s41 — 배경 플레이트 참조 샷별 경량 콘티 (13/13샷, 배경 전용 10샷 제외)

Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.

SHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도

LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.

FIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업

LOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.

FIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태

LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.

FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습

LOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.

FIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습

LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.

FIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도

MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.

FIGURES — apparent size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.

CARRIED STATE (persist exactly): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷

MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.

FIGURES — apparent size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.

CARRIED STATE (persist exactly): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.

SHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업

MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.

FIGURES — apparent size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.

SHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도

MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.

FIGURES — apparent size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태

MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.

FIGURES — apparent size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.

CARRIED STATE (persist exactly): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷

MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.

FIGURES — apparent size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.

CARRIED STATE (persist exactly): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.

SHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습

MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.

FIGURES — apparent size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.

SHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도

MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.

FIGURES — apparent size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업

MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.

FIGURES — apparent size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.

CARRIED STATE (persist exactly): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습

MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.

FIGURES — apparent size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.

CARRIED STATE (persist exactly): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴

MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.

FIGURES — apparent size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.

CARRIED STATE (persist exactly): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷

MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.

FIGURES — apparent size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.

CARRIED STATE (persist exactly): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.

Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.

STYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible
director's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR
LINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO
hatching, NO texture, NO grayscale fill, NO light-and-shadow, NO
facial features beyond a bare head outline, NO clothing detail, NO
material rendering. The frame contains ONLY: the camera framing,
each figure as a simple correct-proportion human contour in its
exact pose and screen position/size, and the few major set masses
as plain outline shapes. It must read as a quick layout guide,
never as a finished drawing.

The attached photograph is the LOCATION where this shot happens.
Use it ONLY as a LOOSE spatial reference — the rough set masses
and where things sit relative to each other. You do NOT need to
follow it exactly: do not copy its camera, its lighting or its
details. Choose the camera and framing the SHOT TEXT needs, and
draw only the few set masses that matter as plain outline shapes.

THE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.

SHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업

MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.

FIGURES — apparent size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.

CARRIED STATE (persist exactly): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.

ABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.