On the road to Santiago      
an outline film script, Copyright© 2003 by Piers Nicholson

Dialogue 1 - Prologue

SCENE ONE

FADE IN

Interior. Dining Room. Peter’s House – night

The dining room is decorated in a traditional English style, with striped wallpaper and heavy, dark furniture. On the mantelpiece are a host of cards (Congratulations on your retirement, etc…)

PETER is sitting alone at the dining-room table. Open in front of him is a map of the Camino de Santiago and a pile of guidebooks. Through an archway we can see MARJORIE busy in the kitchen.

PETER

You see, dear, now that I’m not at the University any more, I feel like a bit of a spare part. Particularly since you’re so busy…

MARJORIE

Yes, dear. Now, tomorrow I must see Mrs Turner about the cakes for Harvest Festival.

PETER

…and it looks wonderful: the scenery and the architecture – so many Romanesque churches…

MARJORIE

“Yes, dear. Oh, and Caroline asked me to pick up the children from school while she goes shopping for Matthew’s birthday present.

PETER

…and the walk would do me the world of good. Academics do tend towards flabbiness. All that sitting around pontificating that does it.

MARJORIE

Whatever you want, dear.

PETER

And it would only be for a month. I’d be back in October. You’d hardly notice I was gone, I’m sure.

MARJORIE

What was that, dear? You do whatever you think best.

PETER

(sadly, folding up the map)

Then I’ll leave on Monday.

Peter EXITS, closing the door gently behind him.

CUT TO:

INTERIOR. KITCHEN. ESPERANZA’s Parents’ HOUSE – NIGHT

The kitchen is warm and homely. Hung on ribbons around the room are Esperanza’s cards congratulating her on her degree.

The door slams open as ESPERANZA storms through, followed by a distraught ROCCO. They are both dressed for a party.

ESPERANZA

You’re not listening to me. I didn’t say I didn’t love you, I said I needed space.

ROCCO

But you want to leave. If you want to leave then you can’t love me the way that I love you.

ESPERANZA

(collapsing at kitchen table, head in hands)

Oh, Rocco. I’m 22 years old. I don’t know if I know what love means.

ROCCO

(Pausing, then bending to comfort her)

Darling, don’t cry.

(He lifts her face and wipes away her tears with his hands)

We have nothing now, but one day I’ll leave Uncle Diego’s garage and set up on my own. And then we’ll get married and we’ll have everything: a house, kids, money. You’ll see…

ESPERANZA

And my degree, my career, my future?

ROCCO

You must do whatever you want. I’ll support you all the way. I promise.

ESPERANZA

Oh, Rocco. I love you. I really do. But I need to find out what my life is for. Mama said, of course, that I should ask St James.

ROCCO

(laughing)

Like a good Spanish girl should. Your mother’s crazy. Lovely, but crazy. This is the 21st century, Esperanza, not the 13th.

ESPERANZA

(laughing, too)

That’s what I told her. But, you know, it’s not such a bad idea…Rocco, I’ll do it! I’ll walk to Santiago and ask the saint what to do…

FADE OUT

Dialogue 2 - Day 10

SCENE ONE

FADE IN

EXTERIOR, NAVARRETE – DAY

ESPERANZA, MONIQUE and BRAD walking out of Navarrete. They pass many fine old houses, one of which has a statue of St James the Moorslayer, and stop at the Iglesia de la Asuncion.

Monique

It’s so beautiful. Every church we see, I think, this is the one. But then comes another, and another. (She laughs)

ESPERANZA

Come on, let’s go inside.

They stand in front of the altarpiece depicting the assumption of the Virgin. Brad is bored and wanders off, kicking his heels ostentatiously.

MONIQUE

(Laughing, but looking meaningfully at Esperanza)

Now there’s a happy looking woman…

 cut to:

scene two

ESPERANZA, MONIQUE and BRAD walking past the Romanesque gate to the cemetery.

cut to:

scene three

ESPERANZA, MONIQUE and BRAD walking over the bridge in Nájera, where they meet PETER, RAINER, HARESH, LOTTA and JOHANNES.

PETER

Hail! Fellow pilgrims. Quo Vadis?

BRAD

Quo Vadis? What does that mean?

MONIQUE

“Whither goest thou?” I believe. Jesus said it. Isn’t that right, Peter? We’re off to Azofra. I’ve persuaded Esperanza to accompany me to the nunnery at Cañas. A good destination for two independent women, don’t you think?

BRAD

(looking meaningfully at Esperanza)

And one not-so independent young man.

PETER

Jolly good! Well, we’re staying in Najera tonight then taking a taxi (which Rainer thinks is sacrilege!) to Yuso and Cañas, and hoping to get to Santo Domingo by nightfall.

MONIQUE

Then we must meet there for supper.

cut to:

scene four

ESPERANZA, MONIQUE and BRAD walking through the sandstone hills beyond Najera.

CUT To:

SCENE FIVE

ESPERANZA, MONIIQUE and BRAD checking into the refugio in Azofra.

CUT TO:

SCENE SIX

ESPERANZA, MONIQUE and BRAD at the end of dinner in a restaurant in Azofra.

Monique

(surveying her empty plate and draining a glass of red wine)

Well, that was delicious, but we have an early start in the morning. I’m going to bed. Are you coming Esperanza?

ESPERANZA

(meeting Brad’s enquiring gaze)

You know, I think I’ll stay up for one more drink

Monique EXITS.

BRAD

I never thought we’d get rid of the old stick.

ESPERANZA

(teasingly)

How can you be so rude?

BRAD

Rude? Moi? A well-brought-up American boy? But I am forgetting my manners. Your glass is empty. More wine?

CUT TO:

SCENE SEVEN

Later that evening. Brad and Esperanza are at the same table, but sitting much closer together. There are two empty bottles on the table.

BRAD

…so you and I are in the same boat. Rachel and I had a great time in College. She’s fun, we hung out together, went to lots of parties. You know the scene. But now we’ve left, she wants to commit, and I just want to see a bit of the world.

ESPERANZA

So you are not together any more.

BRAD

No. And right now, she’s the last thing on my mind.

(He leans over the table and kisses Esperanza)

CUT TO:

SCENE EIGHT

THE REFUGIO – NIGHT

A giggling Brad and Esperanza make it back to the refugio arm-in-arm just before curfew. The owner looks disapprovingly at them. As they prepare to for bed, we see a sleeping MONIQUE roll over in her sleep.

ESPERANZA

(whispers)

Good night, Brad. (We see a flashback of Rocco holding Esperanza lovingly, which Esperanza dismisses with an impatient shake of her head, to be replaced by an image of Brad, at which she smiles and turns over to go to sleep.)

BRAD

(whispers)

Good night, Esperanza. (We see a flashback of him kissing Esperanza in the restaurant.)

FADE OUT

 

The outline film script is Copyright© 2003 by Piers Nicholson