Here's my attempt at the professor's big scene from The Lion, the Witch and the Wardrobe. 

INT: PROFESSOR’S STUDY-DAY

ON Peter and Susan seated in chairs. They’ve just finished explaining their situation and are bracing themselves to be told that their sister has to go to a madhouse.

REVERSE ANGLE to find THE PROFESSOR seated behind his desk with his fingertips pressed together. He clears his throat:

PROF KIRKE: How do you know your sister’s story is not true?

SUSAN: Oh please! We’re being serious.

PROF KIRKE:(calmly) So am I.

Susan blinks, taken aback.

SUSAN: Well, Edmund said they were only pretending.

PROF KIRKE: That certainly is a point that deserves consideration. Very careful consideration. If you’ll pardon my asking, does your experience lead you to regard your brother or your sister as the more reliable? I mean which is more truthful?

PETER/SUSAN: Lucy.

Peter and Susan look at each other awkwardly.

PROF KIRKE: A charge of lying against someone you’ve always found truthful is a very serious thing.

SUSAN: But…this couldn’t be true! All this about a wood and a faun.

PROF KIRKE: Why not?

PETER: Well, sir, there was nothing there when we looked. Not even Lucy acted like there was.

SUSAN: And there was no time!  We’d only been out that room a few minutes and Lucy said she’d had tea and done all sorts of things.

PROF KIRKE: That is just what makes her story so likely to be true. If there really is a door in this house to another world, I expect that world would have its own time and however long you stayed there, it would take up no time in this word. Not many girls her age would have come up with that idea themselves.

SUSAN: But…but…

PROF KIRKE:(a little irritably) Don’t they teach logic at these schools? You know your sister doesn’t tell lies. Anyone can tell by looking at her and talking with her that she’s not mad. Until further evidence turns up, we must assume she’s telling the truth.

PETER: You mean there really could be other worlds? Just around the corner?

PROF KIRKE: Nothing is more probable. (sotto voce) I wonder what they do teach them at these schools.

ON Peter and Susan, dumbfounded

CUT TO 

Whatever the next scene would be.

Here's my attempt from The Last Battle, where Emeth tells of his meeting with Aslan. 

SCENE: Emeth is sitting beneath a chestnut tree as the Seven Friends of Narnia, Tirian, and Narnians gathered around to hear his story. Flashback is shown

Emeth: (V.O) Then I looked about me and saw the sky and the wide lands and smelled the sweetness. And I said, By the Gods, this is a pleasant place: it may be that I am come into the country of Tash. And I began to journey into the strange country and to seek him.

Emeth: Tash? Where are you Tash?

Close up shot of Emeth walking through

Emeth: (V.O) So I went over much grass and many flowers and among all kinds of wholesome and delectable trees till lo! in a narrow place between two rocks there came to meet me a great Lion. (Aslan comes to meet him) The speed of him was like the ostrich, and his size was an elephant’s; his hair was like pure gold and the brightness of his eyes like gold that is liquid in the furnace. He was more terrible than the Flaming Mountain of Lagour, and in beauty he surpassed all that is in the world even as the rose in bloom surpasses the dust of the desert.

A Close Up Shot of Emeth, Trembling AS HE FACES ASLAN

Emeth: Surely this is the hour of death, for the Lion (who is worthy of all honor) will know that I have served Tash all my days and not him.

Emeth: (V.O) Nevertheless, it is better to see the Lion and die than to be Tisroc of the world and live and not to have seen him.

Aslan: (Bends down and touches Emeth's forehead) Son, thou art welcome

Emeth: Alas, Lord, I am no son of thine but the servant of Tash

Aslan: Child, all the service thou hast done to Tash, I account as service done to me.

Emeth: Lord, is it then true, as the Ape said, that thou and Tash are one?

