EXT. TREBLINKA EXTERMINATION CAMP – RAIL SIDING – DAWN
A dense pine forest parts to reveal steel rails cutting
through fog.
In the distance: the CHUG-CHUG of a locomotive grows louder.
A train whistle. Smoke bellowing through the forest canopy.
SUPER: Treblinka Extermination Camp – August 1943
The forest trembles as a transport train groans into view.
Covered boxcars—filthy, rusted—creep down the track. SS
guards on the roof of each car.
SS GUARDS in gray uniforms stand at attention with rifles
slung behind a small group of PRISONERS IN STRIPED
UNIFORMS—the Sonderkommando—line up beside the rail siding.
They look hollowed out. Hair shorn. Faces numb. But as the
train screeches to a halt, they put on a show.
They smile. Nod. One waves gently.
The doors slide open.
Inside, a CRUSH of HUMANITY—men, women, children—blinking
against the light.
Among them stands a man—mid 30s, gaunt, eyes sharp.
This is JAKOB.
He steps down from the boxcar slowly, taking everything in:
The fake train station sign reading “Treblinka.”
A guard welcoming them, barking lies.
A prisoner gathering suitcases, speaking softly.
Jakob’s gaze lingers on one prisoner in particular: a thin,
pale man who won’t meet his eyes.
Jakob senses the performance. The quiet horror under the
surface.
The Sonderkommando prisoner glances at Jakob—just for a
second.
A flicker of warning.
Then it’s gone.
GUARD (O.S.)
(cheerful, practiced)
Leave your luggage on the platform!
You’ll be reunited after your
shower and medical inspection!
Jakob doesn’t move.
A woman’s hand—his SISTER—tugs at him.
SISTER (O.S.)
Jakob... come on.
Jakob finally steps forward, swallowed by the crowd.
The metal doors slam shut behind them.
FADE OUT:
FADE IN:
Genres:
["Drama","Historical"]
Ratings
Scene
2 -
The Illusion of Safety
EXT. TREBLINKA EXTERMINATION CAMP – RECEPTION AREA – MOMENTS
LATER
Jakob is herded forward with the others. SS GUARDS bark
orders in German. The mass of new arrivals shuffles past a
phony station building—painted signs, fake schedules, a
wooden clock stuck at 6:00.
A guard stands beside a crate, shouting.
GUARD
(all smiles)
Jewelry and valuables! All items
will be returned after your shower!
WOMAN
(clutching a locket)
My mother gave me this—
She’s struck across the face. The locket falls into the
crate.
Jakob watches as his sister, face pale, removes her earrings
and places them gently into the pile. A Sonderkommando
prisoner grabs them with barely a glance.
INT. “DISINFECTION” BARRACKS – CONTINUOUS
Men and women are separated—screams as families are torn
apart. Jakob’s sister is yanked from his side.
SISTER
Jakob! Jakob!
He tries to follow—two guards shove him back.
GUARD
(icy)
This way.
Jakob stumbles into a narrow corridor, flanked by two long
barracks.
Inside, people are stripping—confused, ashamed.
Jakob pauses, eyes scanning. He sees the same Sonderkommando
man from earlier—the one who warned him. The man is
collecting clothes, eyes down.
Jakob, now stripped to his underclothes, emerges into the
morning light with a group of other men—old, young, confused.
They shiver in the cold.
Two guards shout in German. A THIRD GUARD stands in front of
a narrow, camouflaged corridor fenced in with barbed wire,
tree branches woven along the sides. A crooked sign above
reads:
"SHOWERS ! "
GUARD (O.S.)
(cheerful again, like a
concierge)
Through the corridor. Quick, quick.
Showers are waiting!
The men begin moving—naked and humiliated—toward the entrance
of the so-called “tube.”
Jakob hesitates.
He glances left—catches sight of a watchtower, the barrel of
a machine gun peeking through the slats.
To his right, across the compound, he sees a large plume of
smoke curling up behind the trees. No fire visible. Just
smoke. Constant. Black.
He turns to the Sonderkommando from before, who’s now hauling
a crate of shoes.
JAKOB
What’s that smoke?
The Sonderkommando doesn’t answer.
Jakob steps closer. Lower.
JAKOB (CONT’D)
What’s burning?
The man looks at him—really looks.
SONDERKOMMANDO
People.
Jakob is pulled forward roughly by a GUARD.
GUARD
(in German)
Keep moving, Jew.
He’s shoved toward the tube.
Jakob stumbles, heart pounding. He looks around—everyone else
is shuffling forward like cattle.
He glances back. The Sonderkommando is already gone.
Genres:
["Drama","Historical"]
Ratings
Scene
4 -
The Descent into Darkness
INT. GUARD TOWER – SAME TIME
A young SS GUARD watches the procession below.
Smoking a cigarette. He chuckles as he sees a CHILD trying to
hold his grandfather’s hand. A SENIOR OFFICER beside him
doesn’t react.
SS OFFICER
They never know.
The younger guard exhales smoke.
YOUNG GUARD
Should we tell them?
SS OFFICER
That would ruin the surprise.
EXT. THE “TUBE” – ENTRANCE – MOMENTS LATER
Jakob stands among the other naked men, pressed shoulder to
shoulder. The walls of the corridor—woven pine branches and
barbed wire—close in on either side. There’s nowhere to run.
Ahead, the winding path leads toward a building they can’t
see—just smoke. And a low, mechanical rumble. Like an engine
idling.
Jakob’s breath quickens.
A MAN beside him vomits on the ground.
Further back, a BOY begins to cry. A GUARD cracks the fence
with a baton.
GUARD
Schnell!
The line begins to move.
Jakob turns his head. His sister is nowhere in sight.
A distant scream—a woman’s. Muffled. Quickly cut off.
The engine sound grows louder.
INT. GAS CHAMBER ANTECHAMBER – SAME TIME
Two Sonderkommando prisoners drag a limp body across the
tiled floor. Blood smeared underfoot.
Another chamber door opens. Black smoke billows out.
Inside: shadows of piled bodies.
The Sonderkommando don’t speak. They never speak.
EXT. “TUBE” – CONTINUOUS
Jakob steps forward slowly. Sweat beads on his forehead
despite the cold.
He glances up—barbed wire overhead. Sealed in from above.
No turning back.
He’s five people away from the end of the corridor now. The
door looms ahead, heavy and metal, with a fake SHOWER SIGN
bolted crookedly above it.
The rumble of the diesel engine is now deafening.
A GUARD near the entrance puts on a gas mask.
Jakob stops walking.
The man behind him shoves him forward.
MAN BEHIND HIM
Go. Just go.
Jakob stares at the door.
FADE TO BLACK.
Genres:
["Drama","Historical"]
Ratings
Scene
5 -
The Machinery of Death
INT. TREBLINKA II – ADMINISTRATION BUILDING – SAME TIME
A tidy office. Maps. Schedules. Charts with names of cities
and deportation numbers.
SS CAPTAIN FRANZ STANGL sits at a desk, smoking, reviewing a
manifest. Calm. Detached.
A YOUNGER SS OFFICER stands at attention nearby, holding a
clipboard.
STANGL
(reading aloud)
Warsaw transport. 6,500.
Offloaded in forty-eight minutes.
He signs the form, then leans back and exhales smoke.
STANGL (CONT’D) Sobibor did it in thirty-nine last week.
Belzec claims thirty-two.
YOUNG SS OFFICER
That’s impossible.
STANGL
Maybe. But they’re boasting about
it in Lublin.
(beat)
We’ll shave off five minutes
tomorrow. Keep the line moving. No
confusion. No screaming. Just flow.
He walks to the window, looking out at the now-empty
reception platform—strewn with luggage, shoes, feathers, a
doll’s leg.
YOUNG SS OFFICER
One woman bit a guard. She had to be—
STANGL
(irritated)
I don’t want stories. I want
numbers.
How many Sonderkommando left?
YOUNG SS OFFICER
Thirty-five. Some... slowing down.
STANGL
Then replace them. Take new ones
from the next train.
YOUNG SS OFFICER
The men from Berlin said we may be inspected again next
month.
STANGL
Then let them see a model of German
precision.
He lifts his glass—half whiskey, half ash.
STANGL (CONT’D)
This is a machine. It cannot
hesitate.
Genres:
["Drama","Historical"]
Ratings
Scene
6 -
Forced Labor and Survival
EXT. THE “TUBE” – ENTRANCE – CONTINUOUS
Jakob stands frozen. Five paces from the door. The engine
rumbles louder behind it—relentless. Smoke curls upward
beyond the trees.
The line inches forward.
A GUARD shouts in German—gesturing toward Jakob.
A SECOND GUARD steps in, quickly consulting a clipboard.
SECOND GUARD
(pointing)
That one. Him.
Jakob is yanked from the line by his elbow. Staggering.
Confused.
The other prisoners continue forward. No one looks back.
EXT. CAMP PATHWAY – MOMENTS LATER
Jakob is dragged down a narrow dirt path between barracks.
His bare feet cut on gravel.
He passes the rear of the fake station façade, where piles of
shoes and suitcases are being sorted by Sonderkommando.
He sees a wagon filled with children’s toys.
He sees a prisoner scrubbing blood off a floorboard.
He’s shoved toward a group of prisoners loading debris into a
wheelbarrow. One of them turns—it’s the same Sonderkommando
who warned him earlier.
