Floating on Calm Water — storyboard

WIDE SHOT, camera across the room at standing height. his bright airy room — pale WARM GREIGE walls, a soft putty-beige, NOT cool white and NOT grey; ONE wide white window divided into THREE TALL CASEMENT PANES by two slim white glazing bars, and EACH of those three panes carries a SINGLE HORIZONTAL GLAZING BAR high up near its top with ONE SHORT VERTICAL BAR above it, so every tall pane reads as EXACTLY TWO SMALL PANES SITTING ABOVE ONE TALL UNDIVIDED PANE — two over one, nine pieces of glass in the whole window, and no further subdivision of any kind: no four small panes, no square grid, no six-over-six sash — with two small dark casement handles at the middle of the window and a DEEP WHITE-PAINTED SILL, filled with open sky and the tops of green trees; a flat-woven rug in faded blue and cream; ⚠ TWO SEPARATE SURFACES, EACH WITH ITS OWN FIXED CONTENTS AND NOTHING ELSE: the DEEP WINDOW SILL carries ONLY THREE small white pots of green leaves and nothing besides, arranged like this: the LEFT-HAND PANE has NO POT beneath it at all, ONE pot stands beneath the MIDDLE PANE, and the remaining TWO pots stand together beneath the RIGHT-HAND PANE — no photographs stand on the sill and none stand against the window panes; and the LOW WHITE BOOKSHELF running along the wall BENEATH the sill carries ALL THREE framed family photographs in pale frames TOGETHER WITH one shallow round brass bowl, the bowl standing between the first photograph and the other two so that one photograph is on one side of it and two are on the other. A slim brass reading lamp stands behind one arm of the recliner. Bright soft midday daylight, cool and clean. An older South Asian man with thick white-grey hair and a short white beard, in a blue-grey shirt, is ALREADY fully reclined in the camel-tan recliner, at rest. ⚠ THE RECLINER IS AND STAYS FULLY RECLINED FOR THE WHOLE SHOT: its padded legrest remains folded OUT and RAISED with both his feet resting up on it, at the same height, from the first frame to the last. The chair does not close, the legrest does not fold away, his feet never come down to the floor, and he does not stand up or sit forward. ⚠ THE ONLY MOVEMENT IN THIS SHOT: he breathes in and out once, slowly, his chest rising and falling. He does not shift his weight, does not move his legs and does not change position. ⚠ HIS EYES ARE CLEARLY OPEN AND AWAKE — not closed, not lowered, not heavy-lidded; he has not been asked to close them yet. ⚠ THE RECLINER STANDS IN THE MIDDLE OF THE WINDOW WALL, centered on the window rather than set off to one side of it, so the window spans the wall behind the chair. He is small in frame with the whole bright room around him. Camera static.

MEDIUM WIDE SHOT, camera at his LEFT side at seated height, his whole reclined body and the raised legrest in frame. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. HIS POSE IS THE SAME IN EVERY SHOT: he is reclined back in a CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — standing on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base of the chair and already raised under his feet, so the seat, the legrest and the arms are all ONE continuous upholstered piece. His head rests back against the headrest, the chair carries his whole weight from head to heel, his shoulders are down, and BOTH HANDS REST STILL AND OPEN LOW IN HIS LAP, ONE ON EACH THIGH, palms down — NOT on the arms of the chair and NOT gripping anything. ⚠ THE BLANKET: a WARM OATMEAL WOOL THROW — a soft tan-beige, the same warm family as the camel chair but a few shades lighter, NOT white, NOT ivory and NOT a cool grey-cream — WITH A SHORT NEAT KNOTTED FRINGE only about two inches deep along its hanging end — a small tidy fringe, NOT long tassels and NOT a deep swaying fringe — draped over the recliner's RIGHT ARM — the arm on the same side as his right hand — so the fringed end hangs down the outside of that arm. There is no blanket on his left arm. He is settled and unmoving; only the camera moves. ⚠ THE RECLINER IS AND STAYS FULLY RECLINED FOR THE WHOLE SHOT: its padded legrest remains folded OUT and RAISED with both his feet resting up on it, at the same height, from the first frame to the last. The chair does not close, the legrest does not fold away, his feet never come down to the floor, and he does not stand up or sit forward. ⚠ THE ONLY MOVEMENT IN THIS SHOT: he blinks slowly, once, and his shoulders ease a little as he lets out a long breath. He stays exactly where he is. ⚠ HIS EYES ARE CLEARLY OPEN AND AWAKE — not closed, not lowered, not heavy-lidded. Camera static.

