Love
Behind the Walls
"A
civil engineer who lives by the blueprint and an actor who inhabits chaos
discover that, sometimes, the hardest structure to tear down is the wall
between their rooms."
Pablo
is a civil engineer who believes happiness is a structure that can be
calculated. Manuel is an actor who knows that life only happens when the script
breaks. As roommates, they’ve built a life based on strict order and
comfortable silences, but beneath a wobbly table and between blankets for the
cold, a tension pulses that mathematics simply cannot explain.
When
a jam-covered remote control and a forgotten leather harness sabotage Pablo’s
rigidity, both are forced to face the question they’ve been avoiding: what
happens when the person you love wasn’t in your blueprints? A smart romantic
comedy about the architecture of desire and the beautiful catastrophe of losing
control.
Love in the Room Next Door
CHARACTERS
- PABLO (30): An Engineer. Neat to the
point of obsession. His life is a glass building he fears seeing
shattered. Attractive and
secretly exhibitionistic behind his mask of order.
- MANUEL (30): An Actor. Chaotic,
physical, and tender. His disorder is a language Pablo refuses to
translate. He lives between auditions and the frustration of not being
"seen" by his partner.
- DON TOMÁS: The neighbor. Curious and
somewhat repressed; he represents traditional morality, though deep down
he envies the freedom of others.
- DOÑA ELVIRA: The shrewd neighbor. A
woman who reads between the lines and hurls truths like arrows wrapped in
kindness.
SCENE 0: PROLOGUE – THE
ORDER OF OPERATIONS
(Scene:
The living room is divided by an invisible line of habits. PABLO’s side gleams;
MANUEL’s side has an overflowing wardrobe rack. PABLO stands before a mirror,
struggling with a silk tie. He wears an impeccable suit. MANUEL checks outfits
while licking a spoon covered in peanut butter).
PABLO: (Without looking at him) Manuel, have you seen my silver cufflinks? The
ones with my initials. It’s my first date with the redhead my mother set me up
with.
MANUEL: (Licking the spoon) In the third drawer of the sideboard your aunt gave
you… A "Society Redhead," I assume? If your mommy set you up, she
must have seven last names… Mademoiselle de la
boulangerie, de la patisserie, de la confiserie, de la glacerie… de la
brasserie… de la chocotalerie… de la… Chantilly…
PABLO: (Adjusting the knot) Are you finished? I don’t know why it bothers you
that I have a blind date… Her name is Marcela, and she’s the next logical step
in my life, Manuel. Stability, elegance—my mother approves. I can’t spend my
whole life living with a roommate, sorry to
put it so bluntly.
MANUEL: (Stands up, the word "roommate" hits him in the chest).
Right. "Roommates." Not even the friendlier term "Roomies"…
Just zip code companions. (Approaches Pablo and straightens his tie with
slightly trembling fingers). You look... perfect. So perfect you look like
someone’s… fantasy. That Marcela would be very lucky if you "click."
PABLO: (Freezes at the contact. His breath hitches for a moment). Perfection
doesn't exist, Manuel. But one must stay in order in this life. Mathematics
doesn't lie: the order of operations does disturb my
peace.
MANUEL: Well, I don't know. I’ll answer you with some verses by Caviedes:
"I have a what-cha-call-it... after I saw a I-don't-know-what, and it gave
me a certain feel, as they say, that I what-cha-called myself."
PABLO: I have no idea what any of that means, but you can explain it to me one
day… I’m in a hurry now.
(The
doorbell rings. It’s DOÑA ELVIRA with a bouquet of rue).
ELVIRA: (Enters, sweeping the air with the rue). Well, well! How sharp we look…
I brought you some sprigs of Rue. It’s for attracting new love, fighting
indifference, or warding off bad vibes… Put it under your pillows, each of you…
or however you like…
PABLO: It’s just a date, Doña Elvira. It’s not all about love; sometimes it’s
about stability.
ELVIRA: (Looking at both with wise eyes). You know, son… destiny is like
dampness: it always finds the crack. (Exits with a wink).
PABLO: (Takes his jacket). Wish me luck, roommate.