Their eyes lock.
The guard shouts:
GUARD
(to the prisoner)
Train boy’s yours. Teach him. If he
slows you down, shoot him.
He walks off.
Jakob stands still, trembling. The Sonderkommando walks up
and hands him a shovel.
SONDERKOMMANDO
(quiet)
If you work, you live. If you stop,
you die.
That’s it.
Jakob nods slowly. He looks back—toward the tube. But it’s
gone now, obscured by barracks, smoke, and silence.
He grips the shovel.
SMASH CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
7 -
Descent into Darkness
EXT. OPEN PIT – LATER THAT DAY
Jakob stands over a mass grave. His hands are filthy. His
face sunburnt. Blank.
He lifts a body. Drops it. Lifts another. Drops it.
We stay on his face.
Still.
Unblinking.
FADE OUT.
INT. WOMEN’S UNDRESSING BARRACKS – SAME TIME
Cramped. Dim. Loud with confusion.
Dozens of WOMEN and GIRLS undress under the watch of ARMED
FEMALE GUARDS and a few SS MEN.
MIRIAM, early 20s, clutches her blouse. Pale, terrified,
trying to stay strong.
A PRISONER in a striped uniform—another Sonderkommando
woman—moves down the row, whispering as she helps women fold
their clothes.
SONDERKOMMANDO WOMAN Fold neatly. It helps. They won’t notice
you. Sometimes.
She stops beside Miriam.
SONDERKOMMANDO WOMAN
(whispers)
Keep your shoes. Tie the laces
together. Hide them in the sleeve.
Miriam nods, trembling. She hides the shoes as instructed.
From outside: a MUFFLED SCREAM.
Everyone freezes.
SS GUARD (O.S.)
Move! Schnell!
The women are herded toward a side door. One of the guards is
laughing.
SS GUARD (CONT’D)
Showers today, girls! Nice and
clean!
Miriam hesitates. Her hand touches the silver Star of David
necklace at her neck.
She pulls it off.
Places it gently atop the pile of clothing.
Genres:
["Drama","Historical"]
Ratings
Scene
8 -
Descent into Despair
EXT. THE “TUBE” – WOMEN’S SIDE – MOMENTS LATER
The women file into the narrow corridor, same as the men.
Miriam is near the middle of the group, moving with dazed,
robotic steps.
The “shower” sign looms ahead.
Behind her, a GIRL begins to cry.
YOUNG GIRL
Where’s Mama?
Miriam turns. Kneels.
MIRIAM
I’ll hold your hand, all right?
She offers her palm. The girl takes it.
Together, they keep walking.
The engine noise grows louder.
Smoke rises over the fence.
INT. SONDERKOMMANDO BARRACKS – NIGHT
Dim. Cramped. Dozens of bunk beds packed wall-to-wall.
Prisoners shift in silence. No one speaks. The only sounds
are coughing, creaking wood, and the low thrum of engines
still running somewhere outside.
Jakob lies on the bottom bunk. Eyes open. Covered in blood
and ash.
Across the narrow aisle, two men sit beside a third—an
ELDERLY PRISONER who rocks back and forth.
He has fashioned a makeshift noose from cloth. Tied it to the
upper beam of the bunk frame.
He stands now, placing the loop around his neck.
The two other men rise.
One speaks quietly in Yiddish.
PRISONER #1
You’re sure?
The old man nods. Tears in his eyes. But calm.
PRISONER #2
We’ll help. Fast. You won’t feel it
long.
They step forward and take his hands. He grips their
forearms.
PRISONER #1
(soft)
May your soul fly far from this
place.
They pull down on his body—hard.
The noose tightens. His feet leave the floor.
Jakob sits up slowly. Staring.
The man twitches. Gasps once. Then goes still.
A long silence.
The two prisoners hold him a moment longer… then lower him
gently.
A few men begin to shift, rearranging the bedding. This has
clearly happened before.
Jakob stands. Moves to the back wall. Opens a small, broken
window for air.
Outside: the sky is black. But the smoke never stops.
He leans against the frame.
The Sonderkommando man who first warned him appears beside
him.
SONDERKOMMANDO
If you want to live, don’t watch.
Jakob doesn’t look at him.
JAKOB
How long?
SONDERKOMMANDO
Before they kill us?
(beat)
Maybe a few weeks. Maybe tomorrow.
We don’t get notice. We get replaced.
JAKOB
What happened to my sister?
The Sonderkommando stares straight ahead. His jaw clenches.
SONDERKOMMANDO
You don’t want to know.
Jakob exhales—shallow, empty.
They stand in silence, two ghosts among the living.
FADE OUT.
Genres:
["Drama","Historical"]
Ratings
Scene
9 -
Echoes of Innocence
EXT. CREMATION PIT – MORNING
Smoke rises steadily. Rusted rail tracks have been fashioned
into makeshift grills above piles of bodies. Flames lick
upward. Ash drifts through the air like black snow.
Jakob stands with a shovel. His hands blistered. His skin
grey with soot.
Beside him, a gaunt, older prisoner—AVRAM, 50s, eyes sunken
but alert—works with brutal rhythm.
Next to them, a teenager, maybe 16, NOAH, vomits into the
pit. He wipes his mouth, crying silently.
Avram doesn’t stop shoveling.
AVRAM
That’ll pass.
Your stomach quits before your soul does.
Noah nods, unable to speak.
A GUARD paces the perimeter with a rifle. He doesn’t even
glance at them.
Jakob watches a cart of corpses pulled up beside the fire.
The bodies are dumped like garbage.
AVRAM (CONT’D)
You’ll want to forget faces. Names.
(beat)
It helps, sometimes.
Jakob stares as a small arm slips out of the pile—a child’s.
He looks away. Grits his teeth.
JAKOB
I won’t forget.
Avram stops briefly. Looks at him.
AVRAM
Then you won’t last long.
They resume shoveling.
NOAH
(quietly)
If I die here, I want to die
standing.
Avram doesn’t react. But Jakob meets the boy’s eyes. Nods
once.
They toss more wood onto the fire.
INT. KITCHEN BLOCK – LATER
Jakob, Avram, and Noah sit against a wall, eating watery soup
from tin bowls.
Silence.
A loud WHISTLE BLOWS outside.
Jakob doesn’t flinch. He’s already learning.
AVRAM
That’s roll call. They’ll shoot the
slow ones.
Always someone too slow.
They rise. Avram slaps Noah’s shoulder gently.
AVRAM (CONT’D)
Come on, boy. Standing, remember?
They move toward the door.
Jakob pauses for a second. Reaches into his shirt.
He’s hidden something—a small button from a child’s
coat—stuffed deep into his waistband.
He closes his fist around it.
Then shoves it back into hiding.
Genres:
["Drama","Historical"]
Ratings
Scene
10 -
Cruelty in the Sunlight
EXT. TREBLINKA II – CAMP ROAD – MIDDAY
The sun is out. Birds chirp faintly beyond the barbed wire.
PRISONERS march past, dragging carts of clothing, teeth, ash.
A GUARD DOG barks in the distance.
Then:
KURT FRANZ, 30s, clean-shaven, well-fed, walks confidently in
the opposite direction.
He wears his uniform like a well-cut suit. Smiling.
Beside him trots a massive black dog—BARRY—tongue lolling,
tail wagging.
Franz passes a group of naked prisoners scrubbing a wagon.
He stops. Notices one old man struggling to lift a crate.
FRANZ
Barry?
The dog perks up.
FRANZ (CONT’D)
Go say hello.
Barry lunges—sinks his teeth into the old man’s arm. The man
screams, falls back. Blood sprays.
Nearby Sonderkommando freeze.
Franz just smiles.
FRANZ (CONT’D)
See? He’s friendly.
He gives a casual whistle. Barry returns, tail wagging.
The old man bleeds out on the dirt.
Franz pats the dog’s head.
FRANZ (CONT’D)
Good boy.
He turns to a YOUNG GUARD.
FRANZ (CONT’D)
Make sure someone logs the
incident. No reason the number
should be off tonight.
YOUNG GUARD
Jawohl, Oberscharführer.
Franz keeps walking, whistling a tune.
Behind him, the prisoners drag the body away.
Genres:
["Drama","Historical"]
Ratings
Scene
11 -
Shadows of Survival
EXT. CAMP PERIMETER – SAME TIME
Jakob stands at a water pump, filling buckets.
He sees Franz in the distance—playful, laughing with a dog—as
a corpse is hauled past behind him.
Jakob just stares.
The Sonderkommando beside him mutters:
SONDERKOMMANDO
That’s the butcher.
(beat)
They say when he smiles, someone
dies.
Jakob watches. Unblinking.
EXT. CREMATION PIT – MORNING
Smoke rises steadily. Rusted rail tracks form makeshift
grills above piles of bodies. Flames lick upward. Ash drifts
through the air like black snow.
Jakob stands with a shovel. His hands blistered. His skin
grey with soot.
Beside him, a gaunt prisoner—AVRAM, 50s, eyes sunken—works
with brutal rhythm.
Next to them, a teen—NOAH, maybe 16—vomits into the pit. He
wipes his mouth, trembling.
Avram doesn’t stop shoveling.
AVRAM
That’ll pass.
Your stomach quits before your soul does.
Noah nods, silent.
