-
His fingers close around metal. He pulls out the POCKET
WATCH. Stares at it. 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 answer. Jack studies him, searching his face.
JACK (CONT'D)
We can still save him.
(beat)
Created using Celtx
JACK (CONT'D)
The balls in our court now.
Billy closes his hand around the watch. Nods once. The wind
picks up, whispering 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 in thick,
deliberate flakes - the warning before the storm. The TEAM
trudges uphill through knee-deep snow. Exhausted. Still
shaken from the jump. 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. Its bell tower is dark.
MILLER
(grim)
We don't stay long. Storm's rolling in
fast.
A low RUMBLE of wind answers him. They push on.
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
32 -
Approaching the Unknown
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 will know danger.
Miller exhales slowly.
MILLER
Leave him to me.
Jack studies him.
Created using Celtx
JACK
You sure?
Miller nods once.
MILLER
He told me something once.
(beat)
Something he never told anyone else.
Jack clocks the weight of that. They move to the door.
Genres:
["Thriller","Drama"]
Ratings
Scene
33 -
A Test of Trust
INT. JANUS'S CHURCH - DAY
Warmth. Candlelight flickers against rough stone walls. A
handful of MONKS freeze as the door creaks open. Fear
flashes. 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 scan them - the clothes, the weapons, the
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.
JANUS
How do you know that?
Created using Celtx
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. 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 to Miller.
JANUS (CONT'D)
When did I tell you?
Miller meets his eyes.
MILLER
Not yet.
A long silence. Snow HOWLS outside. Janus looks at each of
them - sees the truth in their exhaustion, their restraint,
their restraint under fire. Finally- He steps aside.
JANUS
Come inside before this storm buries
us all.
Created using Celtx
Billy exhales for the first time. 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
34 -
A Pact in the Storm
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.
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.
Created using Celtx
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.
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?
Created using Celtx
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.
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.
Created using Celtx
He gestures toward the refugees.
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.
Janus turns slowly.
JANUS
How do you know about that? Explain.
Miller locks eyes with him.
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.
He smiles when he says it.
Created using Celtx
Janus's breath slows.
JANUS
How do you know what this mans words
were to me?
Miller doesn't answer immediately. He chooses the words
carefully.
MILLER
He says to you in your private
quarters -
(beat)
*"If God is hiding them, Father, then
God will forgive us for looking."*
Janus recoils. The words land like a physical blow.
JANUS
This is true, these words were spoken
to me. In my quarters.
The room is utterly still now.
MILLER
You offered him wine, it was 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:
JANUS
I was warned.
Miller nods.
MILLER
A man from the resistance.
Janus closes his eyes.
Created using Celtx
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 sent you not to warn me…
He turns toward the altar.
JANUS (CONT'D)
But to act.
He looks back. Resolve hardens.
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.
Created using Celtx
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Storm of Resolve
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.
Elena's breath catches.
ELENA
Volunteers for what?
The second man looks away, unable to meet their eyes.
MAN 2
For the tests.
Created using Celtx
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.
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.
Created using Celtx
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.
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.
Created using Celtx
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 slowly.
MAN 1 (CONT'D)
And if he had fought then… we would
all be dead.
(a beat)
WOMAN
Janus saves lives by waiting.
Silence. The truth of that settles heavily. Billy looks down
at the watch in his hand. Time. Waiting. Cost.
BILLY
(quiet)
Not anymore.
Elena meets his eyes.
The storm rumbles outside.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
36 -
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.
Created using Celtx
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.
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.
Created using Celtx
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
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.
Created using Celtx
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.
Jack tightens his jaw.
JACK
Then he doesn't reach it.
A distant ENGINE HUM cuts through the cold air. They all
turn. Far down the road, a SUPPLY TRUCK emerges from the
mist. Slow. Routine. Unaware. Janus watches it approach.
JANUS
Once you take that truck there is no
going back.
Billy looks at Krause's watch. Time ticking.
BILLY
There never was.
A brief, silent exchange between the four of them. No
speeches. No goodbyes. Janus steps back toward the church.
JANUS
God be with you.
The truck draws closer. The calm is over.
Created using Celtx
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
37 -
Tense Standoff 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. 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 stay back, half-hidden by the
trees.
JACK
(In German)
Engine off.
The escort raises his rifle -Miller steps forward just
enough. The barrel of his weapon visible. 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.
Silence.
Jack approaches the cab.
JACK (CONT'D)
Step out. Slowly.
They do.