his bright airy room — pale WARM GREIGE walls, a soft putty-beige, NOT cool white and NOT grey; ONE wide white window divided into THREE TALL CASEMENT PANES by two slim white glazing bars, and EACH of those three panes carries a SINGLE HORIZONTAL GLAZING BAR high up near its top with ONE SHORT VERTICAL BAR above it, so every tall pane reads as EXACTLY TWO SMALL PANES SITTING ABOVE ONE TALL UNDIVIDED PANE — two over one, nine pieces of glass in the whole window, and no further subdivision of any kind: no four small panes, no square grid, no six-over-six sash — with two small dark casement handles at the middle of the window and a DEEP WHITE-PAINTED SILL, filled with open sky and the tops of green trees; a flat-woven rug in faded blue and cream; ⚠ TWO SEPARATE SURFACES, EACH WITH ITS OWN FIXED CONTENTS AND NOTHING ELSE: the DEEP WINDOW SILL carries ONLY THREE small white pots of green leaves and nothing besides, arranged like this: the LEFT-HAND PANE has NO POT beneath it at all, ONE pot stands beneath the MIDDLE PANE, and the remaining TWO pots stand together beneath the RIGHT-HAND PANE — no photographs stand on the sill and none stand against the window panes; and the LOW WHITE BOOKSHELF running along the wall BENEATH the sill carries ALL THREE framed family photographs in pale frames TOGETHER WITH one shallow round brass bowl, the bowl standing between the first photograph and the other two so that one photograph is on one side of it and two are on the other. A slim brass reading lamp stands behind one arm of the recliner. Bright soft midday daylight, cool and clean. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. HIS POSE IS THE SAME IN EVERY SHOT: he is reclined back in a CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — standing on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base of the chair and already raised under his feet, so the seat, the legrest and the arms are all ONE continuous upholstered piece. His head rests back against the headrest, the chair carries his whole weight from head to heel, his shoulders are down, and BOTH HANDS REST STILL AND OPEN LOW IN HIS LAP, ONE ON EACH THIGH, palms down — NOT on the arms of the chair and NOT gripping anything. ⚠ THE BLANKET: a WARM OATMEAL WOOL THROW — a soft tan-beige, the same warm family as the camel chair but a few shades lighter, NOT white, NOT ivory and NOT a cool grey-cream — WITH A SHORT NEAT KNOTTED FRINGE only about two inches deep along its hanging end — a small tidy fringe, NOT long tassels and NOT a deep swaying fringe — draped over the recliner's RIGHT ARM — the arm on the same side as his right hand — so the fringed end hangs down the outside of that arm. There is no blanket on his left arm. He is settled and unmoving; only the camera moves ⚠ HE IS AT THE EXTREME LEFT EDGE OF THE FRAME AND ONLY PARTLY IN SHOT — his head and one shoulder against the left edge, the rest of him outside the picture — reclined, still, seen from his side, and SOFT AND SLIGHTLY OUT OF FOCUS, because the WINDOW IS THE SUBJECT OF THIS SHOT AND IS SHARP. He does not move. The window fills the CENTRE AND THE RIGHT of the picture with its sill below it. ⚠ THE GREEN TOPS OF SUMMER TREES ARE CLEARLY VISIBLE THROUGH THE GLASS, filling the lower part of every pane, with open sky above them — the panes are NOT blown out to featureless white and NOT empty. Bright, clean midday light. The three small potted plants stand along the sill, and BELOW THE SILL THE LOW BOOKSHELF IS IN FRAME carrying THE THREE FRAMED FAMILY PHOTOGRAPHS AND THE SMALL ROUND BRASS BOWL. Calm, ordinary, luminous. ⚠ HE IS THE ONLY PERSON IN THE PICTURE and he is at the far left edge; there is nobody else and no second figure anywhere in frame. No text. Camera static.