MANUEL: (Whispering as Pablo leaves). Luck for the redhead… But what am I
saying? What is wrong with me and this man?
SCENE 1: THE LOGBOOK AND THE
SWELL
(Scene:
PABLO is sitting at the desk. The laptop light is the only beacon in the room.
His right hand moves rhythmically under the table; his breathing is shallow. A
box of tissues sits at the edge of the desk).
PABLO: (In a whisper, almost a prayer to the screen) Almost there… the horizon
is clearing… enter the harbor… don’t stop now…
(MANUEL
enters with only one shoe on, looking for the other. He stops dead at the sight
of PABLO’s rigid silhouette. He notices the movement under the table, then
looks at the tissue box. A slow smile forms on his face. He exits silently. He
re-enters making noise with his keys).
MANUEL: Have you seen my compass, Pablo? I feel like the currents in this
apartment always lead me to the wrong place.
PABLO: (Closes the laptop with a sharp thud. His breathing is a mess). I was…
I was studying the tides, Manuel. It’s a… cartographic report. Very dense.
Mathematics doesn't lie: hydrodynamics is a complex matter.
MANUEL: (Leans against the doorframe). The tides. Right. You look exhausted, as
if you just crossed the Atlantic on a single-oar raft. Your forehead is soaked.
Was there a storm on the monitor?
PABLO: (Takes a tissue and wipes his sweat). Weather on the high seas is
unpredictable. Humidity… is corrosive. Tissues are for drying the mist. I don't
want the equipment to rust. It’s pure nautical prevention.
MANUEL: (Lowers his voice). Your dedication to the ocean is admirable, Pablo.
But be careful navigating alone for so long. Reaching the harbor is much more
satisfying when there’s someone on the dock waiting to help you with the lines.
PABLO: (Stiffly) I prefer solo voyages. There’s less margin for error in the
logbook.
MANUEL: (Exiting) Remember that even the strictest captains need to come ashore
once in a while… and let go of the helm. (Exits
whistling).
SCENE 2: THE HEAT OF THE TWO
BLANKETS
(Scene:
Dead of night. The apartment is in shadows, lit only by the cold glow of the
open refrigerator. PABLO stands before it, shirtless, drinking milk straight
from the carton. MANUEL enters in his underwear and stops inches from his
back).
PABLO: (Voice vibrating from the cold and Manuel’s presence) You’re defying
biology, Manuel. The floor is freezing. You’re going to end up with a chest
cold.
MANUEL: (Steps closer. The mist of his breath brushes Pablo’s bare skin). My
room is an igloo, Pablo. The sheets are cold as ice.
PABLO: (Turns face to face. Looks at him with a mix of horror and
fascination). You’re trembling.
MANUEL: I’m trembling from the cold, cousin. Or lack of air. My blanket is very
thin. I feel winter crawling under the door, looking for my feet.
PABLO: (His hand rises into the air but doesn't touch him). Mine is thin too.
It’s a blanket made of lies. It covers, but it doesn't warm.
MANUEL: (Whispers against his chest) I was thinking... that with two blankets
on a single bed... we could cheat the cold. One blanket on top of the other. Or
two bodies under both.
PABLO: (A sigh of surrender). Two blankets. It’s... a good idea. To avoid
hypothermia. But only for the cold, Manuel. No funny business.
MANUEL: (Smiling) No funny business, Pablo. I promise.
(They
walk toward the hallway. The light goes out).
EPILOGUE SCENE 2: THE NEXT
DAY
(Scene:
Morning. Sunlight. PABLO eats breakfast standing up, impeccable. MANUEL enters
disheveled, looking for coffee. Their eyes meet and immediately dart away).
PABLO: (Without looking at him) We’re out of milk. I’ll have to buy more after
work.
MANUEL: Yeah. And I have to do laundry. My shirts and pants piled up… the
sheets…
PABLO: (Cleans an invisible crumb). It’s going to be very hot today… But it
might rain in the late evening. A trench coat will be enough, though. I hate
umbrellas.
MANUEL: (Awkwardly) I don't think it’ll rain… but you know, there are things
you can’t control… like the weather… You can try to predict it, but it’s not
always possible, or we don't always get it right… (Realizes he can't stop talking) I’m taking my
umbrella.
