Beach script with shots

 Initial establishing shot looking out to sea. The sun is beginning to set over the water. (0.03) (3s) 

F is sitting on a beach with her legs tucked in and her arms wrapped around them. It is cloudy grey skies. M walks into the frame to join F.  

Eye level wide shot. F is directly facing the camera (0.06) (3s) 

F: you came to join me  

Low angle close up – makes him feel powerful and dominant when saying this line (0.08) (2s) 

M: couldn’t have let you come down here all alone  

Pause 

Back to previous wide shot as m sits down (0.13) (5s) 

M goes to sit next to F, and watches her as he does so When she doesn’t respond he joins her in looking out to sea. Pov shot as she does this of the sea (0.15) (2s) 

F: I, um… soundbridge  

M: what? Cut back to initial shot of their conversation (0.19) (4s) 

M places a hand on Fs thigh  

F: No, come on, that’s not fair.  

Cut to cu slight high angle reaction shot of m , f is not in frame (0.21) (2s)  

M removes his hand, swallows, and looks the opposite direction from her 

 M: (snarky) you’re being difficult 

 (pause) extreme wide shot of them on the beach. Slight high angle. (0.24) (3s) 

F: I spoke to my therapist about you I HATE THIS BIT 

Close up of m at eye level, F is not  in frame (0.25) (1s) 

M: (cutting in, maliciously) Oh, great  

CU of f, m is not in frame. Slight low angle (0.34) (9s) 

F: (retaliating) Yeah, yeah I go to therapy. Will you just…  

(pause) 

F: so I was speaking to my, my therapist. He’s great actually. Really great. Spoke to him about you. and us.  (speaking in a downbeat manner) (vaguely suggests shes interested in someone else and already wanting to move forward) (speaking about someone else brings the attention off them slightly reaction shot of m looking away (0.35) (1s) 

 Its not… (laughs). Cut back to f (0.38) (3s) 

He said we aren’t, or weren’t healthy.  

Cut back to wide shot of the pair (0.41) (3s) 

M: no shit  

F: But im serious, just- (lies down and looks up at clouds) overhead cu shot of her looking at clouds (0.42) (1s) 

 then shot of clouds (0.44) (2s) 

M: Hey, its ok. (leans over her) (smiling and comforting) EWWWWWW soundbridge ‘hey’ 

 , cut to sideways shot of him leaning over her ‘its ok’ and track f rolling towards camera. (0.48) (4s) 

  Overhead shot as he lies down beside her and comes into frame. (0.54) (8s) 

F rolls away from under him and laughs afterwards M lies down on the sand beside her.  

F: I can’t be with you. You know? With everything going on at the moment, I just can’t.  

M: I just don’t understand you.  

F: but I-  

Cut to cu as m sits up. F is not in the frame (0.57) (3s) 

M: jesus, you change your mind every day. How do you expect me to keep up with it?  

CU of f, still lying down (0.58) (1s)  

F: yeah I know  

Cut back to m (1.01) (3s) 

M: why cant you just talk to me? You’re not the only one with problems!  

Cut to CU of f as she sits up beside him (1.02) (1s) 

F: I’m sorry  

Cut to m, (1.05) (3s)  

 with a reaction shot half way through, (1.06) (1s) 

 then cut back to m again (1.08) (2s) 

M: it’s not fair, though, is it? Every time you have a bad fucking day you decide to stop seeing me and expect me to come running back! 

Back to initial wide shot of both. M walks off and the camera pans to follow him. (1.14) (6s) 

Cut to shot of f. she flinches as he screams (1.16) (2s) 

Focus pull of him in the distance as he screams (1.19) (3s) 

Cut back to f with tears in her eyes (1.22) (3s) 

Cut back to m as he kicks in the water (1.25) (3s) 

Cut back to f as she lights cigerette with tears rolling off her cheeks (1.31) (6s) 

 Cut to establishing shot of beach. It is darker and later in the day. (1.33) (2s) 

Shot of grass in foreground as the light shines through. (1.35) (2s) 

F: don’t be like that  

F goes to hold his hand. M stands up and walks off towards the water. We hear M scream and lose it while standing in the water, which contrasts with the beautiful, serene cinematography. We cut back to F and see her eyes are swollen with tears. She flinches as he screams. She lights a cigarette and sits sadly and quietly, watching him suffer.  

We then get another montage/ flashback from their relationship. 

 Cut to overhead ms (1.41) (6s) 

Cut to them lying down, f has her head on m’s chest, m is lightly playing with her hair, she has finished her cig and its later in the evening.  

M: I cant live with you but I cant without you. Ironic.   

F: and a little cliché  

M: but its true. Over f’s shoulder shot, we see the sea in the distance and m looking down at her(1.47) (6s) 

sits up) I cant leave you, (inset name). I don’t wanna know that you’re out there somewhere with someone else, loving someone else.  

Cu of f’s face on ‘really’,  (1.48) (1s) 

 cut to initial wide shot as f sits up, both characters are in the frame (1.52) (4s) 

F: really? (its ironic bcs this is acc how she feels) (sits up) but we, we don’t work. We just tie eachother down  

Cut to another shot of beach and sea, with the backs of the characters in the foreground, soundbridge over m’s line (1.55) (3s) 

M: we aren’t tied down, we are happy.  

Cut to initial wide shot with both in frame (1.59) (4s) 

F: we need to let go. You need to let me go.  

Over the shoulder shot of m, slight high angle (2.05) (6s) 

M: don’t say it like that. Acting like this is one sided. Being apart will be hard for you too, so don’t fucking act like it wont.  

CU of f, also slight high angle (2.23) (18s) 

F: act like its not? Of course its going to be fucking hard because I love you and we love each other and I find it so hard to see you. But I need this. I need to move forward.  

DONT cut to m 

M: this isn’t the end  

F: THE wide shot – wide almost establishing shot of f, we see her get up and walk off out of frame, pan around the opposite direction 180 to show beach – hold this a while (2.30) (7s) 

 if only you meant that.  

Potentially: wide shot shot of her walking towards the water.  

She puts her hands in the sea and there is a CU as she glides them through the water; she is free. (2.23) (3s)  

This is bittersweet but shows her finally alone and clear in mind, something she has been searching for all along, and the audience, just like her, finally accept what has happened.  

 

Final shot is of f on the train again as the credits roll ???