A GUARD paces nearby with a rifle. He doesn’t glance at them.
A cart of corpses is dumped beside the fire.
AVRAM (CONT’D)
You’ll want to forget faces. Names.
(beat)
It helps, sometimes.
Jakob sees a child’s arm slip from the pile.
He looks away. Grits his teeth.
JAKOB
I won’t forget.
Avram pauses.
AVRAM
Then you won’t last long.
They resume shoveling.
NOAH
I won’t let them break me.
Jakob meets the boy’s eyes. Nods.
They toss more wood onto the fire.
Genres:
["Drama","Historical"]
Ratings
Scene
12 -
Echoes of Loss
INT. SONDERKOMMANDO BARRACKS – NIGHT
The barracks are silent again. The glow from the cremation
pit flickers through cracks in the wall.
Jakob lies awake. Eyes open. Exhausted. Alert.
Avram sits across from him on the floor, sewing a torn
bootlace with shaking hands.
Noah sleeps nearby, curled into himself.
Jakob finally speaks, barely above a whisper.
JAKOB
The women… after the train…
(beat)
Did any of them get put to work?
Avram doesn’t look up.
AVRAM
Sometimes. Not often.
Young mothers, if they looked strong enough. A few nurses.
JAKOB
My sister… her name was Miriam.
She was just twenty. Small. (beat) She was with me when we
stepped off the train.
Avram tightens the laces.
AVRAM
Then she’s gone.
Silence.
AVRAM (CONT’D)
You’ll carry her now. That’s all
that’s left.
Jakob doesn’t move. Doesn’t cry. Just nods once.
From outside, a dog barks.
Then—a single gunshot.
Noah stirs. Avram doesn’t flinch.
AVRAM (CONTD) (CONT’D)
They’re still counting.
Genres:
["Drama","Historical"]
Ratings
Scene
13 -
A Cold Morning's Cruelty
EXT. CAMP YARD – MORNING
A bitter wind cuts across the dirt yard. The Sonderkommando
stand shirtless in rows. Their ribs show. Their breath fogs
in the air.
JAKOB, AVRAM, and NOAH stand shoulder to shoulder, eyes
forward.
At the front: KURT FRANZ, crisp as always, flanked by two SS
GUARDS and a clipboard-holding camp doctor.
Franz paces slowly down the line.
FRANZ
Gentlemen, I hear some of you are
slowing down.
That won’t do. We must be efficient.
He stops in front of a prisoner with a limp.
FRANZ (CONT’D)
This one looks tired.
He gestures. The guard shoots the man point-blank.
THWACK.
The body falls. A ripple goes through the row.
Franz smiles.
FRANZ
See? Quicker already.
He moves on.
Jakob stares ahead, motionless. Sweat beads down his spine
despite the cold.
Franz stops in front of Noah.
FRANZ (CONT’D)
How old are you, boy?
Noah hesitates.
NOAH
Sixteen, Herr Oberscharführer.
FRANZ
Sixteen? That’s practically a man.
He leans in.
FRANZ (CONT’D)
Let’s see you run.
Franz steps back and points to the perimeter.
FRANZ (CONT’D)
Go. Two laps. Now.
Noah hesitates—then sprints.
Jakob watches him disappear around the barracks.
Franz turns to the doctor.
FRANZ (CONT’D)
Watch his gait. He’s got a hip that
favors left.
The doctor scribbles something.
Seconds pass.
Noah rounds the corner, running hard. He’s gasping but
pushing.
The men watch. Avram doesn’t blink.
Noah comes back around. Nearly collapses, but keeps going.
Franz smiles.
FRANZ (CONT’D)
Good boy.
Noah rounds the bend again—and a shot rings out.
Jakob flinches.
Franz doesn’t even turn.
FRANZ (CONT’D)
He tripped.
He walks on.
FRANZ (CONT’D)
Next.
Jakob swallows. Hard.
Genres:
["Drama","Historical"]
Ratings
Scene
14 -
Fleeting Triumph in the Ruins
INT. SONDERKOMMANDO BARRACKS – NIGHT
Jakob lies on his bunk, staring at the ceiling.
Ash drifts down through the cracks above like snow.
His eyes flutter. Exhaustion overtakes him.
FADE TO:
EXT. WARSAW GHETTO – WINTER – FLASHBACK – DAY
A grey sky. Broken bricks. Burned-out buildings.
JAKOB, thinner, less haunted, wraps a coat tighter around
MIRIAM, 20, cheeks flushed from cold. Her eyes still have
light.
They move through the rubble of what used to be a street.
Smoke still curls from collapsed chimneys.
They step over a frozen body. Neither says a word.
MIRIAM
I dreamed we had a real apartment
last night.
Windows that opened. A bathtub.
Jakob gives a faint smile.
JAKOB
That’s luxury. I’d settle for a hot
potato.
MIRIAM
And butter. Thick. Like Mama used
to—
She stops. Something catches her eye.
A dead horse—partially butchered. Stripped to ribs. A few
frozen scraps of meat still clinging.
Miriam looks around. Quiet.
Jakob shakes his head.
JAKOB
Don’t. It's been picked over.
She pulls a small knife from her coat.
MIRIAM
So let me be wrong.
She walks to the carcass.
Jakob keeps watch. Eyes scanning ruined windows above.
She scrapes the blade against the bone. Nothing.
Then—a small, pale strip of meat hidden beneath the leg.
MIRIAM (CONT’D)
Jakob. Look.
She holds it up, triumphant. A tiny victory.
He nods, trying not to smile.
JAKOB
We’ll boil it. Make a feast.
She walks back, tucking it into a cloth.
Jakob puts an arm around her. They walk on together.
MIRIAM
Do you think there’s really a place
called Palestine?
JAKOB
I think if we keep walking long
enough, we’ll find something.
They disappear around a corner, swallowed by the ruins.
FADE TO BLACK.
FADE IN:
Genres:
["Historical Drama","War"]
Ratings
Scene
15 -
Silent Ashes
INT. CREMATION PIT – NEXT DAY – MORNING
Jakob lifts a shovel full of ash. Tosses it without
expression.
Avram works beside him.
Noah is gone.
Jakob’s eyes are glassy. But he doesn’t stop.
EXT. “RED CROSS” HUT – BACK LOT – LATE AFTERNOON
A painted Red Cross flag waves gently above a squat building
with whitewashed walls.
A PRISONER pushes a WHEELBARROW toward the entrance. Inside
it: a young woman, limp, barely conscious.
Jakob watches from nearby, standing with a group of
Sonderkommando cleaning tools beside a trench.
A door opens. Out steps WILLI MENTZ, 30s, stout, thick-
necked, calm as a librarian.
He lights a cigarette. Behind him, inside the hut—a child
crying.
He sighs and walks back in.
A muffled gunshot.
Then another.
Then silence.
A GUARD steps out and gestures to Jakob.
GUARD
You. Help move the body.
Jakob approaches. His eyes lock on the wheelbarrow now
returning—empty but bloodstained.
He passes Mentz in the doorway.
Mentz doesn't even look at him.
Jakob steps inside.
Genres:
["Drama","Historical"]
Ratings
Scene
16 -
A Haunting Task
INT. “RED CROSS” HUT – CONTINUOUS
Bright white walls. Clean tile floor. No beds. No medicine.
Just a pile of bodies in the corner, each with a bullet wound
to the back of the head or neck.
The floor is sticky with blood.
A child’s teddy bear sits beside the wall.
Jakob stares. Frozen.
GUARD (O.S.)
Pick them up. Out back.
Jakob kneels beside the nearest victim. A girl. Maybe 8.
He lifts her gently. Carries her out.
EXT. BEHIND THE HUT – MOMENTS LATER
A trench, half-filled with corpses. Silent.
Jakob lays the girl into the pit.
Mentz watches from the doorway, arms crossed, puffing his
cigarette.
MENTZ
(quiet, casual)
I used to be a farmer.
He flicks the ash.
MENTZ (CONT’D)
This is cleaner work.
Genres:
["Drama","Historical"]
Ratings
Scene
17 -
Silent Ashes
EXT. ASH SORTING YARD – DAY
Jakob and several Sonderkommando shovel fine grey ash into
burlap sacks. The yard is surrounded by fencing and low
sheds.
The ash blows in the wind—coating their faces, arms, lungs.
No one speaks.
A TRUCK backs in through the gate. A civilian driver, early
50s, steps out. Plain clothes. Well-fed.
He carries a clipboard. Nods to the guard.
CIVILIAN DRIVER
This the Tuesday load?
The GUARD points to the sacks.
GUARD
Thirty-six bags. From Sector B
cremations.
The driver walks over and lifts a sack slightly.
CIVILIAN DRIVER
Light this time.
GUARD
Lot of women and children.
The driver shrugs. Scribbles on his clipboard.
CIVILIAN DRIVER
The soil near Sokolow's acidic.
This helps.
Jakob looks up. He’s heard everything.
The man catches Jakob’s eye. Pauses.
Then turns and walks back to the truck.
The prisoners continue loading. Shoveling. Sacks of powdered
bone.
Genres:
["Drama","Historical"]
Ratings
Scene
18 -
Secrets in the Shed
EXT. TOOL SHED – BEHIND ADMINISTRATION BLOCK – LATE AFTERNOON
Jakob sweeps the dirt floor of a crumbling storage shed, half-
filled with broken tools and bent nails.
