This first diagram illustrates what can be done simply and quickly. It’s a oner. A single camera position to shoot the entire scene. Popularized by Film Noirs of the 40’s and 50’s it can be an extremely efficient way to pick up the pace and still cover the scene.
I have changed the blocking from what was written in the scene, but that is my prerogative as the director. Granted if the blocking dictates the action, then it might be difficult. Something like, Mr. Jenkins is shot through the window during the conversation, then they must be at the window, but in this case they really could be anywhere in the room.
In addition, I have Mr. Jenkins arranging flowers in a vase that sits at his desk, which is an interesting counter point to his “boss” image and gives him a reason to stand in that spot.
I might have the focus on Mr. Jenkins. Raymond walks from an out of focus long shot into an over the shoulder close up with Mr. Jenkins.
I could also have the follow focus on Raymond. More difficult for the focus puller, but might be interesting as Mr. Jenkins, slowly comes into focus as Raymond moves into the over the shoulder close up.
In the second shot, we’ve added some blocking for the actors, but left the camera where it is. The actors go from the over the shoulder close up into a two shot as they face each other. Mr. Jenkins turns and Raymond counters into the new shot.
Your shot list may look something like this. I use a .0, .1, .3, etc. Some Directors use a .a, .b, .c, etc.
1.0 Master Shot
1.1 Two Shot
1.2 OS Raymond
1.3 OS Mr. J
1.4 MedCU Raymond
1.5 MedCU Mr. J
1.6 CU Raymond
1.7 CU Mr. J
1.8 Detail or Insert Flower arranging