Here is the scene I used from Double Indemnity.
1. American shot eye level high key lighting as Neff is trying to enter the house
2. Eye level MS high key lighting of Neff talking to the house keeper
3.Over the shoulder low angle shot of Phyllis coming out of the bedroom slightly key lower key lighting
4.High angle MCU of Neff taking off his hat to introduce himself to Phyllis, high key lighting on his face
5. Medium/long shot of Phyllis walking out in her bath towel, high key lighting on her while the foreground is left mainly dark
Shots 4 and 5 repeat a few times while Neff is explaining to Phyllis why he has shown up at her house
6. Low angle MS of Phyllis now in high key lighting as her interest in Neff is clearly growing
7. Eye level 2PS of Neff and the housekeeper much lower key lighting then in the last shot. Neff starts walking and the camera pans to follow him into the living room
8.Eye level LS, low key lighting with the shadows of the blinds all over the shot as Neff is still making his way into the living room. Camera pans right as Neff looks around the room. This shot is a longer take then the other shots in sequence (monologue starts here)
9.Over shoulder high angle shot of the pictures of mr diedricson and lola low key lighting venetian shadow
10. LS of Neff in the living room still lurking around feeding the fish. At the end of the shot he walks toward the camera (still has monologue) low key lighting and the venetian shadows are still there, it is a long take
11. This shot is defiantly a long take the shot last nearly 30 seconds. It stars with a close up of Phyllis’s feet coming down the stairs and as she is making progress down the stairs the camera stars dollying back so that more and more of Phyllis is in the shot as each frame goes by until she reaches the bottom of the stairs at which time the camera continues to dolly back now at an eye level medium shot. The camera continues to follow Phyllis as she heads in to the living room as she moves past Neff to the mirror the camera trucks and pans to stay out of the shot in the mirror while keeping the two in frame as Phyllis checks her make up and then walks past Neff again out of the shot while the camera remains on Neff for a few more seconds. The lighting in this shot starts off pretty even as she is coming down the stairs but as she is making her way to the living room the light ratio becomes slightly different with more shadows appearing in the foreground and background but not on Phyllis, then the light ratio evens out a little bit when the to are standing confront of the mirror
12. This is another long take, it starts as a 2PS while Neff may not be in it at the very first second the shot is still framed for a two person shot so it looks natural when Neff enters. Once Neff is seated the camera and the action stays stationary for a good 10 to 15 seconds as Neff and Phyllis are shooting dialogue back at each other. Phyllis stands as she seems to lose interest and the camera pedestals upward and then then pans in both directions as Phyllis paces back and forth in front of the fire place. The lighting starts off pretty even but as Phyllis stands you can see that in some areas of the shot there is a high contrast between light and shadows.
13. A quick eye level MCU of Neff sitting down talking then it cuts back to Phyllis pacing back and forth again until she sits down just as shot 12 had started
14. The same shot of Neff this time a bit tighter with cuts to a similar shot of Phyllis but there is a higher light ratio in her shot.
15. Back to the 2 person shot of them sitting down as in 12 this time again Phyllis rises from her seat but moves away from the camera this time. The camera pedestals and pans and dollys in to follow her until Neff stands up where the shot now becomes an over the shoulder low angle shot of Neff
16-20.Are Shot in interview style never breaking the vector line over the shoulder shots of both Neff and Phyllis as they rapidly fire flirtatious dialogue back at one another.
21. The last shot is a long take that starts with an over the shoulder of Neff until he turns to leave in which the camera follows him to the door as the lighting shifts into a lower key lighting ratio until he walks out the door.
In this scene any shot that is more than about 3 or 4 seconds is an important one. The two most important shots in this scene are 11 and 12, these are also two of the longest shots if not the two longest. In these shots it really starts the relationship between Phyllis and Neff, which leads to the development of the plot for this whole movie.
The lighting really sets the mood in the scene most of the lighting around Phyllis is more even and makes her appear to be the center of attention. Also the dialogue in the scene adds to its mood. As the viewer you can easily see that the two are flirting with each other even though phyllis is married, and I think that the Venetian shade shadows do well job of showing this. Its as if the shadows are representing prison bars in the sense that they know they can’t be too flirtatious towards each other.