Two prisoners—older, grim-faced—are repairing a wagon axle
nearby. They whisper, eyes darting to the open door.
Jakob sweeps closer, pretending not to listen.
PRISONER #1 (WHISPERING)
—Wednesday. If it’s clear.
PRISONER #2
Only if we get keys. Or the armory—
PRISONER #1
Then we make a copy. I saw him drop
it—
The door creaks.
The prisoners snap silent.
One turns. Sees Jakob.
PRISONER #1 (CONT’D)
What are you doing?
Jakob holds up his broom.
JAKOB
They told me to clean here.
The man eyes him—sharp, suspicious.
PRISONER #2
You hear anything?
JAKOB
No. Just... sweeping.
PRISONER #1
Then keep sweeping.
Jakob nods and turns—stepping around a beam etched with
markings.
He pauses.
Something carved faintly into the wood:
A small tree.
Next to it: a line with a circle at the end.
He traces it with his fingers—memorizing.
Genres:
["Drama","Historical"]
Ratings
Scene
19 -
Whispers of Rebellion
INT. SONDERKOMMANDO BARRACKS – NIGHT
The barracks sleep.
Jakob crouches beside Avram, who sews by candlelight.
JAKOB
There’s something happening. I
heard two men. Talking about keys.
The armory.
Avram doesn’t look up.
AVRAM
You didn’t hear anything.
JAKOB
I did. There was a symbol carved
into the beam. A tree. And
something like—
AVRAM
Forget the symbol.
Jakob blinks.
JAKOB
They’re planning something, aren’t
they?
Avram finally looks up. Hard.
AVRAM
Ask too many questions, you’ll end
up in a pit.
JAKOB
You’re not denying it.
AVRAM
You’re new. They don’t know you.
(beat)
And if they think you’re a spy,
they’ll kill you before the guards
do.
Jakob swallows.
AVRAM (CONT’D)
Go to sleep, Jakob. Tomorrow we
burn Warsaw.
Jakob stares at him.
JAKOB
What?
AVRAM
Nothing.
He blows out the candle.
Darkness.
INT. SONDERKOMMANDO BARRACKS – LATER THAT NIGHT
The room is pitch dark now. Nothing but the slow, rhythmic
breathing of exhausted men.
Jakob lies awake. Eyes wide open.
He turns onto his side. Opens his palm.
There pressed into his skin from earlier - a faint trace of
the tree symbol he touched on the beam.
He closes his hand.
Outside, in the distance, a dog barks.
Then another.
Then—a single shot.
Jakob flinches.
Silence returns.
He stares at the ceiling again.
FADE TO BLACK.
Genres:
["Drama","Historical"]
Ratings
Scene
20 -
A Heartbreaking Reunion
EXT. RECEPTION PLATFORM – DAY
Another transport train. Same choreography.
Cattle cars creak open. Smoke drifts past the trees. SS
GUARDS bark orders in German.
Jakob and several Sonderkommando stand in formation,
pretending to assist. Hollow smiles.
Jakob glances at the platform—habit now.
He scans the faces.
And then—he freezes.
A YOUNG WOMAN steps off the train. Late 20s. Pale. Dirty. But
unmistakable.
ELSA.
His fiancée. Before the ghetto. Before the war.
Jakob stares.
She looks up, dazed, clutching the hand of a young girl,
maybe 5.
Their eyes meet.
Just for a second.
Recognition.
Jakob moves—breaks formation—starts toward her.
A GUARD shouts.
GUARD
Zurück! Back!
Jakob keeps moving.
JAKOB
Elsa!
An SS GUARD shoves him hard. Jakob stumbles back into line.
Elsa is pulled forward—her arm still holding the child.
Jakob tries to push forward again—another guard raises a
rifle.
GUARD #2
You want to join them?
Jakob freezes.
Elsa is ushered toward the women’s barrack. The shearing
shed.
She glances back once.
Then she's gone inside.
Jakob stands in line, trembling. Eyes burning.
Genres:
["Drama","Historical"]
Ratings
Scene
21 -
A Heartbreaking Farewell
INT. SHEDDING BARRACK – MOMENTS LATER
Inside: chaos.
Women undress. Children cry. Hair is being shaved. Guards
scream.
Elsa kneels beside the little girl—her daughter—tying their
shoes together as instructed by a prisoner.
She tucks the laces into the girl’s sleeve. Smooths her hair.
The child whimpers.
YOUNG GIRL
Is Papa coming too?
Elsa kisses her forehead.
ELSA
Yes, baby. We’ll all go together.
She glances at the door. No one she knows. No Jakob.
She stands. Takes the child’s hand.
EXT. THE “TUBE” – CONTINUOUS
Jakob stands by the fence. Guarded. Hands clenched.
He watches the line of naked women and children vanish into
the corridor.
One woman turns her head.
It’s Elsa.
She sees him—this time for real.
She doesn't cry.
She nods.
Then she's swallowed by the pine branches and barbed wire.
The engine starts.
Smoke rises.
Jakob doesn’t move.
A single tear streaks down his face, cutting through the ash.
FADE TO BLACK.
Genres:
["Drama","Historical","War"]
Ratings
Scene
22 -
Silent Witness
EXT. CAMP SQUARE – MORNING
A freezing wind cuts across the gravel yard. The prisoners
stand in lines. Silent. Tense.
A LADDER leans against the central guard tower, its rungs
splintered from use.
Two SS GUARDS drag a young prisoner—no more than 16—across
the square.
His face is bruised. Lips cracked.
GUARD #1 (SHOUTING)
Bread thief! Step out!
Jakob, in line with Kommando Rot, tenses. Beside him, Avram
lowers his gaze.
AVRAM (QUIET)
Don’t react. That’s the rule.
The boy is tied to the ladder, arms splayed awkwardly, feet
barely touching the ground.
A THIRD GUARD appears, holding a thick leather whip.
GUARD #2
Twenty-five. Count them.
He cracks the first lash.
The boy screams.
GUARD #2 (CONT’D)
One.
CRACK.
GUARD #2
Two.
Jakob flinches. His fists clench. But he doesn’t move.
Around him, prisoners stare straight ahead—eyes empty,
unmoving.
CRACK.
CRACK.
Blood runs down the boy’s spine. His legs tremble.
By the tenth blow, he’s sobbing.
By fifteen, he’s unconscious.
The guard keeps counting.
Jakob looks to Avram.
JAKOB (LOW)
Why?
AVRAM
Because mercy is slow, and death is
fast. The whip teaches us to obey
just enough to die slower.
The final lash echoes through the square.
The guards cut the boy down. He crumples.
No one moves to help.
EXT. FIRE PIT – LATER THAT DAY
Jakob shovels ash. Mechanically.
He looks across the yard—the ladder still stands. Fresh blood
on the rungs.
He wipes his forehead. Smoke rises around him.
A violin plays in the distance.
Genres:
["Drama","Historical","War"]
Ratings
Scene
23 -
The Waltz of Innocence
EXT. RECEPTION PLATFORM – LATE AFTERNOON
Another transport. Same whistle. Same screeching halt.
Jakob stands beside other Sonderkommando, numb. His face
streaked with ash and sweat.
The boxcar doors slide open.
The crowd stumbles out—disoriented, blinking in the light.
Among them: a young woman in a shimmering silver ball gown.
High heels.
Hair still curled.
She clutches a silk purse.
Jakob stares—frozen. So do the guards.
She looks around with a dreamlike daze, smiling faintly.
WOMAN IN BALL GOWN
Is this… Vienna?
A GUARD barks at her in German. She doesn’t flinch.
She twirls slightly, like she’s dancing to music no one else
hears.
Jakob can’t look away.
WOMAN IN BALL GOWN (CONT’D)
My mother said I’d be the belle of the season.
The GUARD steps forward—slaps her hard.
She staggers.
Still smiling.
Still lost in whatever place she’s disappeared to.
A Sonderkommando woman approaches carefully, whispering
instructions—motioning toward the undressing barrack.
The woman glides that way—as if attending a gala, not walking
to her death.
Jakob leans toward Avram.
JAKOB
What’s wrong with her?
AVRAM
Some break before the gas.
(beat)
Some break long before.
The woman in the gown disappears behind the barrack door.
A moment later—a violin begins to play.
Soft.
Waltz tempo.
Jakob turns toward the sound. Sees the trio of Jewish
violinists—pressed into service by the guards, bows trembling
in their hands.
The guards chuckle.
A surreal moment: music. Smoke. Ash. A woman in silk heels
walking to her death.
Jakob lowers his head.
The music keeps playing.
Genres:
["Drama","Historical"]
Ratings
Scene
24 -
A Map of Despair
INT. SONDERKOMMANDO BARRACKS – NIGHT
The candlelight flickers. Most prisoners sleep in silence.
Jakob sits with an older prisoner, MIREK, 50s, with weathered
hands and hollow eyes.
Jakob glances around, then lowers his voice.
JAKOB
If I wanted to run... where would I
go?
Mirek looks at him. Long pause.
Then he reaches into the ashes of the stove. Pulls out a
charred stick.
On the floor—dirt caked and trampled—he begins to draw.
MIREK
This is the fake station. You
unload here. Reception yard.
(pointing)
That’s the undressing area. Men go
right. Women left.
