The Model
1. INT. CLASSROOM – DAY
ALEJANDRO (VO)
26 Years Old. A dead mother. A pain in my stomach. The presence of a father who keeps telling me that failure is inherent to my life. A destiny I have to start weaving with another thread.
A sheet of tracing paper reveals the design of a mosque's facade. Two hands wrap the sheet. ALEJANDRO (26), strong and haughty, rests his elbow on the drawing table; he puts his hand to his forehead, brushes his hair away from his face, and looks tragically at MANUEL (25).
MANUEL
Alejandro, the worst thing that can happen to you is that they fail your submission and you have to do it again next semester.
Alejandro puts his hands to his head and looks at his friend with terrible worry. The rest of the students begin to leave the room, except for Julia (22).
ALEJANDRO
Again? We're talking about my thesis!
Alejandro slams his fist on the table and shakes his head in the negative, looks at Julia and the three of them remain silent.
ALEJANDRO
There's only a week left to deliver the damn model and I need more than half of what it costs, and if I work a double shift I won't have time to finish it.
Suddenly, Manuel lights up, snaps his fingers, gets up from his chair and looks seriously and seductively at Alejandro.
MANUEL
There's a little group of guys at the university, I think they're in their sixth semester, who make ends meet by sleeping with women for money. In two or three rounds of "work" you could get enough for the model.
Alejandro stares at him expressionlessly and, after a few seconds, Julia speaks, beautiful and with a pessimistic attitude.
JULIA
But getting into that club isn't so easy, they don't just accept anyone ...
MANUEL
(To Alejandro) But you're not that ugly (Manuel and Julia laugh).
Alejandro, disappointed, lowers his head, crosses his arms, and leans back. Julia paces the room.
JULIA
(To Alejandro) I don't mean to discourage you, but they wouldn't accept you just for three times; and, to top it all off, whoever gets in there has to undergo some kind of training. You won't have enough time.
Manuel makes a gallant gesture with his hand and cheek, and slaps Alejandro in the face.
MANUEL
You wouldn't even need training (smiles).
ALEJANDRO
Nothing. You guys are crazy, I can't even finish it in a week if I don't dedicate the whole day to it. And with the old ladies, I'd have to sleep with at least twenty (the three laugh).
Manuel shrugs and stands up; he and Julia walk toward the living room door. Julia turns to Alejandro and, widening her eyes, says to him with a sinister smile.
JULIA
If not, try it at the 16th Street movie theater, let three faggots suck your dick and pay for your model.
Alejandro laughs and shakes his head from side to side. Julia and Manuel leave the room.
The opening titles appear, the names of the institutions sponsoring the short film, the name of the director, and finally, the title of the short film: The Model.
2. INT. CONSULTING ROOM – NIGHT
Alejandro is reclining on a divan. The place is crammed with books, diplomas, clocks, and there is a large desk, half of which is occupied by a tower of medicine boxes.
ALEJANDRO
Years ago I saw something like that in a movie. It was about a guy who tried to be a gigolo in New York and, after failing, had to prostitute himself in a movie theater for money. I don't think he was gay, but I don't remember much else, I can't think of the title. I don't know. I was desperate for the deadline, but the idea of sleeping with older women for money didn't appeal to me. And letting some guy... no way! Even so, I went to find out about the older women at the university and the guys offered me a double session for the weekend, a few days of training, and less than half of what I needed to finish the model.
3. INT. CLASSROOM – DAY
Alejandro gets up, lights a cigarette, and looks out the panoramic window of the now-empty living room. His eyes blink rapidly, and he gets lost in his own gaze.
4. INT. CINEMA ANTEROOM 1 – NIGHT
From a corner, Alejandro glances sideways and sees six people acting suspiciously; a man with long hair (35), overweight and wearing hoop earrings, is staring intently at him. A small boy (22), dressed like a pretty girl, clicks his heels while asking for candy. An elderly couple (47 and 50), sitting, smoke and look at him, intimidating him. A very flirtatious woman (50) is selling popcorn to a chubby man (30) who is swallowing a chocolate bar. Alejandro lowers his gaze, catching the seductive eye of the overweight man with hoop earrings, and leaves.
5. INT. CLASSROOM – DAY
Alejandro throws the cigarette to the floor, stubs it out with his shoe, walks to his drawing table, gathers his drawings, and hurries out of the room. He slams the door.
6. INT LIVING/DINING ROOM OF ALEJANDRO'S APARTMENT – NIGHT
The apartment's decor reveals it to be an old , poorly furnished place. Alejandro sits at the dining room table and rubs his temples, looking terribly worried. He gets up, goes to the window, lights a cigarette, and through the window, smoking, he watches the city. The sound of the coffee maker is heard.
7. INT. ALEJANDRO'S KITCHEN – NIGHT
Alejandro rushes into the kitchen, turns off the stove, and pours himself a coffee. He brings the pewter cup to his mouth, burning his lips and tongue. He throws the still-full cup down the sink. He paces back and forth, wiping his face with a flannel cloth.