Created using Celtx
Elena moves immediately - efficient, precise. She takes the
escort's rifle, 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 will be on time.
Miller steps closer, low voice.
MILLER (CONT'D)
Same truck. Same papers.
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.
Created using Celtx
Jack looks at Billy.
JACK (CONT'D)
You drive. You speak only when spoken
to. You do exactly what you did back
in Dover.
Billy slowly, he nods.
MOMENTS LATER
Genres:
["Thriller","War","Drama"]
Ratings
Scene
38 -
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.
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.
Created using Celtx
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.
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.
Created using Celtx
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.
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
Created using Celtx
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.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:
["Drama","Thriller","War"]
Ratings
Scene
39 -
Echoes of Loss
INT. SUPPLY TRUCK- MOVING-DAY
The engine hums. Snow streaks across
the windscreen. Billy drives.
(A beat)
BILLY
You got family back home?
Miller keeps his eyes forward.
MILLER
Had.
Created using Celtx
BILLY
Your parents?
Miller nods once.
MILLER
London.
(beat)
The Blitz.
Billy absorbs that.
MILLER (CONT'D)
My father, he worked in a factory.
Parts for the spitfire. Killed running
to the shelter.
Billy looks at him.
MILLER (CONT'D)
Didn't matter in the end. The
Spitfires where no match for the
Luftwaffe's 262's. The world's first
Jet fighters.
That lands quietly.
BILLY
Your mum?
Miller exhales.
MILLER
Heart gave out a couple of years
later.
Silence. The road climbs.
BILLY
You where away?
MILLER
The army had me by then.
(beat)
Couldn't get back.
The checkpoint appears ahead.
MILLER (CONT'D)
Here we go kid.
Created using Celtx
Billy nods. The truck keeps moving
Genres:
["Drama","War"]
Ratings
Scene
40 -
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.
GUARD 2
Fuel again?
GUARD 1
Always fuel.
The SECOND GUARD walks toward the barrier. Billy watches it
begin to lift. Metal clanks. Relief creeps in. The 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. 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.
Created using Celtx
Billy obeys - confused. The guard's eyes flick to Miller now.
Just a flick. That's enough. Miller moves.
Miller draws and FIRES inside the booth. Glass explodes. The
FIRST GUARD drops. The SECOND GUARD 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.
Floodlights. Rifles. Dogs. No escape. Billy hesitates - then
drops to his knees. Hands up. Guards swarm him, dragging him
down, pinning his arms. As they haul Billy 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 someone slams his
face into the snow.
EXT. CHECKPOINT - MOMENTS LATER
Billy is dragged to his feet. Hands bound. Blood in his
mouth. Smoke rises from the booth. 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","Thriller","Drama"]
Ratings
Scene
41 -
Time's Reckoning
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 (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.
Created using Celtx
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.
VOGEL (CONT'D)
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 (CONT'D)
Most men do.
Created using Celtx
VOGEL (CONT'D)
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.
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.
Created using Celtx
Billy exhales blood in his mouth.
BILL
(quiet)
We came to change it.
Vogel freezes. Just for a fraction of a second.
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 (CONT'D)
Who else?
Billy doesn't answer.
VOGEL (CONT'D)
Names.
Billy shakes his head. Vogel sighs. Almost disappointed.
VOGEL (CONT'D)
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.
Created using Celtx
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?
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.
Created using Celtx
BILLY (CONT'D)
She's young.
Kraus looks at him now.
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)
You think you are untouchable. You
think you can protect them.
Silence.
BILLY (CONT'D)
You're wrong.
Kraus grips the table.
BILLY (CONT'D)
The Gestapo came for them.
(beat)
They shoot your wife Ingrid, in the
doorway. She was just trying to
protect them.
Kraus closes his eyes.
Created using Celtx
BILLY (CONT'D)
They take Magda to the camps.
Bill's voice lowers.
BILLY (CONT'D)
She dies of typhus....three months
later.
The watches tick 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
Then the bell must be destroyed.
Billy shakes his head.
BILLY
And all knowledge erased.
(a beat)
And Vogel does not get to Berlin.
Kraus looks at the old watch. Then his own. He removes his
watch. Places it on the table. Lets it tick. Then stops it.
Kraus pockets the old watch.
KRAUS
Then there is no latter.
Created using Celtx
Billy exhales.
BILLY
There never was.
Footsteps outside. Voices. Kraus moves to Billy.
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
Storm at the Bell Lair
NT./EXT. THE BELL LAIR - PERIMETER - DAY
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.
