A traditional hand-drawn FILM STORYBOARD SHEET for scene 4: one page divided into a clean 3x3 grid of NINE separate rectangular panels, three rows of three, each panel a 9:16 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 11-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: A thunderous BANG — the window frames slam inward as if struck by an invisible fist, though the tree branches outside remain perfectly still. Smoke floods the room from the window in fast-moving theatrical clouds, and a cascade of bright cinematic sparks erupts through the opening, raining across the midground. The superhero silhouette rises into the window frame — deliberate, unhurried, enormous against the light — and becomes motionless, commanding. The camera holds its extreme wide low-angle, locked to the floor; we stay in Marta's fallen perspective as she lifts her gaze from the rug. Her eyes go wide, wider — she does not move, she does not speak. The smoke swirls and the sparks drift and fade. The scene ends on a slow, subtle push-in to a Medium eye-level two-shot: Marta on the floor looking up, the silhouette filling the window above her — a perfect cliffhanger freeze. Mood: awe, supernatural rupture, the hinge moment where Marta's old life closes. 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.
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