Cant take correct by aldo

CanÂ´t take my eyes off you A Short film by Releh Daloo

CHARACTERS MARISOL 50-55 NICOLAS 20-25 JERRY 55-60 SOME RED SHOES 15-20 OLD WOMAN 70-90

The short film opens with the title ("CAN´T TAKE MY EYES OFF OF YOU") over a black background. We hear MARISOL talking on the phone, appalled by the certain commotion that brings a close incident over a life far from emotions. In the background we hear Julio Iglesias' "CAN'T TAKE MY EYES OFF OF YOU". INT/MARISOL´S HOUSE, LIVING ROOM. AFTERNOON We only see MARISOL´s right arm, leaning over a circular table close to her, her hand struggles with the cord of a classic phone. On the table are the phone, a couple of flashy keys and a picture of MARISOL with NICOLAS as a child and JERRY, her husband, dressed in his police uniform, the introverted stance of NICOLAS contrasts with the exuberant smile of his mother, although for now his face remains hidden by the keys. MARISOL I´m telling you, as if a hurricane had passedeverything, absolutely everything! - Twelve right now! The most secure part of the city, a bunker they call it, a bunker! In what moment I decided to leave Spain! Thank goodness I have Julio´s for moments like these. But you know what´s the most disturbing thingexactly, again. I was overwhelmed with hot flushes the whole night, I could barely sleep, I tried everything: cold tea, damp cloths, but they didn´t go away, so I told Jerry, "Jerry this is a sign. Please don´t go out tonight, But he didn´t listen, and next morning- Aha. I am in the middle of a stew and suddenly someone knocks at the door, and who is it? Francoise- Oh if you could have seen the state she was in! ¬ She practically broke down on my shoulders. Marisol, they have taken everything: my mother´s jewellery, les tableaux, tout, tout, you can´t imagine the shock! I broke the ladle in two! Just a couple of doors from us! - I don´t know, they must have broken in when Jerry went out, no traces no noise, Jerry´s worst nightmare these days- The flush, the flush! That´s what I keep telling him, but he can't conceive such things! Sometimes he can be so British! But you know how I am, I have a sense for it, my entire body starts yelling at me- Japan? Oh! Exactly, remember? A whole week, a whole week going to the toilet every 5 minutes and a giant tsunami sweeps Japan. She lets out a long sigh. A body crosses the screen from the right. God bless us all! Francoise? Poor woman, she is taking Aline back to her mother's house in France. 3

She doesn´t want her to live in this situation- um? She must be around 5, you can imagine, what a world, first BREXIT and then this, as if the whole country were kicking us out of our homes- Well no, I don´t know if the others were foreigners too, but I feel it like so. The body cross the screen again back to where it came from. It could have been us! If it wasn´t for Jerry, I´m telling you, they are kicking us from our houses. ¿Qué buscas? NICOLAS Mi abrigo MARISOL ¿As mirado en el recibidor? NICOLAS Sí, no está. MARISOL ¿Has mirado bien? NICOLAS Sí, no está. MARISOL ¿No será eso que está en el suelo? NICOLAS crosses the screen again to get his coat. A progressive zoom starts getting closer to the keys Mira que te lo tengo dicho, ¡orden, Orden!NICOLAS Ya ya. MARISOL ¡Fundamento!- Sorry Juliet, yes my son, Nicolas, he is spending a few days here, helping us redecorate the house, so sweet. About to leave NICOLAS Voy al centro a por lo de mañana. MARISOL Yes, he is way taller than Jerry- the keys! 4

NICOLAS takes the keys revealing his face in the picture, towards which the camera keeps moving till it takes up the whole screen. MARISOL Por favor ponlas en un lugar seguro. NICOLAS Descuida. Goodbye! NICOLAS gets out. MARISOL Yes they are still like cat and dog! But I´m sure he already thinks of him as a fatherThe door closes. A small pause in the conversation. Oh God… Ah, sorry Juliet I just have these intense palpitations- A sign? No I don´t think so, it must be the pressure-everything, everything. INT/TUBE LONDON, INSIDE TRAIN. LATE AFTERNOON

Past NICOLAS´S eyes turns now into the present ones. We see NICOLAS inside a JUBILEE line tube train. Although the train is full of people, his headphones seem to be his only companion. He is wearing a classic large green coat which makes him look like a detective. The music from the headphones sounds almost inaudible beneath the deafening vibration of the train. From NICOLAS’ point of view, the camera looks up at the map of the JUBILEE line, as we get submerged with Chopin´s PRELUDE Op.28 No.4. The camera returns to a close-up of NICOLAS from where we see the people getting on and off the train at the next stops, [it must be recorded in a way the mechanical process is reflected ] the music follows the timing between stations, before PRELUDE finishes he checks his watch, it´s almost evening. Continues NOCTURNE C SHARP MINOR op 27 No 1 Chopin. Once he reaches Waterloo, he gets off the train in order to take the BAKERLOO line, a succession of in an outs of the train show us NICOLAS leaving the JUBILEE line, changing onto the BAKERLOO line, getting out again at Oxford Circus, and finally returning to the train, carrying a couple of bags. RED SHOES appears for the first time following NICOLAS from behind. 5