VVOGEL
They're early.
The officer doesn't understand.
OFFICER
Sir?
Vogel looks towards the mountain - and then the interrogation
rooms.
VOGEL
It doesn't matter.
He turns.
VOGEL (CONT'D)
Contain them.
The officer hesitates.
OFFICER
And the prisoner?
Vogel doesn't slow.
Created using Celtx
VOGEL
Kraus will decide what's useful.
(a beat)
He always does.
Vogel disappears into the storm. The gunfire grows louder.
Smoke rises in the distance. The Bell hums, low and constant.
Unstoppable - for now.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
43 -
Escape Amidst Chaos
INT. INTERROGATION ROOM-DAY
The cuffs hit the floor. Billy slumps forward - Kraus catches
him, steadies him. Billy's legs barely hold.
BILLY
(breathless)
You don't have to-
KRAUS
I know.
Kraus grabs 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 heading 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:
["Thriller","Drama"]
Ratings
Scene
44 -
The Deceptive Escape
INT. THE BELL LIAR-CORRIDOR- MOVING
They move fast controlled. Sirens echo. Red warning lights
Created using Celtx
pulse. 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 they run past them.
Billy exhales.
BILLY
That won't work twice.
KRAUS
It won't have to.
Genres:
["Action","Thriller"]
Ratings
Scene
45 -
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?
Kraus shakes his head.
KRAUS
No.
Kraus opens his leather folder. Begins ripping pages out.
Blueprints. Calculations, years of work.
Created using Celtx
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
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
(MORE)
Created using Celtx
KRAUS (CONT'D)
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.
BILLY
You sure?
Kraus finally turns.
KRAUS
I designed it.
Created using Celtx
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
I need to get you out of here, and
save my family.
BILLY
Your 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 Kraus.
BILLY
That'll be Janus.
Kraus doesn't answer he is already moving.
Genres:
["Drama","Thriller","Sci-Fi"]
Ratings
Scene
46 -
Evasion in the Bell Lair
INT.BELL LAIR-CORRIDOR- MOVING.
They move fast now. Sirens blare. Red lights pulse. SS troops
rush past them in the other direction- toward the
disturbance. No one notices them. A charge detonates
somewhere above. The mountain shudders. Dust rains down.
SS guards emerge ahead.
Created using Celtx
KRAUS
(in German, controlled)
Containment breach. Vogel has ordered
evacuation of nonessential personal.
The guards hesitate. Another explosion this time closer. The
guards break and run past them.
Billy exhales.
BILLY
Jesus, It worked again.
Genres:
["Action","Thriller"]
Ratings
Scene
47 -
Into the Storm: A Race Against Time
INT. SERVICE TUNNEL- CONTINUOUS.
Narrow. Damp. Bare bulbs flicker. The hum of the bell is
muted here, but still present- 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
And if they have missed him-
KRAUS
Then we are all running behind
(MORE)
Created using Celtx
KRAUS (CONT'D)
history.
EXT. OWL MOUNTAINS-FOREST EDGE- NIGHT.
Snow lashes sideways now. The mountain is alive with shouts,
searchlights, gunfire.
Billy and Kraus burst from a concealed exit. Cold air hits
them hard. They drop low. Ahead a figure waves from the tree
line. A monks silhouette. Janus. He doesn't approach just
gestures.
They sprint. Dive into the trees and bullets tear into the
rock behind them. Janus leads without looking back.
Confident. Prepared. They vanish into the forest. Behind
them, the mountain groans. Deep unnatural. The bell's hum
begins to break- warping into a violent, tearing roar.
Genres:
["War","Thriller","Drama"]
Ratings
Scene
48 -
Confrontation in the Shadows
EXT. FOREST- MOVING-NIGHT
They run. Branches whip past. Breath ragged. Janus finally
slows. Turns to Kraus.
JANUS
You.
Kraus doesn't flinch.
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 (CONT'D)
You built it.
KRAUS
I did.
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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)
When nothing happend..I knew something
had gone wrong.
Janus finally lowers his weapon- but doesn't relax.
JANUS (CONT'D)
So I came to make a noise.
He glances back toward the mountain- chaos now visible.
JANUS (CONT'D)
Looks like I was right.
Janus turns 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
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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.
Genres:
["Drama","Thriller","War"]
Ratings
Scene
49 -
Struggling 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 sound. Jack and Elena push uphill, boots sinking,
breath ragged. Jack stops hold up a fist. They listen.Nothing
just wind. Jack checks his compass and then his watch.