He draws two squares.
MIREK (CONT’D)
The “tube” runs through here. Pine
fences, camouflage. Leads to the
chambers.
Jakob stares at the rough sketch—breath shallow.
MIREK (CONT’D)
Here’s the ash pit. And here—
(draws a line north)
The burning grates. You work there
long enough, you lose your soul.
He pauses. Then adds a dot far from the others.
MIREK (CONT’D)
This is Treblinka I. The quarry. A
mile south. They say it's better
there.
JAKOB
Safer?
Mirek snorts.
MIREK
Slower death. But death all the
same.
He wipes the map away with his palm.
MIREK (CONT’D)
Don’t let anyone catch you drawing.
Not even the dirt.
He lays back down, facing the wall.
Jakob stares at the empty space where the map was.
Genres:
["Drama","Historical"]
Ratings
Scene
25 -
A Chilling Welcome
EXT. CAMP SQUARE – MORNING ROLL CALL
Prisoners stand in rows. Cold. Silent. Breath misting in the
air.
A whistle blows.
The gates open.
Two SS GUARDS flank a new officer as he steps into the
square.
SS CAPTAIN KURT FRANZ, 30s. Clean-shaven. Crisp uniform.
Youthful face.
But something in his eyes—flat, unreadable.
Beside him trots a large black dog, a German Shepherd.
Jakob stands at attention with the others. Watches.
Franz doesn’t bark orders. He walks slowly through the rows,
surveying the prisoners like a man choosing wine.
He stops.
A young man, barely 20, shifts nervously. His eyes flick
toward the dog.
Franz looks down at the prisoner’s muddy shoes.
A moment passes.
Then—
BANG.
Franz draws his pistol and shoots the boy in the head. Point-
blank.
The body drops.
Jakob flinches.
The dog doesn’t bark. Doesn’t move. Just stares.
Franz holsters his weapon.
KURT FRANZ
Let that be your welcome.
He turns and walks on.
No one speaks.
Genres:
["Drama","Historical","War"]
Ratings
Scene
26 -
A Warning in the Shadows
INT. STORAGE SHED – LATER THAT DAY
Jakob stacks crates with Avram. Behind them, low voices.
Four men huddle in the corner.
One of them turns. It’s MARCELI GALEWSKI—50s, bald, with eyes
that see everything.
Jakob watches him carefully.
Galewski walks over. Measures Jakob in silence.
GALEWSKI
You ask a lot of questions.
JAKOB
I want to live.
GALEWSKI
Then stop looking for maps in the
dirt. Stop staring at guards. Stop
watching the sky.
Jakob nods.
Galewski leans closer.
GALEWSKI (CONT’D)
Unless you’re looking for something
else.
Jakob doesn’t answer.
Galewski taps the crate twice, then walks off.
Avram glances at Jakob.
AVRAM
Careful. He’s the one people
disappear around.
Jakob keeps stacking.
But his mind is racing.
Genres:
["Drama","Historical"]
Ratings
Scene
27 -
Desperate Measures
EXT. WOMEN’S YARD – MIDDAY
The sun beats down. Dust swirls.
A LOUD WHISTLE shrieks.
Female prisoners are herded into formation—many half-starved,
limping. Armed female guards scream in German.
At the far end of the yard, a small wooden table is set up
under a tattered umbrella.
Seated at it is a NAZI DOCTOR, glasses perched on his nose,
clipboard in hand.
Beside him: Kurt Franz, arms folded. Dog at his feet.
Jakob watches from a distance, hauling crates. He sees Avram
pause to observe as well.
The women are ordered to strip to their undergarments.
They are told to run in a wide circle—a twisted parade.
GUARD (SHOUTING)
Faster! Show us you can work!
The prisoners begin running. Dust kicks up. Ribs protrude.
Knees buckle.
Among them is a young woman, maybe 20, who discreetly smears
blood on her cheeks—cut from her thigh with a shard of tin.
Jakob notices it.
JAKOB (QUIET)
Why the blood?
AVRAM
Makes them look flushed. Healthier.
(beat)
Sometimes it works.
The doctor squints. Makes notes.
Every few seconds, he points at someone. A guard steps in,
drags the woman out of the circle.
Some scream. Some go limp.
A group of women are already lined up against the far wall,
marked with an “X” on their arms.
They won’t be going to work.
They’ll be dead within the hour.
Jakob looks at the girl with the blood on her face.
The doctor’s eyes pass over her.
He makes no mark.
She keeps running.
INT. HAIR-CUTTING BARRACK – LATER
The same girl sits on a bench, breathing hard, her life
extended for a few more days.
A Sonderkommando woman cuts her hair. Piles it into a sack.
No one speaks.
The girl looks at the mirror—her face, now pale and streaked,
the blood smudged.
She touches her cheek.
Then stares at the mound of hair beside her.
EXT. CAMP YARD – SAME TIME
Jakob dumps a load of ash near the burning pit.
Smoke rises. The sky is gray.
He glances back toward the yard.
The line of rejected women is gone.
Genres:
["Drama","Historical"]
Ratings
Scene
28 -
Defiance in Despair
EXT. LATRINE SHACK – AFTERNOON
A crude wooden structure. Flies buzz thick in the air.
A prisoner kneels, scrubbing the latrine floor with a rag.
He is old, 60s. Face lined. Beard patchy. Shoulders stooped.
But there’s something about him—dignity, even in filth.
Jakob walks past, carrying buckets. He slows.
The old man hums.
A sacred melody—soft, broken, but unmistakably Jewish.
It’s the "Kol Nidre." Ancient. Haunting.
Jakob stops.
JAKOB
You’re a cantor?
The old man nods without looking up.
CANTOR
Warsaw. The shul on Gensha Street.
(beat)
Now I clean shit for dogs.
He wrings the rag. Blood seeps from his cracked knuckles.
Jakob kneels beside him, setting down his bucket.
JAKOB
Why still sing?
The Cantor looks up—his eyes alive, even now.
CANTOR
If they steal your voice… they win.
(beat)
This is mine. Even here.
Suddenly, a GUARD approaches, barking in German.
The Cantor lowers his head. Hums quieter.
The guard kicks over the water bucket, sneering, then walks
away.
Jakob helps the Cantor steady himself.
CANTOR (SOFTLY, IN HEBREW) (CONT’D)
Blessed are You, Lord our God...
who brings down the mighty.
Jakob nods, lips trembling.
He picks up the bucket and walks off.
Behind him, the Cantor begins humming again—louder this time.
Genres:
["Drama","Historical"]
Ratings
Scene
29 -
Collecting Ghosts
EXT. SORTING BARRACK – EVENING
Jakob works in the Red Kommando, separating clothing from a
freshly gassed transport.
He picks through a pile of jackets. Jewelry. Gloves. Shoes
tied together.
He finds a child’s doll, dirtied and limp. One eye missing.
He pockets it quietly. Nobody sees.
Avram works beside him, methodically sorting.
AVRAM
You can’t keep things.
JAKOB
I know.
He places the doll inside a coat pocket, then folds the coat
tightly. Sets it aside in a different pile—not for Germany.
INT. STORAGE SHED – NIGHT
Jakob stands alone. He peels back a plank in the wall,
revealing a small crevice.
Inside: a handful of things.
A bent silver hair clip
A tiny Star of David pendant
A scrap of sheet music, stained
And now... the doll
He places it gently with the others.
Not trash.
Not treasure.
Testimony.
He reseals the wall.
INT. CREMATION PIT – LATER THAT NIGHT
Jakob shovels ash. The fires behind him crackle. Smoke pours
skyward.
Beside him, Avram watches silently.
AVRAM
You’re collecting ghosts.
Jakob keeps shoveling.
JAKOB
They deserve to be remembered.
Avram doesn’t reply. But his eyes say everything.
Jakob stares into the flames.
Genres:
["Drama","Historical"]
Ratings
Scene
30 -
Silent Vow
INT. SORTING BARRACK – NIGHT
A dim, dust-choked shed. Jakob moves down the long table,
sorting items stripped from the dead.
Coats. Shoes. A folded scarf.
He opens a bag—women’s effects.
Bracelets. Hair clips. Crushed perfume bottles.
He reaches in—pauses.
In his hand: a small silver Star of David necklace.
Jakob stares.
The chain is delicate. The clasp slightly bent.
He knows it. We’ve seen it before.
Miriam’s necklace.
His breath catches.
He glances around. No one’s looking.
Jakob slowly closes his fist around it.
Slides it into his pocket.
His shoulders tremble but he says nothing.
He sets the bag aside, continues sorting.
A mechanical motion now. Automatic. Hollow.
INT. WASH STATION - MOMENTS LATER
Jakob scrubs his hands at a filthy basin. Ash and dust swirl
in the water.
He looks up into the cracked mirror.
His face. Blank. Ghostlike.
His hand touches the pocket. The outline of the necklace.
He presses it there.
A silent vow.
Genres:
["Drama","Historical"]
Ratings
Scene
31 -
Brutality in the Camp Square
EXT. CAMP SQUARE – THE NEXT MORNING
A whistle pierces the air.
All prisoners are herded into the square. Lined up in
silence.
Jakob stands among them, tension rising.
From the barracks, SS CAPTAIN KURT FRANZ emerges. Polished
boots. Immaculate coat. His black German Shepherd trots
beside him.
