Image - 2026-09-18 16:14

A traditional hand-drawn FILM STORYBOARD SHEET for scene 9: one page divided into a clean 3x3 grid of NINE separate rectangular panels, three rows of three, each panel a 16:9 rectangle with a thin ruled black border and a small hand-written panel number in its top-left corner from 1 to 9. Thin white gutters between panels. Off-white paper background with faint tooth. MEDIUM, STRICT: rough graphite pencil drawing only. Loose confident director's sketch, visible pencil strokes, hatching and smudged shading for shadow, some construction lines left in. Monochrome grey graphite, NO colour anywhere, NO paint, NO digital rendering, NO photorealism. It must look drawn by hand on paper in a few minutes per panel. No named characters — stage the action with anonymous figures. Divide the following 8-second scene into NINE consecutive story beats yourself, in strict chronological order, and draw one panel per beat. Vary the shot size between panels — do not draw nine versions of the same framing. THE SCENE: WORLD LOCK: Physical anchors: Margot's porch (Anchor 1), emerald front door ajar by three inches (Anchor 2), interior hallway table with pie (Anchor 3), and porch steps (Anchor 4). Diana (Character 3) and Lynn (Character 2) stand at Anchor 1 in left and center; Carol (Character 1) stands at Anchor 4 in right-third. AXIS LOCK: Action axis moves from the porch outside (screen-left) into the open doorway (screen-right). Camera remains on the exterior porch. Characters face screen-right; camera shoots from front-left. SHOT LIST: [T=0.0-4.0s] SHOT 1 — MS — 35mm. CAMERA: Low angle looking up at the three women on the porch. MOVE: Handheld slow creep toward the cracked door over T=0.0-4.0s. ACTION: Diana leans close to the three-inch gap of the emerald door (Anchor 2), cupping her hand around her mouth: 'Margot? Are you home?' She pushes the door gently with one finger; it swings open another two inches with a faint creak. Lynn steps up immediately beside her, shouting urgently into the interior: 'Margot!' In the background, Carol stands motionless on the top step, watching them without calling out. EYELINE: Diana and Lynn look screen-right into the dark interior. HARD CUT at T=4.0s. [T=4.0-8.0s] SHOT 2 — WS — 24mm. CAMERA: Eye level from deep inside the dark living room looking out through the open front door at the three women framed in the bright midday sunlight. MOVE: Handheld slow drift back into the living room shadows. ACTION: In the foreground of the dark room, the apple pie dish (Anchor 3) sits cold and slightly crooked on the glass coffee table. Through the open door in the bright background, Diana and Lynn peer inside with growing dread, calling out silently, while Carol stands behind them with folded arms, perfectly calm. EYELINE: The women look screen-left into the empty house. END FRAME: Wide perspective of the abandoned cold pie in the foreground with the three anxious neighbors silhouetted in the blinding noon doorway. RELATIONS ARE PHYSICAL: The physical emptiness of the house and the abandoned pie confirm Margot's sudden vanishing. INFORMATION CHANGED: Margot has officially disappeared by noon, leaving her house unlocked and her pie abandoned. SILENCE: Door hinge creak, hollow echo of Diana and Lynn's voices inside the empty house, soft rustle of an interior draft. SPOKEN LINE — AUTHORITATIVE, overrides any line quoted earlier in this prompt: The only words spoken, in English, verbatim: ДИАНА: "Марго? Ты дома?" ЛИНН: "Марго-о!" Any other quoted line above is outdated — do not speak it, in any language. Draw camera arrows and simple motion lines in pencil where movement matters, and keep every panel's staging consistent with the one before it — this sheet is a shooting plan, so a person standing screen-left in one panel stays screen-left in the next unless the action moves them. NO text or captions anywhere except the small panel numbers 1 to 9. No title block, no handwriting in the margins, no speech bubbles, no subtitles, no watermark, no logo.