Script draft 3
3
BLACK SCREEN with the diegetic sound of a busy crowd in town. 1. EXT. CAFE SICILIA - DAY PANORAMA of Cafe Sicilia and the opening credits begin to show with music in the background. 1. INT. CAFE SICILIA - DAY WIDE SHOT of the interior of the cafe. LONG SHOT of JENNA walking away from the counter and she sits down on a table and starts typing a message on her phone. CLOSE UP of feet walking towards the table that JENNA is sitting on. MID SHOT of JENNA looking up. 2. EXT. MIA AND DAVID'S HOUSE - DAY ESTABLISHING SHOT of MIA and DAVID's house with the same music as before in the background. 2. INT. MIA AND DAVID'S HOUSE - DAY WIDE SHOT of the living room and MIA and DAVID are arguing. TWO SHOT of MIA sitting on the sofa and DAVID standing in front of her. CLOSE UP of DAVID's face. DAVID Oh come on, Mia. Just listen to me. MID SHOT of MIA. MIA (crosses her arms) Why should I listen to you!? LONG SHOT of MIA standing up and walking out of the room. MID SHOT of DAVID sighing and a PAN of him following MIA. 3. INT. JOHN'S BEDROOM - NIGHT CLOSE UP of JOHN's computer screen that shows a conversation between him and AMY. EXTREME CLOSE UP of the chat-box as JOHN is typing a message to AMY. CLOSE UP of the computer screen to show the conversation again.
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Transcript of Script draft 3
BLACK SCREEN with the diegetic sound of a busy crowd in town.
1. EXT. CAFE SICILIA - DAY
PANORAMA of Cafe Sicilia and the opening credits begin to show with music in the background.
1. INT. CAFE SICILIA - DAY
WIDE SHOT of the interior of the cafe.
LONG SHOT of JENNA walking away from the counter and she sits down on a table and starts typing a message on her phone.
CLOSE UP of feet walking towards the table that JENNA is sitting on.
MID SHOT of JENNA looking up.
2. EXT. MIA AND DAVID'S HOUSE - DAY
ESTABLISHING SHOT of MIA and DAVID's house with the same music as before in the background.
2. INT. MIA AND DAVID'S HOUSE - DAY
WIDE SHOT of the living room and MIA and DAVID are arguing. TWO SHOT of MIA sitting on the sofa and DAVID standing in front of her. CLOSE UP of DAVID's face.
DAVID
Oh come on, Mia. Just listen to me.
MID SHOT of MIA.
MIA
(crosses her arms)Why should I listen to you!?
LONG SHOT of MIA standing up and walking out of the room. MID SHOT of DAVID sighing and a PAN of him following MIA.
3. INT. JOHN'S BEDROOM - NIGHT
CLOSE UP of JOHN's computer screen that shows a conversation between him and AMY.
EXTREME CLOSE UP of the chat-box as JOHN is typing a message to AMY.
CLOSE UP of the computer screen to show the conversation again.
MID SHOT of JOHN sitting in front of the computer, smiling.
CLOSE UP of the computer screen again to show AMY's message to JOHN. He closes the conversation after typing out a message.
CLOSE UP of JOHN's face looking miserable.
4. EXT. THE PARK - DAY
EXTREME LONG SHOT of IAN and MARY walking in the park.
DOLLY SHOT of IAN and MARY walking.
MARY
(surprised)She broke up with you again!?
IAN
Why do you sound so surprised? I thought you'd be used to this by now.
MARY
(rolls eyes)Well? What was the reason this time?
LONG SHOT of IAN and MARY walking up to a bench and sitting down on it.
MID SHOT of IAN.
IAN
(sighs)Apparently I'm a useless idiot that doesn't understand her feelings at all.
MID SHOT of MARY.
MARY
(laughs)That's it!?
SHOT REVERSE SHOT.
IAN
I know right! I just find this whole thing so stupid...
SHOT REVERSE SHOT.
MARY
Well, to be fair, I kind of agree with her.
MARY'S POINT-OF-VIEW SHOT as IAN looks straight ahead.
IAN
(laughs)What are you talking about? You're supposed to be comforting me.
CLOSE UP of MARY looking at IAN and smiling.
LONG SHOT of IAN and MARY sitting on the bench.
END OF OPENING SEQUENCE
