WHAT ABOUT LOVE
by
Douglas Day Stewart
And
Klaus Menzel
BASED ON TRUE EVENTS
Quality Films
14007 Palawan Way, Ste. 312
Marina del Rey, CA 90292
310-260-8660
FADE IN:
1
EXT. MOUNT MONTSERRAT, SPAIN
1
An aerial camera soars over a craggy peak, gliding through
billowing clouds, drafting behind a SPANISH IMPERIAL EAGLE
riding the cresting thermals...
Establishing a helicopter hovers above the mountain top as a
small group of people watch a YOUNG MAN ease onto a narrow
rock ledge perched over a 4000 ft.drop into sun-kissed valley
space. A camera’s mounted on his helmet, another on a boot.
CHRISTIAN SANTIAGO, 24, is startlingly handsome with thick
unruly hair and laughing eyes that hint at deep, long-hidden
pain. Whenever he enters a room, people can’t help but light
up. When he speaks, he can’t help but smile, touch, hug or
laugh.
The Eagle suddenly swoops down as one of the group steps
forward to lean down, extending a microphone...
INTERVIEWER
How does it feel when you jump off
the edge?
CHRISTIAN
It’s as “real” as it gets. Your
heart’s pounding, every sense
jacked up, your entire body
vibrates... it’s an incredible
rush.
INTERVIEWER
But you’re not scared?
CHRISTIAN
You have to embrace the fear.
Life’s either a daring adventure or
nothing. Listen, I’m not saying you
don’t accept the consequences of
your actions. Death’s always a
possibility. But you know what?
(pointing up, past the
eagle)
I know someone up there’s watching
over me.
2.
He smiles and suddenly whirls to sprint the length of the
narrow ledge and leaps...falling, gliding...ever so close to
the rockface...with a low pull, and multiple forward rolls,
he swoops into a 4000 ft. void...
MULTIPLE CAMERAS TRACK THE JUMP, INCLUDING THE HELICOPTER...
PANNING UPSIDE DOWN, FOLLOWING CHRISTIAN’S DESCENT... ALONG
THE STEEP ROCKFACE...DOWN INTO THE SUN-LIT DEPTH. PULSE
POUNDING MUSIC ABRUPTLY CEASES AS A SUDDENLY SLOW MOTION
CHRISTIAN SOARS ONLY INCHES ABOVE TREE TOPS...A LUSH
VALLEY...A WINDING ROAD.
A SPANISH IMPERIAL EAGLE HIMSELF NOW...EXUBERANT...FREE...
2
EXT. PARK - BARCELONA, SPAIN
Camera extended at arm’s length, Christian videos himself
interviewing a YOUNG WOMAN.
CHRISTIAN
How do you know when it’s real
love?
CARLA
It’s real love when I want to give
love. Love isn’t an obligation,you
know, as we give, so we receive,
not “Me first”...
Thank you.
CHRISTIAN
CARLA
It’s my friend over there that you
should really be talking to. She’ll
give you an earful about love
alright.
CHRISTIAN
Does she not believe in love?
CARLA
She believes in it, I just don’t
think she believes it’s a good
thing.
CHRISTIAN
Maybe she hasn’t met the right
person? Been swept off her feet...
2
3.
He turns to see who CARLA is talking about and is immediately
struck by beautiful, barefoot TANNER TARLTON, 24, sitting on
the steps of a church across the square, her long hair halfmasking the finely carved features of her face. Playing her
guitar she starts singing a haunting, ORIGINAL SONG. Her
lyrics are both lamenting and mocking the fallacy of love.
Fellow students from nearby Barcelona Music Academy accompany
her on various instruments.
Inspired, she stands and strolls, up concrete steps, still
singing, but soon senses someone following. She turns,
catching only glimpses of Christian while filming her with a
small video camera.
MOVING WITH CHRISTIAN BEHIND HER
Christian realizes she’s noticed him but continues his game
of hide-and-seek, one eye always on his compact camera.
THROUGH CHRISTIAN’S CAMERA
Tanner walks on. Occasionally glancing his way.
MOVING WITH TANNER
She peeks over her shoulder. Christian flashes a killer
smile.
ON CHRISTIAN. Digging a second camera out of his welltravelled backpack, he wedges it into the nook of a tree,
securing it with a clever device that quite resembles a
beanbag frog. Next, he passes a third camera to one of
Tanner’s Music Academy friends and asks him to film her as
well. He then pulls an extendable rod from his backpack,
telescopes it out to full one foot length, attaches his own
camera to the tip, and begins filming her from all sorts of
unusual angles, high and low.
SHOOTING THROUGH CHRISTIAN’S CAMERAS (SEVERAL CUTS)
Seeming to finally notice the crowd, Tanner starts to perform
a bit, still refusing to entertain Christian, rather she
chooses to sing to his other camera. With Christian CHANGING
ANGLES OFTEN, what follows is very like a music video.
FULL SHOT - EXT. THE ENTRANCE TO PARK
Tanner finishes her song and sets a hat on the ground. As
ONLOOKERS applaud, dropping coins and a few paper notes, she
peers over her shoulder...
4.
CHRISTIAN is only yards away. Flashing another smile, he
passes his camera to yet another of her friends, gesturing to
continue the filming. He then leans over a rail to pluck a
rose from a bush and steps toward Tanner, extending his
offering and sweeping into a bow.
TANNER
(accepting the rose)
Thank you. Gracias.
Christian is offering his hand in a silent request to dance.
She is reluctant but one of her friends encourages her to
dance. Snapping off the rose’s thorny stem, she tucks the
vibrant red blossom behind an ear, Spanish-style, and allows
him to envelop her in a tango-esque embrace. They dance as
the Academy students quickly resume playing...
THROUGH CHRISTIAN’S CAMERAS. He glides effortlessly,
gracefully. Tanner is spun round and round. After one whirl,
she bursts into laughter.
Tourists stop to watch, smiling wistfully. The electricity is
contagious. Couples slip arms around each other. Then,
abruptly, Christian steps close...?
She stares into his dark eyes, and then abruptly pulls away.
Suddenly flushed she seems startled to find him still holding
her hand.
TANNER (CONT'D)
May I have that back?
CHRISTIAN
D’accuerdo.
TANNER
You’re a good dancer.
CHRISTIAN
(slight accent)
Christian Santiago. And you have a
beautiful voice.
(another killer smile)
But I don’t know about that song.
TIGHT ON TANNER AND CHRISTIAN
TANNER
Tanner Tarlton. What’s wrong with
my song?
Too sad.
CHRISTIAN
5.
Tanner’s friend returns a camera. Christian immediately aims
it at her.
CHRISTIAN (CONT'D)
Now, I have a question too. What do
you think of love?
She stares at him like he’s crazy. Then peers at the camera
perched in the tree branches.
TANNER
I get it! This is some kind of
reality show right?
CHRISTIAN
It’s for that big international
contest. You’ve heard about it, no?
One hundred thousand dollar first
prize for the best 60 second spot
about “love”.
TANNER
(unimpressed)
So you what, ask everyone the same
question?
CHRISTIAN
Everyone. And you still haven’t
answered.
SHOOTING THROUGH CHRISTIAN’S CAMERA. He moves tighter on her.
TANNER
You sure picked the wrong person.
Really want to know? Love sucks.
(taking the camera and
turning it on him.)
What do you think about Love?
Christian grabs the second camera from the other student and
cleverly sets it on a stone bench to frame Tanner and him in
a loose two shot.
CHRISTIAN
Love rocks. And I can prove it to
you. How would you like to feel
like a queen?
Tanner smiles, intrigued.
CHRISTIAN
Meet me back here in an hour. I’m
going to take you out tonight.
6.
He dashes off. She frowns. CARLA approaches.
CARLA
Wow, did you see those eyes? And
his hair... You really coming back?
TANNER
Yeah, why not. He’s not bad, he
seems to be a good guy, misguided
perhaps...besides, I haven’t been
out in ages and he seems fun.
CARLA
He has heartache written all over
him, trust me I know how seductive
these Spanish boys can be...and we
already know he can dance.
TANNER
Yes, this is true.
Tanner considers.
Carla starts to laugh.
CARLA
Take your cell phone with you...
please.
3
EXT. A FULL SHOT OF THE COUNTRYSIDE OUTSIDE BARCELONA - DAY 3
Top down, a small 30 year old but well-maintained classic, a
Turquoise blue Renault Caravelle, motors along a narrow road
toward a magnificent ancient castle on a hill.
4
INT. CHRISTIAN’S MOVING SPORTS CAR
4
Three cameras record...one on the dash, secured by the
suction-cupped beanbag frog, frames Christian, driving, and
Tanner, in the passenger seat close beside him, in a two shot
CHRISTIAN
(Pointing at the frog)
Meet my “best boy”, Froggy.
Cool.
TANNER
CHRISTIAN
About all the crew I can afford.
TANNER
Looks to me like you’re pretty
inventive.
7.
CHRISTIAN
Maybe. But sometimes I think of all
I could do with the right
equipment. But, like they say, it
is what it is. Can’t worry about
what I can’t afford.
Christian steers, one eye on the road and the other lining up
a profile shot of Tanner, her hair flowing in the wind.
Behind them, a backpack’s stuffed with food and wine.
Tanner’s exhilaration is tempered by the gravel crunching
under the little sports car’s tires as it periodically
swerves off-road.
TANNER
Careful! Maybe you should let me
take over with that camera!
(grabbing the camera)
It’s too weird being filmed all the
time anyway.
CHRISTIAN
Say the word and it’s off.
TANNER
You think you might want to tell me
where we’re going?
CHRISTIAN
You’ll see...It’s a surprise.
She considers arguing but says nothing as she starts shooting
Christian.
5
INT. THE CASTLE - DAY
Christian and Tanner linger behind a group of VISITORS
concluding their tour of this magnificent castle near
Barcelona. A bookish young GUIDE, in rapid-fire Spanish,
thanks them, directing them toward the front doors where a
UNIFORMED GUARD awaits.
CHRISTIAN
(whispering)
Come...
Tanner glances around anxiously as he takes her hand and
pulls her behind thick curtains.
THE GUIDE glad-hands his group out the front exit as bright
shards of afternoon sun stream in.
5
8.
TANNER
(whispering)
You’re crazy.
CHRISTIAN
(whispering back and
smiling)
You have no idea.
As the Guide ushers the last of the group out, Tanner’s cell
phone BLARES. Motorcycle revving ringtone. She instantly
mutes it...but notes the caller ID.
TIGHT ON HER IPHONE. The photo of a handsome 50ish man stares
back, the words “THE SHARK” below his face.
FULL SHOT. Luckily, the nerdy Guide doesn’t hear the phone.
With the help of the Guard, the Guide closes and bolts the
large wooden doors. Switching off the lights the Guide puts
on his coat and follows.
Christian and Tanner listen as a lock clicks.
TANNER
(nervous)
Now what? We’re locked in here
until morning.
Christian flicks a plastic lighter, waving the flame below
his face...which transforms into a grinning, ghoulish mask.
CHRISTIAN
Now we have fun, Your Highness.
He pulls the curtains aside, reaches to a wall of open
cubbies for visitors’ belongings and grabs his backpack,
hidden behind one of the cubbies...
ADDITIONAL SHOOTING THROUGH CHRISTIAN’S CAMERAS: INT. THE
CASTLE- VARIOUS CUTS
In this cleverly EDITED sequence, Christian tosses a camera
to Tanner, then, with the help of Froggy, positions another
to record them in a wide shot.
Constantly shifting the position of his own camera HE
CAPTURES them lighting votive candles and placing them
around the sprawling ground floor.
In the foyer they discover King and Queen mannequins.
Carefully removing the velvet robes and powdered wigs, they
slip them on, over their own clothes.
9.
Christian sets his pack on a long table in the dining hall,
sets up an IPod, MUSIC blasting, they begin exploring.
Candles in hand, they climb the stairwell. In the king’s
bedroom they suddenly halt, gaping at...a giant, hand-carved
four-poster be.
6
INT. THE KING’S BEDROOM - SUNSET
6
Tanner freezes, nervous laughter bubbling up.
TANNER
Played this game before, have you?
CHRISTIAN
No, this one I saved for someone
special.
He props his camera on a nearby stone ledge and hits
record...as Tanner shakes her head and darts out of the
room...
7
INT. THE CASTLE HALL - SUNSET
7
Tanner spots two Spanish rapiers mounted on a wall...deftly
snatching one, she snaps into a “Diestro” stance as Christian
rushes in, skidding to a stop...gaping at the blade...
Body in semi-profile, heels slightly apart, Tanner’s stance
is relaxed but alert. Sword extended to arm’s length, she
levels its tip at Christian’s nose. He squints, cross-eyed,
then relaxes to discover the sword tip is blunted.
TANNER
Show me what you’ve got!
Christian shrugs, then suddenly whirls, seizes the other
rapier and snaps to a stance mirroring Tanner’s...
almost...She advances, expertly flicking the sword from
Christian's hand.
CHRISTIAN
How’d you do that?
TANNER
Harvard University Fencing Team.
Glad to see some of that
outrageously pricey education
actually paid off.
Christian retrieves his sword and replaces it on the wall.
10.
CHRISTIAN
Remind me never to get on your bad
side... It appears you’re the one
who’s played this game before!
8
INT. THE CASTLE DINING ROOM - SUNSET
8
Lit by the votive candles, golden plates cover the table,
laden with fruit, bread and cheese, taking them out of his
backpack.
CHRISTIAN
Dinner is served, your highness!
Christian offers his arm, escorting Tanner to the table.
Sliding her chair to seat her, he then fills her golden wine
goblet, leaning close, almost cheek to cheek, inhaling her
scent, gently brushing her hand with his.
TANNER
Not so fast Christian
(pointing down the table)
King’s chair is at the other end.
He retreats to the opposite end of the long, long table...so
far away, they must almost shout...
CHRISTIAN
Certainly I am no stranger, Your
Highness. For we married two
centuries ago.
TANNER
‘Tis a long time ago. Please to
remind me from whence you hail...
CHRISTIAN
I grew to maturity in a small
village near here. Playa de Suenas.
TANNER
And where did you learn how to
speak my language so well?
CHRISTIAN
In your country, Highness, I study
cinema at a renowned film school,
USC. Perhaps you’ve heard of it?
TANNER
Of course, My Liege.
(teasing)
(MORE)
11.
TANNER (CONT'D)
Pray, tell me, what is it you love
most about your Queen after lo,
these many years?
CHRISTIAN
Your beauty, of course. Your
kindness, your integrity, your
commitment, and your loyalty. But,
most of all,
Christian picks up his plate and goblet and crosses to sit
next to her.
CHRISTIAN (CONT'D)
...after all these centuries, I am
still possessed by the irresistible
desire to be irresistibly desired
by you, my Queen...
TANNER
Wow. You really are good. You must
break a lot of hearts.
No.
CHRISTIAN
Actually, quite the opposite.
TANNER
Really? You must have some deep
issues then.
CHRISTIAN
You could say that...
9
INT. THE STAIRWELL TO THE DUNGEON- NIGHT
9
Candle in hand, Christian leads Tanner down the stone steps.
Suddenly the flame snuffs out.
TANNER
Oh, shit! It’s so dark! Should we
be wandering around down here?
Just then her cell phone rings, they jump. It’s Carla.
Christian gives her an eye roll.
TANNER (CONT'D)
Hey Carla, what’s up?
CARLA (V.O.)
Checking in to see how you’re
doing. I can hardly hear you,
sounds a bit like you’re
underwater. You ok?
12.
TANNER
I’m not underwater, just
underground...
(looking at Christian
through the glow of her
cell phone)
Don’t worry, I’m good. I’ll give
you all the details tomorrow.
(she smiles as she hangs
up)
Ummmm, it’s still really dark.
CHRISTIAN
My Queen, have no fear. Once upon a
time, you knew your way quite well
amongst these dank walls. After
all, you beheaded half my citizens
while I was away fighting the
Eleven Year War.
She mutters under her breath and re-lights the candle.
10
INT. THE DUNGEON- NIGHT
Candle high, Christian and Tanner peer around.
TANNER
Off with their heads! Just love
saying that.
CHRISTIAN
Does have a ring. Men, take her
highness to the tower and prepare
the block! Off with her head!
TANNER
But,sire, I bore you six sons.
CHRISTIAN
Misfits and droolers, all! I desire
a new wife. That 18-year-old
princess in the castle across the
river will do nicely. Off with her
head!
They start to laugh and find they can’t stop.
CHRISTIAN (CONT'D)
Come along, Your Highness, time to
explore the royal boudoir.
10
13.
TANNER
No way I’m sleeping with you.
You’ll need at least three
centuries of marriage for that.
CHRISTIAN
Don’t worry. Bed’s almost as big as
the room. As you Americans say, “I
couldn’t touch you with a ten foot
hole.”
TANNER
Don’t you mean, “ten foot “pole”?
CHRISTIAN
Right. Ten foot pole. If you say
so.
11
INT. THE KING’S BEDROOM - DAY
11
Still fully dressed, Christian and Tanner sleep on the
enormous bed. He spoons her, arms around her. The empty wine
bottle and two golden goblets are on a small, bedside table.
Tanner, barely awake, smiles at being held. Quickly her eyes
snap open and she realizes where she is. Suddenly feeling
uncomfortable she begins to lift his arm off her.
12
EXT. CASTLE - DAY
12
The Guide pulls up on his noisy motor-scooter. A moment
later, the GUARD arrives on an even noisier one.
13
INT. THE CASTLE FOYER - DAY
13
The Guard and Guide immediately sense something amiss. The
mannequins are missing their costumes. Burnt out votive
candles are strewn about the entry. Exchanging excited
Spanish, they reconnoitre.
14
INT. THE KING’S BEDROOM - DAY
14
Christian and Tanner wake to OS SHOUTS.
Uh, oh.
Hurry!
TANNER
CHRISTIAN
They quickly shed their robes and pull on their shoes but
forget the powdered wigs. Christian grabs the cameras, IPod
and backpack. As they rush out, they spot the Guard coming
toward them in the hall.
14.
Hide!
CHRISTIAN (CONT'D)
They hurry behind the vanity. The Guard enters and looks
around. When he moves down the hall, they dart to the door.
15
INT. THE UPSTAIRS HALLWAY - DAY
15
Still in wigs, they dash out of the King’s bedroom and race
toward the stairs. The Guard and the Guide, now in the
upstairs rooms, turn to see them fleeing.
16
THE CHASE - INT. - DAY
16
They race down endless steps, distancing themselves from
their pursuers. Christian is cocky enough to run backwards,
filming the two uniformed men all the while.
17
THE CHASE - EXT. - DAY
17
The two men chase them but neither are athletic. The Guard
draws his gun but the Guide shouts at him in Spanish to put
it away.
GUIDE
No, Primo! Etudientes!!
Tossing the wigs aside, Tanner and Christian race across the
parking lot, Christian filming all the while. The Guard and
Guide chase but Christian and Tanner jump in the Renault
Caravelle and speed away, laughing and waving goodbye!
18
EXT. TANNER’S APARTMENT BUILDING IN BARCELONA - DAY
The Caravelle brakes in front of an upscale building. A
doorman watches Tanner and Christian climb out.
CHRISTIAN
(admiring her building)
Nice place. I had fun today.
TANNER
...Actually, me, too.
CHRISTIAN
Listen, I got a great idea. Let’s
partner up and win that contest
together.
18
15.
TANNER
(considering)
I don’t know anything about making
movies. I’m sure you can find a
better partner.
CHRISTIAN
All you need to know is it’s the
best fun you can ever have...the
rest you’ll pick up rickety spit.
TANNER
(Smiling)
“Lickety split”
Exactly.