SCENE 3: THE WOBBLY TABLE
AND MATERIAL STRENGTH
(Scene:
Two days have passed since the night of the blankets. PABLO is under the coffee
table in gym shorts, working with silent fury).
PABLO: (Metallic, restrained voice) Manuel! Pass me the locking pliers. I need
something that holds tight, something that never lets go, no matter what
happens.
MANUEL: (Leaning in, looking at his legs). You have some sawdust on your thigh,
Pablo. It stuck right there... It looks like a mark.
PABLO: (Tenses up). The mark doesn't matter. What matters is that this wood is
giving way. Give me the Phillips screwdriver. This screw needs to be tightened
hard; if I leave it loose, it’ll keep wobbling.
MANUEL: (Crouches down. The space is narrow. Their shoulders touch). Sometimes
tightening too much breaks the grain. We could put a folded piece of cardboard
under it... something alternative to cushion it while we decide what to do.
PABLO: (A piercing glare). Cardboard? Your solution for everything is a patch,
Manuel. I don't want temporary solutions. I want things to stay in their place,
even if it hurts to screw them in.
MANUEL: (Whispering) Tables don't know they’re unstable. Or maybe they do.
PABLO: (Gives a final turn). Done. See? It wasn't that hard. Stable as a temple.
SCENE 4: THE ARCHITECTURE OF
DESIRE
(Scene:
Pablo is alone in the living room. He cleans Manuel’s rack with a spray bottle.
His movements are neurotic. Suddenly, he stops before a medieval chainmail
piece and a black leather harness).
PABLO: (Arranging hangers) Disorder... pure disorder. How can one live among
so many old rags? (Touches the metal; a cold clinking sounds). Medieval armor…
A clown suit… Fine. (Pulls out the leather harness). And this? Black leather...
Durable... masculine…
(Pablo
takes off his shirt. He puts on the harness and the leather cap in front of the
mirror. His posture changes: it is pure authority).
PABLO: (Deep voice) "Citizen... I am your superior… you will have to obey
me. As if you were my dogs… my dog instincts, how about that…"
(ELVIRA
and TOMÁS peek through the door. Pablo doesn't see them. Then MANUEL arrives
and stands frozen in the background).
DON
TOMÁS: (Whisper) A biker from hell broke in.
MANUEL: Well... looks like we’re having a "leather night."
PABLO: (Jumps in fright. Tries to cover his bare torso with his hands). This
is... a totally indefensible act, Manuel… I’m sorry for messing with your
things, but I couldn't help it.
ELVIRA: (Laughing) Son... you look handsome, and very manly… with the cap, your
gaze becomes… deeper.
MANUEL: (Approaching). Your new look isn't bad at all. It’s got style…
PABLO: (Fleeing to the room, stumbling). That’s it! I admit I was wrong, but I
won't allow you to laugh at me!
SCENE 5: THE UNIFORME AND
THE SHAM OF AUTHORITY
(Scene:
Minutes later. PABLO is at the laptop, still uncomfortable from before. MANUEL
enters dressed as a security guard for a commercial).
MANUEL: Citizen! Identify yourself. This is a high-security perimeter.
PABLO: (His pulse quickens, but he doesn't look away from the screen). Manuel,
please. I’m not in the mood.
MANUEL: (Circling him). I’m not Manuel. I’m the officer in charge of imposing
order. Do you think I command respect, Pablo? Or do I lack firmness?
PABLO: (Gulping). You look like someone who doesn't take "no" for an
answer.
MANUEL: If I arrested you right now... would you come quietly or put up a
fight?
PABLO: (Touching the fabric of the uniform). I don't resist authority... but
you’re just an actor… and I don't believe you.
MANUEL: You sure?
PABLO: I don't believe a word.
(DON
TOMÁS enters unannounced).
DON
TOMÁS: Good heavens! Who called the police?
MANUEL: He’s helping me rehearse a scene… I’m taking him prisoner, Don Tomás.
Will you help us?