JACK
We're drifting.
Elena wipes snow from her eyes.
ELENA
The markers should be here.
She looks around. Nothing look 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.
Genres:
["Drama","Thriller"]
Ratings
Scene
50 -
Echoes of the Unknown
EXT. RIDGELINE- MOMENTS LATER
THEY BREAK THROUGH THE TREES INTO A NARROW
RIDGE.
Below them, visability is poor. Jack squints.
JACK
That's the valley.
Elena shakes her head.
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ELENA
Too far east.
Jack looks again and 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","Action","Drama"]
Ratings
Scene
51 -
Chasing Shadows in the Storm
EXT. FOREST-CONTINUOUS
They move fast now. Sliding. Slipping. Branches tear at them.
Jack nearly goes down- catches himself. Elena pulls him up.
ELENA
If Kraus was wrong-
JACK
He wasn't.
They crest another rise- And suddenly- The air shimmers. Just
for a second. Then gone. Elena stares.
ELENA
That was it.
Jack looks around. Nothing. No body. No sound. Just snow.
JACK
We missed him.
The words sit heavy.
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Then far off a distant engine. It grows louder. Then above
them a German Heinkel bomber passes overhead. Jack's face
hardens.
JACK (CONT'D)
Luftwaffe.
(beat)
Liegnitz. The airfield. That's how
he's going to get to Berlin.
Elena turns toward the soound.
ELENA
If he gets there.
JACK
Then the bell doesn't matter.
Jack sets off- running now, reckless. Elena follows.
EXT. FOREST- MOVING-DAWN.
They run blind through the storm. Two figures chasing a man
they have never saw. Behind them deep in the mountain, the
bell screams- metal tearing under forces it was never ment to
hold.
History straining.
Genres:
["War","Thriller","Action"]
Ratings
Scene
52 -
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.
Furious beneath the surface. Two scientists round the corner
at speed-panic stricken, coats torn. They skid to halt when
they see them.
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 stares in
shock, frozen.
Vogel lowers his pistol.
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VOGEL
You.
The scientist trembles.
SCIENTIST 2
Yes. Mein Herr.
Vogel steps closer unblinking.
VOGEL
You will send me back. 24 hours.
SCIENTIST 2
Herr Vogel, I don't- the equations are
gone-
Vogel presses his pistol into his head.
VOGEL
You will try.
A distant inhuman scream ripples through the mountain.Metal
tearing, energy warping. The bell devouring itslef. The
scientist nods broken.
SCIENTIST 2
(whispering)
Yes. Herr Vogel.
Vogel turns. Moves toward the Bell chamber. Not running.
Marching.
Genres:
["Thriller","War","Sci-Fi"]
Ratings
Scene
53 -
The Reckless Descent
INT. BELL CONTROL ROOM-MOMENTS LATER.
The room is a nightmare. Sparks rain from shattered conduits.
Instrumentation flickers, unreadable. Beyond reinforced
glass, THE BELL convulses - its surface warping, pulsing,
breathing.
Scientest #2 scrambles at the console. Hands shaking.
Vogel watches the bell.
VOGEL
I need 24hrs.
SCIENTIST 2
Herr Vogel. People have died trying
(MORE)
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SCIENTIST 2 (CONT'D)
just minutes.
Vogel tuns slowly.
VOGEL
Then learn from them.
The assistant swallows. Begins inputting commands. The Bell
SHRIEKS.A COUNTDOWN flashes - unstable, fluctuating.
00:20… 00:17… 00:23…
SCIENTIST 2
The timing is all wrong.
Vogel steps 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 of him
lagging behind the rest. He realises. Too late. The Bell
turns inward. Consumes itself. Consumes him. No scream. Just
silence.
INT. BELL CONTROL ROOM-CONTINUOUS.
The light implodes. A violent shockwave blasts outward. The
chamber is empty.
Where Vogel stood -
Nothing remains.
The Bell convulses again, then begins to collapse in on
itself, metal folding, systems frying, data erased in a
cascading failure.
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Scientist #2 is thrown against the wall.
The Bell is dying.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
54 -
The Descent into Horror
EXT. OWL MOUNTAINS-DAWN.
The mountain exhales. A deep, unnatural RUMBLE fades into
silence. Whatever the Bell was - It is no longer whole.
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 from higher up the slope. The ground KNOCKS THEM
OFF THEIR FEET. Snow rains down. 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's left 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. 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
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dead. Silence. The prisoners don't cheer. They don't speak.