Aslan: (growls and the ground shakes) It is false. Not because he and I are one, but because we are opposites, I take to me the services which thou hast done to him. For I and he are of such different kinds that no service which is vile can be done to me, and none which is not vile can be done to him. Therefore if any man swear by Tash and keep his oath for the oath’s sake, it is by me that he has truly sworn, though he know it not, and it is I who reward him. And if any man do a cruelty in my name, then, though he says the name Aslan, it is Tash whom he serves and by Tash his deed is accepted. Dost thou understand, Child?

Emeth: Lord, thou knowest how much I understand. Yet I have been seeking Tash all my days.

Aslan:  Beloved, unless thy desire had been for me thou wouldst not have sought so long and so truly. For all find what they truly seek.

Emeth (V.O) Then he breathed upon me and took away the trembling from my limbs and caused me to stand upon my feet. And after that, he said not much but that we should meet again, and I must go further up and further in. Then he turned him about in a storm and flurry of gold and was gone suddenly,

JUMP BACK TO SCENE WITH EMETH SITTING UNDERNEATH CHESTNUT TREE

Emeth: “And since then, O Kings and Ladies, I have been wandering to find him and my happiness is so great that it even weakens me like a wound. And this is the marvel of marvels, that he called me Beloved."

JUMP TO NEXT SCENE

I'm picturing a scene that in the book is related in flowery Calormene story-telling style by Aravis, but in a film version, I can imagine that this part might start out with Aravis telling her story and then switch to showing it in flashback. This is a short excerpt...

SCENE: A grassy clearing in deep woodland. Aravis rides in on Hwin, halts, dismounts, walks a few paces, sits down on the ground and draws her dagger from its sheath.

Momentary cut to close-up of Hwin's head — her eyes and nostrils widen and her ears flick back.

Cut to Aravis lifting dagger with it pointing towards her chest, her other hand moving to the front of her garments as she keeps her eyes on the dagger, breathing hard. 

ARAVIS (now looking upwards): In the name of Tash, in the name of Azaroth, in the name of — of all the gods... (glances down at the dagger for a moment, then upwards again) ... I pray, when I — as soon as this is done, please grant that I may find myself with my brother again. (Closes eyes and tightens grip on dagger hilt)

HWIN'S VOICE (off screen): No! Stop!

Aravis starts, drops the dagger and looks up over her shoulder. Cut to close-up of Hwin.

HWIN: Don't do this! Young mistress, please. While you're alive, you have a future ahead of you. (cut momentarily to Aravis gaping in shock, then back to Hwin) If you're dead, what do you have? What do any of the dead have?

ARAVIS: I... I'm going mad. Must be fear... No! A Tarkheena should have no fear of death.

Aravis gropes for the dagger, picks it up and again points it towards herself. Hwin's head comes down from above her, pushing Aravis's hand away so that the dagger drops again.

HWIN (urgently but with compassion): Mistress, please. Don't do this to yourself!

ARAVIS: But... my mare? How did you learn to speak like — like a daughter of men?

HWIN: I'm a Narnian. A Talking Horse of the land of Narnia. I was taken captive as a foal and brought here. And (lowering her head to look more directly at Aravis) although you were born in this land, mistress, I think I'm right in saying that in a way, you're a captive here too.

Cut back to Aravis telling the story to Shasta and Bree... of course this story goes on a little longer, but I'll stop scripting here!

Oh I'm so ready for this! I actually started a HHB screenplay a while back just for fun. Quick explanation of the granary: I thought it would be more suitable and visually appealing for a movie if they were actually stuck together inside a building, so I added a ruined grain storage building for them to seek shelter from the lion in.

EXT. A BROAD TRACK RUNNING THROUGH A FOREST - NIGHT

SHASTA and BREE are trotting up the coast road. 

Bree: Well, youngster, you’ve become quite comfortable in the saddle these past days. Of course, no one would mistake you for a real horseman, but…

Suddenly BREE slows to a walk, twitching his hears. SHASTA cranes his neck, looking back.

Shasta: What’s wrong?

Hoofbeats sound clearly behind them. SHASTA gasps in fear. BREE plunges into the darkness under the trees, then halts and looks back at the road. All is silent.

