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If You Love Me

Extremadura, Spain, 1805.
A fugitive bandit and a young English aristocrat, James Warmouth, are on the run from the royal guard. Exhausted, Warmouth sees one last hope: seeking refuge with the family of his fiancée, Cecilia.

Sent to find her, the bandit devises another plan. He convinces Warmouth to hide in the mines of Almadén and takes his place. As the Englishman vanishes, the bandit grows wealthy and forges a new identity.

1808.
Now a respected landowner, he marries Cecilia, who believes him to be James Warmouth. A child is born. But as war engulfs the Iberian Peninsula, the past resurfaces: a former lover plots her revenge, and the real Warmouth is about to return.

  • Louis Gamazo de Roux
    Writer
  • Project Title (Original Language):
    Por si me quieres
  • Project Type:
    Screenplay
  • Number of Pages:
    132
  • Language:
    English
  • First-time Screenwriter:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
Writer Biography - Louis Gamazo de Roux

I have worked in the film industry for nearly twenty years, on both major international productions — as an assistant to Alec Baldwin and Joel Edgerton, and as a runner on films directed by Ridley Scott, James Mangold, and David Nutter (Game of Thrones, Season 5) — as well as on independent projects in Spain and Canada.

This hands-on experience, from set work to post-production, led me to recognize the central role of screenwriting as the backbone of any film. After training in editing and motion graphics, I worked as an assistant editor on the documentary Soleils Noirs (dir. Julien Élie), produced by the National Film Board of Canada.

Now based in France, I am developing projects driven by intimate, tense, and character-centered narratives, influenced by filmmakers such as Nicolas Winding Refn, Ruben Östlund, and Asghar Farhadi.

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Writer Statement

I was drawn to IF YOU LOVE ME for the singular way Leo Perutz lets the irrational emerge from within reality itself. In Der schwedische Reiter, the supernatural is never asserted—it lingers, unresolved, blurring the line between fate and illusion. This ambiguity felt inherently cinematic.
In adapting the novel, I chose restraint over emphasis. The film remains grounded in a tangible world yet is quietly unsettled by forces that may be imagined or real. What matters is not the truth of these phenomena, but their effect on perception and choice.
At its core, the story is about identity as an act. The bandit does not merely deceive—he becomes. Set against the upheaval of war, the film explores how far a man can inhabit a constructed self before it collapses under the weight of reality—or something beyond it.