Rita Lopes Alves, who was a costume designer for O Sangue, also signed the storyboard. This is a document that sets out the graphic planning of the story, through drawings or images, in order to preview a film before its execution through shooting and/or animation. The importance that each director gives to the storyboard  varies greatly. In the case of the Portuguese director, he decided to include these drawings in the final part of the screenplay, along with indications of mise en scène (which in some cases are already included as captions of the drawings), photographs of the places or visual references.

What stands out is that these drawings do not have an exhaustive concern with the determination of all the film's plans, leaving only some of the most memorable moments. Unlike what sometimes happens with storyboards, these drawings  are not intended to define with great precision the scales, movements, or position of the camera. Thus, these take the form of an open document, having been later combined with other elements, working for Pedro Costa above all as a source of visual inspiration that supported the passage of the film from something he had in his mind to its materialisation in the images he filmed.