They simply stare. One of them 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:
["Drama","Sci-Fi","Horror"]
Ratings
Scene
55 -
Race Against Time in the Owl Mountains
EXT. OWL MOUNTAINS-FOREST TRACK-DAWN
A narrow service road cuts through the trees. Mud. Snow. Ice.
VOGEL (45) moves fast, breath controlled, boots sure.
He is no longer sick. Whatever weakness the jump caused is
gone. He checks his watch. Adjusts his coat. Behind him, the
mountain GROANS - a low, distant sound, 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 peers through. A single figure moving fast along the
track.
ELENA
He's on foot.
Jack lowers the binoculars.
JACK
That means he's late.
Elena stiffens.
ELENA
Or confident.
Jack clocks the distance. Too far to shoot. Too far to shout.
JACK
He's heading for the airstrip.
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Elena looks past Vogel- Toward the valley beyond.
Faint shapes in the distance. Hangers. A runway.
ELENA
We don't have much time.
Jack looks along the ridge. Sees something. A narrow
MAINTENANCE DESCENT - steeper, dangerous, but direct.
JACK
Shortcut it is then.
Jack starts down.
Elen hesitates only for a second- then follows.
EXT. MAINTENNANCE DECENT- CONTINUOUS
They slide,stumble, half run down the slope. Loose rock
skitters. Jack goes down hard- catches himself on a tree
knot. Elena grabs him.
ELENA
Don't die on me now.
Jack almost smiles. Almost. They keep moving.
Genres:
["Action","Thriller"]
Ratings
Scene
56 -
No Loose Ends
EXT. FOREST ROAD-DAWN
Vogel slows. Listens. Nothing. He removes a folded paper from
his coat- coordinates, times, names. Burns it with a lighter.
Watches it disappear into ash.
VOGEL
(to himself)
No loose ends.
He steps back onto the road. Breaks into a run.
EXT. FOREST-EDGE OF CLEARING- SAME
Jack and Elena emerge from the trees - They've cut the
distance. Vogel is closer now. Still ahead. Still
unreachable.
Elena raises her rifle. Jack gently pushes it down.
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JACK
Not yet.
Elena nods. They follow.
Genres:
["Action","Thriller"]
Ratings
Scene
57 -
Dawn of Tension
EXT. OWL MOUNTAINS- RIDGE ABOVE- DAWN
Far above them Kraus, Billy and Janus watch the valley. Smoke
rises from the mountain. The Bell is silent now. Janus lowers
his binoculars.
JANUS
It is finished.
Kraus closes his eyes. Just for a moment. Billy watches the
road below. Spots movement.
BILLY
He's on the move.
Janus follows his gaze.
JANUS
Then so are they.
Janus points to two figures moving at pace. Jack and Elena.
EXT. FOREST CHECKPOINT- DAWN.
A makeshift checkpoint blocks the narrow road. Sandbags,
barbed wire. A half - track idling. Two soldiers stiffen as
Vogel emerges from the trees. They recognise him instantly.
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.
VOGEL
You.
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VOGEL (CONT'D)
(to other soldier)
Request back up and sweep the woods.
There are resistance fighters in the
area. The soldier hesitates.
SOLDIER 2
How many?
Vogel meets his eyes.
VOGEL
Enough.
The half-track lurges forward.
Genres:
["Action","Thriller"]
Ratings
Scene
58 -
Ambush and Escape
EXT. FOREST RIDGE-SAME
Jack and Elena watch from cover. They see the vehicle pull
away. Elena's face drops.
ELENA
He's got transport.
Jack lowers the binoculars.
JACK
He planned for this.
They exchange a look. No good options left.
EXT. FOREST -LOWER SLOPE- MOMENTS LATER
Jack and Elena move fast - Then- SHOUTS. DOGS. Searchlights
rip through the trees. Jack spins - too late. GUNFIRE ERUPTS.
They dive for cover. Bullets chew through bark and snow. They
are outnumbered.
Outgunned. Elena fires back - controlled, precise. Jack
reloads.
JACK
We're boxed in.
A bullett slams into the dirt inches from Elena's head.
ELENA
We're not making that strip.
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Another burst. Closer. Then- A deep engine roar cuts through
the chaos. Unmistakable. Heavy. The soldiers hesitate. A
German armoured truck bursts through the tree line. It
ploughs straight towards the soldiers. The hatch slams open.
Janus behind a heavy machine gun.
JANUS
Heads down.
