There will be no dialog in the film (at least none that is both audible and comprehensible), just background audio.
Each scene should fade out with the background audio lingering longer than the visuals and fading into the background audio for the next scene. The screen should remain dark for 2-3 seconds each time.
Each scene except where otherwise noted will have, typically very faintly, a different piece from Orff's "Carmina Burana".
EXT. CONVERTIBLE SPEEDING DOWN THE HIGHWAY
Background audio: wind and car engine. Orff's "Veni, veni, venias".
The blackness on-screen fades into a starry night, with the Milky Way just barely visible.
The camera smoothly rotates down to view (as if mounted at the top of the windshield) a convertible (top down) with two teenagers - Steve driving, with windswept hair, and Mary leaning on his shoulder. Neither are wearing seatbelts, and the car is clearly racing at a high speed.
The two are clearly having fun - Mary has an excited look on her face, and Steve talks animatedly, occasionally checking the rearview mirror, once kissing Mary's hair.
EXT. FAMILY COOKOUT
Background audio: young children squealing and general family babble, no voices or meaningful phrases distinguishable. Orff's "In truitina".
Here we see Mary's family gathered in a back yard for a cookout. The camera begins by following young children running through the grass barefoot, chasing each other and forming a weaving line through the adults, who are generally ignoring the chaos below.
Before the children pass the grill, the camera pans up to catch Mary and two younger girls (who are clearly related to her) talking softly. One of the girls, Cindy, still a pre-teen, gasps and places her hand over her mouth, clearly astonished at something Mary has just said. Mary blushes.
The camera pans past the grill, with the top of the heads of a few children still running past, to an older man shaking Steve's hand. He nods in Mary's direction briefly - the audience is meant to infer that this is Mary's father.
INT. CHURCH WEDDING
Background audio: Orff's "Were diu werlt alle min"
This scene is very quick. It opens at the back of the church, ceremony already underway. The camera starts moving forward, accelerating smoothly and narrowing its field of view, until it races between Mary and Steve as they are preparing to kiss. The camera flies past the minister and through a stained glass window behind him. There should be no change in direction as the camera flies through.
INT. SMALL APARTMENT
Background audio: Orff's "Reie".
Daylight shines through a large window. Moving boxes are stacked haphazardly along two walls. The only items unpacked are a boombox, two mostly empty wine glasses, a corkscrew and a wine bottle. Steve and Mary are dancing gracefully to the music. He stops her mid-turn as she's facing away from him, grabs her waist and pulls her into him. She turns her face to him and they kiss passionately.
INT. COLLEGE LIBRARY
Background audio: papers rustling, footsteps on hardwood floor, books opening and shutting. Orff's "Estuans interius".
Steve sits at a long table, camera far away, head in his hands as he stares at an open textbook. As Mary approaches him, the camera zooms in slightly.
She sneaks up behind him and starts massaging his shoulders. He jumps slightly and turns to look, then relaxes until she says something to him. He visibly tenses again and shakes his head, motioning at the book in front of him and several more off to the side.
She persists, and he shakes his head again. As the scene fades out, she's walking away, her back to the camera so that we cannot see her expression.
Background audio: murmuring, "Pomp and Circumstance" fading in and out.
Mary and Steve are in line, walking to a stage in a large, dingy auditorium. They are both glowing, clearly happy and relieved to be graduating. The scene ends with her walking the stairs to receive her diploma.
Background audio: distant newspaper press, animated arguments, keyboards clicking along with one typewriter blazing away. Orff's "Circa mea pectora".
Steve sits on the corner of Mary's desk in her cubicle. She is showing him the front page of the paper, pointing at something that the audience is meant to infer is her article. He smiles and mock applauds her, and she curtseys gracefully.
.... There is more of this story ...