CHRISTIAN
TANNER
Let’s just see what life has in
store, huh?
Before he can respond, she winks at him and then rushes
inside. Shoulders slumping, he heads back to his car.
19
INT. CHRISTIAN’S CAR - DAY
19
Sliding into the driver’s seat he notices a folded note on
the passenger seat. As he opens it, five two hundred euro
bills float free.
The note reads: “Thanks for the best night of my summer...
Here is a little something for that equipment you need.
XOXO Tanner.” Christian’s face flushes with wounded pride.
He bolts out of the car.
ANGLE AT THE DOOR TO TANNER’S APARTMENT BUILDING. Christian
tries to rush past the Doorman. He ad-libs excuses in
Spanish, but it’s not happening. He finally gives up.
20
INT. TANNER’S APARTMENT IN BARCELONA - DAY
20
Tanner showers as she hears her land-line phone ring in the
bedroom. Her father’s voice crackles through her message
machine, PETER TARLTON...on caller ID...“The Shark”.
PETER’S VOICE
Tanner, pick up! I know you’re
there, I just checked with the
doorman.
16.
21
INTERCUT - INT. SENATE BUILDING, WASHINGTON, DC - DAY
21
MOVING WITH the famous legislator Time Magazine dubbed
“Washington DC’s Great White Shark” which is framed and hangs
on his office wall, as he hurries out of his office and along
an elegant, venerable hallway, as he is on his cell. Senator
Tarlton wears an impeccable, custom American-tailored suit
and tie with Harvard colors.
PETER
(into the cell)
He also said you didn’t come home
last night, you just arrived and
it’s what...3pm your time? Pick up!
This is your father, remember me?
In the shower, Tanner stops lathering to listen. But doesn’t
move. Frustrated, Peter clicks off as he hurries toward an
elevator, followed by an intense, early 30’s CHIEF AIDE with
the lean, hungry look of zealous ambition.
PETER (CONT'D)
Nice move this morning, Scott. How
the hell did you get that stubborn,
self-righteous old goat Morgan over
to our side so quickly? With his
juice, we should be in damn fine
shape for the appropriations
committee vote.
CHIEF AIDE
Thank you, sir. I haven’t watched
you operate these past two years
without picking up a few pointers.
Peter turns to study Scott’s stoic expression and smiles.
22
INT. SENATE GARAGE - DAY
22
Cell back at his ear, Peter climbs into a gleaming black limo
as the Chief Aide helps him out of his suit jacket.
PETER
Damn it, Tanner! If you don’t
return my call sooner than later,
you just may wake up to find me on
your doorstep.
He tosses the cell onto the seat beside him as the CHAUFFEUR
hands him a black ballcap which he yanks on. The cap’s logo
features the sharp-toothed, snapping jaws of a huge shark...
17.
23
EXT. THE AREA NEAR TANNER’S APARTMENT BUILDING - SUNSET
23
Tanner exits. She spots Christian across the street...
24
EXT. SMALL PARK - ANGLE ON CHRISTIAN - SUNSET
24
In a small park, the young Spaniard interviews an elderly
British woman. He presents her a rose, then hugs her. The
woman giggles.
ELDERLY WOMAN
You're the first man who’s hugged
me since my husband died fifteen
years ago.
25
INTERCUT: BACK ON TANNER/CHRISTIAN - SUNSET
25
She smiles, then continues on her way.
ON CHRISTIAN. He spots Tanner out of the corner of his eye
and rushes over, holding out the five two hundred euro bills.
CHRISTIAN
Wait! I can't accept unless we’re
partners. We’ll work together and
split the prize 50-50. Come with
me, Tanner. We can go as slowly as
you want with the rest of it.
TANNER
(laughing)
I have a ticket to go home
tomorrow.
CHRISTIAN
But you don’t really want to go.
It’s in your eyes.
TANNER
Just take off on a wild adventure?
That’s not me.
CHRISTIAN
Should be. It was you last night,
wasn’t it?
If you don’t do the crazy things
now, you never will. Life is meant
to be lived as a surprise. Give it
a week. Partners. That’s all. Until
you say different.
18.
TANNER
Why? What’s in it for you?
CHRISTIAN
I need a second camera operator. “A
Camera” and “B Camera.” Your music,
my amazing cinematography. Fifty
big ones each.
TANNER
You’re very persuasive, but it’s
just not possible.
(Her cell phone rings, she
checks out the ID)
Hey, daddy. Whassup?
26
INTERCUT - INT. TARLTON ESTATE GARAGE, FAIRFAX, VIR. -DAY 26
The limo pulls in, next to a freshly detailed black Harley.
PETER
Gotcha! Finally. Look, I let you
have your fun...but it’s time to
get real...
TANNER
I’m sorry, Daddy, I...
PETER
I know, I know...music is your
passion, I get it, but at some
point you need to come back to
reality... as I had to, as we all
do.
TANNER
And that made you happy?
PETER
Yes! Your plan leads to a terrible
life Tanny. Full of users and
losers.
He climbs out of the limo to hang his cap on a post next to a
beat-up, weathered leather jacket. On all sides, tools are
perfectly arranged on the walls. The entire garage is ordered
and immaculate. Except for one old desk in a corner...
Where several OLD PHOTOS fade in their warped or tarnished
frames...PETER AS A YOUNG MAN...long hair, unshaven, beat-up
denims and T-shirts...in all sorts of places...mountain
meadows, desert highways, open roads, rowdy bars...all either
on or beside an old Harley...
19.
in several, he stands next to ANOTHER YOUNG MAN, equally
dishevelled...hoisting beer mugs, laughing, wrestling,
cruising alongside on his own hog,...
TANNER
But, daddy, I’m so close, I can
feel it. Don’t make me give up now,
I might never get this chance
again.
PETER
C’mon, pumkin’, we had this
talk...it’s time to come home...
TANNER
I can’t right now. I may be going
to see Aunt Angelica in Romania.
She’s offered to set up a session
for me to record a demo...she says
I’m really good!
PETER
You’ll do what I say, Tanner. I’ve
been saving a spot for you on my
staff, you know that. We had a
deal, didn’t we? You take this time
abroad and then come work with me.
We had it all planned...
27
INTERCUT - INT. TARLTON ESTATE, FAIRFAX, VIRGINIA - DAY
27
As Peter enters his stately home...
In Spain, Christian looks on sympathetically as Tanner
struggles to get a word in with her father.
TANNER
No, daddy, you had it all planned.
Politics is your life. I don’t care
about power and influence and
money...
Christian looks at her note and the stack of bills in his
hand. Tanner sees it, realizes that she did exactly what her
father would and grabs the bills away from him, smiling,
knowing she’s busted. In Virginia, Peter is taken aback.
PETER
Is that what you think this is all
about? That’s not me. That’s not
why I work as hard and as long as I
do. I want to make a difference.
20.
TANNER
Me, too, Daddy. I want to make a
difference...just in a different
way than you.
PETER
So who’s stopping you? But do it
in your spare time. Lots of people
paint and write but they don’t...
TANNER
And that’s fine. For them. Not me.
Music’s not something I do on
weekends to relax. It’s with me
every minute of every day. I’m not
happy when I’m not doing it...it’s
like breathing...
PETER
Life’s not always about
“happiness”, kiddo. There’s
responsibility and duty. Doing the
right thing. Besides, politics is
in your DNA. Just wait till you’re
beside me in the Senate Chamber,
you’ll see.
TANNER
And who said “If you don’t believe
in what you’re doing, for even half
a second, you need to get your butt
out forever”?
PETER
I did, but what I meant was...
TANNER
Is Mom there?
Peter glances off. His wife LINDA, 44, a former beauty queen,
still retains her youthful figure and finely featured face.
PETER
Your prodigal daughter.
He hands her the cell as she drains the last of a tall Bloody
Mary.
LINDA
Tanner, darling. So happy to hear
from you...It’s been so long.
Tanner hears the slurred words and it hurts her.
21.
TANNER
I thought you were back to the
meetings, or a personal life coach
or whatever it is you were doing?
LINDA
Hate meetings. All those fools
airing their dirty laundry in
public, you know we can’t do
that... Look, come home soon. I
need you. Daddy expects you home
tomorrow night...
Peter grabs the phone.
PETER
I’ll pick you up at the airport
tomorrow. End of discussion.
TANNER
You’re right. This is the end of
the discussion. I am not coming
home tomorrow. I’ll talk to you
soon.
WE STAY WITH TANNER AND CHRISTIAN. Tanner clicks off her
phone and turns to Christian.
TANNER (CONT'D)
What was that offer again?
28
EXT. THE OPEN ROAD OUT OF BARCELONA - DAY
28
The Renault Caravelle shoots along the highway, Tanner’s
things in a backpack next to his in back.
29
INT. CHRISTIAN’S CAR - SEVERAL CUTS
29
INTERCUTTING THEIR CAMERAS: Froggy secures Christian’s camera
to the dash as it records a two-shot.
TANNER
What kind of car is this?
CHRISTIAN
Renault Caravelle. They stopped
making them long time ago. It’s not
mine. I’m trading with a friend. My
place in LA for the summer, his
ride and his cameras.
Tanner wields the second camera, getting TIGHT PROFILES of
Christian’s face.
22.
CHRISTIAN (CONT'D)
Relax. You don’t have to focus on
me the whole time. Get the scenery,
the cutaways, I’ll put them in
later when I edit.
TANNER
So how do we figure out who’s “A
Camera” and who’s “B”?
CHRISTIAN
This is Spain. The man is always
the A camera.
TANNER
Oh good! Then the man can pay for
all our expenses.
CHRISTIAN
Oh no, that’s your privilege as
“the producer.” And I know just
the right place I can score you a
mega-deal on all that equipment we
talked about...
He laughs as she makes a face.
TANNER
And I’m beginning to understand our
relationship a lot better. Smile
for the “A Camera”, Christian!
30
EXT. CASANOVE FOTOGRAFIA A SMALL TOWN - DAY
30
Playa de Suenas. Christian and Tanner come out of the camera
shop, loaded with new equipment.
Christian’s beaming at all his new gadgets...but nevertheless
seems a bit distracted...agitated...
CHRISTIAN
Ok, quick. Let’s get out of here
before anyone...
TANNER
But why do we have to rush off so
fast? This is your hometown, right?
Don’t you want to stop and say
hello...
From across the plaza, a middle-aged Spanish couple, walking
arm-in-arm, spot him and shout, RUSHING OVER.
23.
Tall and grizzled UNCLE SERGIO and his portly wife AUNT
JUANITA. (In Spanish with subtitles)
UNCLE SERGIO
Christian...? Juanita, mire! Esta
Christian!
AUNT JUANITA
(in Spanish)
Ah, look at him, Sergio!
Tanner lifts her camera to film a suddenly awkward Christian
as his father’s brother and his wife envelop him in a
sweeping embrace. More confident with the camera, she now
seems to truly enjoy playing moviemaker.
CHRISTIAN
(Spanish w/English.
Subtitles)
Aunt Juanita, Uncle Sergio, so good
to see you...
UNCLE SERGIO
(English, acknowledging
Tanner)
Why has it taken so long for you to
come back to see us? Did you get
the letter?
CHRISTIAN
The one you made everyone in town
sign?
UNCLE SERGIO
They were happy to do it. They
miss you. We miss you!
CHRISTIAN
And I appreciate it a lot. But
there was one name missing.
AUNT JUANITA
(Spanish/Subtitles)
Your father is a very stubborn man.
Perhaps in time it will kill him.
SHOOTING THROUGH TANNER’S CAMERA. She captures a fleeting,
unguarded look on Christian’s face as he’s confronted at the
thought of losing his father.
CHRISTIAN
He’s not sick is he?
24.
UNCLE SERGIO
Not yet, but it is coming. He’s
been shut up in there for weeks,
refusing to come out for anything,
even your mother’s mass of
remembrance.
AUNT JUANITA
(Spanish/Subtitles)
She was everything to him. After,
he looked at you and saw her. Her
death made him crazy. Please, go
see him. He waits, you know...for
you.
CHRISTIAN
(remembering Tanner)
This is Tanner Tarlton...we’re
working together.
(to Tanner)
My Uncle Sergio and Aunt Juanita...
Immediately assuming she’s Christian’s girlfriend, they both
practically leap to engulf her with hugging and kissing.
TANNER
Wait, no, no. We’re just partners.
No novia. No novio, no
matrimonidad.
In spite of his previous tension, Christian can’t resist
having some fun at Tanner’s expense. And filming it all.
CHRISTIAN
Vamos a haber una bebe.
TANNER
Hey! I understood that. No. We are
not having a baby. No nino! Nada!
Soon all are laughing heartily. Christian keeps shooting.
31
INT. CHRISTIAN’S CAR - DAY
STARTING TIGHT ON THE CAMERA clamped to the dash by “Best
Boy” Froggy...Playa de Suenas is a small beach town of
colorful shops, winding streets and strolling people who
turn, somewhat puzzled, to watch Christian and Tanner
shooting them.
TANNER
When did your mother die?
31
25.
CHRISTIAN
I don’t want to talk about it.
TANNER
Whoa, hold on a sec. I just agreed
to run off with you...and somehow,
I’ve gone from heading to Romania
to record a demo to having a
complete stranger call me “Camera
B!” I took off with you to make a
movie about love, when I don’t even
believe in the damn thing, my
father has probably mobilized NATO
by now and Aunt Juanita thinks I am
having your baby! So I think I
deserve the right to ask you a
simple personal question and not
have you put up a wall.
Christian doesn’t respond.
TANNER (CONT'D)
You said I’m the producer, right?
That’s like, the boss, isn’t it?
Christian turns to stare at her. Shakes his head.
CHRISTIAN
Okay, I’ll show you something.
He steers off the highway and onto a smaller road.
32
EXT. AN OLD SPANISH CEMETERY - DAY
32
They stand over a simple grave. The headstone reads “VERONICA
ROMERO SANTIAGO 1965-2005. Fresh flowers have been recently
left. Tanner turns her camera on him to record his feelings.
Not now.
CHRISTIAN
TANNER
But we need this shot.
A bit surprised at herself for actually caring about the
movie.
CHRISTIAN
(tears in his eyes)
Tanner, please not now.
She steps close and gently lays a hand on his shoulder.
26.
TANNER
If this is going to work...if we
want our movie to be the truth...we
need a “No Cut” rule. As painful as
that will be sometimes. And as your
partner I am invoking it now.
Whichever one of us is on the hot
seat, we don’t get to turn off the
camera. We record everything.
Christian stares at the flowers by the headstone.
TANNER (CONT'D)
Your father?
He turns and marches back toward the parked car.
33
INT. CHRISTIAN’S CAR - DAY
33
TANNER
Show me where you grew up.
Christian looks at her.
NEW ANGLE TO INCLUDE AN OLD ICE CREAM STORE
He pulls into the parking lot of a boarded up building.
CHRISTIAN
I started working here when I was
five years old. Family business...
(smiling)
Got my first kiss here. Thought I
was going to pass out...
34
INT. CHRISTIAN’S CAR - DAY
34
Tanner points her camera at Christian. A second camera still
on the dash.
TANNER
Where was your house?
CHRISTIAN
Up that hill. We can’t go there. My
father is there.
TANNER
You can show me from a distance.
But we need the shot. Christian,
it’s important.
27.
CHRISTIAN
(considering)
Taking this partnership thing
seriously, aren’t you?
TANNER
I take everything seriously.
35
EXT. THE ROAD TO CHRISTIAN’S FAMILY HOME - DAY
35
He drives along a narrow cobblestone road past modest family
dwellings and stops about 50 yards from a simple blueshingled home on an overgrown hillside that looks like it was
once a garden and orchard.
36
INT. CHRISTIAN’S CAR
36
CHRISTIAN
(pointing)
That’s it. Happy?
Tanner aims her camera...
Stop.
TANNER
Stop the car.
Now!
Christian looks at her like she’s totally lost it.
TANNER (CONT'D)
The boss, remember?
She smiles mischievously. He realizes he’s got no chance of
winning this one...and pulls off the road...
37
EXT. CHRISTIAN’S CAR
37
Tanner quickly climbs out. Shooting and moving to a series of
spots...on the hills, behind trees, in trees, even scaling
the roof of an overlooking house...
She captures Christian’s childhood home and its surroundings
from all sorts of angles and vantage points.
Christian reluctantly exits the car and follows. Refusing to
shoot any footage himself, he does stay close to her.
THROUGH TANNER’S CAMERA. She ZOOMS IN slowly on the house and
discovers the image of a man behind the window, watching
them.
TANNER
He sees us.
28.
CHRISTIAN
Give me that.
He takes the camera from her. ZOOMING IN TIGHTER he can make
out the face of the man. It is drawn with a deep sadness.
38
INT. CHRISTIAN’S FAMILY HOME
38
RAPHAEL SANTIAGO stands at his front window. He is only 45,
but he looks 55. His home is sparse, bare of furnishings and
decor. And as dark and silent and solemn as a mausoleum.
Dust and cobwebs everywhere.
At the center of a mantel is the sole decoration...
THREE PHOTOS IN A TRIPTYCH FRAME...VERONICA SANTIAGO...AS A
YOUNG WOMAN, BEING EMBRACED BY A YOUNGER RAFAEL...HER WEDDING
PICTURE, AGAIN IN A BEAMING RAFAEL’S EMBRACE...AND HOLDING A
TINY INFANT CHRISTIAN, NOW BOTH MOTHER AND CHILD EMBRACED BY
AN ABSOLUTELY ECSTATIC RAFAEL...
BACK TO CHRISTIAN. He hands the camera to her, his face
flushed with hurt and anger. Suddenly he turns and rushes to
the car. Tanner hurries to catch up.
INSIDE THE CAR. Christian hits the ignition and floors the
car in reverse as Tanner barely has time to tumble inside.
TANNER
What are you doing? Christian!!
Fishtailing on the road, he slams the car into first and
drives off with his pedal to the floor.
TANNER (CONT’D)
What’s the matter? Slow down!
Christian, slow down!
He doesn’t hear a word.
39
INT. CHRISTIAN’S FAMILY HOME
39
Rafael sadly watches his son speed away.
40
INT. CHRISTIAN’S CAR
The tires screech along the cobblestone road.
40
29.
TANNER
Christian, do what I say! You’re
scaring me! Stop the car. Now! Or
I’ll throw this camera out.
She means it. Christian brakes. Tanner grabs her pack from
behind the seat and jumps out.
CHRISTIAN
What’re you doing?
TANNER
Maybe you don’t value your life
but...
41
EXT. COBBLESTONE ROAD - MOVING WITH TANNER AND THE CAR
41
She walks off, ready to quit their adventure. He drives
slowly beside her, her camera to his eye.
CHRISTIAN
Tanner, you’re right. Please, I’m
sorry. Seeing him...I...I...
He parks the car, jumps out, and chases after her.
MOVING WITH THEM. Suddenly, he’s next to her but doesn’t say
anything, the camera held casually at his side to catch them
both in a moving shot. He tries to get her to smile,
searching for eye contact. He snatches a flower from a garden
and, walking backward, presents it to her. She refuses. He
slams into a street sign.
Ouch!
CHRISTIAN (CONT'D)
He gently touches her arm. She signals “Stay Away!” In
response, he dramatically grabs his chest with his right
hand, seeming to collapse with a heart attack.
She steps over him and keeps walking. Again, he appears
beside her. Still no reaction. Finally, he grabs her hand and
pulls her to a small, sidewalk cafe.
42
EXT. TABLE, SIDEWALK CAFE - DAY
42
They still aren’t talking. Determined not to be the first one
to speak, Christian takes out a pen and a slip of paper from
his pocket and begins to write, then passes the paper to
Tanner. A waitress approaches.
