The Project: "When the War Bells Sing" is an 11-page screenplay that tells the story of a princess of the fallen Inca Empire coming face-to-face with the son of the commander who killed her father.
The Work: Developed the story and characters, and crafted the entire script from concept to completion.
Extract: FULL STORY SCREENPLAY.
EXT. TRAINING CAMP – DUSK
THE THUNDERING CLASH of two steel swords is heard once, twice, three times. TWO YOUNG SOLDIERS, both blonde and pale-skinned, train together while an OLDER MAN evaluates them.
We move away from them to admire their surroundings: the sun of Lima hides behind the horizon, painting the arid training field in red and orange. Surrounded by stone walls and held together by tall wooden platforms, the monastery is a place under construction. We distinguish the SPANISH SOLDIERS of the settlement, not only by the color of their skin, but by their armor, linen shirts and high leather boots. They walk with their heads high as they chat and joke with their companions, looking forward to dinner time. This contrasts with the INDIGENOUS PEOPLE, who carry out their tasks with their gaze low and tired. Their existence seems to go unnoticed.
Although the settlement is a magnificent structure of Spanish colonial architecture, no hallway or room can compare to the Renaissance chapel in the center of the monastery. Its bells resonate in each corner, as they do every time dusk falls and dawn breaks.
INT. SETTLEMENT CHAPEL - DUSK
THE CHURCH'S VAULT is supported by fine columns. The dome, incomplete in its construction, lets the evening light seep in through its cracks. Yet what draws the most attention is the ornate altar that holds the statue of the Virgin Mary with Jesus Christ in her arms.
We are met with a peculiar sight: a young indigenous woman admires the construction with curiosity. She wears an embroidered dress and a variety of gold accessories. It is the sixteen-year-old ñusta of the Inca Empire named CATALINA, hostage of the Spanish people.
While CATALINA is deep in thought, a SPANISH BOY enters the chapel. It is TIAGO, a seventeen-year-old scholar who comes with a pile of books in his arms and a rag between his fingers to clean the religious pieces and store his theology texts. He's calm…until he sees CATALINA. Immediately, he gets scared and tense. He sets the books on a bench and tries to leave, but CATALINA hears him and speaks to him.
CATALINA
Excuse me, would you be so kind as to answer a question?
TIAGO ponders running away. Finally, he gives up and responds coldly.
TIAGO
What is it?
CATALINA opens her mouth and promptly closes it, as if thinking about the appropriate way to formulate her question. She's still learning TIAGO's language.
CATALINA
How… how is your ritual of death? This place is a spirit house, no?
TIAGO frowns, confused.
TIAGO
Something like that.
CATALINA smiles, happy to begin to understand, and touches the feet of the statue of the Virgin Mary and Jesus Christ on the altar.
CATALINA
I see. And, do your huauques protect your people, too?
TIAGO
Huauques? I mean, I guess you could say these statues represent spiritual protectors, like huauques. But we don't call them that. These… these figures represent God and his mother. We put candles and flowers on their altars to honor them.
CATALINA
Oh. Are they guides to the world of above?
TIAGO looks up at the Virgin. Frustrated, he responds abrasively.
TIAGO
…No, I don't think so. They are only for the living…to ease the pain that another's death brought. They don't give anything to the deceased, much less guide them. Satisfied?
CATALINA stares at him. TIAGO waits for her to retaliate with a similar coldness, but CATALINA smiles and bows her head in gratitude.
CATALINA
…Yes, I am satisfied. Thank you for your kindness.
CATALINA leaves while TIAGO watches her. His annoyance morphs into regret.
TIAGO (VOICE OVER)
Why… Why were you acting like that with me? So warm, gentle…as if I hadn't taken your entire life away from you. Don't you realize? If only you hated me, everything would be easier.
The scene fades away.
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