Extreme close-up macro of the hands of an older South Asian man in his early seventies — warm brown skin, loose and lived-in, clean short nails, the cuffs of a soft blue-grey cotton shirt turned back at his wrists. His hands rest LOW IN HIS LAP, ONE HAND ON EACH THIGH, palms down on the soft CHARCOAL-GREY trouser fabric, which fills the frame behind and between them. They are NOT on the arms of the chair and NOT gripping anything. ⚠ NO FACE, NO HEAD AND NO SHOULDERS ARE IN FRAME — the hands fill the picture. No window, no furniture, no room behind them. Bright soft midday daylight, cool and clean. One person only. No text. BOTH hands are in frame, one resting on each thigh, seen from slightly above and in front, with the narrow gap between his knees between them. They are UNCURLED AND FULLY RELAXED OPEN, the fingers loose and softly apart, palms down, weight let go. ⚠ THEY ARE A MATCHED PAIR — ONE LEFT HAND AND ONE RIGHT HAND, exact mirror images of each other. The two THUMBS POINT INWARD TOWARD ONE ANOTHER across the middle of the frame and the two LITTLE FINGERS ARE ON THE OUTSIDE edges. They are NOT two hands of the same side, NOT two right hands and NOT two left hands. Five fingers on each hand, correct lengths, the middle finger longest. Camera static.

CLOSE SHOT, camera at his side at eye level, his face filling the frame, the room soft and out of focus behind him. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar. ⚠ THIS IS A TIGHT SHOT: his face and ONE shoulder fill the picture and NOTHING ELSE IS IN FRAME. Behind him and behind his head there is only a smooth, unreadable soft wash of pale daylight, thrown far out of focus — no chair back, no headrest and no second figure of any kind. He is settled and unmoving; only the camera moves. ⚠ HIS EYES ARE CLEARLY OPEN AND AWAKE — not closed, not lowered, not heavy-lidded. A SLOW, SMALL, GENUINE SMILE has spread across his face as he settles and gets comfortable — the corners of his mouth lifted, the lines beside his eyes creased, warm and unforced. His lips stay CLOSED and he is NOT speaking. Camera static.

MEDIUM SHOT, camera at seated height and level with him, his whole reclined body and the raised legrest in frame, his head at the left and his feet at the right, the window behind him. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. HIS POSE IS THE SAME IN EVERY SHOT: he is reclined back in a CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — standing on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base of the chair and already raised under his feet, so the seat, the legrest and the arms are all ONE continuous upholstered piece. His head rests back against the headrest, the chair carries his whole weight from head to heel, his shoulders are down, and BOTH HANDS REST STILL AND OPEN LOW IN HIS LAP, ONE ON EACH THIGH, palms down — NOT on the arms of the chair and NOT gripping anything. ⚠ THE BLANKET: a WARM OATMEAL WOOL THROW — a soft tan-beige, the same warm family as the camel chair but a few shades lighter, NOT white, NOT ivory and NOT a cool grey-cream — WITH A SHORT NEAT KNOTTED FRINGE only about two inches deep along its hanging end — a small tidy fringe, NOT long tassels and NOT a deep swaying fringe — draped over the recliner's RIGHT ARM — the arm on the same side as his right hand — so the fringed end hangs down the outside of that arm. There is no blanket on his left arm. He is settled and unmoving; only the camera moves. ⚠ THE RECLINER IS AND STAYS FULLY RECLINED FOR THE WHOLE SHOT: its padded legrest remains folded OUT and RAISED with both his feet resting up on it, at the same height, from the first frame to the last. The chair does not close, the legrest does not fold away, his feet never come down to the floor, and he does not stand up or sit forward. ⚠ THE ONLY MOVEMENT IN THIS SHOT: the fingers of one hand settle slightly against the chair arm, and he breathes. His legs and feet do not move at all. ⚠ HIS EYES ARE CLEARLY OPEN AND AWAKE — not closed, not lowered, not heavy-lidded. his bright airy room — pale WARM GREIGE walls, a soft putty-beige, NOT cool white and NOT grey; ONE wide white window divided into THREE TALL CASEMENT PANES by two slim white glazing bars, and EACH of those three panes carries a SINGLE HORIZONTAL GLAZING BAR high up near its top with ONE SHORT VERTICAL BAR above it, so every tall pane reads as EXACTLY TWO SMALL PANES SITTING ABOVE ONE TALL UNDIVIDED PANE — two over one, nine pieces of glass in the whole window, and no further subdivision of any kind: no four small panes, no square grid, no six-over-six sash — with two small dark casement handles at the middle of the window and a DEEP WHITE-PAINTED SILL, filled with open sky and the tops of green trees; a flat-woven rug in faded blue and cream; ⚠ TWO SEPARATE SURFACES, EACH WITH ITS OWN FIXED CONTENTS AND NOTHING ELSE: the DEEP WINDOW SILL carries ONLY THREE small white pots of green leaves and nothing besides, arranged like this: the LEFT-HAND PANE has NO POT beneath it at all, ONE pot stands beneath the MIDDLE PANE, and the remaining TWO pots stand together beneath the RIGHT-HAND PANE — no photographs stand on the sill and none stand against the window panes; and the LOW WHITE BOOKSHELF running along the wall BENEATH the sill carries ALL THREE framed family photographs in pale frames TOGETHER WITH one shallow round brass bowl, the bowl standing between the first photograph and the other two so that one photograph is on one side of it and two are on the other. A slim brass reading lamp stands behind one arm of the recliner. Bright soft midday daylight, cool and clean. Camera static.