30.
WAITRESS
Buenas tardes. Can I get you a
drink?
Tanner hands her the paper...their order...and Christian
points to his throat, then pats his chest, the international
“thank you” sign, as if he has a problem speaking. Tanner is
almost amused. Christian tries to sign an apology. But it’s
obvious he only knows the basics. She signs back expertly,
scowling.
Their order arrives. Christian guzzles his beer as Tanner
courteously sips her latte. Christian eats with his hands,
chewing with his mouth open, and loudly licking his fingers.
Due to their silence, all of this is exaggerated and brought
to her attention. Tanner can take it no longer and has to say
something.
TANNER
Don’t you realize that you are
sitting across from a lady? You
need some polishing up of your
table manners. Don’t you have
respect for anyone?
CHRISTIAN
I promise. I will never drive like
that again.
TANNER
How could you treat your father
like that?
CHRISTIAN
(serious now)
Is that really what you’re upset
about?
TANNER
I’ve lost count of the reasons I
should be upset with you.
CHRISTIAN
(knows he has the upper
hand now)
Should but aren’t. Would you like
me to remind you?
TANNER
Would you like me to punch you in
the face?
31.
CHRISTIAN
It’s about time you put your hands
on me.
She jumps to her feet and hurries off. Christian follows.
43
EXT. CHRISTIAN’S CAR - DAY
43
Tanner waits beside the car. Christian opens her door like
the perfect gentleman but he stands too close. He tries to
hug her but she peers at him.
TANNER
In my culture we like to have about
an arm’s length of personal space.
(taking the car key)
I’ll drive.
Christian grabs her arm.
CHRISTIAN
(sincerely)
Please forgive me...
He lifts his hand, lightly kissing his fingers and reaching
to gently touch them against her lips. Then, slowly, he wraps
his arms around her. She responds awkwardly to the embrace.
Then abruptly steps back, and quickly crosses around the car
to the driver’s seat.
CHRISTIAN (CONT'D)
(getting in)
Did you happen to know that a
simple little thing like hugging
has been proven to ease depression
and enhance the immune system?
It’s a fact, Mack.
“Jack’.
Who?
“Jack”.
TANNER
CHRISTIAN
TANNER
It’s a fact, “Jack”.
CHRISTIAN
(grins)
Smart man. You should listen to
him.
She guns the car away.
32.
44
EXT. CITY STREETS - DAY
44
They make their way out of town.
TANNER
Now, tell me, what’s the deal with
you and your father?
CHRISTIAN
When I figure it out, I’ll tell
you.
He connects his IPod to the tape deck. She loves his choice
of music and finally, she smiles at him. Relieved, his face
brightens as they turn onto a highway.
CHRISTIAN (CONT'D)
(raising his arms high)
Let the adventure begin!
Music booming, they head on down the road...together.
45
EXT. THE HIGHWAY PAST BARCELONA - DAY
45
Barcelona disappears behind them as the sparkling blue of the
Mediterranean beckons the little sports car forward...
46
EXT./INT. VARIOUS SCENIC EUROPEAN LOCATIONS/CHRISTIAN’S
CAR/HOSTELS - DAY/NIGHT
46
And so, their adventure unfolds...In free, intermittent
moments, almost as afterthoughts, Tanner dashes off
texts...TWO MONTHS LATER...
47
EXT. INTERSECTION IN ROMANIA - VARIOUS SHOTS/ANGLES - DAY 47
CRRRAAASSSH. Two vehicles, one small the other very large,
collide at a combined speed of over 100 MPH. The impact
causes the massive oil rig to careen off the road and into a
tree.
The two occupants of the sportscar take flight like acrobats
shot from cannons, their limp bodies twisting and turning in
slow motion against a cobalt sky.
Objects orbit with them: cameras with neck straps, a green
Frog, a Prada duffel, Christian’s battered backpack.
33.
48
EXT. TARLTON ESTATE, FAIRFAX, VIRGINIA - DAY
48
In bathing suits, Peter and Linda sit by the pool. Linda’s
hung-over eyes shielded by oversize sunglasses. Peter tosses
his cell phone aside.
PETER
Since she went off with that damn
lowlife she's totally under his
spell. Two months and only this
damn texting!
Linda drains a Bloody Mary and stands to pour another. Like a
father taking a dangerous toy from a child, Peter gently
takes the glass. The phone rings. He snatches it up.
Tanner?
49
PETER (CONT’D)
INT. HOME OF THE U.S. AMBASSADOR TO ROMANIA - NIGHT
49
On the phone is 50ish FREDDY MAGUIRE, Peter’s best friend
from Harvard days and also the American Ambassador to
Romania. Next to him his wife ANGELICA, 33. They are Tanner’s
godparents, and both are clearly shaken.
FREDDY
No, Peter. It's me.
PETER
Freddy? Must be almost midnight in
Romania...what’s up? Angelica ok?
FREDDY
Pete, you should sit down. I have
something difficult to tell you.
BY THE TARLTON SWIMMING POOL
Linda watches her husband’s knees start to buckle...
LINDA
What is it? Peter...
He turns...eyes desperate...
PETER
Oh my God...
He slumps into a chair, sobbing.
34.
50
INT. CHRISTIAN’S FAMILY HOME - DAY
50
Sergio pounds urgently on the front door as Rafael opens up.
In Spanish, Sergio tells Rafael the devastating news. Rafael
gapes at his brother, speechless. Sergio sternly grasps his
brother’s shoulders and stares at him. Rafael nods. Sergio
reaches to his back pocket to remove a packet of money.
Rafael hesitates, then tearfully accepts.
51
INT. CHRISTIAN’S HOSPITAL ROOM IN ROMANIA - DAY
51
Christian lies on the bed, his head bandaged, his left knee
thickly wrapped. SISTER MARTINA, 60, the nun who runs the
hospital, informs a tired and obviously distraught Rafael who
sits in a chair beside his son.
SISTER MARTINA
All that we can tell you right now,
Mr. Santiago, is that your son has
suffered a severe concussion. The
doctor is concerned we might find
brain damage when the swelling
subsides...
Christian begins to stir and his eyes open.
RAFAEL
You’re awake.
Christian painfully tries to sit up. To focus on Rafael.
CHRISTIAN
Who?...Who are you?
RAFAEL
Your father.
Christian stares at him, slowly comprehending.
CHRISTIAN
What happened?
Sister Martina records vital signs.
SISTER MARTINA
A car accident. Try not to move
around too much.
Christian remembers nothing about the accident (or, for that
matter, the entire summer).
Accident?
CHRISTIAN
35.
RAFAEL
You don’t remember?
No.
CHRISTIAN
RAFAEL
You have been here two days.
Two days?
CHRISTIAN
Sister Martina leaves.
RAFAEL
The poor girl...
CHRISTIAN
Girl? What girl?
RAFAEL
Your friend. The paper said you
were traveling together all summer.
CHRISTIAN
I was “traveling with” a girl?
Christian shakes his head,
CHRISTIAN (CONT'D)
Where is she?
RAFAEL
Upstairs. Intensive Care.
Christian sinks back on the bed. Struggling to put the pieces
of what happened together...
LATER THAT NIGHT...as Rafael dozes...Christian painfully
swings his legs to the floor. He almost swoons, recovering to
stand on unsteady legs and stumble toward the door.
52
EXT. THE COURTYARD STAIRWELL IN THE HOSPITAL - NIGHT
52
CAMERA MOVES WITH Christian as he limps across the courtyard
and climbs the stone steps. He reaches the next landing,
stopping to catch his breath, then hears the buzz of urgent
activity inside one of the rooms.
NEW ANGLE OUTSIDE TANNER’S EMERGENCY ROOM. He limps painfully
to a doorway. Inside a DOCTOR and TWO NURSES work around the
inert form of a girl.
36.
Christian steps in and, through a tangle of arms, tubes and
wires, he sees a girl’s face. So young, so pale.
53
EXT. ROMANIA - QUICK FLASHBACK
53
His damaged brain serves up a FLASH of two coins flying
through the air, following them down to the water.
BACK TIGHT ON CHRISTIAN. It's too much! He faints...
54
INT. CHRISTIAN’S HOSPITAL ROOM - NIGHT
54
Christian comes around and finds himself back in his bed.
Again, he struggles to rise. Rafael presses a call button as
he gently grasps his son’s shoulder, settling him.
SISTER MARTINA
(smiling mischievously)
So young man, I sincerely hope you
have no more immediate plans for
touring our fine hospital this
evening.
Satisfied he’s no worse for wear, she nods at Raphael and
slips out to give them a moment of privacy.
RAFAEL
I am so sorry, Christian.
sorry we...
So very
CHRISTIAN
(suddenly incensed)
We? We? Have you forgotten? You’re
the one who shut me out! You may
have stayed in that house but you
were the one who abandoned life.
Who abandoned me.
RAFAEL
You are right... But you are my son
and I am here now. I will always be
here for you.
Father and son stare at each other.
CHRISTIAN
What happened to me? The last thing
I remember was getting back to
Europe...picking up Ceasar’s
car...hanging around Barcelona for
a few days...
37.
RAFAEL
They say you ran a stop sign. And
it seems that they found alcohol in
your blood.
CHRISTIAN
What do you know about the girl?
RAFAEL
Her name is Tanner Tarlton. She’s
from New Michigan. Her father is a
US Senator.
Tanner?
CHRISTIAN
RAFAEL
Her parents are on their way here.
I saw you with her two months ago.
You must have been with her all
summer.
I saw you?
CHRISTIAN
RAFAEL
From a distance. You drove away so
fast...
CHRISTIAN
I did? Dear God. I knew her all
summer. We traveled together and I
don’t remember any of it. And she
might be dying because of me...
RAFAEL
Rest, Christian. Your memory will
return. I will be back soon.
He turns and looks down to see Christian’s wallet and other
personal items on the dresser. Also a room key reading...
BOTEL ADMIRAL. He palms it, surreptitiously sliding it into
his pocket as he turns to smile at Christian, and walk out.
Christian squeezes his eyes closed.
CHRISTIAN
(to himself)
Remember. You have to remember!
55
EXT. ENTRANCE TO HOSPITAL - NIGHT
Rafael walks out and sees Peter and Linda getting out of a
limousine, followed by two US security officers.
55
38.
PETER
(motioning to security)
This will be fine. Please...not
inside the hospital.
There is brief eye contact and Rafael understands
immediately. Her parents.
56
INT. TANNER’S EMERGENCY ROOM - NIGHT
56
Linda and Peter follow Sister Martina into the dim room where
Angelica sits by the bed, watching over Tanner’s still form.
ANGELICA
(standing, embracing
Linda)
I am so sorry, I am so sorry this
happened.
Linda crosses to the bed taking her daughter’s hand.
LINDA
I'm so scared, Peter. She looks so
young, so helpless.
PETER
I know that voice. Don't go there.
I need you, Linda. Tanner needs
you.
Peter kneels beside his daughter, taking her limp hand. He
leans close, whispering softly...
PETER (CONT’D)
You pull out of this, Tanner. You
be the strong girl I’ve taught you
to be.
57
EXT. THE "BOTEL ADMIRAL" - NEXT DAY
57
Rafael looks down at the key he took from Christian’s
hospital room and then peers up at...
“BOTEL ADMIRAL” is carved across the prow of a large, old
barge moored on the river. Students, academicians,
backpackers and budget-conscious travelers come and go over a
gangway that joins the colorfully-painted, floating "Botel”
with terra firma.
58
INT. THE BOTEL ADMIRAL - DAY
58
A HOTELIER in a rumpled Captain's uniform leads Rafael down a
narrow passageway.
39.
Here and there, a cabin door is open, giving him GLIMPSES
into a world of youth, adventure, sexuality, and hope.
Backpackers lounge about, strumming guitars, singing folk
songs, laughing, smoking, talking excitedly in a half-dozen
languages.
HOTELIER
Nice young couple. So in love. We
left everything exactly as it was.
He opens a door...
59
INT. THE BOTEL CABIN - DAY
59
Hanging on a droopy clothes line over a rumpled bed are
Christian's underpants, Tanner’s panties and bras. Dangling
directly above the bed is a LITTLE RED HEART made of cheap
metal, the words “I LOVE YOU” etched on both sides. With a
touch, Rafael sends the heart spinning...
ILOVEYOUILOVEYOUILOVEYOU. A knock startles him. He turns as
the Hotelier shows a very tired Linda into the room.
LINDA
Hello. I’m Linda Tarlton.
They look at each other.
LINDA (CONT’D)
And I know who you are Mr.
Santiago. I’ve come for my
daughter’s things.
She finds Tanner’s small suitcase in the closet and starts to
pack.
RAFAEL
How is your daughter?
LINDA
Not good. Thanks to your son. Where
is your wife, Mr. Santiago?
RAFAEL
She passed away almost three years
ago. Breast cancer.
(becoming emotional)
This is not Christian’s fault,
Missus. This is my fault. All my
fault.
LINDA
You didn’t drive that car, Mr.
Santiago.
40.
Their eyes meet in mutual empathy.
LINDA (CONT'D)
Hard to imagine sharing a space
this small.
RAFAEL
I suppose you would have to be very
much in love.
Linda nods thoughtfully. She reaches for a laptop computer on
a small “Captain’s desk”.
RAFAEL (CONT’D)
(pointing)
I believe that one is hers...
Another laptop is open on the bed. As Linda reaches to pick
it up she must touch something because MUSIC swells and
FOOTAGE PLAYS.
NEW ANGLE TO INCLUDE THE LAPTOP. Rafael and Linda hesitate,
glancing at each other. Were they meant to see this? No
matter. They’re compelled to watch.
60
THE FOOTAGE: EXT. BUCHAREST WISHING TOWER - VARIOUS CUTS
60
The expertly shot and edited sequence plays like a music
video, with SHOTS OF TANNER walking along a bridge, singing
an original song called “A New Life”
61
THE FOOTAGE: INT. THE WISHING TOWER
They climb the stairs...
CHRISTIAN
...I know your parents came
together for all the wrong reasons.
But that’s not going to be us!
TANNER
You mean the rich and powerful man
meets his trophy wife. How about
us? The “Player” who believes in
love and the girl longing to trust
again?
(teasingly)
You know, I might just constantly
be wondering if you are being
truthful...
61
41.
CHRISTIAN
I only have eyes for you. Don’t
worry, we won’t end up like your
parents.
62
THE FOOTAGE: EXT. THE WISHING TOWER
62
At the top of the ancient stone tower...overlooking the river
and newer part of the old city...Tanner reads to Christian
from a guide book.
TANNER
“Old Town Tower looks across the
river to the New Bucharest. For
centuries lovers have come here to
make their wishes and say these
words: I stand on old ground
looking out to a new life.
Christian drops on one knee.
CHRISTIAN
Tanner, I came across this the
other day and it reminded me of us,
“Each of us is an angel with only
one wing. And we can fly embracing
each other.” I do love you. With my
whole heart. There is no one else
for me, but you. Will you marry me?
Tanner drops to her knees facing him and takes his hands.
TANNER
(excited)
I can’t believe it...I’m just gonna
do it...Let’s do it, let’s get
married, okay!...You made me
believe in love again...
(and singing with her
beautiful voice)
“you are the home of my soul”
(sincerely)
I love you so much. I want to spend
the rest of my life with you...Yes,
of course, I will marry you.
Tears glistening in their eyes, they slowly embrace and
tenderly kiss. Rising, they move to the arched portal.
Holding each other close...Christian hands her a coin,
lifting one of his own. They stare out the arched portal.
Then close their eyes and recite the age-old lovers’ mantra
together...
42.
CHRISTIAN/TANNER
“I stand on old ground looking out
to a new life.”
They throw their coins...
IN THE FOOTAGE, SLOW MOTION - THE COINS catch the sunlight,
sparkling as they fall into the water below. (Same scene as
the flashback)
63
INT BOTEL CABIN - ON RAFAEL AND LINDA
63
Reacting to what they’ve just witnessed. Linda closes the
laptop, tears welling in her eyes.
LINDA
Such...intimacy.
Linda is trying hard not to cry. Rafael touches her shoulder
to comfort her.
LINDA (CONT'D)
Once, a long time ago...I used to
think...love would solve every
problem...
RAFAEL
I haven’t known my son like this.
So tender, gentle...Christian never
stayed with one girl for long. A
whole summer... and God willing
they will be married.
Linda slips the laptop into Tanner’s suitcase and closes it.
LINDA
God willing, my daughter will live.
(shaking her head)
My husband won’t be happy about the
rest.
RAFAEL
Why would he disapprove?
LINDA
Let’s just say he has the highest
possible dreams for his daughter.
RAFAEL
And a poor Spanish man would not
fit that dream, Missus?
43.
LINDA
No, a poor Spanish man that put her
in a coma doesn’t fit that dream
Mr. Santiago. Sorry, I have to get
back to the hospital.
RAFAEL
I will pray to God for your
daughter with every breath.
Linda feels his kindness and smiles.
LINDA
I will pray for your son as well.
Carrying Tanner’s things, Linda EXITS. Rafael finishes
gathering up Christian’s things, including his laptop.
He remembers the little heart, and takes it with him.
64
INT. TANNER’S EMERGENCY ROOM - EVENING
64
Outside, light rain PATTERS the old building...Face drawn,
eyes red, Peter sits bedside, watching his
daughter...powerless. His body tenses as he squeezes his eyes
closed, forcing back the tears, fighting back the
panic...rage. Regaining control, he opens his eyes and leans
forward to gently take her hand... He tries to laugh but
chokes back a sob instead.
PETER
Tanny, please, just a little
sign...so I know you can hear
me...maybe you can move a finger?
No response at all. He strokes her hair. Then kneeling,
leaning even closer, almost whispering in her ear, he begins
to hum a child’s melody.
PETER (CONT'D).
(now singing)
Tanny, Tanny, is your name Tanny?
Or is it Annie? Cause it can’t be
Danny.. and for sure not Granny or
Manny or Fanny... and you’re no
Nanny...
Still no response. His kisses her forehead. And can’t stop
his tears flowing. He starts to pray. Softly,almost silently.
65
INT. CHRISTIAN'S HOSPITAL ROOM - NIGHT
Christian opens the door a crack to peer out...
65
44.
66
INT. CORRIDOR OUTSIDE CHRISTIAN’S HOSPITAL ROOM - NIGHT
66
The long hall is empty. An intern passes through the
courtyard and withdraws out of view. On the other side of the
courtyard, Sister Martina does paperwork in her office. When
it’s safe, Christian continues on.
67
INT. SISTER MARTINA’S OFFICE
67
She glances up and sees Christian slip into the shadows near
the elevator.
68
EXT. THE HALLWAY OUTSIDE TANNER'S HOSPITAL ROOM - NIGHT
68
The elevator doors open. Christian cautiously gets out and
tiptoes past Peter and Linda, asleep on separate benches
outside her room.
69
INT. TANNER’S ROOM
69
As Christian looks in, TWO NURSES work over the dim outline
of Tanner’s unconscious form. The nurses EXIT and Christian
moves closer and studies Tanner’s face. Her labored breathing
mingles with the tapping raindrops on the windows.
70
EXT - CHRISTIAN’S CAR/VARIOUS LOCATIONS -SUDDEN FLASHBACKS 70
In the first, Tanner’s face is in tight profile as she drives
the little sports car, the French Riviera flashing by. In the
second, she is singing in the Park the day they met.
TIGHT ON CHRISTIAN. Bits and pieces may be coming back but
the girl at the center of all those tubes and wires is still
a stranger to him. He bends down and whispers near her ear.
CHRISTIAN
Miss.... can you hear me?
Nothing. SOUNDS of approaching footsteps. Christian shrinks
into the shadows behind the machines as a NURSE enters,
checks the monitors, and exits. Christian returns to her
bedside.
