GENRE AND TONE: a scene from LITTLE ORBIT, a Mexican short film that won at Tribeca, shot on 35mm like Roma and the films of Fernando Eimbcke. Tender, funny, quietly emotional. Nothing is sentimental; it is told through objects and looks. · NARRATIVE AND SUBTEXT: TOÑO, 8, waits every night on the rooftop of his building in Mexico City, wearing the astronaut helmet he made from a cardboard box, because his father, who works far away, promised they would look at the moon at the same time. Tonight his father's phone call does not come. He keeps waiting. Then the rooftop door opens: his father has come home. · REFERENCE: is the film poster: it defines ONLY the look, the world and TOÑO: a flat rooftop at blue hour, a huge full moon, laundry lines, plain black water tanks, a plastic white chair, the city lights below, one warm lit window; TOÑO, 8, in a navy sweatshirt, grey trousers and sneakers, wearing a cardboard-box helmet with a silver foil visor and a hand-drawn planet. IGNORE ALL THE TEXT, TYPOGRAPHY AND BRAND NAMES OF THE POSTER: the water tanks are plain black with no writing. It defines the composition of SHOT 1 ONLY. · HARD RULES, for every shot: 1. NO TEXT, NO LOGOS, NO BRAND NAMES, NO WRITING anywhere, not on the water tanks, not on the phone. 2. TOÑO is always the same boy with the cardboard helmet until SHOT 6. 3. THE FATHER: a Mexican man of 35, short black hair, a stubble beard, a worn denim work jacket, a dark canvas travel bag. 4. Deep blue dusk, the warm moon and one warm window as the only warm lights; 35mm grain, true colours. · SHOT 1 (0.0 - 4.0 s): WIDE matching the composition of : Toño on the plastic chair, the moon rising over the city, the laundry moving in the wind. Very slow push in. · SHOT 2 (4.0 - 7.5 s): INSERT in his lap: an old cracked mobile phone with a dark screen; his small thumb taps it twice; nothing happens. · SHOT 3 (7.5 - 11.0 s): CLOSE-UP through the foil visor, 85mm: his eyes, the moon reflected in the foil. TOÑO (a whisper, in Spanish): "Houston... ¿me oyes?" · SHOT 4 (11.0 - 15.0 s): WIDE from behind: he stands up on the chair and stretches one arm towards the moon as if he could touch it; the city hums below. · SHOT 5 (15.0 - 18.5 s): MEDIUM, behind him: the metal door of the rooftop stairwell creaks open, warm light spills onto the wet concrete; the silhouette of the father with his travel bag. Toño does not notice. · SHOT 6 (18.5 - 22.5 s): MEDIUM CLOSE-UP of Toño: he hears it, turns slowly, the visor catches the warm door light; he lifts the box off his head: his face, mouth open, eyes wide. · SHOT 7 (22.5 - 26.5 s): MEDIUM: the father drops the bag and kneels; Toño jumps off the chair into his arms; the cardboard helmet rolls away on the concrete. · SHOT 8 (26.5 - 30.0 s): WIDE, the same angle as SHOT 1: father and son sit together on the plastic chair, the boy on his lap; the father is now wearing the small cardboard helmet, too small for him; both look at the moon. FATHER (dry, in Spanish): "Aquí Houston." Hold. · CAMERA RULE: one slow movement per shot or locked-off; hard cuts on settled frames. · AUDIO: the distant hum of the city, a far-away dog, laundry flapping, the creak of the metal door, the scrape of the cardboard on concrete. Each spoken line exactly once. A sparse score enters at 15.0 s: a soft nylon-string guitar and a piano, swelling gently at the hug and resolving on the last shot. No singing. · DO NOT: no text or logos on anything, no other people, no daylight, no phone screen lighting up with words, no crying faces, no orange grade.