VERY CLOSE SHOT, tighter than the reference, his face filling the whole frame from brow to beard, the room an unreadable soft wash behind him. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. HIS POSE IS THE SAME IN EVERY SHOT: he is reclined back in a CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — standing on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base of the chair and already raised under his feet, so the seat, the legrest and the arms are all ONE continuous upholstered piece. His head rests back against the headrest, the chair carries his whole weight from head to heel, his shoulders are down, and BOTH HANDS REST STILL AND OPEN LOW IN HIS LAP, ONE ON EACH THIGH, palms down — NOT on the arms of the chair and NOT gripping anything. ⚠ THE BLANKET: a WARM OATMEAL WOOL THROW — a soft tan-beige, the same warm family as the camel chair but a few shades lighter, NOT white, NOT ivory and NOT a cool grey-cream — WITH A SHORT NEAT KNOTTED FRINGE only about two inches deep along its hanging end — a small tidy fringe, NOT long tassels and NOT a deep swaying fringe — draped over the recliner's RIGHT ARM — the arm on the same side as his right hand — so the fringed end hangs down the outside of that arm. There is no blanket on his left arm. He is settled and unmoving; only the camera moves. ⚠ HIS EYES ARE CLOSED — fully and softly shut, lids down, lashes together; he has just closed them and they STAY closed. NOT open, NOT half open, NOT squinting. His face settles. Nothing else moves. Camera static.

The SAME room and the SAME window as the reference image, seen from LOWER DOWN and TILTED UP so that the PALE CEILING fills the upper half of the frame and only the top of the window is in the lower part, its daylight spilling up across the ceiling. ⚠ The view through the glass is UNCHANGED from the reference — the same soft hazy sky and the same faint distant treetops, and the same three SMALL potted plants on the sill; no large plant, no palm, no bright blue sky and no strong green foliage. The camera drifts very slowly UPWARD and settles. Soft even light. Static and quiet. No people, no furniture, no text.

A plain pale ceiling seen from directly below in a bright room, the corner where it meets the wall and the top edge of a tall window still faintly readable at one side, everything going gradually soft and out of focus. Pale and quiet but NOT a blank white frame - the shape of the room is still there. Static camera. No people, no text.