CHRISTIAN (CONT’D)
Can you hear me at all? Please wake
up.
Tanner’s eyes flicker open and a weak smile toys with her
lips as she sees him. Clearly her memory is less impaired.
TANNER
Christian? What... happened...?
45.
Christian stares at her.
CHRISTIAN
How...do you feel?
It takes all her energy just to form a word.
TANNER
Shitty...what...happened?
CHRISTIAN
Car accident. Don’t remember any of
it, do you?
No.
TANNER
(thinks for a moment)
Remember...a tower on a bridge...
You asked me...to marry you.
I did?
CHRISTIAN
TANNER
Don’t you...remember?
He shakes his head and she seems sad.
TANNER (CONT'D)
Watch our...movie.
He looks totally lost.
CHRISTIAN
What movie?
TANNER
Partners...Camera A...and Camera
B...?
(realizing he doesn’t
remember)
So tired...love...you...
She falls asleep with a little smile on her lips.
He stares at her.
CHRISTIAN
Yeah, sure...me, too...
SUDDEN FLASHBACK. WE ARE VERY TIGHT ON his lips, her ear...
46.
CHRISTIAN (CONT'D)
Te amo mucho, Mi amore.
BACK IN THE PRESENT. Christian’s eyes register that one
isolated memory, but it’s not enough.
CHRISTIAN (CONT'D)
Your parents are here. Want me to
get them?
Tanner doesn’t answer. He leans forward and kisses her very
gently on the cheek. Her eyes are closed. Her breathing is
inaudible. Christian looks at the monitors, alarmed. But a
gravely voice at his elbow eases his fears.
SISTER MARTINA
She is just resting. Go before her
parents see you.
CHRISTIAN
But I want to meet them. I want to
tell them how sorry I am.
SISTER MARTINA
This is not the right time. Hurry
before they find you here.
She helps him out of the room and watches until he gets into
the elevator.
71
INT IN THE HALLWAY OUTSIDE TANNER’S EMERGENCY ROOM
71
Then she goes over to still sleeping Peter and gently shakes
his arm. She does the same with Linda.
SISTER MARTINA
I have good news. Your daughter is
conscious.
PETER
Thank God, Tanny...
Thank God.
LINDA
They rush inside.
72
INT TANNER’S EMERGENCY ROOM
72
Peter and Linda rush in behind Sister Martina. Peter takes
Tanner’s limp hand between his large hands. Her eyes open and
a smile spreads as she sees her parents hovered over her.
47.
TANNER
Daddy...? Mom...?
LINDA
My poor baby...poor baby...this is
all my fault.
PETER
I’m sorry, baby. I should have
protected you better.
TANNER
No... best time ever... I can’t
wait ...for you to meet
Christian... Just here...
Peter and Linda share a look.
PETER
That boy was here in this room?
Yes.
TANNER
PETER
(under his breath, sternly
to Sister Martina)
Well that’s going to stop.
TANNER
I love him.
LINDA
They’re going to get married.
TANNER
It’s true Daddy...
PETER
Tanny, he put you in this place.
Tanner’s brow furrows with concern.
TANNER
Christian... never..he...
Sister Martina darts into the breach.
SISTER MARTINA
Please...she needs to rest.
She gently helps Tanner’s head back against the pillow and
herds her parents out.
48.
73
EXT. THE HOSPITAL COURTYARD
73
Peter charges angrily down the steps, Linda on his heels.
LINDA
Wait, Peter! Don’t do it!
PETER
(abruptly turning to her)
How did you know about their plan
to get married?
LINDA
When I picked up her things. We saw
it together, his father and I. They
made a movie together.
PETER
I won’t touch him but I’ll make it
very clear he is not to go anywhere
near her again!
74
INT OUTSIDE CHRISTIAN’S HOSPITAL ROOM
74
Peter stops at Christian’s door and knocks hard as Linda
catches up. The door opens suddenly and Rafael fills the
doorway. Beyond him, Christian is resting. Rafael quickly
steps outside and closes the door.
Yes, sir?
RAFAEL
PETER
I want a word with your son.
RAFAEL
He is resting. You can speak with
me, Sir. Rafael Santiago.
The tall Spaniard extends his hand but Peter only stares at
him with deep loathing.
75
INT CHRISTIAN’S HOSPITAL ROOM
75
Christian hears their voices and struggles out of bed. He
opens the door an inch and sees Rafael square his shoulders
proudly and look up at the towering and imposing American.
RAFAEL
I am deeply sorry our children find
themselves in this difficult place.
49.
PETER
Difficult? Mr. Santiago, my
daughter’s physician, a man I flew
in here, gives her “a roll of the
dice” of living. A roll of the
dice. Your son is a little banged
up but he’ll survive just fine.
RAFAEL
I pray you are right, sir.
Christian was unconscious for two
days. The doctors fear brain
damage. He remembers nothing about
the accident, or your daughter.
PETER
That’s convenient. If I were about
to be charged with a felony, I’d
want to forget all about it, too.
Christian winces at the word “felony” and presses his ear
close to the small opening to hear better.
ANGLE OUTSIDE CHRISTIAN’S HOSPITAL ROOM. Rafael looks
stunned.
RAFAEL
What felony do you speak of, sir?
PETER
Mr. Santiago, when your son was
admitted to this hospital his blood
alcohol level was two times the
legal limit. You don’t look
surprised. You’ve seen behavior
like this before, haven’t you?
RAFAEL
You are wrong, sir.
There is something in his voice that says otherwise.
ON CHRISTIAN. He knows what’s coming next...
PETER
Mr. Santiago, two years ago your
son dared your nephew to jump from
a high cliff and the boy died.
RAFAEL
It is unclear who dared who, sir.
They were the same age, always
daring the other.
50.
PETER
(waving official looking
papers)
He has a history of recklessness
and this time it may have just cost
my daughter her life.
RAFAEL
Please, sir, we must keep an open
mind. We don’t know yet what
happened.
PETER
(interrupting him)
I already know enough. Tell your
son that if he ever goes up to my
daughter’s room again, I will
personally throw him off that
balcony.
Peter turns and hurries up the steps but Linda stays with
Rafael.
LINDA
I’m sorry. He’s just so frightened.
We both are.
RAFAEL
I apologize for raising my voice.
LINDA
Mr. Santiago, if it turns out that
your son’s behavior was reckless
and deserving of punishment, what
will you do?
RAFAEL
He is my son. I will never abandon
him again. Never.
ON CHRISTIAN. Reacting to his father’s words.
ON RAFAEL AND LINDA. Rafael watches Linda with sorrow as she
hurries up the steps.
IN CHRISTIAN’S HOSPITAL ROOM
Christian sits on the bed, his eyes ablaze.
CHRISTIAN
You heard him. I was driving drunk.
I did this to her.
51.
RAFAEL
We don’t know that.
CHRISTIAN
I do because I know me. I took
things too far. I did it all the
time.
Rafael hands Christian the little red heart. Christian holds
it up by the chain and gives the heart a spin...
ILOVEYOUILOVEYOUILOVEYOU...
He studies it a long moment, as if it contained the seeds of
memory. It’s like a big jigsaw puzzle. Pieces fly in. He
doesn’t know where they fit.
RAFAEL
Perhaps this will help.
He hands his son the laptop he found in the Botel.
CHRISTIAN
My computer?
RAFAEL
You made a movie together. It was
on both your computers.
Christian lifts open the laptop.
76
TIGHT ON HIS LAPTOP SCREEN
76
Among the cluttered icons there is one that says “WHAT ABOUT
LOVE” CAMERA WIDENS as Christian looks at his father
questioningly.
RAFAEL
That’s it. I saw a small part with
the girl’s mother.
CHRISTIAN
You watched without asking me?
RAFAEL
We did not mean any disrespect. It
started on its own. Watch.
Maybe it will help you to remember.
Rafael sits down in the chair and closes his eyes.
52.
77
ON CHRISTIAN AND THE LAPTOP
77
He touches the icon and the screen fills with a FAST PACED
TEASER TRAILER OF THEIR MOVIE. They have both drawn little
caricatures of themselves (wielding their blue and red
cameras, driving the little Caravelle past signs: SPAIN,
GERMANY, ROMANIA) around the title “WHAT ABOUT LOVE”. Another
icon reads “VIDEO DIARY”. He clicks play.
78
INT. A HOTEL ROOM IN BARCELONA - NIGHT
78
Christian speaks directly into a camera, video-blog style.
His “voice” is intimate, self-revealing.
CHRISTIAN
Just met this girl. Her name is
Tanner. I love her voice. It puts
you right into a trance. She is the
most amazing singer. It’s crazy but
I think she likes me, no, not
think, I am positive. Still no
hugging, no touching, definitely no
kissing, not even holding hands.
Why doesn’t she want to be
affectionate? And how could she not
believe in love? She says “Love
Sucks”. And yet, I’m still really
into her! Why? Why do I want her to
fall in love with me? Am I in love
with her?
He stares at the camera, he’s never felt like this before.
CHRISTIAN (CONT'D)
My new movie...OUR new movie...
“What About Love”, will have to
answer those questions.
He drifts off for an instant, considering.
forward, fully focused again...
Then leans
CHRISTIAN (CONT'D)
Note to self...Must experiment with
shooting in the French Cinema
Verite style of Jean Rouch. That
way I’ll be part of it as well as
Tanner.
(increasingly excited)
My objective is to try to prove to
her that love exists. Our quest for
love and the truth... And of
course, let’s keep an open mind for
how this movie’s going to end...
53.
He suddenly grins at the camera...
ON CHRISTIAN AND THE LAPTOP
Christian clicks on the icon “What About Love” and watches
the footage like some Rip Van Winkle character being shown
the missing chapters of his life.
79
EXT. PARK - BARCELONA
79
This segment has already been edited in the style of a music
video. It is the scene where Christian and Tanner dance when
they first met in the park in Barcelona.
CHRISTIAN (V.O.)
Love is a living, growing thing.
There is you, there is me, and
there is this mysterious,
indefinable, invisible yet very
real thing that we call “us” that
needs attention, care and time...
80
INT. TANNER’S ER ROOM - NIGHT
80
Linda sits by her daughter’s side. Peter stands by the door.
Tanner breathes with some difficulty as she sleeps.
81
INT. CHRISTIAN’S HOSPITAL ROOM - DAY
81
TIGHT ON HIS FACE, the images off the laptop playing on his
skin and reflecting in his eyes. Ten minutes into their
movie, his face is flushed with both, excitement and sorrow.
CHRISTIAN
(tears in his eyes)
I remember now...that I...loved
her. Dad, it’s coming back! She was
amazing!
Every image brings a dozen more and with it, tears. Rafael
nods, feeling his son’s pain.
82
THEIR MOVIE INTERCUTTING EXT. LOCATIONS IN SPAIN - DAY
INT. THEIR HOTEL ROOM - NIGHT
82
SEQUENCE STARTS WITH an old couple helping each other across
a very busy, very wide street in a big town. IN THEIR HOTEL
Christian proclaims:
CHRISTIAN
This is what I am talking about,
unconditional caring.
54.
He is sitting next to Tanner, both on chairs in their hotel
room, their computers on the bed in front of them, showing
each other the footage. This is a fierce debating contest...
“Love Rocks” vs. “Love Sucks”. But at the same time, they are
in high spirits and we can sense the very real, if subliminal
courtship.
TANNER
They might just be co-dependents.
Or maybe they just couldn’t face
being alone? That’s unhealthy too.
So, that’s not love.
(laughing)
They definitely cheated on each
other.
She points at her computer screen.
83
A COLLEGE CAMPUS
83
Two YOUNG GIRLS cross a QUAD in front of the Student Union:
YOUNG COLLEGE GIRL
(To Tanner’s camera)
As a kid I was told I discipline
you because I love you...
84
INT BACK IN HOTEL ROOM - ON TANNER AND CHRISTIAN
84
Tanner pauses her computer footage.
TANNER
Think about it. How many crimes are
committed in the name of love?
(less seriously)
Another girl said her mom told her
“love comes and goes but herpes
stays”. My point, Love sucks!
CHRISTIAN
I know, it’s sad, some people go
through a lot of pain when they
love. But love exists, it is real.
It is behind everything positive in
the world...
(pointing at his screen)
This little girl will know love...
85
EXT. A CHILDREN’S PLAYGROUND
Christian interviews a 3-YEAR-OLD GIRL:
85
55.
CHRISTIAN
Elina, can you please tell
me...what is love?
ELINA
(frowning, then beaming)
“Hugs”
ON TANNER AND CHRISTIAN
TANNER
(affected)
And this one will not.
86
INT. AN INTERNET CAFE
86
A YOUNG GIRL
I wasn’t raised or surrounded by
love, I mean like...my parents were
not the kind of ideal... like,
couple sharing love... I had to
make up my own ideas about it. So,
Cinderella and the prince? It’s all
fake.
87
ON TANNER AND CHRISTIAN
TANNER
What love is to you is what fairy
tales are to me. It’s not real.
CHRISTIAN
You’ve never experienced falling in
love, have you?
TANNER
No. Well, I thought I did, but I
wasn’t really...
CHRISTIAN
Never? Ever?
(leaning close)
Because you don’t believe in it?
TANNER
Because it was fake. A stupid waste
of time and energy.
CHRISTIAN
(smiling)
I bet you were happy when you
thought you were in love, were you
not?
87
56.
TANNER
Not particularly.
CHRISTIAN
C’mon, now. It’s a simple question.
Yes or no? You were either happy or
you weren’t.
Yes.
Thank you.
TANNER
CHRISTIAN
TANNER
Yeah, but all of that turned out to
be a lie...Love is emotion, and
emotions don’t last, they aren’t
real. Okay I’ll give you that love
in family can last, between a
parent and a child, definitely...
CHRISTIAN
And how does a family begin? Two
people falling in love.
TANNER
But it is just as likely to end
badly as not.
CHRISTIAN
Yes, but before that happens at
least there’s great makeup sex.
Three cameras catch them bursting into laughter.
TANNER
You are trying so hard to prove
your point...
CHRISTIAN
(leaning against her)
And you’re not? Love is not just a
four letter word.
He runs his fingers through her hair She tolerates it for a
few seconds before pulling away.
CHRISTIAN (CONT'D)
Ever heard of the 3-second rule?
57.
TANNER
If you drop food, you can pick it
up and still eat it if it’s within
three seconds?
CHRISTIAN
Yeah. Now this is the 10-second
rule. Last for ten seconds with my
arms around you and you get the big
prize.
TANNER
“The big prize”! Do I need to ask
what that is?
CHRISTIAN
I didn’t mean that. This is not
about sex. I was just kidding. Will
you at least try?
TANNER
Okay. Kidding or not, no big
surprises.
She watches him slowly put his arms around her. He doesn’t
try to embrace her, or pull her any closer. He just touches
her that way.
CHRISTIAN
One, one-thousand...two, onethousand...three, one-thousand,
four-Again, Tanner pulls away. He almost reflexively tries again
but stops himself.
CHRISTIAN (CONT'D)
There are different levels of love.
For example, I love doing this
movie with you. Honestly, I love
it! I love spending time with you.
I love it. Every single minute of
it.
(almost whispering, very
close)
Y imagino nuestro primer beso...
(leaning even closer)
Our lips touching...it’s like
giving yourself to each
other...that feeling is so
indescribable...
They look into each other’s eyes. Tanner almost giving in...
58.
TANNER
Oh-my-God...!
What?
CHRISTIAN
TANNER
I definitely don’t want you to win
your point...
She kisses his forehead.
88
INT. CHRISTIAN’S HOSPITAL ROOM - NIGHT
88
He smiles warmly, his memory of those early days surging back
in waves. On his screen, the footage continues.
89
IN THE FOOTAGE:INT/EXT SPANISH LOCATIONS - DAY AND NIGHT
89
This is Christian’s wildly creative music video featuring
Tanner’s new song “Flip Sides of Me”. The images inspired by
Barcelona and other Catalonian locations and including
natural vistas, Barcelona panoramas, stylish bars, a
nightclub where Tanner sings, seaside frolics... and...
Christian’s evolving courtship.
90
IN THE FOOTAGE:
INT/EXT. SPANISH VILLA - MAGIC HOUR
90
Tanner’s SINGING CONTINUES OVER her and Christian arriving at
a villa with its lush gardens leading directly to the ocean.
They take their bags from the car as they are greeted by a
few of Christian’s friends and shown to their guest room.
91
IN THE FOOTAGE:INT/EXT. SPANISH VILLA - NIGHT
Tanner dresses for a party as Christian films her.
CHRISTIAN
You are so beautiful.
Tanner puts her hand up to block the camera lens.
TANNER
Go away, I am getting ready...
She walks down the stairs through the main hall into the
garden. Tanner singing to a CROWD OF GUESTS. Christian and
Tanner begin to dance...The party quickly revs into full
swing.
91
59.
92
LATER THAT NIGHT
Tanner films
falling onto
couch in the
cameras in a
92
Christian from a distance. He’s been drunkenly
a pretty girl’s lap as he slumps back on a plush
garden. The following scene is recorded by two
medium and a long shot respectively:
TANNER
We’re leaving.
No.
CHRISTIAN
(drunk)
TANNER
Yes. Come on.
Come on...
CHRISTIAN
He frees himself of the clinging girl to stand unsteadily...
TANNER
You’re drunk. And disgusting.
CHRISTIAN
Hey, things happen from time to
time...why not relax, huh? Go with
the slow...
He tries to hug her from behind.
TANNER
That’s “flow” and you better just
stop it!
No.
CHRISTIAN
Still hugging her from behind, he tries to kiss her but she
shifts her leverage by stepping her left foot behind his
right leg so that her hips are behind his hips...she opens
her arm across his chest and quickly turns...forcing him to
fall backwards...hitting the edge of the swimming pool...and
finally plunging into the water...Tanner runs for her room
without even looking back.
Bobbing to the surface and treading water, Christian is angry
but, even more, thoroughly embarrassed as his friends laugh
and whoop!
60.
CHRISTIAN (CONT'D)
That’s it, Tanner! You’ll never fix
what’s wrong with you. I must be
crazy to even want to try!
FADE OUT.
NEXT MORNING - DAWN.
IMAGE OF CHRISTIAN’S HAND ADJUSTING CAMERA LENS. ZOOM BACK TO
REVEAL Christian returning to the couch in the garden, as he
lays on the couch next to the girl from the previous night.
He pretends to be asleep, wakes, spots one of his cameras on
a side table, moves to grab it and...
93
INT MAIN ROOM, SPANISH VILLA - DAWN
93
Christian walks into the main room of the house where he
stops to point the camera at himself...
CHRISTIAN
Now, let’s go below the surface,
let’s go for the truth.
He crosses to try the door to Tanner’s room but it’s locked.
94
INT. TANNER’S ROOM, SPANISH VILLA
94
Christian knocks.
CHRISTIAN
Tanner...please...
Tanner opens up, then sleepily climbs back into bed,
Christian follows. But only after...fetching another camera
from his backpack and setting both cameras to record...
CHRISTIAN (CONT'D)
Truly it’s dangerous to get on your
bad side.
Tanner turns and sees his bloody knee barely covered by a
makeshift bandage.
TANNER
So everything was a lie?
He doesn’t seem to understand.
61.
CHRISTIAN
That girl? Tanner, that was
nothing, nothing happened, not even
sure how she got there...I was a
little drunk...
TANNER
Thanks, but no, thanks. I’m not
going to go through this. Maybe we
should just stay friends, you know?
(under her breath)
I am not very physical anyway...
CHRISTIAN
No, no, no...I am so sorry. Nothing
happened with her! Honestly, look
at me. Look at my face. I’m sorry.
