Project Dashboard
BLITZ
Review the parsed scene text, extracted dialogue, and generated shot list before moving toward prompt creation.
Estimated duration
439s
Location
CAFÉ DE PARIS
Time of day
NIGHT - PRESENT 101 101
Characters
FRED, ALBERT, BERYL
Harvey violently tugs at the ENGAGEMENT RING on the dead woman's finger. His lantern, now resting on the table, bathes light across the woman’s body as it jolts with every yank. Fred standing idle observes Harvey as he works. He picks up one of the crystal flutes on the table, still filled with champagne, and polishes it off with one gulp. He then picks up the end of a fag that is still gently shouldering in the ash tray. He takes a drag. -- 89 of 109 -- (MORE) 89. The emergency men carry on their work at a safe distance, trying to find signs of life. Albert, noticing George has been watching the emergency workers as if it could be his salvation, but not understanding the dichotomy, shoves him with a foot. -- 90 of 109 -- BERYL (CONT'D) 90. Now get on with it and don’t make that racket again. George, blocking out emotions, gets to work. He quietly hums the song that Ife sung to him.
FRED
That’s not coming off. Albert grins and reveals a set of pliers. He waves them in the air. There’s a casualness in the way Albert sets to work as if he’s done it countless times before. There’s no element of empathy, he’s numb to what he is doing. The lady’s TEAR DROP EARRINGS swing backwards and forwards with the force of his motions. As the coup de grace, he rips the earrings from her ears. She slumps forward. A few emergency workers are seen making their way through the debris of the club. Albert, not in the least deterred, carries on with his task. There seems to be a strange acceptance of the fact that criminals would attend and an understanding that any interruption to their deeds could end in fatal bloodshed. 88.
ALBERT
Stop gawping and get to bloody work unless you want them to put you back on that train. Cos that’s what they’ll do. Albert points to an adjacent table.
ALBERT
See that bracelet. Get on with it! George’s reaction is one of fear. He is numb and terrified of the consequences if he doesn’t do what he’s told. George grabs a bag and lantern and moves off. As he does so he trips, falling flat on the ground, the CLANGING sound of his lantern echos through the space. The truce is broken and there is eye contact between the criminals and the emergency workers. Then, just like that, both groups go back to their respective tasks as if nothing untoward is going on. George crosses the ballroom. It’s as if someone has hit the pause button. The whole scene like something out of Pompeii but lit by lanterns. Bodies are frozen in time with no evidence of any wounds or blood. The strange dance of the environment continues as the black gigolo we saw earlier suddenly arises from the rubble with dust covering his whole body, blood streaming from the top of his head. He holds onto the white gloved arm of the middle aged lady he had been engaged with, but now with no body attached. Realizing, he drops the arm and stumbles his way to the emergency workers. George sees the female couple who are intertwined, clung together in their last moments. As he stares, he feels something on his neck. He flinches, trance broken. Beryl has crept up behind him, gold cigarette holder in her mouth, flapping a dead man’s wrist in his face.
Generate a shot plan to create 3-6 editable shots for this scene, then refine prompts before queueing renders.
BERYL
(laughing) Don’t worry they’re all dead. Their lungs burst with the explosion, that’s why you don’t see any blood. (MORE) 89.