He walks to the center of the yard. Waits.
The dog sits obediently.
Franz scans the crowd. Slowly.
Then—points.
KURT FRANZ
You. And... you.
Two men are dragged forward. One old. One younger. Both
trembling.
Franz turns to an SS guard, says something in German.
The guard hands each man a knife. Rusted. Jagged.
A sick silence falls over the square.
KURT FRANZ (CONT’D)
Today, we honor tradition. Roman.
Glorious.
(beat)
You fight. One lives.
The prisoners murmur. Eyes wide.
Franz smiles thinly.
KURT FRANZ (CONT’D)
Or both die now. Choose.
The younger man—barely 30—shakes his head.
The older man raises his knife slowly, hand trembling.
KURT FRANZ (CONT’D)
Begin.
No one moves.
A GUARD fires a warning shot into the air.
The younger prisoner lunges, slashing. Not deep—just a cut
across the arm.
The older man winces. Stumbles.
They circle.
Slash. Parry.
The fight is slow. Hesitant. Each blow weak, uncertain.
Jakob watches—horrified. Silent. Everyone is silent.
More cuts. More blood. Not enough to kill—but enough to
suffer.
After minutes of this nightmare, the older man collapses to
his knees.
Exhausted. Crying.
He lowers his knife. Exposes his chest.
The younger prisoner stands above him—shaking, sobbing.
Franz raises an eyebrow.
KURT FRANZ (CONT’D)
Now.
The young man looks down...
...and drives the knife into the old man’s chest.
The body slumps. Blood pools.
The winner drops the knife, shaking violently.
Franz claps once. Smiles.
He walks forward. Approaches the victor.
The man stares at him, broken.
Franz draws his pistol.
BANG.
The prisoner collapses beside his opponent.
Dead.
Franz holsters the weapon. Looks over the crowd.
KURT FRANZ
Back to work.
He turns. Walks away, his boots clicking calmly across the
gravel.
The dog trots beside him.
Genres:
["Drama","Historical"]
Ratings
Scene
32 -
Whispers of Resistance
EXT. TREBLINKA – BARRACKS YARD – EARLY MORNING
The morning bell hasn't rung yet.
The camp still sleeps.
Jakob crouches by a low wall, scrubbing blood off a shovel
under moonlight.
A SHADOW approaches.
GALÉWSKI (O.S.)
You work too hard.
Jakob doesn’t look up.
JAKOB
Blood doesn’t disappear by itself.
GALÉWSKI
Neither do questions.
And you ask a lot.
Jakob finally glances at him. Galéwski kneels beside him.
GALÉWSKI (CONT’D)
I was told you tried to speak to
the Blue Unit.
Asked about layout. Schedules.
Movements.
Jakob stiffens.
JAKOB
I wanted to understand. That’s all.
Galéwski eyes him.
GALÉWSKI
Do you?
JAKOB
I know there's a camp near
here—Treblinka One. The quarry.
I know there’s less smoke now.
Fewer transports. That means
they’re finishing. And when they
finish—
GALÉWSKI
—They erase the witnesses.
A long silence.
Then Galéwski leans forward, draws his finger through the
dirt.
GALÉWSKI (CONT’D)
This is the tube.
Here’s the gas chambers. Here’s the sorting yard... the
pit... the false infirmary.
He marks each with grim precision.
GALÉWSKI (CONT’D)
Here’s where they burn us.
And here—this tree—is where we draw
the line.
He taps one spot with his knuckle.
Jakob stares down at the crude map. Memorizing it.
GALÉWSKI (CONT’D)
If I ask you to carry a message...
would you?
JAKOB
Without hesitation.
Galéwski rises.
GALÉWSKI
Then tomorrow... don’t sleep.
Meet me again before dawn.
He disappears into shadow.
Jakob stares at the dirt-map. Then wipes it clean with one
sweep of his palm.
SMASH CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
33 -
Brutality Unleashed
EXT. TREBLINKA – CENTRAL YARD – LATER THAT DAY
KURT FRANZ arrives.
New boots. Fresh uniform. A riding crop in his hand.
His first morning as official commandant.
Prisoners are lined up for roll call. Jakob among them.
Franz strolls past the line—cold, quiet, smiling.
He suddenly stops.
FRANZ
You.
He points at a small, shivering man in the second row.
FRANZ (CONT’D)
Come forward.
The man obeys, trembling.
Franz steps aside and gestures toward another prisoner—a
muscular young man with bandaged knuckles.
FRANZ (CONT’D)
And you.
He tosses two knives into the dust between them.
FRANZ (CONT’D)
One survives.
The prisoners freeze.
GUARD
Do it.
A beat.
Then the stronger man steps forward... and the dance begins.
Not a real fight. Not at first. Just feints. Weak cuts.
Until the older man falls to his knees, winded.
He looks up. Offers his chest.
The younger prisoner hesitates...
Then drives the knife in.
Gasps echo.
Franz claps. Cheerful.
FRANZ
That’s how you keep order.
Then, without hesitation, he draws his pistol and shoots the
survivor in the head.
Turns. Walks back toward the barracks.
The blood seeps into the dust. Jakob doesn’t flinch.
But his fists are clenched.
FADE TO BLACK.
Genres:
["Drama","Historical"]
Ratings
Scene
34 -
Burden of Memory
EXT. BURNING PIT-NIGHT
The camp hums in the distance—boots, barking, engines.
Jakob kneels in a patch of dirt behind the cremation shed.
near the only tree by the burning pit. Out of sight.
His hands tremble as he digs a small hole with a shard of
wood.
From his pocket, he pulls the silver Star of David necklace.
Miriam’s.
He stares at it in his palm. The chain glints in the dying
light.
JAKOB (SOFT)
I’ll remember for both of us.
He lays it in the earth. Covers it gently.
His fingers linger on the soil.
Then he stands.
Behind him, Galewski watches.
EXT. BETWEEN STORAGE SHEDS – MOMENTS LATER
Jakob rounds the corner—face stony.
Galewski steps into his path.
GALEWSKI
Would you have done it?
Jakob blinks. Says nothing.
GALEWSKI (CONT’D)
The knife. In the chest.
Jakob looks away.
JAKOB
We’re all dead anyway.
Galewski studies him.
GALEWSKI
Not all. Not yet.
(beat)
The fire’s coming. You’ll hear
whispers.
(steps closer)
When it starts... don’t freeze.
He turns to walk off, then pauses.
GALEWSKI (CONT’D)
North fence. Behind the latrine. If
someone tells you to dig—dig.
If they hand you a rock—carry it.
(beat) And if you hear a shot...
run like hell.
Galewski disappears into shadow.
Jakob stares after him.
Then slowly turns to face the smoke curling from the pit.
FADE OUT.
Genres:
["Drama","Historical"]
Ratings
Scene
35 -
A Weapon in Hand
INT. SUPPLY SHED – NIGHT
Crates stacked high. Lanterns flicker.
Jakob works alone. Counting tools. Moving burlap sacks.
He opens a small wooden crate—full of nails and iron scraps.
He hesitates. Then reaches under his shirt, pulls out a thin
leather strap.
Quietly, he begins to fashion a slingshot.
A few steps away, Avram enters, eyes darting.
AVRAM You’re going to take down the Reich with a slingshot?
Jakob keeps working.
JAKOB
Not the Reich.
He tucks the weapon behind a loose board in the wall.
Replaces the crate.
AVRAM
We’re all going to die.
JAKOB
Then I’d rather die with a weapon
in my hand.
They lock eyes.
Avram gives the faintest nod. Then slips out.
Jakob stays in the dim light a moment longer.
Listening.
Thinking.
FADE OUT.
Genres:
["Drama","Historical"]
Ratings
Scene
36 -
Whispers of Survival
EXT. TREBLINKA – BARRACKS YARD – EARLY MORNING
The morning bell hasn't rung yet.
The camp still sleeps.
Jakob crouches by a low wall, scrubbing blood off a shovel
under moonlight.
A SHADOW approaches.
GALÉWSKI (O.S.)
You work too hard.
Jakob doesn’t look up.
JAKOB
Blood doesn’t disappear by itself.
GALÉWSKI
Neither do questions.
And you ask a lot.
Jakob finally glances at him. Galéwski kneels beside him.
GALÉWSKI (CONT’D)
I was told you tried to speak to
the Blue Unit.
Asked about layout. Schedules.
Movements.
Jakob stiffens.
JAKOB
I wanted to understand. That’s all.
Galéwski eyes him.
GALÉWSKI
Do you?
JAKOB
I know there's a camp near
here—Treblinka One. The quarry.
I know there’s less smoke now.
Fewer transports. That means
they’re finishing. And when they
finish—
GALÉWSKI
—They erase the witnesses.
A long silence.
Then Galéwski leans forward, draws his finger through the
dirt.
GALÉWSKI (CONT’D)
This is the tube.
Here’s the gas chambers. Here’s the
sorting yard... the pit... the
false infirmary.
He marks each with grim precision.
GALÉWSKI (CONT’D)
Here’s where they burn us.
And here—this tree—is where we draw
the line.
He taps one spot with his knuckle.
Jakob stares down at the crude map. Memorizing it.
GALÉWSKI (CONT’D)
If I ask you to carry a message...
would you?
JAKOB
Without hesitation.
Galéwski rises.
