A traditional hand-drawn FILM STORYBOARD SHEET for scene 2: 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 7-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: The camera holds a breathtaking, static extreme wide shot. Water thunders down the cliffside next to the temple, creating a constant spray of mist that catches the light. Elias and Maya stand perfectly still at the base, dwarfed by the sheer scale of the ancient architecture. A flock of colorful macaws flies across the top of the frame, adding a sense of life to the monumental scene. 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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