As this is a screenplay, to read it, you will see some directions such as "fade in." You'll then see a scene opening and time of day. Next comes the action.
Although it will be different from actual screenplay format, for the purpose of readability, I'll put a speaking character's name in caps. Screenplays are about showing rather than telling. It shouldn't take long to get used to the style, once you know what you're seeing.
The Song of Deborah by Miriam RF Berry page 1
FADE IN:
I/E. ANCIENT PALESTINIAN WILDERNESS - DAY
The Mediterranean sparkles, mountains ripple in the heat. Ancient olive trees caress the ground. Sheep dot a hillside. The sun glares over a brambly outcropping.
Below, SISERA and two THUGS race on horseback. They torment DEBORAH, a small girl in a torn and dirty dress. She clutches a tattered doll to her breast.
YELLING and WHOOPING, they drive Deborah through the brambles, up the rocks. She cowers behind a boulder.
Sisera’s horse ascends the rock. It stumbles, sending pebbles down on Deborah.
As Sisera regains control of his horse, he spots a figure in the distance. He WHISTLES to the Thugs.
SISERA: Fun’s over. Here comes SHAMGAR!
As Sisera and the Thugs gallop off, more pebbles strike stones, stones strike rocks. The earth shifts under Deborah. Rubble and debris pelt her.
She disappears, except for her tiny hand. Her hand goes limp, inches away from her doll.
EXT. ANCIENT PALESTINIAN WILDERNESS - MOMENTS LATER
SHAMGAR, rough, rugged, not handsome, carries a broken ox goad on his shoulder. He searches along the rocks. He stops suddenly at a half-buried doll.
He uses the goad to pry up a rock, drops to his knees, frantically digs with his fingers.
He reaches Deborah. She is unconscious. He sweeps her up in his arms.
SHAMGAR: Wake up, little girl. God has more plans for you than this. You must live. Please, little girl. Live!
I picture Shamgar along the lines of Charles Bronson: not pretty, but a good guy.
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