FADE IN: A NOTE ON LANGUAGE: All dialogue is in English unless otherwise noted. Norwegian and German are indicated when spoken. INT. VEMORK HEAVY WATER PLANT, CONCENTRATION CHAMBER CORRIDOR, NIGHT Silence first. Then the sound finds you. A low, industrial hum. Constant. The vibration of water forced through penstocks at enormous pressure, converted to electricity, converted to purpose. The sound lives in the walls, in the floor, in the bones of the building. The corridor is empty. Pipes run along the ceiling in parallel lines, thick with condensation. Industrial lighting casts hard shadows at regular intervals. The floor is concrete, scrubbed but stained with chemical residue that no scrubbing will remove. Through a reinforced window, the gorge is visible far below. The river catches what little moonlight reaches this depth. Ice along the banks. Black water in the center. The camera rises along the exterior of the plant. The full scale reveals itself: concrete and steel anchored to the mountainside, penstocks descending like the tendons of something enormous, the hydroelectric cathedral that the propaganda films celebrate and the military has requisitioned. One lit window, high on the eastern face. A figure moves behind the glass. The figure pauses. Then moves again. The glass fogs with breath. The plant hums. The mountain holds. EXT. SOE TRAINING FACILITY, ARISAIG, SCOTTISH HIGHLANDS, DAY Snow on birch trees. A hillside white enough to make the eyes water. Four men in winter camouflage move through woodland on cross country skis, single file,