GALÉWSKI
Then tomorrow... don’t sleep.
Meet me again before dawn.
He disappears into shadow.
Jakob stares at the dirt-map. Then wipes it clean with one
sweep of his palm.
SMASH CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
37 -
Brutality Unleashed
EXT. TREBLINKA – CENTRAL YARD – LATER THAT DAY
KURT FRANZ arrives.
New boots. Fresh uniform. A riding crop in his hand.
His first morning as official commandant.
Prisoners are lined up for roll call. Jakob among them.
Franz strolls past the line—cold, quiet, smiling.
He suddenly stops.
FRANZ
You.
He points at a small, shivering man in the second row.
FRANZ (CONT’D)
Come forward.
The man obeys, trembling.
Franz steps aside and gestures toward another prisoner—a
muscular young man with bandaged knuckles.
FRANZ (CONT’D)
And you.
He tosses two knives into the dust between them.
FRANZ (CONT’D)
One survives.
The prisoners freeze.
GUARD
Do it.
A beat.
Then the stronger man steps forward... and the dance begins.
Not a real fight. Not at first. Just feints. Weak cuts.
Until the older man falls to his knees, winded.
He looks up. Offers his chest.
The younger prisoner hesitates...
Then drives the knife in.
Gasps echo.
Franz claps. Cheerful.
FRANZ
That’s how you keep order.
Then, without hesitation, he draws his pistol and shoots the
survivor in the head.
Turns. Walks back toward the barracks.
The blood seeps into the dust. Jakob doesn’t flinch.
But his fists are clenched.
FADE TO BLACK.
Genres:
["Drama","Historical","War"]
Ratings
Scene
38 -
Desperate Plans in the Dark
INT. SONDERKOMMANDO BARRACKS – NIGHT
Dark. Still.
Most prisoners lie motionless in their bunks, conserving
what’s left of themselves.
But in the far corner, a small group is gathered under a
hanging blanket—a makeshift curtain for privacy.
Inside the shadows: Galewski, Rakowski, Blau, and now...
Jakob.
Galewski places a crudely drawn map on the wooden
floor—scratched into a piece of stolen crate.
GALÉWSKI
This is the armory.
Three guards, one at a time. Key’s kept by Küttner... chained
to his belt.
Jakob listens, watching every face.
RAKOWSKI
We’ve tried bribing the Ukrainians.
They drink, they talk... but not
one sold us a bullet.
BLAU
What about the gasoline stores? We
could set fire to the sorting
sheds. The barracks. The stables.
GALÉWSKI
Not yet. When the signal comes, we
burn everything.
He turns to Jakob.
GALÉWSKI (CONT’D)
You’re new. So listen closely.
(beat)
If we fight, it’s not to win. It’s
to run.
If we run, it’s not to live. It’s to speak.
RAKOWSKI
One gets out. That’s all we need.
GALÉWSKI
You’re quick. Smart.
We’re not asking yet. But when we
do— (beat) We’ll know if you’re
ready.
A pause. Then Blau pulls a matchbox from under his shirt.
He opens it. Inside: a single bullet.
Everyone stares.
BLAU
One shot. One German.
FADE TO:
Genres:
["Drama","Historical"]
Ratings
Scene
39 -
A Night of Defiance
EXT. TREBLINKA – TOOL SHED – NEXT NIGHT
The night is moonless. Clouded.
A prisoner creeps toward a locked storage shed—slow, careful,
stepping in mud to muffle sound.
It’s MARCELI GALÉWSKI’s courier—a wiry man in his 30s.
Nervous.
He removes a slip of paper from inside his tunic and slips it
into the tool crate—where another prisoner will find it in
the morning.
WHISTLE.
He freezes.
Two flashlights click on. Shouts in German.
GUARD (O.S.)
HALT!
The man runs. A bullet whizzes past.
He makes it five feet before a second shot drops him in the
mud.
INT. GUARD BARRACKS – MOMENTS LATER
KURT FRANZ stands over the courier’s bloody body.
A GUARD hands him the note.
Franz reads it silently. Crumples it.
FRANZ
Hang him.
In the yard. At morning roll call.
EXT. SONDERKOMMANDO BARRACKS – THAT NIGHT
Word spreads in whispers.
He was caught. He was hanged. The Germans know something.
Jakob sits on his bunk. Galewski beside him, stone-faced.
JAKOB
It’s over?
GALÉWSKI
No.
(beat)
It’s begun.
Genres:
["Drama","Historical","War"]
Ratings
Scene
40 -
A Chilling Display of Power
EXT. TREBLINKA – CENTRAL YARD – MORNING ROLL CALL
The prisoners stand assembled in rigid rows.
Grey dawn. Cold air. Silence.
A wooden ladder has been propped against a tall post. At the
top: a noose.
Two guards drag the body of the captured courier from the
night before. He’s barely alive—beaten, limp, bloody.
KURT FRANZ stands nearby, arms folded, eyes bright.
FRANZ
He ran. He stole.
He conspired.
(beat)
Let his final breath be a warning.
Franz gestures.
The guards sling the rope over the beam. Tighten it.
Jakob watches from the second row. His jaw tightens.
Galewski stands beside him, eyes forward.
A third guard climbs the ladder, ties the noose, then hauls
the prisoner upright.
The man begins to groan. Tries to speak.
Franz raises his hand.
The ladder is kicked away.
The prisoner drops—but not cleanly. The noose catches him mid-
neck. He thrashes, choking, twitching.
A grotesque ballet of suffering.
Jakob flinches.
Galewski doesn’t move.
The crowd says nothing. No screams. No sound.
The body jerks once more. Then hangs still.
FRANZ (CONT’D)
You are alive because we allow it.
Don’t make us rethink our
generosity.
He turns and walks off, whistling a tune. Behind him, the
body sways in the wind.
Genres:
["Drama","Historical"]
Ratings
Scene
41 -
Whispers of Trust
INT. SONDERKOMMANDO BARRACKS – LATER THAT NIGHT
Jakob sits by the window, staring at the tree.
Galewski joins him, holding a torn scrap of paper.
GALÉWSKI
We try again.
He sets the paper down. It shows a list of rotating guard
shifts.
GALÉWSKI (CONT’D)
Next Tuesday. 4:15.
Blind spot by the vehicle garage. Keyholder changes over.
JAKOB
You still trust me?
Galewski meets his eyes.
GALÉWSKI
You buried something under that
tree.
I saw.
(beat)
You don’t forget people like that.
A long silence.
Jakob folds the paper. Nods.
SCENE: SS QUARTERS – MESS HALL – NIGHT
Genres:
["Drama","Historical"]
Ratings
Scene
42 -
Dark Revelry at Treblinka
INT. TREBLINKA – SS MESS HALL – NIGHT
Warm. Loud. Lit by gas lanterns.
German SS officers drink beer, smoke cigars, and shout over
one another.
FRANZ STANGL, crisp and unreadable, sits at the head of the
table.
KURT FRANZ is mid-story, waving his beer.
KURT FRANZ
—so the girl says, “You can't shoot
me! I’m German!”
He laughs.
KÜTTNER
And did you?
KURT FRANZ
Course not.
(beat)
I let Mentzie shoot her.
Laughter erupts.
A YOUNG OFFICER leans in.
YOUNG OFFICER
What about the old cantor last
week? The one with the voice?
KÜTTNER
Oh! We made him clean the latrines.
Gave him a scrub brush and told him
to sing while he did it.
KURT FRANZ
“Kol Nidre”... up to his knees in
piss!
More laughter.
STANGL sips his drink, not laughing. Just watching.
KÜTTNER (TO STANGL)
Captain, you must have seen worse
at Sobibor.
STANGL
Sobibor was quiet. Efficient.
(beat)
Here... it stinks of fire and
failure.
The laughter falters.
STANGL (CONT’D)
But soon, it won’t exist at all.
(quiet beat)
And that... is something worth
drinking to.
Glasses raised. A toast.
ALL
Heil Himmler.
SMASH CUT TO:
SCENE: HAIR HARVEST
Genres:
["Drama","Historical"]
Ratings
Scene
43 -
The Last Farewell
EXT. TREBLINKA – SORTING BARRACKS – NEXT DAY
A new transport is being processed.
Naked women and girls are herded into the shearing barrack.
Inside: piles of women’s hair already collected.
A prisoner with trembling hands cuts off thick, red curls
from a young girl—RUTH DORFMAN, no more than 19. Her face is
frozen with terror.
She flinches as the shears bite through.
GUARD (O.S.)
Take the long ones first! Red sells
best to the factories!
Hair falls like autumn leaves.
Jakob, across the yard, sees her for a split second as she’s
pushed toward the gas chamber corridor.
He never sees her again.
But the curls are bundled, labeled, and placed in a crate
marked:
“Textile Grade. 100% Human Hair. Destination: Augsburg.”
Two SS GUARDS stand in the tower, rifles slung. One smokes.
The other peers through binoculars.
GUARD #1
(in German, amused)
Here they come.
Below: a group of women steps out from the undressing
barrack. Naked. Ashen. Clutching shoes. Herded toward the
“shower” corridor.
GUARD #2
That one... third from the front.
Look at her.
Like a film star.
He passes the binoculars.
GUARD #1
(snickers)
It’s a waste. All of them.
They don’t let us touch the goods anymore.