8. INT. ALEJANDRO'S BATHROOM – NIGHT
Alejandro turns on the tap, lets the water run, and refreshes himself. He stares at himself in the mirror for a long time, looking desperate. He dries his face, rubbing it angrily with the towel. He looks at himself in the mirror again, studying his face closely, and his gaze fades.
9. INT. HOTEL ROOM – NIGHT
Alejandro is dressed as a cowboy. Startled and surprised, he describes the room's luxury. Marta (47), morbidly obese and voluptuous, awaits him, lying on the bed. She wears red lingerie with fine lace, a garter belt, and a sheer black robe; there's an Asian touch to her makeup; she puts a cigarette holder to her mouth and smokes a cigarette. Alejandro pales. Marta devours her prey with her eyes; she rises slightly and leans back against the headboard.
MARTA
(pointing at Alejandro with her finger) Come here, you melon heart.
ALEJANDRO
Good evening, Mrs. Marta?
MARTA
Let's get comfortable, please call me Marci and come closer, I don't bite.
Alejandro, very nervous, begins to take off his clothes.
ALEJANDRO
Can I go to the bathroom?
MARTA
Yes, but don't take too long, sweetheart.
Alejandro sees Marta and remains silent. He walks to the bathroom, opens the door, enters, and closes it. Meanwhile, Marta waits for him, sipping a glass of champagne. Alejandro emerges from the bathroom wrapped in a towel.
MARTA
Oh, how embarrassing! Would you like a drink?
Alejandro approaches the bed.
ALEJANDRO
A glass is just what I need (smiles and drinks it in one gulp).
Marta gestures with her index finger for him to come closer. Alejandro moves to the edge of the bed. Marta shakes her finger at him and indicates, pointing to the mattress, where he should sit, while she pours a little champagne over her breasts and closes her eyes.
MARTA
Come running, my heart! (raising her voice she continues) Pierce me, kidnap me, rape me, feel me, swallow me, take me!
Meanwhile, Alejandro, disgusted, moves closer, but then backs away and approaches again; he gets on his arms and knees on the bed and goes to Marta; she smiles, pleased. Alejandro reaches her feet, touches them, and Marta moans softly. Alejandro moves even closer and tries to embrace her, but he can't, as she is too big, so he moves to the side. Marta opens her eyes, Alejandro sits up, pours himself another glass of champagne, and drinks it in one gulp. He puts his hand to Marta's cheek and is about to kiss her, but he can't; so Marta touches his groin, and Alejandro quickly pulls her hand away. Marta tries again, this time more gently and slowly, moving her hand toward Alejandro's chest, but he moves away. Marta looks at him, puzzled; he looks at her in terror, tries to escape, and Marta grabs him furiously by the hair and begins to cry. Alejandro stares at her, feeling compassion. He strokes her hair and face, and they both remain silent. Marta whimpers, and Alejandro goes to the bathroom. Marta takes a towel and wipes off her makeup, which is already smudged from her tears. Alejandro comes out of the bathroom fully dressed.
ALEJANDRO
I'm sorry.
Alejandro leaves the room.
10. INT. ALEJANDRO'S BATHROOM – NIGHT
Alejandro opens his eyes, shakes his head, and leaves the bathroom.
11. INT. ALEJANDRO'S ROOM – NIGHT
Alejandro is lying face down on the bed. He rolls over and clutches his head in despair; he slaps himself a couple of times and remains motionless for a few seconds. He decides to get up and goes straight to the closet. He looks through his clothes, but is undecided about what to wear. He quickly dresses casually and puts a cap on his head.
12. INT. BUS – NIGHT
The bus is empty; only Alejandro and the driver (35) are on board. Alejandro sits in the first seat. He checks his watch; it's already past ten. He's nervous, his hands are sweating, and he keeps pulling his cap up and down. The driver looks at him suspiciously in the rearview mirror. Alejandro decides to move to the back. He watches the cars go by through the window, becomes thoughtful, and smiles, but suddenly his expression changes to one of disgust. He leans into the aisle and sees the driver make a gesture, joining his thumb and forefinger in a circle, and, with the other three fingers extended, moving his hand up and down. Alejandro is disconcerted and offended. He stands up and walks toward the driver in an aggressive, virile manner. The bus stops, Alejandro stumbles, but he gets up and continues his defiant walk toward the driver; at that moment, he realizes he's at his stop. He waves to the driver and gets off the bus.
13. EXT. AVENUE 16 – NIGHT
Alejandro gets off at the intersection. 16th Avenue stretches out before him. He walks briskly. He crosses the avenue and arrives at the facade of a movie theater, whose neon sign reads “Sausages, sausages.”
14. INT. CINEMA ANTEROOM 2 – NIGHT
In the anteroom there are TWO EFFEMINATE MEN (28 and 34). Alejandro, nervous, observes them, sits down next to them, and tries to copy their posture. He places one leg over the other, but feels uncomfortable and separates them again. He lowers his head, partially hidden by his cap, and nervously moves his right leg.
One of the men is dressed in black, very thin, heavily made up, and wears dark glasses. The other wears a purple suit, a white shirt, and white shoes; he is strong and haughty. Alejandro maintains a serious and discreet demeanor.