TANNER
Right. You say love rocks. I think
I’ll just take your word for it and
not chance it right now...
CHRISTIAN
Ok, it’s true, I was a player. But
when I met you, everything changed.
They look into each others eyes for a long and searching
moment.
CHRISTIAN (CONT'D)
Too bad we didn’t get that dive of
mine from more angles...
TANNER
(joking but almost meaning
it)
Shall we do it again?
CHRISTIAN
No. But seriously, why would you do
that to me? Embarrass me in front
of everyone, my friends, like that?
TANNER
You were embarrassed? You? You were
drunk!
(looking away)
Anyway, my mom is an alcoholic...
it’s a sore point.
CHRISTIAN
I understand.
62.
TANNER
(snappy)
No, you don’t. I lost my
mother...she turned into an
alcoholic when I was seven...
CHRISTIAN
I’m sorry... You won’t ever have to
worry about losing me.
A long look.
TANNER
She started drinking after my
brother died in childbirth...
(shaking her head)
There’s so much...I wish I could
say to her...
CHRISTIAN
Do it. Say it right now.
(pointing at the cameras)
Go on. Record it. Since my mom died
I’ve recorded at least a hundred of
these. And I know she hears me. Go
ahead. I’ll leave you alone. Talk
to her.
Filming her with his camera, he positions another one to
record her from a medium shot.
CHRISTIAN (CONT'D)
It will be like a “video journal”.
I’ll give you some privacy.
(starting for the door)
I’m going to do the very same
thing. As you know, my sore spot is
my father...
Tanner stares at the camera...
CLOSE ON TANNER. She struggles to find the words...
TANNER
Hi, Mom. Okay, first of all I want
to tell you that I love you, even
though I may not say it enough...
Christian slips out the door.
63.
95
EXT. CLOSE ON CHRISTIAN IN THE GARDEN - DAWN
95
CHRISTIAN
Hi, Dad...there was one time, when
Mom was in her coma and I was alone
with her. She seemed like...she was
already gone...I said to her, “Mom,
just wake up!”...And then suddenly,
she did. She opened her eyes and we
were able to talk... it was like a
miracle...she just woke up like
that!
Christian tries hard to hold back the tears.
CHRISTIAN (CONT'D)
I thanked her for all that you both
had done to make my childhood so
wonderful. For her love, for every
celebration, birthday, Saint’s
Day...and I told her that whatever
happened, she need not worry about
me. I always would be fine.
Now the tears come.
CHRISTIAN (CONT'D)
After she died, it was like I lost
you, too... you were so depressed.
So sad. When I needed you most...
you were not there for me. I know,
Mom was everything to you. I
understand. But I miss you, too. I
miss seeing you working in the
garden...stopping to hand a
beautiful flower to everyone who
passes...just to see them smile...
96
INT. CHRISTIAN’S HOSPITAL ROOM - DAWN
96
Christian looks up from his computer to find Rafael peering
over his shoulder, tears running down his face.
RAFAEL
Christian...oh, Christian...
Father and son embrace. Both have waited far too long for
this moment. Then...
64.
CHRISTIAN
I need your help, Dad. I must find
out what the police report says.
Happy to finally be of some help to his son, Rafael dries his
eyes, squares his shoulders and goes as Christian turns back
to the computer screen.
97
EXT. THE HOSPITAL - DAWN
97
THE BELL IN THE TOWER CHIMES EERILY as a mist swirls.
98
INT. CHRISTIAN’S ROOM
98
Rafael dozes in the chair. Christian sleeps fitfully.
99
INT. THE CORRIDOR OUTSIDE TANNER’S ROOM
99
Peter and Linda sleep on their respective benches.
100
INT. TANNER’S EMERGENCY ROOM
100
She is awake, her breathing labored.
TANNER
Christian...? Christian...?
101
INT. CHRISTIAN'S HOSPITAL ROOM - DAWN
101
His eyes snap open. He sees his sleeping father. Filled with
a dark premonition, he climbs out of bed, limps past Rafael,
and out the door.
102
EXT. STAIRWELL - DAWN
102
The hospital is dark and quiet, only a handful of nuns in
medical habits making rounds. Christian struggles up the
steps, every move sending pain shooting through his body.
Blood from his wound seeps through the bandages. Reaching the
second landing, he almost swoons, braces himself while he
recovers, and continued toward her room and the sleeping
forms on the two benches.
103
INT. TANNER’S EMERGENCY ROOM - DAWN
103
Christian slips in. His heart almost skips a beat as he sees
her in the first light just starting to stream in the window.
So pale, her breathing so labored. He loops the little chain
from the Botel onto one of the machines. The tiny heart
dangles. Tanner awakens, sees it, and smiles.
Tanner?
CHRISTIAN
65.
TANNER
Christian? Can’t...breathe...
CHRISTIAN
I’ll get your doctor.
TANNER
No... talk to me...are you
in...trouble..?
He takes her hand and kisses her tenderly on the cheek.
CHRISTIAN
Not officially. Not yet. If I did
this to you I want to die.
She tries to shake her head, rejecting this entirely.
TANNER
No. You wouldn’t...hurt me...I know
you so well...
In the morning light Christian appears lost, confused.
CHRISTIAN
It’s like waking up from a dream,
only it takes forever. Were you and
I lovers?
The question makes her smile. If only she were stronger, she
would laugh.
TANNER
Keep watching...
She winces with pain and a look of fear comes into her eyes.
CHRISTIAN
I better go.
TANNER
Don’t. Please. I’m scared...
CHRISTIAN
Shall I get your parents?
TANNER
No...just you...
Christian moves as close as possible in spite of all the
wires and tubes. It’s hard for her to find the strength to
talk.
66.
TANNER(CONT'D)
Christian, I thank God for the day
I met you. For bringing us
together.
He starts to cry.
TANNER (CONT’D)
Don’t cry...I thank you for showing
me what love is.
He tries to smile, forcing back his tears.
TANNER (CONT'D)
Christian...remember...our
plans...dreams?
He searches his brain but just can’t remember.
Plans?
CHRISTIAN
TANNER
Swimming...with dolphins...in
Tahiti...backpacking through
China...having six babies...
Suddenly, Christian’s brain kicks in with the rest.
CHRISTIAN
(whispering)
Growing old together.
Her eyes sparkle.
TANNER
You...remember!
She smiles the sweetest smile, etched forever on his soul.
CHRISTIAN
Yes...I’ve been watching our movie.
Your songs are so wonderful. You
are an amazing “partner.”
She spots tears running down his face and smiles at his
words.
TANNER
We are...more than...partners...
remember?
67.
CHRISTIAN
I was a stranger when I came to you
the last time. When you said “I
love you” I didn’t know what to
say.
TANNER
And now...?
CHRISTIAN
I love you. I love you more than I
ever loved anyone. This is beyond
words...
Tanner’s eyes reflect a deep happiness. Then her breathing
becomes difficult again. Pain shoots through her body.
CHRISTIAN (CONT'D)
Relax. Breath slowly.
Scared....
I'm here.
TANNER
CHRISTIAN
TANNER
Christian...?
Yes?
CHRISTIAN
TANNER
If what...we had..is...all
I...get...it's okay.
Carefully maneuvering through all the tubes and wires, he
crawls onto the bed beside her, and tenderly encloses her in
his arms.
CHRISTIAN
(whispering)
One, one-thousand, two, onethousand, three, one-thousand...
Her breathing stabilizes as she falls asleep in his arms with
a smile on her face.
ON LINDA who has entered and witnessed the exchange.
LINDA
(kindly)
You must go now.
68.
He gently kisses Tanner’s lips and awkwardly climbs off the
bed. He and Linda look at each other. She nods. Then squeezes
his hand and helps him quietly leave. She crosses back to
take Christian’s place at Tanner’s side. Tanner wakes to find
Christian gone and her mother looking down at her.
Mom...??
TANNER
LINDA
Darling, you’re awake. I’ll get
your father.
TANNER
Wait... Please, Mommy...I need you
to promise me... something..?
LINDA
Anything, sweetheart, but shouldn’t
your father be-TANNER
You...first. Promise you won't...
let Daddy hurt Christian...
Unnoticed by either of them, Peter ENTERS and stops just
inside the doorway.
LINDA
Tanner, sweetheart, it's not up to
us what the police do.
TANNER
I...know Daddy ...has...powerful
friends... Promise. Please!
I promise.
LINDA
Tanner smiles and relaxes against her pillow. Peter stares.
TANNER
Now...get Daddy...
Peter steps forward.
PETER
I'm here, darling.
TANNER
Come closer...both of you...
69.
They hover tightly over her. Tanner struggles to collect her
strength.
Listen...
TANNER (CONT’D)
PETER
Save your strength, sweetheart.
TANNER
No! Don’t...interrupt! Listen...
PETER
Go on, Tanny. I’m listening, I
promise.
TANNER
Please...if this is all I
get...it’s okay. Please...I wish
you...what we had...this
summer...Mommy, Daddy, I wish you
could have a summer like that...
Tanner smiles, eyes closing, brow smoothing as if...the
weight of the world slowly lifts. Then suddenly...
ALARMS GO OFF!
PETER
No! Tanner, don’t die! I won’t let
you!
LINDA
Darling, please, hold on! You can
do it!
The Doctor and Sister Martina rush in, TWO NURSES hurry close
behind. Sister Martina fits a resuscitation mask over
Tanner’s face as the Doctor reaches for the defibrillator.
104
EXT. THE COURTYARD - DAY
104
Christian is just stepping out of the elevator when he hears
URGENT VOICES from the floor above. He looks up.
105
HIS POINT OF VIEW - EXT. THE DOOR TO TANNER’S ROOM
Too many nurses and doctors.
No...!
CHRISTIAN
105
70.
106
INT. THE HALLWAY OUTSIDE TANNER’S ROOM - DAY
106
Christian limps out of the elevator, gaping in horror at the
bustle of activity going on inside Tanner’s room.
CHRISTIAN
No! Tanner??
107
INT. TANNER’S EMERGENCY ROOM - DAY
107
Christian pushes through the circle of nurses to see: Tanner
lying there....seconds after death...her parents hovered over
her, Linda sobbing uncontrollably, Peter ghostly pale...
Christian searches out Sister Martina who nods, confirming
the worst.
CHRISTIAN
No! No! No!
He sweeps past Peter and Linda to hurl himself on the bed,
his arms encircling Tanner in one final embrace.
CHRISTIAN (CONT’D)
Tanner! Come back to me! Please,
come back!
PETER
How dare you!
Peter yanks Christian away from his dead daughter. For a
moment they are face to face. Rafael steps between them.
RAFAEL
Please, sir...my son and I are
deeply sorry for your loss.
Peter glares at Rafael. Then, abruptly, he turns away, before
his emotions completely obliterate his crumbling self
control.
PETER
(staring down at Tanner,
eyes filling with tears)
You think you can protect your
child? You can’t!
(sinking to his knees)
Oh God...all is lost...
Linda tries to hold Peter but he recoils from her touch and
leaves the room in shock. Orderlies rush in, quickly ushering
Christian out.
71.
108
INT. CHRISTIAN’S HOSPITAL ROOM - DAY
108
He thrashes wildly as he is practically carried in, Rafael
and Sister Martina close behind.
CHRISTIAN
(hysterical)
Why her?? Oh God, why?? It should
have been me!
Sister Martina administers a shot of a strong sedative, but
it barely has any effect. Christian knocks a glass flying and
kicks an orderly in the stomach. Rafael hugs his son and
squeezes him tightly until Christian finally settles.
RAFAEL
I know how you feel. It’s horrible.
To love someone so much. To have it
taken away.
CHRISTIAN
I killed her! I should die, too!
RAFAEL
No! Learn from me.
You?
CHRISTIAN
RAFAEL
I wanted to die. To be with your
mother. To punish myself for
living. But this only caused harm.
To me. Most of all, to you.
(relaxing his hold )
We don’t know what happened. But
this time I will not desert you.
The sedative finally starts to kick in. The orderlies lift
Christian onto the bed and reach to fasten restraints.
RAFAEL (CONT'D)
That will not be necessary. I will
not leave his side.
The orderlies look to Sister Martina. She signals for them to
leave the restraints off. Then leads them out of the room,
leaving Rafael alone with the now unconscious Christian.
Tears flow from the proud Spaniard’s eyes. He tenderly slips
his arms around his son and weeps.
72.
LATER THAT NIGHT, slumped in a chair, Rafael wakes to find
Christian sitting up in bed, eyes closed, lips moving
silently.
RAFAEL (CONT'D)
What are you doing?
CHRISTIAN
(feverishly)
I am trying to go back in
time...stop it from happening.
I try hard enough I can do it.
If
RAFAEL
This is not your movie, Christian.
You can’t just make it go in
“reverse”...
CHRISTIAN
But I must! I must!
Rafael tenses...is Christian losing his mind?
109
INT. THE TARLTONS HOTEL SUITE - NIGHT
109
Linda lies on the bed, staring up at the ceiling, tears
flowing freely as she HEARS a KNOCK on the door.
LINDA
Just a minute.
She composes herself, opens the door and accepts an envelope.
BELL BOY
Delivery from the US Embassy.
LINDA
(giving him a tip)
Thank you.
She opens the envelope, finding a smaller one inside,
addressed to her. Recognizing Tanner’s handwriting, she opens
it quickly...only to find a DVD inside that she slides into
her computer...Then, staring at the screen, she suddenly
seizes the back of a chair for support...as...
TANNER APPEARS ON THE COMPUTER SCREEN - VIDEO-BLOG STARTED AT
THE VILLA IN SPAIN. Adjusting the camera angle to record
herself...
73.
TANNER
Hi, Mom. Okay, first of all I want
to tell you that I love you, even
though I may not say it enough...
A NEW ANGLE: INT. THE BOTEL CABIN - DAY
TANNER (CONT'D)
(her eyes light up)
Mom, I thought love was just a
fairy tale but I was wrong. It is
real... I am so very, very much in
love right now. Can you believe it,
Mom? We got engaged! His name is
Christian, and he is from
Barcelona. He is so affectionate.
Constantly hugging, holding hands,
touching or leaning against me...He
is like Pepe Le Pew.
(laughing)
Guess I’ll have to break it to Dad
gently, huh?
(serious now)
You and Daddy were not, like the,
um...the ideal couple in expressing
your love physically. I mean I
actually thought it was improper to
show affection. Now, I can see that
the warmth of being held when I
need it is so...wonderful. It makes
me a different person...
She zooms in close on her face.
TANNER (CONT'D)
I thought I would send you this DVD
because I feel like we don’t really
ever talk. I mean really talk.
...and I know that losing the baby
took a lot out of you. I remember,
I was so little, I didn’t know what
to do. I wish I could have done
something...
(tears welling)
It was like you were gone. I
couldn’t talk to you. You didn’t
listen. I guess it had an effect on
me all these years. I couldn’t even
allow myself to feel love...
(voice almost breaking)
My wish for you is that you forget
the past, just forgive and forget.
And don’t give up on love, Mom.
(MORE)
74.
TANNER (CONT'D)
I know you love Daddy.
(trying to joke)
You wouldn’t have put up with him
this long if you didn’t...
(serious again)
One day, I hope you’ll again feel
what I feel right now...with
Christian. He is the love of my
life, and I am his...I love you so
much, Mommy, please, please, come
back to me!
LINDA
(sobbing)
My baby...my poor baby...
She closes the laptop, and begins to collect the liquor
bottles strewn about the room and dumps them into a waste
basket and places it outside the hotel room door.
110
EXT. THE STREETS OF BUCHAREST - DAY
110
Rain falls in sheets as Peter crosses to a gated mansion
where a brass plaque reads “The United States Embassy,
Romania”. A U. S. MARINE sentry stands attention at the gate.
PETER
Freddy Maguire, please.
The Marine stares at Peter. Hair wet and tangled, clothes
disheveled and soaking, struggling to keep from breaking down
completely.
PETER (CONT'D)
Just tell him Pete’s here and it’s
an emergency...
The Marine considers...
111
INT. THE AMBASSADOR’S HOME - NIGHT
111
Freddy greets Peter at the door with a hug.
FREDDY
I’m sorry, Peter.
Angelica hugs Peter next, wrapping him in a towel, patting
his dripping face.
ANGELICA
I’m so sorry. She was so looking
forward to seeing you in London...
75.
Angelica and Freddy cross to sit on an elegant sofa in an oakappointed study and watch a pale, shaken Peter slump into a
chair as a heavy rain pelts the windows.
ANGELICA (CONT'D)
...She was going to show you how
far she’d come with her songwriting
and singing...
PETER
(barely audible)
My God, Freddie, I just don’t know
what to do. I’ve lost...she was
everything to me...there’s was so
much...I wanted...to do for her...
ANGELICA
She was your whole world. And she
felt the same way about you. She
knew you disapproved of her choices
this summer. But all she wanted to
do was prove to you that she was
just following her heart. Please
know this, Peter.
She reaches across to take Peter’s hand.
ANGELICA (CONT'D)
She was saving the news to surprise
you...Sony loved Tanner’s demo and
they were ready to sign her...
Peter stares at her.
PETER
Linda told me that Tanner’s stuff
was at some “botel”. But I thought
she was supposed to be staying with
you...
ANGELICA
She was. In our guest suite, the
boy was at the botel. I met
Christian at the Embassy’s Summer
Fest for the first time...
(recalling)
Tanner was so happy...we sang
together, you know, she must’ve
told you?...
Peter looks at her. First he’s heard...since he and Tanner
hadn’t been speaking...
76.
ANGELICA (CONT'D)
To imagine...it was the last
time...I...Oh, I almost forgot,
earlier today I found an envelope
in Tanner’s room that was addressed
to Linda...I sent it to your hotel
just before you arrived.
Peter hasn’t heard a word. He stares out at the driving rain.
FREDDY
(changing the subject)
Pete, I still think we should call
Linda, bring her over.
PETER
Forget it. Probably into her
second bottle of vodka by now.
FREDDY
I can only imagine how incredibly
difficult this must be for you...
Peter slowly turns to stare at him.
FREDDY (CONT’D)
Pete, Tanner’s gone. But Linda’s
still here.
ANGELICA
You need to be with each other
now...The last tragedy forced you
apart, at least for Tanner’s sake
let this one bring you two back
together...
PETER
It’s a dream. Linda’s not the
person I married any more. With all
due respect, Freddy, she and I have
not been “together” for years.
FREDDY
(crossing)
How can we help?
PETER
I want justice, Freddy. Justice!
Freddy and Angelica share a sad look.
77.
112
INT. CHRISTIAN’S HOSPITAL ROOM - DAY
112
Christian peers at his laptop.
113
IN THE FOOTAGE: INT/EXT. GERMAN LOCATIONS - DAY AND NIGHT 113
As in Spain, this segment also begins with a kind of music
video featuring Tanner’s new composition “My First Step”.
The images are inspired by Hamburg, intercut is FOOTAGE of
Christian’s advancing courtship.
114
IN THE FOOTAGE: EXT. STRANDPERLE -
DAY
114
Strandperle is a magic place at the bank of the river Elbe.
Christian and Tanner...among a few young couples sitting in a
circle in the sand, enjoying the afternoon sun. They shoot an
interview with two cameras. (A third camera films the scene
in a long shot.)
A PRETTY GIRL
Attraction, chemistry, friendship..
an open heart.
HER BOYFRIEND
Passion, communication...the
ability of two people to talk to
each other and know what each other
is feeling...
A YOUNG MAN
Ingredients of love? Equal parts,
um...physical attraction, emotional
capability...as well as great sex.
YOUNG WOMAN
Honesty, trust, in order to really
open up. Respect for one another,
sharing, and yes, sex...of course,
everyday, very important.
