The entire week on Loving the Language of Literacy will be comprised of me sharing a scene and its backstory that I wrote for an Independent Study Project having to do with Code Name Verity by Elizabeth Wein. I formatted it as if it were a professional Screenplay (which is a lot harder than I thought it would be) and attempted to translate it for film the best I could. Sadly, the proper margins and spacing didn't transfer over well into Blogger. Warning - There are spoilers for the novel if you haven't read it.
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| This is what an average screenplay sheet would look like. |
Today's scene is another combination of scenes, this time a little with a little more distinction between them as it details the last moments Verity tells her story. It's completely from her perspective and would probably be the most taxing scene them all, as it contains the message of the book itself - I have told the truth.
VERITY (O.S.)
I shouldn’t be alive.
Cut In.
VERITY
I have 15 minutes to live.
Verity picks up pencil shakily as Von Linden stares at her. Rubs her eyes with bloodstained fingers. Continues to write.
VERITY (O.S.)
I think they killed her for no reason other than to scare me into confessing that I have lied to them. It’s my fault that she is dead. But I have not lied.
Cut Out.
Cut In.
Ext. Chateau de Bordeaux - Early Morning
Unnamed Female French Prisoner & Verity limp into the courtyard from cellar, tied together, wrist to wrist, prepared to face their execution courageously despite their wounds. Forced to wait and observe as the gestapo prepares the guillotine. Female French Prisoner is first.
VERITY
(whispers)
My name is Julie.
Closeup on touching hands as the cords between them are cut.
MARIE (Unnamed Female French Prisoner)
My name is Marie.
Cut Out.
Cut In.
Int. Chateau de Bordeaux; Verity’s Prison Cell- Day
VON LINDEN
Write, little Scheherazade. Tell of your last minutes in the air. Finish your tale.
Series of Shots - Julie reading through all of her words written throughout the duration of story interspersed with montage of the most prominent scenes she is reading over.
VERITY (O.S.)
I’ve been allowed to re-read all that I have written. It makes sense and it’s almost a good story. Although it doesn’t have a proper ending. There’s no point in making up something hopeful and defiant if I’m meant to be telling the truth.
Series of Shots - Verity re-reads her words.
A) Fan through stack of papers.
B) Verity throwing a fit for pen nib.
C) Meeting MADDIE in the radio room.
D) The American Radio Operator interview.
E) Flying into France, arguing with Von Linden.
F) The photograph of the lysander’s wreckage & MADDIE.
VERITY (O.S.)
The pile of paper, ranging from flute music to recipe cards doesn’t stack very well, but Fraulein Engel has taken the liberty to number each piece and its oh-so-officially looking translation.
Series of Shots - Verity focuses on the words/paper itself.
A) Embossed Chateau de Bordeaux stationary.
B) Yellowed recipe cards.
C) Prescription sheets.
D) Flute music.
E) Blatant page numbers
F) Fraulein Engle’s seemingly sporadic underlining
VERITY (O.S.)
When they take this all away, I will be left with nothing but to wait for Von Linden’s judgement.
Sped-up repetition of Verity re-reading her words leading to harsh dissolve to Verity’s solemn face.
VERITY (O.S.)
And Why? All I have done is buy myself time to tell a story. Nothing of real importance, but I have told the truth. Isn’t it ironic? They sent me because I am so good at telling lies. But I have told the truth.
Alternating sped-up shots of Verity writing the various pages. Transitioning into that very writing session where she’s scribbling on the very last page.
VERITY (O.S.)
I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told the truth. I have told——
Handwriting gradually gets worse and worse. Frame cuts off and fades to black when her pen scratches the paper for the last time and writing is nearly illegible.
Cut Out.
Cut In.
Int. Chateau de Bordeaux - Later Same Evening
Unnamed gestapo underling walks down the hallway into Von Linden’s makeshift study.
UNNAMED GESTAPO UNDERLING
An urgent wire from Nikolas Ferber concerning Officer Beaufort-Stuart
Unnamed Gestapo Underling salutes. Von Linden doesn’t look up from his work.
VON LINDEN
Thank you. Dismissed.
Von Linden picks up wireless translation and begins to read.
Cut Out.
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