The Gulfstream — voice pass (dry run, 26 Sep 2026)

Board 869b8d82bbf8. Nothing here is on the board yet. Each prompt below is the original picture text verbatim with the spoken window appended (7 re-rolls), or a new card. Lines are tagged verbatim (screenplay, scene named), tightened (screenplay, trimmed) or written (from the overview — Sister Marie-Claire has no screenplay dialogue). The narrator is NOT in these prompts: narration comes from the reel pass in the gaps. Lint: 0 errors; 4 warnings, all in the original prompt text of the re-rolls (the new cards lint clean). The verbatim tags were checked against the script text by grep; lines that did not match word-for-word are marked tightened.

To re-roll: open the shot, paste the prompt, set the duration shown, render on Seedance 2.0 mini with audio on, reference = a frame from our own render of that character (shot 13 for Esteban — 20 and 32 still show the old take). The assembler now carries clip audio by itself. A duration change means re-assemble.

Re-rolls with a spoken line (7)

Shot 6 · re-roll with a spoken line

scene 1 · 8 s → set 8 s · Micah Cole · Cheap hotel bathroom, Cali

After the failure: Micah stitches his own forearm over a hotel sink, the drawing taped to the mirror.

Micah Cole · second 1 to second 6 · tightened — INT. HOTEL BATHROOM - CALI - NIGHT
You let him down. He was right there in front of you.

Medium shot from beside a cracked hotel sink: Micah stands over the basin, his left forearm laid on the counter, a curved suture needle in his right fingers mid-stitch through a long cut. His one action: he draws the thread tight, slow and steady. A half-empty whisky bottle stands by the tap; the crayon drawing is taped flat to the mirror above, its picture toward the lens. Harsh fluorescent tube light from above, dark blood on white tile. Locked-off camera, eyes down on the wound. From second one to second six Micah mutters to himself without looking up from the wound: You let him down. He was right there in front of you. In the first second and the last two seconds only the buzz of the fluorescent tube and blood dripping into the basin.

Shot 10 · re-roll with a spoken line

scene 2 · 5 s → set 6 s · Senator Jack Barrett · Barrett's Senate office

Barrett in his darkened office studies the same photograph of Daniel.

Senator Jack Barrett · second 2 to second 5 · tightened — INT. BARRETT'S OFFICE - LATER
Hang on, kiddo. We're coming.

Medium close-up in profile in a dim Senate office: Barrett stands at the window with the blinds half closed, holding a small photograph up in the slatted light. The photograph faces him; the camera sees its blank back and his profile studying it. His one action: his thumb passes slowly along the photo's edge. Late amber light in thin bars across a framed photograph of two soldiers on the wall behind. Lips together, jaw tight. Locked-off camera. From second two Barrett speaks softly to the photograph: Hang on, kiddo. We're coming. In the first two seconds and the last second only the hum of the office and faint traffic beyond the blinds.

Shot 14 · re-roll with a spoken line

scene 2 · 4 s → set 6 s · Kabir Rahman · Rented apartment, Miami

In Miami, Kabir sits before his son's photograph and the bank letter that bought him a place on the manifest.

Kabir Rahman · second 2 to second 5 · verbatim — INT. RENTED APARTMENT - MIAMI - DAY
We will see our son again.

High-angle medium shot over a bare table in a rented Miami apartment: Kabir sits with a tan canvas notebook open and a photograph laid flat before him, the photograph turned toward him so the camera sees it foreshortened and his eyes on it. A bank letter and a wristwatch beside it. His one action: two fingers rest on the photo's corner and slide it an inch closer. Flat grey daylight from a window facing a brick wall an arm's length away. Lips together. Locked-off camera. From second two Kabir speaks quietly to the photograph without looking up: We will see our son again. In the first two seconds and the last second only the drone of an air conditioner and traffic muffled through the brick wall.

Shot 15 · re-roll with a spoken line

scene 2 · 4 s → set 6 s · Elena Voss · Zona Colonial bar

Elena opens her file on the Marquez estate across a bar table.

Elena Voss · second 2 to second 4 · tightened — INT. BAR - ZONA COLONIAL - LATER - NIGHT
I document. You dismantle.