GUARD #2
Not since Sobibor.
(beat)
Still doesn’t stop Mentz.
They share a knowing look. Laughter.
GUARD #2 (CONT’D)
I say... if they’re going to die
anyway—
GUARD #1
—why not enjoy the view?
He exhales smoke as the last woman disappears into the
corridor.
GUARD #1 (CONT’D)
She’ll be ash in twenty minutes.
GUARD #2
(raising his flask)
To German efficiency.
They toast, drink, and go quiet.
Smoke rises in the distance. The sun slips behind the trees.
Genres:
["Drama","Historical"]
Ratings
Scene
44 -
Desperate Flames
INT. SONDERKOMMANDO BARRACKS – NIGHT
Jakob sits alone, back against the wall. Face gaunt. Rage in
his eyes.
Outside, a faint SCREAM is cut off by the engine rumble.
Galewski steps in. He looks exhausted.
GALÉWSKI
The diesel engine broke for twenty
minutes today.
They suffocated... slower.
(beat)
Franz said it was amusing. Amusing.
JAKOB
We do it soon. Or we don’t do it at
all.
A silence.
Galewski pulls a rusted bolt cutter from under his coat.
GALÉWSKI
Then we start with the fences.
SCENE: FIRST SABOTAGE – TOOL SHED
INT. TOOL SHED – PRE-DAWN
Jakob and a fellow prisoner, BORAKS (40s, skeletal, but
sharp), crouch in the shadowed shed. A rusty oil can rests
nearby.
BORAKS
Engine fuel.
Stolen from the crematoria tank.
Jakob unscrews the top. Sniffs. Nods.
BORAKS (CONT’D)
We soak the storage wall.
Only the outer slats. No blaze,
just smoke.
Smoke buys time.
Jakob kneels beside a stack of straw. Douses it.
He strikes a stolen match. Hesitates.
BORAKS (CONT’D)
We’re not free yet.
JAKOB
We won’t be.
But someone after us might be.
He strikes the match again. Touches it to the straw.
WHOOMPH. A quick flame. Then smoke.
They disappear out the back just as the SS SIREN WAILS.
SCENE: CHAOS IN THE YARD
Genres:
["Drama","Historical"]
Ratings
Scene
45 -
Silent Despair
EXT. CAMP YARD – MINUTES LATER
The smoke curls up through the rafters of the supply shed.
Guards shout. Buckets fly.
Prisoners scatter, ordered to form fire chains.
Jakob slips back into the sorting line—face neutral,
unnoticed.
Kurt Franz storms out of the barracks.
FRANZ
This is sabotage!
Double the searches! Triple the
whippings!
He punches a guard as he passes.
Jakob doesn’t look back.
SCENE: SONDERKOMMANDO BARRACKS – LATE NIGHT
The fire is out. But something is heavier in the air.
Inside the cramped barracks, two prisoners help a third—a
quiet-eyed man in his 50s—to his feet.
A loop of cloth hangs from the bunk above.
PRISONER #1
(softly, in Yiddish)
Are you sure?
The man nods. Hands trembling.
He kisses their cheeks.
Climbs the rickety lower bunk.
Steps up once.
Jakob watches from his own corner.
One of the helpers takes the cloth and gently fits it over
the man’s neck.
PRISONER #2
We’ll help. Fast. No pain.
The man clasps their forearms. Silent.
They pull down—hard.
Jakob’s eyes don’t leave the scene.
No screams. Just the creak of wood.
Then silence.
The helpers lower him, wrap him in a blanket, and begin
quietly rearranging the bed.
No one speaks.
SCENE: PLANS IN THE DARK
Genres:
["Drama","Historical"]
Ratings
Scene
46 -
The Key to Resistance
INT. ABANDONED LAUNDRY SHED – NIGHT
A hidden corner of the camp—dim, forgotten, surrounded by
broken crates and moth-eaten rags.
Jakob slips inside. Waiting for him: Galewski and, for the
first time, ZELOMIR BLOCH—calm, intense, his face lined by
hunger but eyes sharp as razors.
Bloch closes the door behind him.
BLOCH
The fire was a warning.
The next act won’t be.
Galewski unfolds a crumpled paper map—the camp’s rough
layout.
GALÉWSKI
Two main targets:
The armory and the telephone lines.
BLOCH
If we can kill the phones, they
won’t call reinforcements.
If we get the guns—we live five
more minutes than they expect.
JAKOB
The fences?
BLOCH
North perimeter. Old wiring.
Weakest point.
But too many eyes during day hours.
He turns to Jakob.
BLOCH (CONT’D)
You work near the stables?
JAKOB
Yes.
BLOCH
They store flammable oil for the
trucks nearby.
Next transport, when the guards are
thinned, we start the fires.
(beat)
Smoke buys panic. Panic buys
escape.
Galewski eyes Jakob.
GALÉWSKI
You still with us?
Jakob doesn’t hesitate.
JAKOB
I was with you the moment I saw the
first flame.
They nod—quiet understanding.
Bloch steps forward, pulls something from his sleeve: A
rusted key.
BLOCH
We made a copy.
One of us dies getting it here.
You’ll use it right.
He presses the key into Jakob’s palm.
Jakob closes his fist.
SMASH CUT TO:
SCENE: WOMEN’S BARRACKS – NIGHT
Genres:
["Drama","Thriller","Historical"]
Ratings
Scene
47 -
Whispers of Escape
INT. WOMEN’S BARRACKS – LOW LIGHT
The air is close. Damp. A candle stub flickers on a tin dish.
Three women sit huddled on one bunk, whispering. SUKNO
BRONKA, strong-willed and sharp-eyed. GRABINSKI SONIA,
younger, haunted. MINIA BERMAN, silent but watchful.
SONIA
Heard the men are planning
something.
A fire, maybe. A break.
BRONKA
If it’s true—we help.
She opens her fist to reveal a twisted shard of mirror,
stolen from a guard’s kit.
BRONKA (CONT’D)
We use this. Cut here—
She motions to her cheekbone.
BRONKA (CONT’D)
Blood brings color.
Color means life.
MINIA
They’ll still see the truth in our
eyes.
BRONKA
Then close them. Just until it’s
time to run.
(beat)
No more goodbyes. No more prayers.
Only the run.
They sit in silence a moment. Then lean into each other—
Three shadows in the dark, clinging to the last breath of
resistance.
SCENE: “SELECTION” MORNING
Genres:
["Drama","Historical"]
Ratings
Scene
48 -
A Flicker of Hope
EXT. CAMP YARD – DAYBREAK
A whistle blows.
Rows of prisoners line up. Pale. Trembling.
A DOCTOR IN SS UNIFORM stands in front of each row. He points
casually—left or right. Stay or go.
Jakob watches as two Sonderkommando women ahead of him smear
blood from their fingers onto their cheeks.
Their hands shake. One cuts too deep.
Guards shove them forward anyway.
The doctor pauses before an elderly man. Points.
GUARD
You. Left.
The man doesn’t understand. A guard slaps him.
GUARD (CONT’D)
LEFT!
He stumbles toward the gas chamber line.
Jakob clenches his fists.
A guard eyes him. Jakob forces a fake smile.
SCENE: WOMEN’S BARRACKS – LATER
Minia is gone.
Bronka sits alone now, wiping her bloody cheek.
Sonia stares blankly at the door.
Then—
A SCRAP OF PAPER slips under the door.
Bronka picks it up. Unfolds it.
ONE WORD written in ash:
“TOMORROW.”
She passes it to Sonia.
They nod—quietly, solemnly.
They begin to gather what little they have—a spoon, a rag, a
torn shoelace.
Tools for freedom. Or for dying trying.
The stealing of weapons from the armory.
SCENE: THE ARMORY RAID
Genres:
["Drama","Historical"]
Ratings
Scene
49 -
Midnight Heist
INT. GUARD BARRACKS – NIGHT
Pitch black.
Jakob crouches outside a wooden supply hut nestled between
two barracks.
Boraks keeps watch, tense, eyes darting.
Bloch kneels beside Jakob, whispering.
BLOCH
Three rifles. No more.
Take what you can carry.
Jakob nods. He reaches into his tunic—
THE STOLEN KEY.
Slides it into the lock.
It sticks. He breathes once. Tries again.
CLICK.
The door creaks as it opens.
INT. ARMORY – CONTINUOUS
Inside: two stacked racks of rifles, a crate of ammunition
belts, and one grenade box chained shut.
Jakob steps in, heart hammering.
He grabs two rifles—hands one to Bloch.
Boraks slips in behind them. Eyes the grenade box.
BORAKS
If we had five minutes…
Jakob stops him.
JAKOB
We don’t.
Boraks lifts a third rifle.
Jakob spots a rusty hatchet leaning in the corner.
Grabs it. Slips it into his coat.
Suddenly—FOOTSTEPS. Close. Muffled boots.
EXT. ARMORY – SAME
A GUARD patrol walks past. Pauses. Lights a cigarette.
Inside, the men don’t breathe.
INT. ARMORY – CONTINUOUS
The ember outside glows. Burns. Flicks away.
Footsteps fade.
Bloch exhales. Shaky.
BLOCH
We go. Now.
They exit—gently closing the door.
Jakob relocks it.
EXT. CAMP PATH – NIGHT
They vanish into the shadows, rifles hidden beneath their
ragged coats.