A YOUNG GIRL
Love is something I used to dream
about as a child and have grown to
fear as an adult.
How so?
TANNER
78.
A YOUNG GIRL
I was 14, he was 19. If he was mean
to me, I would claim it was because
he knew my parents didn’t like him.
(shaking her head)
In my mind he was perfect and I was
nothing without him...
TANNER
Let me guess, when he said he loved
you, you believed him.
Yeah.
A YOUNG GIRL
TANNER
When he said he would never leave
you, you thought he really meant
it?
A YOUNG GIRL
How do you know?
TANNER
The exact same thing happened to me
when I was around that age. I
thought I wasn’t pretty enough for
him.
A YOUNG GIRL
But you’re beautiful.
TANNER
And so are you. Seems we’re both
scared of love now, right?
A YOUNG GIRL
I don’t want to get hurt again,
that’s for sure.
It is one of those days when everyone seems to be kissing.
Tanner pans off a kissing couple and onto Christian who is
attaching his camera to the extension, and sticking it in the
ground to cover them in a two shot.
The FOOTAGE CUTS to a new angle.
CHRISTIAN
What are we?
TANNER
What do you mean?
79.
CHRISTIAN
What are we? There is all
this...high voltage electricity
between us. I feel it. You feel it.
See all those happy, romantic
people? I want to be one of them.
TANNER
What’s stopping you?
You.
CHRISTIAN
When she continues shooting images around the beach next to
Strandperle, he crosses, takes her camera and positions it on
the ground where it can record them from another angle.
CHRISTIAN (CONT'D)
Tanner, look at me. We’ve been
travelling together, sleeping in
the same bed...
TANNER
And you agreed that Hamburg would
be the end of our journey. My
father’s going to be waiting in
London...
CHRISTIAN
I need more.
TANNER
And if it can’t be?
CHRISTIAN
Then I assume you wouldn't mind...
(gestures toward the river
bank filled with girls)
...???
He shakes his head and walks off. Tanner picks up her camera
to video him as he wanders along the Elbe.
INTERCUTTING THREE CAMERAS. Christian quickly canvasses the
beach before settling on his “prey”, an ATTRACTIVE GIRL in
her late 20s lying on a towel sunbathing face up.
The camera in Froggy’s grip on the blanket shows Tanner’s
face clearly. Her eyes burn with jealousy but she continues
recording the moment. Christian approaches the girl on cat
feet. Kneeling, he gently kisses her cheek. The girl opens
her eyes and stares up at this gorgeous, tan young man with
the hair in his eyes. Seconds pass.
80.
Finally, a smile teases her lips as she puts her arms around
his neck and pulls him slowly into an embrace but Christian
quickly frees himself and walks back to Tanner.
Tanner marches to him with equal determination and drops her
camera a few inches from Christian.
That’s it!
TANNER
CHRISTIAN
Okay, you win. I will take you to
the airport so you can go back to
your father. Love is not a one way
street.
The camera records her surprised reactions UPSIDE-DOWN.
115
BACK IN THE PRESENT
115
Images from the laptop reflect on his taut face.
116
IN THEIR FILM: EXT. THE HAMBURG AIRPORT - DAY
116
INTERCUTTING THREE CAMERAS (POSITIONED BY CHRISTIAN TO COVER
THE ACTION. ONE RECORDING FROM FROGGY’S GRIP ON A WALL)
Christian and Tanner’s “good bye”. Staring into each other’s
eyes. Then Tanner kisses her hand, plants it on his lips,
takes her bag and goes through security. Walking along the
glass partition, she doesn’t look back as Christian holds a
sheet of paper against the glass: I LOVE YOU!!! DON’T GO!!!!!
CHRISTIAN
(shouting)
Tanner!
Tanner stops and returns to the glass. Placing her hands on
the surface. Christian places his hands on hers, separated by
the glass. Seconds pass, an eternity, then she turns and
continues toward the boarding gate. Heart-broken, Christian
reaches for Froggy to collect his camera, then suddenly looks
up...Tanner’s running back!
117
NEW ANGLE OUTSIDE SECURITY - DAY
117
Tanner runs around the partition, halting in front of him.
Christian holds out a tiny heart on its chain. Tanner smiles.
With a flick of her finger she makes it spin.
ILOVEYUOILOVEYOUILOVEYOU.
81.
TANNER
Ten second rule?
She falls into his arms and they hold each other, for ten
full seconds. People pass. Some odd looks. Tanner smiles
proudly.
I did it.
TANNER (CONT'D)
CHRISTIAN
How about the one second rule?
TANNER
One second?
CHRISTIAN
Yes. One...
He leans in and kisses her passionately.
118
BACK IN THE PRESENT :
118
Christian smiles...
119
THE FOOTAGE: INT. HOTEL ROOM - VARIOUS ANGLES - DAY
119
The door to their hotel bursts open. They are kissing as
Christian continues to film them. Tanner pulls away with a
naughty smile. Taking his camera, she positions it on a
window sill and gestures for him to lie down on the bed.
TANNER
If this is going to be our first
time... then can we do this my way?
Any way.
CHRISTIAN
TANNER
Maybe...I would feel less nervous
if I could... cover your eyes...
CHRISTIAN
(lovingly)
Okay.
She blindfolds him with a scarf, lights a small votive candle
and clicks on music from her computer. Finally, she switches
the cameras off.
82.
120
BACK IN THE PRESENT :
120
Christian shuts his computer down and closes his eyes.
Remembering how, after all they’ve been through together, she
was about to become his lover.
121
IN HIS MEMORY - FLASHBACK
121
Tanner lies down beside him and starts to touch him gently.
When he tries to respond, she shakes his hands away and
returns them to his side. She takes off his shirt and
continues her slow exploration of touch. He laughs playfully.
CHRISTIAN
I've created a monster.
Shhhh.
TANNER
She touches, she smells, she tastes, she kisses his lips
lightly. He can't help himself. He draws her into his arms.
They kiss with abandon. He takes off his blindfold and sees
tears of joy running down her cheeks. He whispers softly in
her ear in Spanish...the moment he flashed back to earlier...
CHRISTIAN
Te amo mucho, mi amor, mi amor.
122
INT. CHRISTIAN’S HOSPITAL ROOM - NIGHT
122
Christian is crying. Now he remembers the summer in all its
glorious detail, and his pain is intense. He truly loved this
girl. Rafael appears at his side, his face drawn with worry.
RAFAEL
It’s coming back?
CHRISTIAN
So hard to watch...I loved her so
very much...and I killed her!
123
INT. THE TARLTONS HOTEL SUITE - NIGHT
Peter enters, trash basket of liquor bottles in hand.
PETER
What’s this??
123
83.
Linda looks up from Tanner’s laptop.
LINDA
I don’t want that in here anymore.
Peter stares, unsure what to make of her.
PETER
Did a package come from the
Embassy?
LINDA
It was from Tanner...a DVD...
(turning back)
I’m watching the movie they made of
their summer.
Peter crosses to glare at it.
LINDA (CONT'D)
We didn’t know her, Pete. There is
so much we didn’t know.
(to him, hopefully)
Watch it with me.
Peter grabs the laptop.
LINDA (CONT'D)
What are you doing?
PETER
It’s evidence now.
Evidence?
LINDA
For what?
PETER
For the trial.
She stares at him, shaken.
LINDA
But we gave our promise.
PETER
You gave your promise. Luckily for
our daughter’s sake, someone around
here cares about justice.
LINDA
You were there! You heard what she
said.
84.
PETER
Get some sleep. I’ll give this to
the police in the morning.
He ejects the DVD but Linda grabs it from him.
No!
LINDA
It’s mine.
She grabs the laptop from his hands as well.
LINDA (CONT'D)
This is all I have left of her!
He considers, glaring at her. Then sighs and starts
undressing for bed.
LINDA (CONT'D)
Please, let’s watch their movie
together. She had an amazing
summer. She knew true love with
this boy.
PETER
True love? He took her for a ride.
Used her to pay for his little
student film. I have the credit
card entries to prove it.
LINDA
A few thousand dollars? She was so
excited about this...Look at what
all your control has done to her,
to us!
PETER
You’ve picked the wrong side,
Linda. Someone has to fight for
her.
LINDA
Fight for us, Peter...
LINDA (CONT'D)
(diplomatically)
Let’s sleep on it?
PETER
(surrendering)
Okay, let’s sleep on it.
She awkwardly embraces him. He gawks at her.
85.
124
EXT. THE HOSPITAL COURTYARD - DAY
124
Rafael enters to find INSPECTOR IAGO DZUMARK, 44, Bucharest
Police, sitting on one of the stone benches. Rafael senses a
looming presence and turns to look up...Above him, a hardeyed and tight-lipped Peter...glaring down... savoring his
moment of victory...retribution...The hollow-cheeked
policeman gets up, pulls a document from his inside pocket
and hands it to the Spaniard.
INSPECTOR DZUMARK
Mr. Santiago, I am Inspector
Dzumark, Bucharest Police. It is my
duty to inform you that this
morning your son was charged with
vehicular homicide.
Rafael feels his knees weaken.
RAFAEL
What changed from yesterday?
INSPECTOR DZUMARK
The death of Miss Tarlton.
RAFAEL
There is no hard evidence that he
was driving...
(Pointing to Peter)
But her father is a powerful
American Senator...
INSPECTOR DZUMARK
Sir, if you are implying that our
government is some pawn in the
hands of-RAFAEL
I have a son to protect!
INSPECTOR DZUMARK
Mr. Santiago, I strongly urge you
to retain legal counsel for your
son immediately. Good day, sir.
Dzumark starts to walk away. Rafael looks back up at Peter.
The men glare at each other. Then Rafael calls to the
inspector.
RAFAEL
Wait! Can you tell me what will
happen?
86.
INSPECTOR DZUMARK
If the prosecution proves “gross
negligence”, your son will be your
age before he is free again.
Dzumark nods gravely and goes. Rafael turns to Peter. Peter
stares, then turns and walks away.
125
INT. HOSPITAL - ANGLE ON CHRISTIAN’S DOOR
125
The door is partially ajar as Rafael approaches and looks in
to see Christian sitting up in bed, watching the footage on
his laptop. Deciding not to interrupt with the bad news,
Rafael pulls the door closed.
Christian’s face glows with the changing colors flashing on
his laptop screen.
126
IN THE FOOTAGE:
DAY/NIGHT
INT/EXT. VARIOUS ROMANIAN LOCATIONS -
126
As in Spain and Germany, this montage also starts with a
stylishly-edited sequence of Tanner’s singing...She’s written
a love song dedicated to Christian. The song continues for
the ENTIRE SEQUENCE. The FOOTAGE is intercut with their
adventures on the road... Their thoughts and feelings about
the other people they encountered...the folk spirits and
customs they learned of... the colorful villagers who assured
them that a “magical world” dominated by supernatural forces
and inhabited by demons and fairies still persists...Mixed in
are also shots of magnificent landscapes, churches, the
Dracula castle, glacier caves, the Danube and, of course
Bucharest with its exotic blend of old and new.
Other intercut FOOTAGE shows Christian and Tanner...very much
in love now.
127
FOOTAGE: EXT, A HIGH ALTITUDE HIGHWAY - DAY
127
The instrumental solo of Tanner’s love song continues as
Tanner steers the Renault along a high road crisscrossing the
Romanian mountains...past breathtaking landscapes...
128
ON CHRISTIAN, VARIOUS QUICK SHOTS AND ANGLES - DAY
128
Who collects his cameras that were getting an establishing
shot of the car driving. Tanner pulls the car over and
changes to the passenger seat as Christian quickly re-rigs
two cameras in the car, then hops in and they drive off.
87.
129
FOOTAGE: EXT, MOUNTAIN ROADS - DAY
129
As the instrumental solo comes to an end, Tanner begins to
sing the next verse of her new love song. Christian glances
at her, beaming with adoration. Her zest for life, her
passion and joy are so infectious...He spots the sign for
“Paragliding” and turns onto a small mountain road...soon
crossing a bridge over a whitecapping river fed by a majestic
waterfall. They follow a narrow, bumpy, winding dirt
road...bordered by a steep decline.
130
FOOTAGE: EXT, THE TOP OF THE MOUNTAIN - DAY & MAGIC HOUR 130
Finally, they reach the top of the mountain and are greeted
by his friends FLORIN, 45, and CHRISTI (40), experienced
pilots who prepare their Paramotor tandem flight. He helps a
surprised and impressed Tanner harness up, then quickly rigs
the three cameras for the flight. Tanner and Christian on the
motorized paraglider start out just skimming the ground
before launching alongside Florin and Christi, in their own
paragliders, out over the edge of the mountain...
Soaring, utilizing thermal and ridge lift... With them we
experience the pure joy and sensation of flying...overwhelmed
by the “immense force of beauty” as the mountain reveals its
mysteries.
131
FOOTAGE: EXT, THE TOP OF THE MOUNTAIN - SUNSET
131
Afterwards, the pilots give Christian and Tanner a lift back
in their jeep to the top of the mountain.
132
THE FOOTAGE: EXT, MOUNTAIN ROADS - SUNSET & TWILIGHT
The sportscar speeds along...as...THE LOVE SONG ENDS.
TANNER
Slow down! What are you trying to
do, kill us?
CHRISTIAN
Lighten up. We just had the thrill
ride of a lifetime and you weren’t
scared then...
TANNER
If you could drive as smooth as you
fly then I wouldn’t have to ask you
to pull over right now.
132
88.
CHRISTIAN
Okay, okay. I’m driving slow.
He drives 3 miles per hour.
TANNER
Don’t have to go that slow!
Christian stops the car.
You drive.
CHRISTIAN
Tanner switches seats and they drive on in silence. Dusk
makes it difficult to see as the road narrows even more now.
Tanner’s alarmed as she sees the steep drop-off right beside
her. She slows to brake at a turnout.
TANNER
We should stop. It’s too dangerous
to keep going like this...
CHRISTIAN
We’ll camp here then. It’ll be
romantic...that is, if you can get
yourself into a better mood.
(grinning)
See we only have one sleeping
bag...and it’s a double...
TANNER
Well. It looks like you’re sleeping
on the rocks.
133
FOOTAGE: EXT, A MEADOW IN THE MOUNTAINS - TWILIGHT
133
Christian and Tanner sit by a camp fire, drinking wine and
eating cheese and bread, their IPod playing softly. The
cameras record from different positions and angles. The
twilight sky, mountains and wildflowers surround them.
CHRISTIAN
I want to apologize. You’re right.
I’m still kind of an adrenaline
junkie. I know it’s not healthy.
But somehow I always felt there’s
someone on the other side watching
over me.
(looking into her eyes)
I need to tell you something...
89.
TANNER
You can tell me anything, you know
that.
CHRISTIAN
Sometimes I find myself wanting to
do...dangerous things. When I
started Base Flying at Montserrat,
I went with my cousin, Enrique. We
were always doing stuff together...
competing with each other.
(a deep breath)
You know, it really gives you an
immense rush, confronting your
fear...and it killed Enrique...
(moist eyes)
I should not have challenged him.
All this happened right after I...
lost my mother...and then my father
disappeared inside himself...but
that’s no excuse...it was all my
fault Enrique died...
Tanner takes him in her arms to comfort him.
TANNER
How is it your fault?
CHRISTIAN
I had jumped a few times before, it
was all good... He always wanted me
to dare me...
TANNER
What is Base Flying?
CHRISTIAN
You jump from a mountain like we
did today, you only have a flying
suit, not a kite, and you try to
get as far from the rock wall as
possible. Then it is just like
flying, soaring around, and you
keep your arms out and kind of go
wherever you look.
TANNER
And how do you land?
CHRISTIAN
By releasing your parachute at the
last second...
(eyes filling)
(MORE)
90.
CHRISTIAN (CONT'D)
But if you fly too close...any
little stick or bush, a rock, a
tree could...
TANNER
That’s why you and your father
aren’t talking?
CHRISTIAN
(nodding)
I had to get away from there and
was very lucky to get a scholarship
to USC. Ironically, I applied with
footage from our Base Jumping. The
whole village blamed me, including
my father.
Tanner hugs him tight.
134
THE FOOTAGE: EXT. - LATER THAT NIGHT
134
The fire’s almost out. Tanner and Christian snuggle in their
double sleeping-bag. They kiss.
TANNER
You have to forgive yourself. It
wasn’t your fault.
CHRISTIAN
You are so wonderful, Tanner, I
love you.
135
IN THE PRESENT - TIGHT ON CHRISTIAN’S FACE
135
He’s overwhelmed. He closes his laptop and lies back.
136
EXT. MONTSERAT MOUNTAIN NEAR BARCELONA, SPAIN- DAY
CHRISTIAN’S NIGHTMARE -
136
Christian, his cousin Enrique and a few other adrenaline
junkies prepare for their Wingsuit Flying. Christian attaches
cameras to their helmets. He shoots Enrique and two others
jumping out over the edge of a mountain ridge, into a 3000
feet void. A moment later he follows, shot by another of his
friends. They all look like flying bullets, but thanks to
their wingsuits, they are able to glide with such precision!
They are doing rolls in the air, then keeping their arms out,
they are soaring around, gliding... Christian shoots Enrique
who is flying too close to the ground, buzzing by a mountain
road on a steep decline before HITTING a little tree at 100
miles an hour...
91.
137
IN THE PRESENT - TIGHT ON CHRISTIAN’S FACE
137
HORRIFIED, Christian awakens with a start, covered in sweat,
tears in his eyes...Realizing it was another bad dream, he
lies back. Rafael is asleep in a chair.
138
EXT. THE HOSPITAL COURTYARD - MORNING
138
Linda marches past the guard. Sister Martina meets her and
escorts her to Christian’s room.
139
INT. CHRISTIAN'S HOSPITAL ROOM - MORNING
139
Sister Martina and Linda enter the room.
CHRISTIAN
Mrs. Tarlton...
LINDA
Hello, Christian.
SISTER MARTINA leaves.
LINDA (CONT'D)
I watched your movie. I know you
loved my daughter and that she
loved you. I am deeply grateful for
that. To know she experienced love
before...that she...
(starts to cry)
I’m sorry...I can’t stop.
CHRISTIAN
Me neither.
She moves to him and they embrace.
LINDA
I’m sorry...I know how much you’re
hurting...and to have this police
matter hanging over your head.
CHRISTIAN
I deserve it. I did this to her.
Linda pulls away at last and dries her eyes as Rafael enters.
NEW ANGLE TO INCLUDE RAFAEL. Rafael is taken aback to see
Linda with Christian...who can’t help but sense a certain
energy between his father and Tanner’s mother...
92.
RAFAEL
Excuse me. I did not know you had a
visitor.
LINDA
Mr. Santiago, I came to tell you
that I want to pay for Christian’s
legal expenses. I want to do
anything I can to help.
Why?
RAFAEL
LINDA
Because I promised my daughter.
I’ve already spoken to a woman who
might be good. If you like her,
I’ll pay her retainer...
RAFAEL
That is very kind of you, Missus,
but won’t this make your husband
even more determined to hurt
Christian?
LINDA
I have no choice.
RAFAEL
But we do. We cannot afford to make
this into a war. We will retain our
own lawyer.
(looking at Christian)
I will find the money somehow...
LINDA
Mr. Santiago, I have my own
accounts. Suppose I give you the
retainer in cash? No one ever has
to know...
Rafael considers, then nods. She hands him a card.
LINDA (CONT'D)
Thank you. My cell number’s on the
back.
140
INT. THE TARLTONS’ HOTEL SUITE - DAY
140
Peter enters to find a note on the bed: I NEED SPACE. I MOVED
INTO ANOTHER ROOM IN THE HOTEL.