A very elegant man (54) enters the room and slowly approaches Alejandro, the man in black, and the man in a suit. He examines them carefully. He beckons to the man in the suit, who approaches, and the elegant man whispers something in his ear. The man in the suit nods. They immediately disappear behind the curtains. Alejandro becomes extremely nervous.
15. INT. CONSULTING ROOM – NIGHT
Alejandro is sitting in front of a desk.
ALEJANDRO
Things were happening almost exactly like in the movie; I remember now it was with Dustin Hoffman and John Voight. I was scared and embarrassed at the same time. But in the movie, even though Voight was kind of dim-witted, he knew what he was doing, and somehow I identified with him. I knew perfectly well what I was getting into, but the model was a matter of life or death for me. I needed to graduate; eight years stuck there, in a constant state of ruin.
16. INT. CINEMA WAITING ROOM 2 – NIGHT
The man in black stands up and takes off his sunglasses. Alejandro sees him and notices the man staring at him with hatred. Disconcerted by his attitude, he starts to turn away when a fat man (48), bald and wearing glasses, looks at him with a smile. Alejandro freezes. The man, with a slight turn of his gaze, indicates that he should come inside. For a moment, Alejandro hesitates and looks at the man in black standing there. With his eyes, he suggests to the fat man that he hire him instead of Alejandro. But, in a burst of courage, he gets up, takes the fat man by the arm, and pushes him into the room, while the fat man smiles with satisfaction.
17. INT. CINEMA ROOM – NIGHT
The fat man chooses the row, and Alejandro follows, submissive and downcast. The movie has already started, and Alejandro, extremely nervous, follows his client. They sit down, and the fat man places his hand on Alejandro's leg and strokes it rhythmically. Alejandro fixes his gaze on the screen. The film shows an image of a heavily made-up man licking an enormous sausage. The fat man, now aroused and with nervous hands, unbuttons Alejandro's pants and lowers the zipper. Alejandro swallows hard, still staring at the screen.
The fat man's breathing becomes noticeably different. Alejandro notices and turns back to the screen to see the actor groaning as he swallows the sausage down to the back of his throat. Alejandro glances at his watch. The fat man offers him something in his fist, and Alejandro takes it: a condom. Alejandro stares at the condom, unsure what to do. He looks back at the screen. On the screen, the actor has begun to squeeze a thick, white sausage between his lips. The fat man grows exasperated and, in a violent whisper, says to Alejandro...
FAT
If you don't want to use it, that's fine by me.
The fat man snatches the condom from Alejandro's hands. Alejandro stares at him in terror. The fat man lowers his head to the war zone, and Alejandro raises his. Meanwhile, on the screen, the actor begins to devour a blood sausage, and in the row behind, the man in black sits with his companion (24). Alejandro turns and looks at them in terror, turns again, and decides to close his eyes.
18. INT. CONSULTING ROOM – NIGHT
Alejandro is lying on the couch.
ALEJANDRO
In the movie—I'll probably never know the title—Voight was tricked by the guy who hired him: a tiny nerd who, after enjoying his services, would run to the bathroom, claiming to be suddenly sick; then he'd cough, spit, maybe even vomit, I don't remember exactly. The truth is, he'd then tell him he didn't have any money, and that memory started to stress me out.
19. INT. CINEMA ROOM – NIGHT
Alejandro trembles slightly, opens his eyes and is relieved when the fat man sighs and licks his lips.
FAT
Wines from a good harvest are paid better.
The fat man reaches into his pocket and hands Alejandro a wad of bills. Alejandro quickly counts them with his eyes, straightens his trousers, looks at the fat man in a gesture of thanks, gets up, and flees the room in terror.
20. INT. FACULTY HALLWAY – DAY
Manuel walks down the hall whistling, heading towards the living room. He pauses thoughtfully as he walks and remarks to Julia in a mocking tone.
MANUEL
What could Alejandro have done? I've been calling him at home all week and the idiot never answers. Besides, he doesn't have a cell phone. He's probably not even in the classroom.
JULIA
He must be in a corner, getting drunk and ranting about life for preventing him from finishing his model.
21. INT. CLASSROOM DOOR – DAY
Manuel and Julia arrive at the living room door and haven't even finished opening it when they hear a…
ALEJANDRO
Hey Manuel, Julia!
Manuel turns around and sees Alejandro: model in his arms. Success and satisfaction shine in his eyes.
MANUEL
The model! No! Then you did it!
JULIA
How did you do it?
Alejandro makes a face, trying to get the message. Manuel, still smiling, invites him in.
MANUEL
Look at him then, quite the midnight cowboy! And, although I don't approve of the means, the end justified it.
JULIA
We have to celebrate. How about tonight at the bar on 25th?
Alejandro becomes very serious and speaks without looking them in the face.
ALEJANDRO
I can't, I'm going to the movies tonight.
Manuel, very slowly, stops smiling. Julia bursts out laughing. Alejandro enters the living room and closes the door.
END
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