A wide open pale blue sky with soft high cloud, seen from directly below, filling almost the whole frame; along the very bottom edge, a flat calm water horizon just visible. This is a first-person point of view from someone lying on their back floating on the water: the camera is at water level, tilted up, so the sky fills most of the frame and the flat horizon line and the water surface ride along the very bottom edge. The whole frame rocks and tilts very slightly and slowly, as if on a gentle swell. No people, no boats, no land, no text. ⚠ THE LIGHT IS BRIGHT MIDDAY DAYLIGHT — clean, clear and slightly cool, the sun high and OUT OF FRAME. This is NOT sunset, NOT sunrise, NOT golden hour, NOT dusk or twilight: there is no orange or amber in the sky, no warm glow at the horizon, no low sun, no sun disc and no flare anywhere in the picture. ⚠ The water is completely empty and unbroken to the horizon: nothing floating in it, no object, no debris, no rock, no buoy, no head, no swimmer, no silhouette and no dark shape of any kind anywhere in the frame.

[rendered gentle water loop — not generated]

A soft open sky going gradually out of focus and pale until it is almost a field of light, the water horizon fading out of the frame entirely. Static camera. No people, no text.

Looking straight UP at a plain pale ceiling in a bright ordinary room, the CEILING FILLING MOST OF THE FRAME. Along the bottom edge, seen from below and steeply foreshortened, the TOP EDGE ONLY of ONE WIDE WHITE WINDOW divided into THREE tall panes by two slim white glazing bars with small square upper lights above them — NOT a small-paned colonial grid and NOT a two-pane sash — its daylight spilling up across the ceiling, and the top of a pale WARM GREIGE wall running across a corner of the frame, so it reads unmistakably as the ceiling of a real lived-in room. Resolving from soft focus into clear focus as the camera drifts very slowly DOWNWARD. Static, quiet, domestic. No cornice, no plaster medallion, no vaulting, no chandelier. No people, no furniture, no text.

CLOSE SHOT, camera in front of him and slightly to his LEFT, framing his face against the pale headrest. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. He is in the SAME CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base. A WARM OATMEAL WOOL THROW with a SHORT NEAT KNOTTED FRINGE lies over the recliner's RIGHT ARM. ⚠ HE IS COMING BACK UP OUT OF REST, NOT ASLEEP AND NOT SETTLED BACK: HIS HEAD IS ALREADY FORWARD AND CLEAR OF THE HEADREST, held up on his own neck with daylight between the back of his head and the chair, his shoulders lifted, awake and alert. ⚠ HIS EYES ARE FULLY OPEN, the iris and white of the eye clearly visible — he is awake and looking, NOT resting, NOT dozing, NOT heavy-lidded and NOT closed. His mouth is closed and he is NOT speaking. ⚠ THE RECLINER IS AND STAYS FULLY RECLINED FOR THE WHOLE SHOT: its padded legrest remains folded OUT and RAISED with both his feet resting up on it, at the same height, from the first frame to the last. The chair does not close, the legrest does not fold away, his feet never come down to the floor, and he does not stand up or sit forward. ⚠ THE ONLY MOVEMENT IN THIS SHOT: his eyes have just opened and he is looking up and away, taking his time. He stays reclined and does not sit up. Camera static.

Extreme close-up macro of the hands of an older South Asian man in his early seventies — warm brown skin, loose and lived-in, clean short nails, the cuffs of a soft blue-grey cotton shirt turned back at his wrists. His hands rest LOW IN HIS LAP, ONE HAND ON EACH THIGH, palms down on the soft CHARCOAL-GREY trouser fabric, which fills the frame behind and between them. They are NOT on the arms of the chair and NOT gripping anything. ⚠ NO FACE, NO HEAD AND NO SHOULDERS ARE IN FRAME — the hands fill the picture. No window, no furniture, no room behind them. Bright soft midday daylight, cool and clean. One person only. No text. A TIGHTER macro than before, filling the whole frame with ONE SINGLE HAND ⚠ LIFTED JUST CLEAR OF HIS THIGH — the heel of the hand still near the trouser fabric but the fingers raised a little off it, mid-movement, loose and light. ⚠ ONLY ONE HAND IS VISIBLE — the second hand is NOT in the picture at all, not at the edge, not partly, not blurred in the background. The FINGERS ARE SPREAD AND WIGGLING, stretched open and moving, every knuckle and tendon readable. Five fingers, one thumb, correct proportions. Camera static.