Medium shot across a corner table in an old Zona Colonial bar at night: Elena sets a thick manila file down on the scarred wood and opens it with one hand, satellite prints and shipping invoices fanning out. Her one action: the file cover opens and her fingers spread the pages. Ceiling fans overhead, a green glowing Presidente beer sign behind the bar, warm tungsten bulbs and a long mirror reflecting the doorway. Eyes down on the papers, lips together. Locked-off camera. From second two Elena speaks flatly across the table without looking up: I document. You dismantle. In the first two seconds and the last second only the slow tick of the ceiling fans and glasses set down somewhere behind the bar.

Shot 16 · re-roll with a spoken line

scene 2 · 7 s → set 8 s · Micah Cole, Rafael Ortiz · Rafael's mechanic shop, Gazcue

Micah and Rafael plan the raid over the map wall in the mechanic shop: they will become the transfer.

Micah Cole · second 2 to second 6 · verbatim — INT. MECHANIC SHOP - NIGHT (map wall planning)
Then we don't intercept the transfer. We become the transfer.

Medium two-shot from behind and to the side: Micah and Rafael stand at a wall of pinned maps and aerial photographs in a tin-roofed mechanic shop at night, both facing the wall. Micah's two fingers trace a route slowly across the estate plan while Rafael stands still with arms folded. Red marker circles on the map, a bare bulb on a cord above them, the maroon Mustang on the lift behind. Both faces in three-quarter profile, mouths closed. Locked-off camera. From second two Micah speaks low toward the map: Then we don't intercept the transfer. We become the transfer. Rafael keeps his arms folded and gives one slow nod while Micah speaks. In the first two seconds and the last second only the tin roof ticking and a moth at the bulb.

Shot 32 · re-roll with a spoken line

scene 3 · 4 s → set 6 s · Esteban Márquez · Gulfstream main cabin

Esteban clings to a seat back in the venting cabin, eyes fixed down the aisle.

Esteban Márquez · second 2 to second 5 · written — INT. GULFSTREAM - MAIN CABIN - NIGHT (ESMERALDA line reassigned to Esteban, no pronouns to swap)
It's time for this to end.

Medium close-up in the tilted jet cabin: Esteban grips the back of a cream leather seat with both hands, his hair whipping forward, dropped oxygen masks swinging on their hoses around his. His one action: his fingers tighten on the seat back. White haze in the air, amber cabin light flickering, loose paper clinging to the ceiling. His mouth set closed, eyes fixed down the aisle toward the camera. Locked-off camera. From second two Esteban shouts down the aisle over the wind: It's time for this to end. In the first two seconds and the last second only the roar of venting air and the oxygen hoses knocking together.

Shot 35 · re-roll with a spoken line

scene 4 · 5 s → set 7 s · Micah Cole, Daniel · Estate locker room holding cell

Button after black: Daniel runs from the open crate into Micah's arms in the locker room.

Micah Cole · second 3 to second 6 · tightened — INT. SAFE HOUSE - BEHIND THE CRATES - CONTINUOUS
Good boy. I've got you.

Medium shot at child height in the converted locker room: Micah is down on one knee, Daniel already a half-step from him, mid-stride, arms reaching. Their one action: Daniel closes the last step into Micah's chest and Micah's arms close around him, slow at the end. Behind them the open pine crate, its lid hanging open; a caged bulb overhead, steel lockers. Daniel's face turned into Micah's neck; Micah's eyes close, lips together. Single continuous take from one fixed camera position. From second three Micah speaks quietly into Daniel's hair: Good boy. I've got you. Daniel's fingers grip the back of Micah's jacket while Micah speaks. In the first three seconds and the last second only the caged bulb buzzing and Daniel's breathing.

New cards to add (4)

New location: Shelter courtyard, Santo Domingo

Flag: the overview describes Sister Marie-Claire's shelter but names no city; Santo Domingo is the Director's assumption (the screenplay uses both Santo Domingo and Cali). Confirm with Lisa before this location is rendered.

A small whitewashed courtyard behind a wooden gate painted sky blue: rough lime-washed walls, a single mango tree throwing leaf shadow, a corrugated tin awning over a row of iron cots with folded grey blankets, a laundry line with small shirts, a plain wooden cross on the wall, a hand pump and a plastic basin. Dusk or night warmth from one hanging bulb and a kerosene lamp on a step; rust-red floor tiles, potted geraniums, a child's chalk drawing on the wall by the gate.

NEW after shot 15

scene 2 · 9 s · Sister Marie-Claire · Shelter courtyard, Santo Domingo

Sister Marie-Claire alone in the shelter courtyard at dusk lays a folded blanket on each of a row of empty cots, preparing beds for children who have not been rescued yet.