Shasta: They’ve stopped now.

Bree: And why should they stop just when we do?

Shasta: What now?

Bree: We’ll stay off the road and move as quietly as we can.

They move silently, dodging trees. Suddenly a roar echoes through the trees. SHASTA starts in fear. BREE’S eyes have a wild look.

Shasta: What was that?

Bree: A lion! We must get back to the road!

BREE races back toward the road. As it comes into sight, HWIN and ARAVIS are galloping up it. ARAVIS is wearing armor and a turban.

Shasta: It’s a tarkaan! 

BREE pulls up, but another roar sounds right behind BREE. With one leap, BREE lands on the road just behind HWIN. ARAVIS attempts to draw her scimitar, but both horses are bolting as roar after roar echos through the forest.

SHASTA looks over at ARAVIS. Her face is shadowed, but the scimitar is plain to be seen. SHASTA looks back, and sees a huge LION leap from the trees onto the road only a few yards behind them. HWIN and BREE gallop neck and neck up the path with ears laid back and eyes wide. SHASTA looks over his shoulder and sees a lion closing in. He looks to the other side and there is a LION. The trees thin. At the edge of the forest they splash across a stream. Only one LION appears as they break into the open. 

EXT. GRANARY - NIGHT

A ruinous, stone granary can be seen ahead and several hundred yards off the road.

Hwin: There’s a building ahead! Please, let’s try to hide there. I can’t go much further!

Aravis Shut up!

SHASTA glances over, puzzled, but quickly focuses back on the road ahead.

Shasta Do you see it, Bree?

Both horses wheel, leaving the road and racing across the open fields. BREE pulls ahead.

Bree: Let’s hope we can get in!

BREE skids on his haunches as they reach the heavy doors of the granary. SHASTA tumbles off and stumbles forward. He pushes franticly, and the doors slowly creak open. He and BREE enter as HWIN gallops up. ARAVIS hangs low over HWIN’S neck as they plunge through the doors.

INT. GRANARY - NIGHT

Moonbeams stream through holes in the roof. SHASTA swings the doors shut, throwing himself against them. ARAVIS leaps from HWIN’S back.

Shasta: Find something to keep the doors shut! Rocks, boards, anything!

ARAVIS grabs a plank that has fallen from the roof, and runs to wedge it against the door. HWIN and BREE stand, heads hanging, sides heaving. Shasta finds a stone fallen from the wall and rolls it into place. They continue bracing the door, as frightful roars sound outside, first on one side, then on the other.

ARAVIS draws her scimitar as she and SHASTA stagger back to the middle of the room. They collapse on the floor, gasping for breath. 

At last BREE raises his head and looks at HWIN. HWIN goes to ARAVIS who sits with her head on her knees, gasping breath in great sobs. HWIN nudges ARAVIS with her nose, but SHASTA is only looking at the drawn scimitar.

Hwin: You’re safe now, your highness.

Bree: You’re a talking horse! A Narnian horse!

HWIN raises her head and whinnies. ARAVIS looks up fiercely. Her turbaned helm lies beside her, and her hair has tumbled over her shoulders.

Aravis: What business is it of yours if she is?

Shasta: Why, you’re only a girl!

ARAVIS squares her shoulders, straightens her back, and glowers at SHASTA.

Greatest thread idea ever!

Here's my rendition of Drinian confessing to Caspian in the Silver Chair:

Interior, Cair Paravel, Day. 

Scene: A vast chamber with a vaulted ceiling and a series of high windows made of pale stained glass. The light shining through is cold and white, highlighting the white flagstones and the marble effigy of the late Queen. King Caspian stands before the effigy, gazing quietly up at the sunlight streaming from the windows. Behind him, as the camera pans out, we see shadows beyond the light.

Enter Drinian; we see him from over the King's shoulder, stepping towards him from out of the shadows. Caspian does not look at him, but knows he is there.

Caspian: Drinian. You've heard?