A large group of people board the train as THE DEMON GOD by Joe Hisaishi starts playing. The space is so congested that nobody is able to move, a suffocating feeling runs through the screen, hundreds of people in slow motion fighting for every breath. At Waterloo NICOLAS and RED SHOES get off and take the JUBILEE line again. The train is less crowded than before and we can almost see NICOLAS' whole body. Only the sound of the train can be heard until NICOLAS places his bags on the floor and plays Ennio Morricone´s CUORE DI MAMMA NINNA NANNA PER ADULTERI. Through the concave windows we see the reflected movement of NICOLAS´ hand playing with the keys, his hand is soon duplicated by an optical effect, showing us two identical but opposing poles struggling with the same object. NICOLAS puts the keys back in his coat pocket as he starts falling asleep under the lulling murmurs of the melody. At some point the camera gets inside NICOLAS’ closed eyelids, we get totally submerged into himself. The soft chant is irrupted by the frenetic train noise, we see NICOLAS from a semi distant frame surrounded by people, his eyes are still closed. Suddenly one of the people close to him moves away, showing us the crude image of an unknown hand slipping into NICOLAS´ pocket. Blackout. EXT/CANARY WHARF JUBILEE LINE, SECOND EXIT,JUBILEE PARK. NIGHT

We hear the signal from a phone call. During the signals we see fragments shots from NICOLAS’ despaired body over his recent theft. The signal stops once the call is finally matched, we see NICOLAS walking through the park, he has been calling JERRY. The following part of the short film is recorded in sequence shot.

JERRY Nicolas. NICOLAS Jerry, are you still at home? JERRY Well, I´m about to go out in the car. Is something the matter Nicolas? NICOLAS

No, don´t.. yes, don´t go, please, I need you. JERRY Ok, just calm down and tell me what´s happeningNICOLAS I can´t calm down! Listen, someone has taken my keys. I fell, I fell sleep in the tube and I didn´t notice whenJERRY Are you sure you haven´t just lost it? It wouldn´t be the first NICOLAS I´m freaking sure Jerry! JERRY Ok, ok. NICOLAS I was fiddling with them 5 minutes earlierStopping and taking a sneak peek behind him. JERRY Nicolas. NICOLAS I´m such a foolJERRY Nicolas. NICOLAS Yes. JERRY What do you want me to do? NICOLAS Look I still have my wallet in that pocket, two hundred quid left there, but a couple of keys made from scrap, are gone! Do you see what I’m getting at?

INT/CANARY WHARF OBICA RESTAURANT BUILDING. JERRY

Yes he was aiming for the keys. NICOLAS He was! and if that’s the case, he is aiming for your house! and if that is the case, they must be following me right now to find out where Pinky and Perky make their living! I just can´t believe itJERRY Ok Nicolas just slow down a NICOLAS No! I´m not going to slow down, I have a near maniac on my back right now, and there´s no way I will let him goTaking another furtive peek JERRY Nicolas just tell me how the hell I can help you!

EXT/CANARY WHARF S QUAY FOOTBRIDGE. NICOLAS Help me! I´m the one that is helping you JerryJERRY Me? NICOLAS Don´t you get it? This has happened before! All those thefts that have been driving you crazy, they had the keys! JERRY Jesus… NICOLAS Jesus Christ! JERRY That´s why they leave no trace. NICOLAS Yes, nowJERRY No fucking trace! 8

NICOLAS Yes Jerry! Now you tell me what to do. Breathing, getting in control of the situation. JERRY Ok. First of all act normally, don´t let him suspect anything right? NICOLAS Right. JERRY Does he know you are using the phone? NICOLAS What? JERRY Does heNICOLAS No, I don´t think so, I´m using Bluetooth. JERRY Blue what? NICOLAS Bluetooth Jerry! No hands, just headphones. He probably thinks I´m just nuts. JERRY I´m starting to think so tooNICOLAS AAH, Just… No, he doesn´t know I am using the phone! JERRY Ok JERRY Do you have any idea as to who it could be? Checking behind again NICOLAS Just candidates, but in a few crosses more I may have a winner. JERRY 9

Perfect just try to get a definite one by the time you get here. Where are you now? NICOLAS I´m just passing the end of the bridge. JERRY Jesus you are close! Listen I have the car parked at home. I’ll wait for you there, just stop by a nearby house and act natural, don´t scare him off at the decisive moment!

EXT/CANARY WHARF S QUAY WALK.

NICOLAS Don’t worry about that, I will just use the entry phone as I have lost the keys. JERRY Ok-For God sake don´t call ours! NICOLAS Oh, really? That was definitely my first option, Jerry I´m not a damn fool! I´m hanging up. Be there! A car door is heard opening at the other end of the line. JERRY No trace, no fucking trace! The call drops.

EXT/CANARY WHARF ADMIRALS WAY The contrasting silence brings back the tension of imminent danger. NICOLAS glances across the street, by the time he looks back again we get to know, with NICOLAS, who is REDSHOES deduced from the previous checks. An increasing agitation of his pursuer. Finally end of the street, goes selects a random number

grows in he takes into the from the

NICOLAS at the revelation another glance towards the entrance of a house, and entry-phone. Pause.

A man crosses behind Nicolas stopping for a moment in order to check the number of the house.

OLD WOMAN answers the phone. OLD WOMAN Who is it? NICOLAS Hi Mom, it´s me, I´m sorry, but I lost my keys. OLD WOMAN What? You must be mistaken I don´t have anyNICOLAS I know, I know Mum, it won’t happen again Now the RED SHOES walks up unalterable, right behind NICOLAS. OLD WOMAN I’m telling you, I have no children! NICOLAS Sorry madam I was just fooling around. NICOLAS grimaces and points at the person in the RED SHOES. Sirens. OLD WOMAN You think this is funny? You are not going anywhere, you hear me, wait until I catch you! Blackout Follow the credits accompanied by CAN´T TAKE MY EYES OFF YOU from Julio Iglesias. END.

A mi Abuela Tutu.