MEDIUM WIDE SHOT, camera at his LEFT side, further back and a little lower than seated height, his head at the LEFT of frame and his whole reclined body and the raised legrest running away to the RIGHT. the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. He is in the SAME CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base. A WARM OATMEAL WOOL THROW with a SHORT NEAT KNOTTED FRINGE lies over the recliner's RIGHT ARM. ⚠ HE IS COMING BACK UP OUT OF REST, NOT ASLEEP AND NOT SETTLED BACK: HIS HEAD IS ALREADY FORWARD AND CLEAR OF THE HEADREST, held up on his own neck with daylight between the back of his head and the chair, his shoulders lifted, awake and alert. ⚠ HIS EYES ARE FULLY OPEN, the iris and white of the eye clearly visible — he is awake and looking, NOT resting, NOT dozing, NOT heavy-lidded and NOT closed. His mouth is closed and he is NOT speaking. One hand rests on the chair arm. He has turned his head unhurriedly toward the window and is looking out at the open sky. his bright airy room — pale WARM GREIGE walls, a soft putty-beige, NOT cool white and NOT grey; ONE wide white window divided into THREE TALL CASEMENT PANES by two slim white glazing bars, and EACH of those three panes carries a SINGLE HORIZONTAL GLAZING BAR high up near its top with ONE SHORT VERTICAL BAR above it, so every tall pane reads as EXACTLY TWO SMALL PANES SITTING ABOVE ONE TALL UNDIVIDED PANE — two over one, nine pieces of glass in the whole window, and no further subdivision of any kind: no four small panes, no square grid, no six-over-six sash — with two small dark casement handles at the middle of the window and a DEEP WHITE-PAINTED SILL, filled with open sky and the tops of green trees; a flat-woven rug in faded blue and cream; ⚠ TWO SEPARATE SURFACES, EACH WITH ITS OWN FIXED CONTENTS AND NOTHING ELSE: the DEEP WINDOW SILL carries ONLY THREE small white pots of green leaves and nothing besides, arranged like this: the LEFT-HAND PANE has NO POT beneath it at all, ONE pot stands beneath the MIDDLE PANE, and the remaining TWO pots stand together beneath the RIGHT-HAND PANE — no photographs stand on the sill and none stand against the window panes; and the LOW WHITE BOOKSHELF running along the wall BENEATH the sill carries ALL THREE framed family photographs in pale frames TOGETHER WITH one shallow round brass bowl, the bowl standing between the first photograph and the other two so that one photograph is on one side of it and two are on the other. A slim brass reading lamp stands behind one arm of the recliner. Bright soft midday daylight, cool and clean. Camera static.

CLOSE SHOT of the face of the same South Asian man in his early seventies, warm brown skin, thick white-grey hair and a neatly trimmed short white beard, in a soft blue-grey cotton shirt with long sleeves and an open collar, charcoal-grey soft trousers and plain dark grey socks with no shoes. He is in the SAME CAMEL-TAN fabric RECLINER whose arms are SQUARE-SIDED SLABS with a softly rolled top edge — NOT scrolled, NOT round traditional armchair arms — on four short dark-stained tapered wooden feet, its own padded legrest folded out from the base. A WARM OATMEAL WOOL THROW with a SHORT NEAT KNOTTED FRINGE lies over the recliner's RIGHT ARM. ⚠ HE IS COMING BACK UP OUT OF REST, NOT ASLEEP AND NOT SETTLED BACK: HIS HEAD IS ALREADY FORWARD AND CLEAR OF THE HEADREST, held up on his own neck with daylight between the back of his head and the chair, his shoulders lifted, awake and alert. ⚠ HIS EYES ARE FULLY OPEN, the iris and white of the eye clearly visible — he is awake and looking, NOT resting, NOT dozing, NOT heavy-lidded and NOT closed. His mouth is closed and he is NOT speaking, bright soft daylight across him, the pale room out of focus behind. A quiet held moment at the end of a calm few minutes.