Sister Marie-Claire · second 2 to second 5 · written — Overview — Sister Marie-Claire character portrait (no screenplay dialogue)
Saving a child is only the beginning.

Medium shot in a whitewashed shelter courtyard at dusk: Sister Marie-Claire moves along a row of iron cots under a corrugated tin awning, laying a folded grey blanket on each empty cot. Her one action: her hands smooth a blanket flat across the thin mattress. Leaf shadow from the mango tree shifting on the lime-washed wall, a kerosene lamp on the step, one hanging bulb warm against the blue of dusk, small shirts on a laundry line, a plain wooden cross on the wall. From second two Marie-Claire speaks calmly without looking up: Saving a child is only the beginning. In the first two seconds and the last second only leaves moving overhead and a distant radio. Locked-off camera at cot height.

NEW after shot 16

scene 2 · 8 s · Rafael Ortiz, Senator Jack Barrett · Rafael's mechanic shop, Gazcue

Rafael rewires a battery on the workbench while Barrett stands at the pinned map with a beer, both facing the estate plan; Barrett asks whether anyone stops the transfer and Rafael answers that nobody ever has.

Senator Jack Barrett · second 2 to second 3 · tightened — INT. MECHANIC SHOP - NIGHT (map wall planning)
And nobody stops him.
Rafael Ortiz · second 4 to second 6 · verbatim — INT. MECHANIC SHOP - NIGHT (map wall planning)
Nobody has ever stopped him.

Medium two-shot in the tin-roofed mechanic shop at night: Rafael sits on the workbench under the bare bulb rewiring a battery, wire strippers in his hands, while Barrett stands at the wall of pinned maps with a beer bottle, both facing the estate plan with its red marker circles. The maroon Mustang on the lift behind them, engines in pieces on the benches. From second two Barrett speaks flatly toward the map: And nobody stops him. Rafael's hands keep working the wires while Barrett speaks. After he finishes, Rafael speaks without looking up from the wires: Nobody has ever stopped him. Barrett sets the bottle down on the bench while Rafael speaks. In the first two seconds and the last two seconds only a fan turning and the tin roof cooling. Both faces in three-quarter profile. Locked-off camera.

NEW after shot 21

scene 3 · 8 s · Solis · Estate stone service corridor

Solis crouches in the dim stone corridor over a smear of blood on the flagstones, touches it, lifts his fingers to the bulb light, rises and reports into a handheld radio.

Solis · second 4 to second 6 · verbatim — INT. ESTATE - KITCHEN / INT. ESTATE - CHAPEL - NIGHT (Solis finds the blood, then reports)
We have a problem.

Medium shot down the long stone service corridor: Solis crouches over a smear of blood on the flagstones under one dim yellow bulb, two fingers touching it. His one action: he lifts the fingers into the light, looks at them, and rises drawing a handheld radio from his belt. Damp old stone, wooden doors receding into darkness, the recessed alcove of wooden shelves behind him. From second four Solis speaks low into the radio: We have a problem. In the first four seconds and the last two seconds only water dripping and a door closing far off. Locked-off camera.

NEW after shot 25

scene 3 · 10 s · Sister Marie-Claire, Elena Voss · Shelter courtyard, Santo Domingo

Night at the shelter gate: Elena's black van stands with its rear doors open and Sister Marie-Claire kneels at child height receiving the children as they climb down, while Elena stays silent at the van door steadying a child's shoulder.

Sister Marie-Claire · second 3 to second 6 · written — Overview — Sister Marie-Claire sees the children not as victims or evidence; screenplay EXT. AIRPORT - HANGAR 14 (Elena drives the eleven children away)
You are not evidence. You are children.

Medium shot at child height by the sky-blue wooden gate of the shelter at night: Elena's black van stands with its rear doors open, and Sister Marie-Claire kneels on the rust-red tiles receiving the children as they climb down, a tall girl first with a smaller girl by the hand, a boy in a green shirt hanging back at the tailgate. Elena stands silent at the van door, one hand steadying a child's shoulder. Marie-Claire's one action: she takes the first small hand in both of hers. One hanging bulb and a kerosene lamp on the step, the mango tree black overhead, a child's chalk drawing on the lime-washed wall by the gate. From second three Marie-Claire speaks gently to the children: You are not evidence. You are children. Elena's hand stays on the child's shoulder while Marie-Claire speaks. In the first three seconds and the last two seconds only the van engine ticking, crickets, and the gate hinge. Locked-off camera.