The machine gun opens up. Soldiers scatter. Jack stares-
stunned. Elena blinks, disbelief breaking into relief. The
truck skids to a halt besides them. At the wheel-Billy. In
the passenger seat Kraus. Janus grins grimly as he fires.
JANUS (CONT'D)
I took this from the base.
(beat)
Thought they wouldn't be needing it. Jack and Elena don't
hesitate. They scramble aboard. The truck roars away as
bullets chase them into the trees.
Genres:
["Action","Thriller","War"]
Ratings
Scene
59 -
Race Against Time
EXT. FOREST ROAD-MOVING-DAWN.
Inside the truck-chaos, breath, adrenaline.
Jack leans forward.
JACK
Vogel's got a head start.
Billy doesn't answer immediatley. Elena looks past Jack-
finally clocking the man in the passenger seat. Kraus.
Young.Pale.Alive. Her eyes narrow.
ELENA
Billy..
Billy turns.
BILLY (CONT'D)
This is Kraus.
Jack stares disbelief.
Elena scans the truck-
ELENA
Where's Miller?
Billy swallows.
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BILLY
He didn't make it.
Silience. Even the engine feels louder now. Jack looks away.
Elena closes her eyes- Just for a second. Then-
ELENA
Is it destroyed?
Kraus answers before Billy can.
KRAUS
It is done. It can not be re- built.
All plans and data. Gone.
Elena turns on him sharp.
ELENA
They will see you as a traitor the the
Reich.
Kraus doesn't deny it.
ELENA (CONT'D)
They will come for Ingrid and Magda.
That lands. Kraus's jaw tightens.
KRAUS
I know.
From the hatch above Janus speaks- Calm,steady,absolute.
JANUS
Word should have reached them by now.
They all look up.
JANUS (CONT'D)
A monk left the church before dawn.
(beat)
If Ingrid followed the plan. She and
the girl are already gone.
Kraus exhales- A breath he has been holding for years.
KRAUS
(quiet)
Thank you.
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Janus doesn't look down.
JANUS
Don't thank me yet.
The truck hits a bump. Everybody lurches. Jack refocuses-
professional again.
JACK
Vogel is heading for that airstrip.
Billy nods.
BILLY
If he gets airbourne-
JACK
Then none of this mattered.
Janus swings the 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:
["Action","Thriller","Drama"]
Ratings
Scene
60 -
Dawn of Despair
EXT. LUFTWAFFE AIRSTRIP- DAWN
Grey light. Low cloud. Wind cutting across the tarmac. A
TRANSPORT PLANE idles at the far end of the runway.
Engines warming. An ARMOURED TRUCK bursts through the
perimeter.
Janus is already on the HEAVY MACHINE GUN, laying down
suppressive fire.
SS SOLDIERS scatter.
JANUS
Go!
The truck skids to a halt. JACK and ELENA jump out, weapons
up. BILLY stays behind the wheel.
KRAUS grips the doorframe - watching, helpless.
Jack and Elena run.
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EXT. RUNWAY- CONTINUOUS
The plane begins to ROLL. Elena breaks left. Jack covers her
- firing, moving, bleeding.
A BULLET takes Jack in the side. He stumbles, keeps going.
JACK
Elena!
Elena doesn't look back. She reaches the planes ladder. She
climbs fast.
INT. PLANES COCKPIT-CONTINUOUS
The pilot turns- Too late. Elena fires once.The pilot
collapses over the controls. The plane lurches. Elena turns
to move- Vogel steps into the doorway. Gun already raised. He
fires. Elena drops instantly.No sound.Just impact. Vogel
steps over her without a glance. Pushes the dead pilot out of
the way. Grips the controls.
EXT. RUNWAY-SAME
Jack sees Elena fall.He freezes then understands. Jack drops
to one knee. Raises his pistol. The plane is accelerating.
Jack fires-widley desperately- emptying the magazine into the
wing root, the engine housing anywhere it will hit. Bulletts
spark. Metal tears. Fuel mist ignites briefly- then dies.
Jack is hit again. He collapses onto the tarmac. The plane
lifts. Barely. From the truck Billy watches- heart in his
throat.
BILLY
No.
Kraus closes his eyes. 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. It banks unevenly.
Losses altitude.Then- It disappears behind the ridge.A
distant dull impact echoes through the mountains.
Silence. Billy exhales shaking.Janus lowers the gun. Kraus
opens his eyes. No one speaks. They turn away.
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EXT. RUNWAY-DAWN.
Jack lies still. Elena lies where she fell. The wind moves
accross the tarmac.
History settles.
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