Scene 1- INT DOOR
The movie begins with Michael standing in front of the door.
He is wearing all black, shirt and trousers, with an armband round his arm.
The camera follows Jane up to the door, where Michael nods and opens the door. The focus is mainly on Jane.
The scene changes to night time, we follow Jane out of the building where Michael is still in his same position. Again he nods and opens the door for her.
This segment is repeated a few times, suggesting the repetition of his day and how often they pass each other.
Scene 2- INT CELEBRATIONS
This next scene, begins with an establishing shot of the crowded party. The next shot shows a man tapping Jane's shoulder. As she turns the camera shot reverse shots, onto Michael showing a large grin on his face. Michael is in a black blazer and smart shirt. Compared to his usual appearance he is smart and neat. Jane still remains neat, but wears a simple blue evening dress. As the scene progresses they become closer, and Jane's body language is shown to loosen (slouching, more contact, smiling) At the end of this scene, they sit together at a table. The shots fade transition as the night progresses, simultaneously as the night progresses drinks fill the table.
Scene 3- INT MICHAEL'S FLAT
Skipping to the middle of the film, this scene is inside Michael's flat. The inside of his home is going to represent his personality- messy etc. Jane is looking around very curiously as she walks in. Michael watches her anxiously. Both Michael and Jane are in casual clothing, Michael- Jeans, T-shirt and trainers. Jane- Jeans, T-shirt and flats.
When Michael leaves the room, the camera shows him pouring a drink and texting his friend. He texts his friend suggesting his conquer of getting Jane to his flat.
When she picks up his frame, he rushes out and peeks around the camera looking concerned. He smiles at Jane unconvincingly.
He slowly backs out the room.
Scene 4- INT MICHAEL'S FLAT LATER
Michael is in his casual clothes still, on the phone sitting stereotypically like a male with his hands over the sofa and legs open. This scene shows Michael on the phone to his friend Louise. As he confides in her with his lie, there are shot reverse shots. Louise is at the gym, implying her independence and power as a woman.
Scene 5- INT MICHAEL'S FLAT EVENING
Michael lays in bed on his own, he is central in this shot as a man he is the main gaze. (male gaze) He looks up as he speaks to himself and then grabs his phone and dials his work. As he pretends to be ill there is a close up on his face. It shows guilt. He then drops face first on his bed, typical of females in rom coms.
Scene 6- INT JANE'S OFFICE
Macy makes a sudden burst into Jane's office startling Jane. She is in a tight dress and heels. When Jane acknowledges her she runs over and leans over the desk. Macy moves as though dancing, she kicks her legs up on the desk as she envisions and describes a love story. When Jane is lost about Michael working in the same building, Macy slowly lowers off the table and Jane gets up. The scene ends with a close up of Jane's face looking confused.
Scene 7- INT MICHAEL'S FLAT
Jane is in a night shirt, as is Michael. From a mid to long shot, from the end of his bed we see Michael laying down asleep, and Jane sits up he lays down texting. When Michael's lie is in danger of being caught out he sits up. Being mischievous Jane kisses his cheek then lays down, the camera shows her smiling to herself. I will show Michael's face looking concerned.
Scene 8- INT DOOR
The same as the first scene, Jane is shown walking through the office doors past Michael. Again in a mid to long shot. Michael when realising she has just walked past, realises that she must now know and runs after her. Catching Jane standing in her office, she confronts his lie. This is shown through shot reverse shots, in a close up. At the end of the confrontation Jane walks away.
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