DON
TOMÁS: (Disconcerted) I’m too old for this… But I
can see you’re both good actors. Make the most of it; sometimes people are left
wanting. (Exits).
PABLO: (Brusquely pulls away from Manuel. Intention: Defensive panic attack).
Go change. Or keep rehearsing, but do it alone. I don't have time to keep
playing.
MANUEL: I’ll keep rehearsing in front of the mirror then… what else is new… and
it’s not just a game… You know… It’s my job.
SCENE 6: THE REMOTE OF
DISCORD AND THE WILDLIFE
(Scene:
PABLO cleans the table neurotically. MANUEL eats bread with jam).
PABLO: Don't drop crumbs, Manuel.
MANUEL: Relax. Have some of my blueberry jam bread, it’s delicious.
PABLO: (Touches the remote and his hand gets stuck). You’ve covered the remote
in jam! You’ve probably broken it already.
(Manuel
turns on the TV. The remote sticks and the channels flip through at top speed).
TV
(VOICE): "Here we see the hermit crab. Solitary,
as its name suggests… It doesn't usually stay long... in its old shell."
PABLO: You see? The TV has come to life! Turn it off, unplug it!
(DOÑA
ELVIRA enters).
ELVIRA: One must abandon old shells when necessary. But that doesn't mean
moving houses, like the poor crab… Sometimes it’s a matter of appreciating what
you have right in front of your eyes. (Exits).
PABLO: (Looking at the jam jar) That’s it, Manuel. I can't take any more of
this.
FINAL SCENE: THE
INAUGURATION OF CHAOS
(Scene:
The TV hums with blue static. PABLO is standing, holding the sticky remote with
a cloth. He is trembling).
PABLO: (Cutting voice) You just can't... deconfigure everything! You can't
break the appliances and just act like nothing happened. I can't even watch TV
in my own home anymore.
MANUEL: (Standing up) Wouldn't you like to just stay in silence in your home?
PABLO: (Turns abruptly). I don't like that you’re looking at me all the time,
staring, as if you know something I don't.
MANUEL: I know very well what you also know perfectly well… Don't play dumb…
PABLO: Perhaps, yes… and forgive me… This is your home too. We both live here…
but we don't live together…
MANUEL: Flatmates. Roomies. That’s what we are.
PABLO: I had a plan, Manuel. A map. A logical life, a traced route... and you
weren't on that map.
MANUEL: (Face to face). And did your plan include warming up at 3:00 AM… with
your roomie?
PABLO: (Screaming) I prefer an ordered life! I prefer predictable things over
this "I-don't-know-what" that takes my breath away when I see you!
(Tension
explodes. MANUEL takes him by the neck and kisses him. It is a collision that
breaks PABLO’s resistance. PABLO freezes and, after a second, surrenders,
unable to contain himself anymore. The remote falls to the floor. They embrace
with fury. They pull apart, nearly breathless).
PABLO: (Whispering, touching his lips) What... what did we just do?
MANUEL: I... I just wanted you to stop overthinking things.
PABLO: (Processing. A small laugh emerges). Was it good? Did you... did you
feel it?
MANUEL: It was... much better than just good. It was… Like we turned on all the
lights in the city at the same time.
PABLO: (Lets out a laugh of absolute liberation). My God! And it was so easy!
(Laughs and hugs Manuel). So much shell shattered by one sudden kiss! How
foolish we’ve been!
MANUEL: (Laughing) We certainly struggled to find the right moment!
(They
laugh with a noisy happiness. They embrace and kiss again, celebrating their
own inauguration).
(In
the doorway, DON TOMÁS and DOÑA ELVIRA peek in. They say nothing; they simply
smile and nod. Elvira puts her hand on Tomás’s shoulder. They silently confirm
that life has found its course).
PABLO: (Kicks the remote into a corner happily). No more television, Manuel!
And no more screens for now… We’ll reach safe harbor together, in our little
home… Do you prefer your room or mine…
MANUEL: Mine… I put on clean sheets… believe it or not.
PABLO: That’ll have to be verified… See you later, neighbors.
(They
embrace as the TV static fades out, leaving only the warm light of the living
room over them).
CURTAIN.
