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