Drinian: My liege, I am so sorry- 

Caspian(cutting him off in a tone of tempered frustration): Your condolences are kind, my lord, but they will not avail my son...

Drinian (loudly, desperately): My liege, it is I who have destroyed your son!

(Caspian turns slowly to face him). 

Caspian: What? 

Drinian: I went with the Prince yesterday. I convinced him to let me ride with him. (Drinian's voice now narrates as we follow him and Rilian on horseback, riding out of Cair Paravel) I thought we rode seeking vengeance for his mother; but he told me he would show me something else. Something beautiful.

(The camera switches back to Caspian and Drinian).

Caspian: What did you see? 

Drinian: A woman. A beautiful woman. She wore a gown as green as poison. And there was poison in her eyes. 

Caspian (moving his head from side to side with irritation): And you said nothing of this? (His broken  voice rises, filling the whole room). Your Prince, my son, has been taken, and you keep silent?

(Drinian looks at the floor). 

Drinian: I feared being a tale bearer. I feared what you might think. Of him, of me. (He sighs shakily). But I have mastered my fear.

(He draws out his sword, holding it by the blade and extending it to the king). 

Drinian: Slay me, speedily, as a traitor. I, by my silence, have destroyed your son. I and no other. (His tone changes, becoming a plea). Do it. You've seen too many sorrows. Kill me, and let this go. 

(Caspian, breathing heavily, takes the sword. Drinian falls to his knees, stoically bowing his head and  exposing his neck for the deathblow. There is a tense silence as Caspian raises the sword. The camera switches to a close up of Caspian's face; eventually, tears well up in his eyes. The sword falls and clanks down on the floor). 

(As Drinian looks up in shock, Caspian kneels down to his level, touching his cheek and weeping).

Caspian: I have lost my Queen, and my son. Shall I lose my friend, also?

(The camera pans out as the two weeping friends embrace on their knees, cast in shadow against the cold light as a sad theme plays). 

@courtenay So i too have been writing a screenplay for HaHB. I thought i was the only one. How wrong i was. anyway, here is my version of Aravis' monologue (almost). The lines after dashes are the images on screen during the V. O.

EXT. FIRESIDE - NIGHT/MONTAGE - ARAVIS' TALE - DAY.

MONTAGE.
ARAVIS
My name is Aravis Tarkeena, the son of Kidrash Tarkaan, the son of Rishti Tarkaan, the son of Kidrash Tarkaan, the son of Ardeeb Tarkaan who was descended in the right line from the god Tash.
My father is the lord of the province of Calavar and is one who has the right of standing on his feet in his shoes before the face of the Tisroc himself,may he live forever.My mother, on whom be the peace of the gods, has passed and my father has married another wife. My brother has fallen in battle with the rebels in the far west and the other is a child. When i became of age, my father found it fitting that i should marry a man of power.

-- A man stands before a great throne.

ARAVIS (V. O.)
He went to the Tisroc, may he live forever, and he suggested the man of power, Ahoshta Tarkaan.

-- A man writing a letter.

ARAVIS (V.O)
My father sent a dispatch to Ahoshta, and he agreed to this arrangement.

-- A man reading a letter, he finishes, pulls out another piece of paper, and starts on a reply.

ARAVIS (V.O)
Ahoshta now, is of base birth, but recently he has found favour with the Tisroc, may he live forever. He is said to be the next Grand Vizier when the present one dies.

-- An old, humpy man writes the reply.

ARAVIS (V.O)
Moreover he has a hump on his back and his face resembles that of an ape.
(MORE)
ARAVIS (CONT'D)
I had not know of this arrangement until a marriage date was arranged for the coming summer.

-- Aravis is on a luxurious bed, weeping.

ARAVIS (V.O)
When I heard of this news the sun appeared dark in my eyes and i laid myself my bed and wept for a day.

-- Aravis riding Hwin through a forest.

ARAVIS (V.O)
But the next day, I washed my face, had my mare readied, and set off into the forest. I had packed only my dagger. When I found a clearing where no men had dwelled, i dismounted Hwin and took out the dagger. I patted my clothes and readied to see my brother again.

