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Prompt

SETTING Upscale American hotel entrance on prom night, glass doors behind a wide set of stone steps and a long black stretch limousine at the curb | Night | Warm string lights strung overhead in soft amber rows, a cold wash from the lobby spilling out through the glass, faint headlight glow from the roundabout | Music thumping faintly from inside the ballroom, the sidewalk suddenly silent All characters are white American, contemporary U.S. setting. CHARACTERS MAYA: 17, long dark hair pinned back, slim build, simple sky-blue floor-length dress, small clutch in her hands. TYLER: 18, sandy blonde hair styled up, broad-shouldered quarterback build, open black tuxedo jacket and loosened bowtie, flushed with alcohol and performance. JAKE: 24, lean military build, crisp black chauffeur's uniform with silver buttons, black driver's cap pulled low, composed stillness — the quiet of someone who has already decided what happens next. SHOT 1 — THE SLAP (≈4 seconds, push-in) Extreme close-up on Maya's cheek at the precise moment of impact. Tyler's open palm lands with a sharp crack, her head snaps a quarter-turn, a loose strand of hair flies across her face, her clutch slips from her fingers toward the pavement in soft focus. The camera begins a slow motivated push-in on her face as her shoulder hits the side of the black limo behind her; her palm flattens against the cold metal for balance, eyes closing for one beat, then opening — steady, unblinking — the red print of his palm already blooming on her cheekbone. The sidewalk chatter stalls into silence; a girl off-frame lets out a raw "oh my god." Final frame: Maya's eyes fixed forward, Tyler blurred and laughing behind her. AUDIO: Sharp palm-to-skin impact. Muffled prom music from inside. Girl's off-frame gasp. SHOT 2 — TYLER PERFORMING, DOOR OPENING (≈3 seconds, slow dolly along the limo) Medium shot on Tyler, oblivious, half-turned to his friends, already laughing for the cameras, his raised hand still up. Two friends behind him grin along, phones up. The camera begins a slow motivated dolly to the right along the limo's black flank — drawn by the quiet mechanical rise of the driver's door swinging open into frame. Jake's silhouette appears, uniform crisp under the amber string lights, cap pulled low. He does not look at Tyler. He looks across the roof of the limo, off-frame, toward Maya. Tyler's laugh begins to thin as he registers the silence around him. KEY DIALOGUE TYLER (laughing, performative, trailing off): "Did you see her face? Did you —" AUDIO: Tyler's laughter. Friends' nervous chuckles cutting out one by one. The heavy mechanical click of the limo door opening. SHOT 3 — THE CAP COMES OFF (≈3 seconds, tight single, slow push-in) Tight single on Jake standing beside the open driver's door, framed against the warm string lights. His jaw sets once. His hand rises and lifts the cap from his head with careful, deliberate precision, revealing the flat military haircut beneath. String lights catch the short hair; the cold resolve settles in his eyes. He sets the cap on the roof of the limo without looking down. The camera pushes in slowly as he steps around the front of the limo toward Tyler off-frame. He speaks quietly, flat, almost gentle. Final held frame: Jake's face in close-up, the black cap still sitting on the limo's roof in the background between him and the off-frame Tyler, string lights glowing warm above. KEY DIALOGUE JAKE (quiet, flat, almost gentle): "That's my sister." AUDIO: Soft fabric rustle as cap lifts. The low scrape of cap meeting limo roof. Complete silence from the crowd. Faint prom music still thumping from inside the ballroom. TECHNICAL NOTES (apply to all three shots) No logos, brand names, watermarks, signage, or on-screen text Natural motion and physics; realistic hand tremors and breathing rhythms Consistent wardrobe, lighting, and geography across all three shots so they cut together cleanly Realistic eye contact, proximity, and micro-reactions Each shot is its own continuous take — no cuts within a shot EDITING NOTES Cut Shot 1 → Shot 2 on the last frame of Maya's steady gaze; let Tyler's laugh bleed across the cut Cut Shot 2 → Shot 3 on the door reaching its full open position, so Shot 3 opens on Jake already standing Hold Shot 3's final frame an extra beat before ending — Jake's line lands in the silence after