93.
I LEFT TANNER’S LAPTOP SO THAT YOU CAN SEE WHAT A WOMAN OUR
DAUGHTER BECAME THIS SUMMER. LINDA.
Peter spots the laptop lying closed on the desk. He snatches
up the room phone and dials.
PETER
Mrs. Tarlton’s room, please.
The phone rings and rings. Finally a generic MESSAGE
GREETING...
PETER (CONT'D)
Linda, it’s me...
Not knowing what else to say, he hangs up. He looks at
Tanner’s photo by the bed, biting his lip to avoid crying.
141
INT. LINDA’S HOTEL SUITE - DAY
141
Linda’s sitting on the bed, hand grasping the silent phone,
her eyes wet with emotions...She slowly removes her hand from
the phone.
142
EXT. A SIDEWALK CAFE IN BUCHAREST - DAY
Peter has coffee with Freddy and Angelica.
PETER
Everything set?
FREDDY
I hope you know what you’re doing.
The press is all over this...and we
don’t need an international
incident right now.
ANGELICA
Freddy is right, Peter. Go home
with Linda. Help her get through
this.
PETER
And how do I do that?
FREDDY
Maybe just try loving her again.
PETER
I’ve never stopped.
142
94.
Peter turns to watch a striking, elegant woman crossing the
square in their direction with a self-assured stride.
PETER (CONT'D)
See that woman? The way she walks?
Independent, confident, such
energy! That was Linda when I met
her.
FREDDY
(laughs)
You need glasses, pal.
Linda.
That is
Linda marches confidently up to the table.
change in her is even more pronounced.
Up close, the
LINDA
Hello Angelica, Freddy. Peter, we
need to talk.
She walks a short distance off and he leaves the table to
join her.
LINDA (CONT'D)
(turning back)
Freddy. I hope you’re not
railroading this kid?
Freddy turns.
ANGLE ON PETER AND LINDA. She gets right to the point.
LINDA (CONT'D)
I’ve made a decision, Peter. If you
insist on carrying on this vendetta
against that boy, I’ll do
everything I can to stop you.
You?
PETER
LINDA
I am not the person I was, not
anymore.
PETER
How long will that last?
95.
LINDA
I have taken my last drink. All
that matters to me now is honoring
our daughter’s last wish. We can do
it together...
(touching his arm)
start a new life...
Peter finds himself drawn to her in ways he hasn't felt in
many years.
PETER
If only I could believe that.
LINDA
You can. You know where to find me.
She kisses his cheek. They share a moment of sadness. As she
strides away he watches her, long forgotten stirrings rising.
143
INT. IN A POLICE SCREENING ROOM - DAY
143
Rafael watches video of the key prosecution witness, Angelica
Maguire, wife of the Ambassador.
ANGELICA
(on the Police video)
Yes, Tanner is the daughter of a
friend of my husbands. She was
staying with us. Her fiance,
Christian Santiago, was staying at
a hostel. They seemed to be very
much in love. After we heard the
news, a member of the staff told me
that he remembered serving
Christian three glasses of
champagne, all in very quick
succession, at the Embassy’s Summer
Fest.
(face clouding)
When they left, he seemed to be
very upset. And, yes, he was
driving.
The video’d statement ends. Rafael shakes his head. A YOUNG
FORENSIC COP enters, slipping a file out from under his
jacket. He crosses to Rafael and holds up the file. Rafael
sighs and pulls a wad of cash from the breast pocket of his
coat and hands it over. The young cop smiles, drops the file
on the table and exits. Rafael opens it...incident photos
that show exactly where Christian and Tanner were found in
relation to the wrecked sportscar, a crushed video camera...
96.
144
INT. THE BUCHAREST POLICE WAREHOUSE - DAY
144
The young cop leads Raphael into a large vehicle bay.
YOUNG FORENSIC COP
Toxicology show your son was
drinking, the girl was not. He was
the one driving. His body was
closest to the driver side...
He points to the mangled sportscar.
YOUNG FORENSIC COP (CONT'D)
They haven’t processed it yet so
don’t touch anything.
When his escort is called away, Rafael slowly circles the
wreck. Abruptly halting to peer into what appears to be the
twisted mess of what was once the dashboard...
RAFAEL’S POINT OF VIEW. A stub of something...catches his
eye...barely visible...he studies it...then carefully reaches
to pry it free...and stare at it....A CAMERA...
145
INT. CHRISTIAN’S HOSPITAL ROOM - DAY
145
Christian’s eyes widen as Rafael watches him peer at the
battered camera.
CHRISTIAN
Where did you find this?
RAFAEL
The police have not yet completed
their examination of the wreck.
CHRISTIAN
You took this from the car? Dad,
you could get in serious trouble.
Christian hesitates, then clicks it on, and rewinds.
lifts his hand...is it shaking?
RAFAEL
What’s the matter?
CHRISTIAN
I..I’m afraid.
He looks up at his father.
He
97.
RAFAEL
Perhaps it will show us...
Christian looks down at the camera. Hand now steady, he hits
play and stares at the screen...
146
THE FOOTAGE IN THE BATTERED CAMERA: INT. RECORDING STUDIO 146
Tanner sings one of her new songs. In the control booth,
Angelica and a recording engineer listen as Christian videos
everything...
147
INT. CONTROL BOOTH
147
ANGELICA
(to engineer)
Wait...stop...
TANNER
(from the studio)
What? Something wrong?
ANGELICA
(to intercom)
Don’t worry about making a mistake.
Just go for it. No hesitation. Ok?
You sound so much more confident
when we rehearse...
(To the engineer)
One moment, ok?
She crosses into the studio to Tanner...
148
INT. RECORDING STUDIO
148
ANGELICA
Stop thinking about the melody.
Think about your words and your
feelings. Just let the story fly.
The music will follow...let
yourself be free. Let’s just
capture the excitement of Tanner
singing one of her songs...that’s
what we all want to hear. You have
such an amazing voice!!!
Tanner nods, nervous but getting it. She glances at Christian
who gives her a thumbs up.
98.
TANNER
(turning back to Angelica)
Thanks for all your support...
Angelica waves off the thanks, smiles warmly and heads back
to the booth.
149
INT CONTROL BOOTH
149
Angelica watches Tanner begin again...much, much improved...
Tanner looks over at Christian and smiles, then gives
Angelica a big thumbs up.
ANGELICA
Now she’s feeling it. This is the
Tanner people are going to stand in
line for hours to pay to see!
CHRISTIAN (V.O.)
I’ll be the first one in line...
150
CONTINUING FOOTAGE FROM THE BATTERED CAMERA:
AMERICAN AMBASSADOR’S MANSION - DAY
INT. THE
150
Angelica Maguire is singing at an afternoon embassy gala,
Summer Fest...to an audience of nearly a hundred local
DIGNITARIES...
She is a skilled vocalist and her audience rewards her with
robust applause.
ANGELICA
Thank you all for coming. I’d like
to introduce a wonderful new artist
that I recently discovered...Tanner
Tarleton!
Angelica invites Tanner to join her. More applause...
ANGELICA (CONT'D)
Tanner has a uniquely soulful sound
that I think the world needs to
hear. Tanner and I just finished
her first demo album...and it’s
nothing short of fantastic. I have
copies here for anyone who’d like
one...
More applause.
99.
ANGELICA (CONT'D)
I’m very proud and excited to
announce that Tanner and I will be
traveling to London on Monday to
meet an old friend of mine who just
happens to be a top executive with
Sony Music UK...to discuss a
possible record deal!
She wraps an arm around a now blushing Tanner...
ANGELICA (CONT'D)
And now, I want to share a little
part of this project with all of
you...as a very special Summer Fest
treat...Tanner will present her
first live performance of one her
new songs!
She hugs Tanner as the guests applaud even louder.
151
INT. CHRISTIAN’S HOSPITAL ROOM
151
Christian fast forwards. Then hits PLAY...
152
THE BATTERED CAMERA: INT. AMBASSADOR’S MANSION - DAY
152
Angelica and Tanner sing a duet. IN THE BACKGROUND OF THE
SHOT...Christian sees himself shooting Angelica and Tanner as
they perform...using his camera extension to catch a variety
of odd angles. Suddenly he is distracted by something and
EXITS SHOT. Angelica and Tanner finish singing as the guests
applaud enthusiastically. Christian returns, clearly
disturbed. He takes a glass of champagne from a WAITER and
knocks it back. He takes another and downs it.
153
INT. CHRISTIAN’S HOSPITAL ROOM
153
Christian’s face drains of color as he watches.
RAFAEL
What is it, Christian?
Christian doesn’t answer.
154
INT. CHRISTIAN’S CAR/ EXT. AMBASSADOR’S MANSION - DAY
154
Tanner videos Christian as she gets into the sportscar.
Angelica and Freddy wave to them from the mansion entrance.
100.
ANGELICA
When are you coming back?
TANNER
Don’t worry, I have the key...
Christian jumps behind the wheel, clearly angry, slams his
camera into Froggy’s grip on the dash where it shoots them
both. Tanner gets in the car recording him with her camera.
PAN TO the door of the mansion where Freddy and Angelica are
waving goodbye.
TANNER (CONT'D)
What’s wrong, Christian?
He answers by flooring it and racing off. Tanner aims her
camera on him.
CHRISTIAN
I knew you were hiding something!
TANNER
What’re you talking about? Slow
down!
CHRISTIAN
Let’s see, you and the McGuires...
TANNER
Look out! Don’t you see that
truck?? Christian!
TWO SETS OF BRAKES SCREECH...TWO VEHICLES! Tanner’s CAMERA
flies onto the packs wedged behind the seats and GOES DARK.
155
BACK IN THE PRESENT :
155
Rafael’s shoulders sag. Christian drops back onto his pillow,
destroyed.
RAFAEL
What is it? Did you see what
happened?
CHRISTIAN
It’s all there...I was drinking!
was driving! I killed her!
I
101.
RAFAEL
Christian, please, try to rest. We
will get the best defense lawyer we
can, I promise. We will fight this
together.
CHRISTIAN
(suddenly remembering)
The other camera...
RAFAEL
There were two?
CHRISTIAN
Three. It’s out there.
be.
156
It has to
INT. CHRISTIAN’S HOSPITAL ROOM AND COURTYARD - NIGHT
156
Christian stands at his door, peering out through a small
crack. Sister Martina is leaving for the night. Returning to
his bed, he stuffs pillows under the covers to form the shape
of a person. He pulls on jeans and a T-shirt from the clothes
Rafael retrieved from the hotel. Taking his camera and the
police PHOTOS of the accident site...He hears LOUD VOICES in
the hallway. He sees THREE POLICEMEN in front of the nurses
office, ANOTHER COP standing guard near the front door,
talking with a nun. There is no way out...
157
INT. CHRISTIAN’S HOSPITAL ROOM AND BATHROOM - NIGHT
157
He enters the bathroom, climbs on the toilet, opens a window,
and pulls himself up and out onto the roof.
158
INT. SISTER MARTINA’S OFFICE
- NIGHT
158
She glares angrily up at the POLICEMEN, one holding a
warrant.
SISTER MARTINA
(in Romanian, subtitles)
He is too sick to go to jail!
She plants herself in their way. The ranking cop nods and one
of the others lifts her out of the doorway like a paper doll.
159
INT.
CHRISTIAN’S HOSPITAL ROOM - NIGHT
The Policemen enter...
159
102.
160
EXT. THE HOSPITAL - VARIOUS SHOTS - NIGHT
160
Christian crawls across a tiled roof. When he reaches the
edge overlooking an alley, he waits for a policeman to run
past below before lowering himself to a ledge and dropping to
the ground. Checking both directions, he moves off.
161
INT. A CITY BUS - NIGHT
161
Christian digs some coins out of his jeans and pays his fare.
The bus is only about a third full and he easily finds a seat
by a window. As the bus drives on, he notices a uniformed
POLICEMAN sitting across the aisle...who seems to be staring
at him...Christian turns to the window and tries to calm his
racing heart.
162
THE ACCIDENT SITE - NIGHT
162
Christian gets off the bus and approaches an intersection
where scattered debris from two distinct vehicles still mark
the accident’s point of impact. Dried bloodstains mark where
he and Tanner were found.
Tight ON CHRISTIAN’S FACE. Tears fill his eyes, but he
remembers his purpose and starts to investigate the area.
163
EXT. NEW ANGLE NEAR THE INTERSECTION - NIGHT
163
A solitary car passes along the highway through the
intersection. Fewer cars travel the small road and they must
stop, giving the larger road right of way. Christian can find
no stop sign at first. But as he goes closer, he spots it.
OVERGROWTH of a roadside bush all but hides it. He quickly
checks the police photos.
164
TIGHT ON THE POLICE PHOTOS
164
In painfully stark detail...a crushed video camera...a large
vehicle...a tiny battered sports car...two bodies...lying
near the driver’s door...Christian’s slightly closer than
Tanners...glass and metal debris everywhere.
165
BACK ON CHRISTIAN
In the moonlight...his face hardens as he looks down one
road, then the other, trying to imagine how it happened.
165
103.
166
IN CHRISTIAN’S MIND - VARIOUS SHOTS AND ANGLES
166
In a SILENT sequence, he sees the big oil truck coming...the
little Renault Caravelle approaching along the smaller
road...He cannot focus his mind’s eye on the truck’s
driver...or the occupants of the car...but immediately
apparent is...the Renault isn’t slowing down...at all! Why?
The vehicles collide! The tiny car flies in the air!
Christian and Tanner jettison into the sky! The oil rig
careens off the road into trees!
167
BACK IN THE PRESENT - NIGHT
167
Christian shouts...
No!!!!!!!!
CHRISTIAN
He looks around, afraid he’d been overheard, but he’s still
alone at the site.
CHRISTIAN (CONT'D)
Where is it? It has to be here
somewhere.
He turns slowly, looking high and low. Nothing. He waits for
a car to cross and then goes to the other side of the
intersection.
168
EXT. ON THE OTHER SIDE OF THE INTERSECTION - NIGHT
168
Christian resumes his search. The stop sign they ran is
almost obscured by the foliage. He aims his camera at his
discovery.
CHRISTIAN (V.O.)
The stop sign is blocked by this
bush. Up close you might be able to
see it, but from any distance, not
a chance.
Then he spots something. Almost totally camouflaged by the
trees. He starts running toward his discovery.
Froggy?
CHRISTIAN (CONT'D)
Nearly fifty feet from the point of impact, the little Frog
camera-holder is caught on a low tree branch.
104.
Christian grabs a long stick and dislodges Froggy who drops
into his arms.
Okay!
CHRISTIAN (CONT'D)
Now we’re getting somewhere.
He keeps searching as HEADLIGHTS appear. He looks around for
cover. Spots a thick, gnarly trunk of a tree...
169
EXT. ROADSIDE FOLIAGE - NEW ANGLE ON CHRISTIAN
169
As he quickly hides, he sees TWO POLICE VEHICLES pull up on
the side of the smaller road...Inspector Dzumark and an
OFFICIAL in a business suit step out of a dark sedan as TWO
POLICE OFFICERS hop out of a van. One carries a pair of
hedging shears. Christian aims his camera...
170
EXT. INTERSECTION - SHOOTING FROM CHRISTIAN’S CAMERA
170
With Dzumark and the Official looking on, the officer with
the shears cuts away the branches of the overgrown bush that
blocks the stop sign...now making the sign clearly visible.
The cops carefully collect the cuttings and carry them
towards where Christian is hiding and filming them...
171
EXT. ROADSIDE FOLIAGE - NEW ANGLE ON CHRISTIAN
171
He slowly retreats as the men get closer. Did one of them
just spot him? Christian holds his breath. He is lucky...
172
EXT. THE ACCIDENT SITE - NIGHT
172
Christian sees the TWO POLICE VEHICLES drive away. He resumes
his search.
173
INT. INSPECTOR DZUMARK’S SEDAN - NIGHT
173
The sedan lights (and those of the van parked behind) are
off. The carnivorous detective watches Christian from a
distance. In the van a policeman seems to ask for permission
to arrest Christian, but Dzumark signals to wait.
174
EXT. THE ACCIDENT SITE - ON CHRISTIAN - NIGHT
174
Unaware he’s being watched, he completes a first circle of
searching the area without success. As he starts again, a
NIGHT BIRD SWOOPS across the face of the moon, catching his
eye.
105.
175
CHRISTIAN’S POV :
175
The night bird soars across the sky, disappearing behind some
tall trees.
176
TIGHT ON CHRISTIAN’S FACE :
176
That’s when he sees it.
177
HIS POV :
177
Dangling from the limb of a tree nearly 30 yards away is his
camera!
178
EXT. NEAR ACCIDENT SITE - ANGLE ON THE TREE
178
Christian climbs, stopping suddenly, his head spinning. then
resumes his climb. He reaches up and he has it.
179
EXT. BASE OF THE TREE - ANGLE ON CHRISTIAN
179
Christian drops, sits on the grass, Clicks on the camera, and
presses rewind. Then presses play.
180
IN THE FOOTAGE: INT. THE AMBASSADOR’S MANSION - DAY
180
Angelica’s addressing the guests...
ANGELICA
And now, I want to share a little
part of this project with all of
you...as a very special Summer Fest
treat...Tanner will present her
first live performance of one her
new songs!
He saw this moment from Tanner's camera. In his version, he
videos Tanner’s performance.
BACK AT THE BASE OF THE TREE. Christian fast-forwards...
181
IN THE FOOTAGE: INT. THE AMBASSADOR’S MANSION - DAY
181
Christian films Angelica and Tanner’s duet. Freddy walks
across the room to take a call and camera follows until it
frames the Ambassador in a close shot.
106.
FREDDY
Yes, Peter, she is staying with
us...We should meet you and Tanner
in your hotel, say 6:00pm for the
concert...Good. Does she know she
is going with you directly from
London to New York?
A WAITER with a tray of filled champagne glasses fills the
screen. As he walks off, the duet concludes. Christian
watches himself reach for a glass of Champagne and then,
quickly, for another. Suddenly Tanner appears, taking the
phone from Freddy and crosses to a quiet corner turning her
back to the camera.
CHRISTIAN (V.O.)
I don’t believe this...
BACK AT BASE OF THE TREE - CHRISTIAN FAST-FORWARDS AGAIN...
182
IN THE FOOTAGE - INT. CHRISTIAN’S CAR - DAY
182
This new angle is from Froggy's perspective. Christian is in
a foul mood as he speeds away from the Ambassador’s Mansion.
CHRISTIAN
Let’s see, you and the Maguires...
TANNER
Look out! Don’t you see that
truck?? Christian!
The loud SCREECHING OF BRAKES from two vehicles! This was the
point when the other camera went dark but this one is not so
kind. A SMALL TRUCK passes closely, its DRIVER yelling
profanities in Romanian.
CHRISTIAN
So, you and the Maguires are going
to London, why?
TANNER
What do you mean? You know why. The
meeting with the Sony UK executive
Angelica set up.
CHRISTIAN
Your father’s coming to London.
Tanner is stunned speechless.
107.
CHRISTIAN (CONT'D)
I overheard the Ambassador. When
were you going to tell me? Or maybe
you weren’t going to tell me that
you are going back with him to New
York? When was I supposed to find
out?
TANNER
It’s not like that. I‘ll explain.
Just slow down!
ANOTHER BUMP
CHRISTIAN
What, did you ask your father to
come get you, now that you tired of
your little summer fling??
TANNER
(sarcastically)
Yes! Yes! Yes!
183
EXT. BASE OF THE TREE - IN THE PRESENT, THE ACCIDENT SITE 183
HEADLIGHTS ILLUMINATE CHRISTIAN’S FACE. Inspector Dzumark and
an OFFICER with a raised pistol get out of the sedan.