-- Aravis dismounts and unsheathes a dagger. She closes her eyes, and readies herself.

ARAVIS (V.O.)
Then, before i could pierce my heart, my mare spoke with the voice of one of that daughters of men! She said-

-- Hwin mouths the words with Aravis' V.O.

ARAVIS/HWIN
O my mistress, do not by any means destroy yourself, for if you live you may yet have good fortune but the dead are dead alike.

EXT. FIRESIDE - NIGHT

Hwin interrupts.
HWIN
(honestly)
I didn't say it half as well as that.

BREE
(extremely interested)
Hush ma'am, hush. She's telling it in the grand Calormene manner and no storyteller in the Tisrc's court could say it better.

BACK TO:

MONTAGE - WITH ARAVIS' V.O.

-- Aravis in the forest looking shocked, she stands up.

ARAVIS (V.O.)
(slightly annoyed)
When i heard the language of men uttered by my mare I said to myself that the fear of death ah disordered me to reason and subjected me to illusions. I shook myself and readied again. Again, before I could pierce myself, the mare put her head between me and the dagger!

-- Hwin puts her head between Aravis and the dagger.

ARAVIS (V.O.)
Now I was so shocked that I forgot about killing myself and Ahoshta, and exclaimed-

CUT TO:

EXT. FOREST, CALAVAR - DAY

ARAVIS
O my mare! How have you learned to speak as one of the daughters of men?
Hwin looks at Aravis innocently.
HWIN
Where I come from, all beasts talk. I come from Narnia, the land of fruit and plenty, the land of satisfaction and safety, of courage and renown. O my maiden, in Narnia no woman is forced to marry against her will.
Aravis makes a decision.
ARAVIS
Can you take me there?
HWIN
Not now, too suspicious. you need to make a cleaner getaway.

CUT TO:

I do have scenes after and before this, but they have been emmited due the word limit. Hope you enjoyed this!

Posted by: @shastaskywalker

-- An old, humpy man writes the reply.

I feel like Ahoshta, being wealthy, would have a secretary to write his letters for him.

@shastaskywalker According to Aravis, Ahoshta was of low birth. It was flattery that got him to be in the upper class society and eventually the grand vizier (which could be equivalent to prime minister or secretary of state). It makes me feel bad for him. I wonder how Netflix will play out where he is being kicked, and what is going on in Aravis's head when she sees it happening.

@jasminetarkheena When I started working on my screenplay, one of the decisions I made was to combine Anradin and Ahoshta (kept the name Anradin) to make a more concrete villain and to bring Aravis and Shasta together even more but with room for snubbing, as she would have been a wife and he a slave. A not-so-aged person/villan being kicked is a little more film-able.

@shastaskywalker Really great cut descriptions! I can practically see it in my head!

Posted by: @anfinwen

A not-so-aged person/villan being kicked is a little more film-able.

If I were the director, I'd just put old age makeup on Ahoshta's actor. Or maybe not show him actual being kicked, just have the camera on Rabadash's upper half while he's doing the act and hear Ahoshta yelp. (I feel like him being old is important because it gives Aravis a reason besides class to dislike marrying him.)

Posted by: @anfinwen

 When I started working on my screenplay, one of the decisions I made was to combine Anradin and Ahoshta (kept the name Anradin) to make a more concrete villain and to bring Aravis and Shasta together even more but with room for snubbing, as she would have been a wife and he a slave. A not-so-aged person/villan being kicked is a little more film-able.

I actually haven't thought of that. I guess you could cut out Ahoshta and have Anradin be the one that Aravis has to be married to. Though I don't know if a movie would do that.

I think in Voyage of the Dawn Treader, you could cut out Governor Gumpas and have Pug running the Lone Islands. In The Last Battle, you could cut out Ginger and only have Rishda get the upper hand when Shift loses control of Narnia. Again, I'm not suggesting anything. But those are options.