Christian lifts his arms, resigned to his fate. The officer
handcuffs him and leads him to the van. Dzumark picks up the
camera...
184
INT. THE BUCHAREST JAIL - MAIN HOLDING TANK - NIGHT
184
From an observation window, Peter and Dzumark watch
Christian, slumped in a corner, surrounded by all types of
lowlifes and hardened criminals. Vomiting drunks, trembling
addicts, hallucinating paranoids and dangerous psychotics.
This is his future now. For at least the next quarter
century. If he manages to survive.
Peter’s jaw clenches as a pair of surly JAILERS roughly shove
Christian out of the small packed cage and into a narrow
hallway to await entrance to an interrogation room. He
stumbles into a beefy, tattooed fellow prisoner who smilingly
steadies him, them slams a fist into his gut, doubling him
over. Other waiting prisoners laugh as the jailers ignore it
all and light cigarettes. Christian pulls himself upright
against a wall. Expressionless. Enduring it...as though it’s
the least he deserves. Then he sees Peter watching him...
108.
Peter’s eyes flicker. Doubt? At his “victory”? “Retribution”?
Is any of this worth anything anymore? He’s lost his
daughter...what meaning does all this have now? How can he
justify the monstrous future to which he is condemning this
boy?
185
INT. THE TARLTONS’ HOTEL SUITE - NIGHT
185
PETER
Mrs. Tarlton’s room, please...
The phone rings and rings, a generic MESSAGE GREETING..
PETER (CONT'D)
(taking a breath)
Linda, it’s me. I just wanted to
let you know... I’m not going after
the boy anymore.
He seems about to say more, wants to
and spots the laptop lying closed on
easy for him. He sits down and opens
at the screen, scanning all the file
the computer...something catches his
LAPTOP SCREEN: A SMALL FILE ICON...A
suddenly rings.
Yes?
186
say more... He hangs up
the desk. This is not
the computer. He peers
icons. About to close
eye...
ON TANNER’S
SMILING SHARK...His cell
PETER (CONT'D)
INT. SENATE BUILDING, WASHINGTON, DC- DAY
186
Peter’s Chief Aide is on a cell, stepping away from other
Staffers huddling in a corner.
CHIEF AIDE
We’ve got a problem.
187
INT. THE TARLTONS’ HOTEL SUITE -DAY
187
Peter lowers the cell, considers, then lifts it to his ear
again. INTERCUT:
PETER
I am in mourning, Scott. Let’s talk
another time.
109.
CHIEF AIDE
I’m afraid this can’t wait, sir.
I’ve been trying to reach you for
days. Morgan is waffling.
PETER
(sharply)
I’ll get to it when I can.
CHIEF AIDE
Sir, that may well be too late.
The vote is tomorrow.
Peter suddenly freezes, staring. Shocked at what he’s
suddenly feeling...or not feeling.
PETER
You know what? Doesn’t matter. Do
what you want. I don’t care
anymore.
Peter clicks off. Then peers back at the laptop screen. The
file icon...THE SHARK. His daughter’s “pet” name for him. He
clicks on the icon...And almost staggers backward as TANNER’S
FACE FILLS THE SCREEN...In full CLOSE-UP, his daughter speaks
to him eye to eye...
TANNER
Hi Daddy...I know you love me very
much. You’ve always tried to
protect and guide me. So many times
I heard you say “trusting anyone is
a fool’s move” and “only the weak
forgive”...that’s probably the way
it is in your business but...
(getting emotional)
Daddy, I'm sorry, I’m breaking all
those rules, I trust and forgive,
I’m honest and very, very open with
Christian...
(regaining control)
This is real, Daddy. I’m in love.
Please don't be upset about my
decisions. I needed to experience
life on my own. And it sure has
been an experience...
(smiling)
I know that you’ll disapprove of
Christian. But you don't know
anything about him. I’m so happy,
Daddy! You'll have to get to know
him. You'll understand.
(MORE)
110.
TANNER (CONT'D)
He treats me like a queen, he is so
loving...and when he holds my hand which is all the time - and looks
into my eyes it's amazing. I never
knew how wonderful love could be...
(serious now)
I'm sure this is what you and Mom
felt when you first met. But I
never saw you two this way. Why?
Peter holds back tears...
PETER
You know I tried everything...
ON THE SCREEN TANNER CONTINUES...
TANNER
I know Mom drinks too much...and
you always have to work so much...
maybe if you took some time off and
got to know each other again...
Now it’s Peter’s turn to smile...a little...
TANNER (CONT'D)
I love Christian. And I love to
speak with my heart by singing!
Please understand that I am truly
an artist, a musician...not a money
peddler...
Peter winces.
TANNER (CONT'D)
I've decided to move to L.A. with
Christian. We want to get married.
Not right away but this is what I
want, Daddy. Please think about
things before you get mad and have
a heart attack. I love you.
Peter stares at the screen, when there’s a KNOCK at the door.
He closes the laptop and crosses to open the door. Freddy.
A bulky manila envelope in his hand.
FREDDY
I got this from Dzumark. I...I
watched it already.
He hands over the package. Peter opens an official seal and
pulls out the camera that Christian found in the tree.
111.
FREDDY (CONT'D)
It details the last minutes leading
up to the accident. I rewound it to
the start. Just push that little
button.
Naked fear on his face, Peter pushes the button and stares.
188
THE FOOTAGE: INT. CHRISTIAN’S CAR - DAY
It’s at a few seconds before Christian stopped watching.
CHRISTIAN
What, did you ask your father to
come get you, now that you tired of
your little summer fling?
TANNER
Yes! Yes! Yes! If you don’t slow
down and talk to me it’s over.
CHRISTIAN
It’s over anyway. You’re going
home with your father.
TANNER
No I’m not! He threatened to cut
off my credit cards if I wouldn’t
see him in London this time.
Christian, we can talk about
it...You know we can.
Her words penetrate his brain and he immediately take his
foot off the gas and pulls to the side of the road.
TANNER (CONT'D)
I didn’t want you to know because I
wanted to talk to him first. That’s
all.
CHRISTIAN
I shouldn’t have...I’m sorry.
TANNER
No, I’m sorry. I should have told
you immediately...
CHRISTIAN
Remember the girl you interviewed
in Hamburg, the one who was scared
of love...?
188
112.
Yeah?
TANNER
CHRISTIAN
Well, it’s the same for me. I was a
player before I met you because
it’s been so hard to trust again. I
didn’t let myself love, I didn’t
care about it. It’s been easier to
think that “Freedom is just another
word for nothing left to lose”.
Well, I have something to lose now.
TANNER
I know. I just know what you
mean... I love you.
(a thought)
Will you do something for me?
Anything.
CHRISTIAN
TANNER
It’s just a gesture...would you ask
my Dad for his blessings? Tell him
how spending the rest of your life
with me would make you the happiest
man in the world?
He nods. They kiss tenderly.
CHRISTIAN
Maybe I had a little too much
champagne back there. Will you
drive?
Sure.
TANNER
They switch places in the car.
189
INT. THE TARLTONS’ HOTEL SUITE - IN THE PRESENT - DAY
Peter turns to Freddy, his face ashen.
PETER
She was driving?
FREDDY
You might as well see the rest.
Peter turns back...
189
113.
190
IN THE FOOTAGE: INT. CHRISTIAN’S CAR
190
Christian takes the camera from Froggy’s grip filming the
road ahead.
CHRISTIAN (V.O.)
I remember a little fruit stand a
few hundred yards up ahead.
LIGHT floods the lens for a moment.
TANNER
Wow, the sun is really bright. You
see my sunglasses anywhere?
CHRISTIAN (V.O.)
No. We can pull over and look for
them.
TANNER
(squinting)
That’s the stand, isn’t it? I hope
they have grapes.
The car slows. The GLARE FADES to reveal a little fruit
stand...closed.
Damn.
CHRISTIAN
Tanner pulls back onto the road and the LENS FLASHES HOT.
191
INT. THE TARLTONS’ HOTEL SUITE - IN THE PRESENT
191
Peter is transfixed. It’s like a loved one listening to a
black box after a plane crash. He doesn’t want to hear this.
But he has to.
192
IN THE FOOTAGE -INT. CHRISTIAN’S CAR
SHARDS OF LIGHT flash...
TANNER
Didn’t we cross another highway
somewhere around here?
CHRISTIAN (V.O.)
Yeah, it’s coming up soon. You’ll
need to have to stop there...
192
114.
TANNER
I don’t see a stop sign.
Ahead the camera shows the stop sign mostly hidden by bushes
but the BRIGHT LIGHT from the brutal overhead sun obscures it
even more. The SOUND OF AN APPROACHING VEHICLE. They both
spot the danger at the same time, but it’s way too late.
CHRISTIAN
Look out! Oh, God...
TANNER
I can’t...!
THE SOUND OF TEARING METAL. The screen goes crazy as the
Camera FLIES into the air on impact, catching SPINNING
GLIMPSES of everything...a tiny sports car flying end over
end like a toy...a large truck skidding wildly into tall
trees...the airborne forms of Tanner and Christian...shards
of glass and metal...trees filling the lens with green...
bursts of a blood-red sun. A SURREALISTIC SLOW MOTION DANCE
OF FORCES IN MOTION.
193
INT. THE TARLETONS’ HOTEL SUITE - BACK IN THE PRESENT
193
Peter’s in shock. He turns to Freddy.
PETER
It was an accident.
FREDDY
That’s right. They were kids. They
had a fight. They made up. It was
nobody’s fault...unless you want to
blame the city for the branches
masking the sign, or that bloody
sun.
PETER
I put an innocent kid in jail.
194
INT. THE BUCHAREST JAIL - DAY
194
Rafael’s at the counter, angry and losing his patience.
RAFAEL
When can I see my son? I want to
speak to my son.
TWO POLICEWOMEN at the desk hesitate. Nervously exchanging
glances. Linda arrives.
115.
RAFAEL (CONT'D)
I’ve been trying to get in for over
an hour. I think something awful’s
happened.
A door opens and Dzumark appears:
INSPECTOR DZUMARK
Ms. Tarlton, Mr.Santiago, good
afternoon.
(to Rafael)
Your son is free to go. All charges
have been dropped. He will be
released shortly at the press room
next door.
Rafael and Linda look at each other. Stunned.
195
INT./EXT. THE AMBASSADOR’S LIMO - DAY
195
Little American flags flying, the Ambassador’s limousine
pulls up outside the police station as Linda and Rafael come
through the doors. Peter stares out at his wife and the
Spaniard.
FREDDY
Ok, stop right there. Put that
thought right out of your mind. I
know Linda...even if you don’t.
PETER
She’s changing...
FREDDY
Yes. Back into the person you fell
in love with.
196
EXT. THE BUCHAREST POLICE STATION - DAY
Rafael and Linda stop and turn to face each other.
RAFAEL
I watched their movie many times,
and all those extra files.
LINDA
Then you know that my daughter
thought we had a lot in common.
196
116.
RAFAEL
We both have a loss we couldn't
cope with. She was right..
(smiling)
Perhaps I shouldn't say this, but
you remind me of my wife...
LINDA
Thank you. I think she would want
you to do what Tanner would want
for me, and that is to open
ourselves up to life again.
They smile at each other, with mutually admiration.
197
INT. THE AMBASSADOR’S LIMO
197
Peter reaches for the door handle...
FREDDY
Word of advice? Just stop
interrupting and listen.
Peter nods. They get out of the car.
198
EXT. BUCHAREST POLICE STATION - DAY
198
Rafael and Linda watch Peter, Freddy, and Security Officers
approach.
PETER
Mr. Santiago, I am so sorry. I was
wrong...so very wrong.
Inspector Dzumark appears, signaling them to come inside.
199
INT. THE BUCHAREST POLICE STATION - PRESS ROOM - DAY
199
Peter and Freddy follow Rafael and Linda into a large room
crowded with bustling, buzzing press.
INSPECTOR DZUMARK
(in Romanian, subtitles)
The Romanian government has come to
a decision in the State versus
Christian Santiago.
A POLICEMAN enters the room with a handcuffed Christian.
117.
INSPECTOR DZUMARK (CONT'D)
Christian Santiago, the Romanian
government is dropping all charges
against you. You are free to go
home.
Christian almost collapses with shock and relief.
CHRISTIAN
Free? But why? What happened?
PETER
The footage one of your cameras
recorded proved that you were not
the driver of the car.
LINDA
Tanner was driving? My God...
Cameras flash as photographers grab shots of Dzumark removing
Christian’s cuffs. Rafael tearfully embraces his son. Linda
embraces both Christian and his father.
LINDA (CONT'D)
Tanner got her wish.
Peter approaches with obvious, if uncharacteristic, humility.
PETER
I apologize. I am so sorry for how
I acted...I wouldn’t blame you
if...I saw your movie and I know
that you wanted to spend the rest
of your life with my daughter...
please forgive me...
Christian looks at him for a long moment.
CHRISTIAN
Of course. Tanner would have wanted
it that way.
PETER
And, listen, I want to talk to
you...the movie...you and Tanner
made...I want to help you finish
it...and maybe help you with the
things you want to accomplish in
the future...
Christian can’t quite comprehend what Peter’s getting at...
118.
PETER (CONT'D)
I mean, I may not know a thing
about making movies or anything
artistic but...
(trying to find the right
words)
I sure do know about getting things
done...maybe I could kind of
help...What I’m trying to say
is...I want to help you follow your
dreams.
Christian can’t believe what he’s hearing.
PETER (CONT'D)
I failed Tanner in that regard so
maybe by helping you...well, maybe
I can somehow make it up to
her...she had faith in you...
Christian can only nod. Peter looks like he wants to hug
Christian, but just can’t make his arms move. It’s
Christian’s move.
CHRISTIAN
(hugging Peter)
Thank you.
RAFAEL
Let’s go home, Christian.
Rafael puts his arms around his son’s shoulders and leads him
out. Peter watches Linda rush after them.
200
EXT. THE POLICE STATION - DAY
Linda catches up with Rafael and Christian.
LINDA
Mr. Santiago. I want to thank you.
She reaches to take Rafael’s hand. Christian looks on,
sensing the chemistry between his father and this woman.
RAFAEL
Rafael, please. And it is I who
should thank you...Linda.
Rafael holds onto her hand as Peter and Freddy come out.
200
119.
ANGLE ON PETER. He watches them from the steps. This is not a
moment he can control, and for the first time in his life he
knows it.
ON CHRISTIAN, RAFAEL AND LINDA. Rafael still holds her hand
and Linda seems in no hurry to let go.
LINDA
Good luck to you too, Rafael. I
hope you find the joy you wish for
in your life.
RAFAEL
I will pray for you, Linda.
Rafael releases her hand as he and Christian hurry off.
NEW ANGLE ON LINDA AND PETER. Peter crosses to her. They
stare at each other.
PETER
She spoke to me.
she spoke to me.
From the grave,
LINDA
I know. She knew me so much better
than I knew her.
PETER
I’ve made so many mistakes.
Tears well up in their eyes.
LINDA
We both have.
PETER
Tanner and Christian...they were
us...not so very long ago.
I know.
LINDA
PETER
I want us to be that way again.
Me, too.
LINDA
PETER
We owe it to Tanner.
120.
LINDA
Yes. Remember what she said about
hugging helping your immune system?
PETER
Oh, I’m ready for a major tuneup...how about you?
She wraps her arms around him like Christian used to do to
Tanner, holding but not pressuring.
LINDA & PETER
One, one-thousand, two-one
thousand, three-one thousand...
The camera slowly pulls back to an aerial shot of
BUCHAREST...
201
EXT. TARLTON ESTATE, FAIRFAX, VIRGINIA - SUNSET
201
A week has passed and all assemble in the sprawling Tarlton
backyard for Tanner’s memorial service. Rafael has a place of
honor next to Linda, Peter and Christian. Freddy and Angelica
are also among the hundred or so guests. Linda and Peter are
mourning but there is a subtle glow returning to their eyes.
They turn to each other and wrap their arms around each
other. Holding on, hugging each other tightly...As they
release each other, Peter stands and crosses to face
everyone.
PETER
For those of you who knew Tanner,
you’ll understand that she was
everything Linda and I could
imagine anybody would want their
daughter to be...And we are
grateful to our beloved daughter
for changing our outlook on life...
Tanny, you are the light of your
mother’s and my life. A beacon that
will shine brightly in our hearts.
I promise you, I’m going to live my
life by remembering what your
journal taught me...I am going to
slow down and take advantage of
what every single minute has to
offer.
(MORE)
121.
PETER (CONT'D)
I am going to live by your
discovery that there are only two
things that make all of us happy,
creativity and communication with
integrity...I am going to listen,
truly listen, to your mom, I am
going to spend time with her and
tell her everyday that I love
her...Tanny, you will always be our
inspiration. You brought us
together again and we won’t let you
down...
This is too much for him. He starts to fall apart. Linda
hurries to join and embrace him. They kiss. Peter, in tears,
puts his arm around Christian.
PETER (CONT'D)
My daughter loved you, and you’ll
always have a home here with us...
Christian steps up and faces the gathering.
CHRISTIAN
Tanner, I am not here to mourn your
death but to celebrate and remember
your amazing life... I was
suspicious of love when we met. You
opened my heart... While working
together on our movie about love,
we learned to become trusted
friends and experienced “that
special thrill of happiness” which
became the title of one of your
songs... It was the best day in my
life when you said “yes” to my
proposal...
(crying)
...life can go by so fast.
(he wipes his tears)
We usually wait until people we
love have gone before we express
our appreciation for them. Let’s
never forget this. The time to love
is now. There is only one way to
repay your gift, mi amor, by
celebrating life to remember you.
Any success I might have, if I swim
with dolphins, go backpacking
through China...you will be there
for all of it. You will be in my
heart.
(introspective)
(MORE)
122.
CHRISTIAN (CONT'D)
I know there will be a time when we
will be together again...
He bows his head for a moment to collect his feelings. There
are few dry eyes in the crowd. Peter takes Linda’s hand and
together, they embrace him. Rafael watches them and smiles.
CHRISTIAN (CONT'D)
Tanner and I spent the summer
asking anyone who would talk to us
'What is love?' This is what
Tanner discovered about love.
A projector beams FOOTAGE ON A LARGE OUTDOOR SCREEN:
202
EXT. BARCELONA PARK - DAY
202
Tanner...that first day...
TANNER
You really want to know? Love
sucks!
Christian has created a montage of candid moments...Tanner’s
conflicts and triumphs on her journey of discovery...
Including:
203
INT./EXT. TANNER MOMENTS MONTAGE
Tanner reading from her laptop...
TANNER
“The best thing a father can do for
his children is to love their
mother”...that’s fabulous, isn’t
it, Christian?
Tanner sitting in a cafe...
TANNER (CONT'D)
She’s right. “Live fully with
abandon, love totally without fear.
Hope splendidly. And never, ever
relinquish your dreams”.
Tanner reclining by a riverbank...
203
123.
TANNER (CONT'D)
Christian, did you know that
according to the Corinthians, “Love
always protects, always trusts,
always hopes and always
perseveres...” And that was written
2,000 years ago!
THE FOOTAGE ENDS over various scenic shots of Bucharest...
Tanner sings an original song about love, “That Special
Thrill Of Happiness”, celebrating all that she discovered in
her journey. She never looked so beautiful, never been so
free. Love has transformed her. She is complete.
As the song ends, Tanner smiles and looks up to see an
AMERICAN BALD EAGLE...SOARING ACROSS THE SKY... STREAKING
HIGHER AND HIGHER...AN AERIAL CAMERA FOLLOWS...FARTHER AND
FARTHER AWAY...DISAPPEARING INTO A CLOUD...
THE END.