With both cycles heading up and down hills, it's difficult to get a line-of-sight, but their jumps are finally synchronized. As he closes the gap on Emmers, he starts to take aim. Reaches into his jacket pocket, pulling out an antique revolver. This is no ordinary race.Īt the fence, Stern YELLS into his wrist-mike: The unsuspecting cyclist crashes in the dirt. Boxed in between two other racers, the Man suddenly Emmers has the lead, with the Man in Black moving up quickly.

Natalie grabs an available bike and helmet, ready to join in the race. Some OFFICIALS try to stop Dylan, but she ROARS onto the course.Īlex sloughs off her cotton candy and runs along the lowest walkway, trying to keep Dylan in sight. Just treat flashbacks as normal scenes that just happen to be out of their 'proper' order.All eight 'real' RACERS attack the course like modern-day charioteers, SLAMMING down each hill and SPRAYING dirt like shrapnel. ENT., thereby requiring a new camera setup and even location, since interiors and exteriors, even if in the same area in the film, might be in different cities in reality? What about for flashbacks? Do I use a new slugline for every new location and new shots under a slugline for sequences in the same location? What if it's INT. It's essentially an extension of the previous scene, but with the knowledge that the location has changed. This implies that the character is moving between rooms, or going through doors, and than no time is passing. Just start a new scene with a slugline, and instead of DAY or NIGHT, put CONTINUOUS.

(I mean - if you move from one scene to another, of course we cut to it.)ĭo I just skip that tag when moving outdoors from indoors with no time lapse The only time I'd use is to draw attention to an obvious smash cut, but even then, it doesn't really add anything that's not implied already. You don't need to put CUT TO between scenes. I know CUT TO: is required for scene/location changes and passages of time Come back to it later with fresh eyes and new knowledge from your other 3 scripts. Rewrite it once, sure - maybe twice to get a feel of how things change between drafts. After your third or fourth script, you'll look back on your first script and cringe. In fact, write two or three more scripts and then go back to rewrite your first. I'm on the 4th or 5th run-through (rewrite) of my first screenplay (film) ENT., thereby requiring a new camera setup and even location, since interiors and exteriors, even if in the same area in the film, might be in different cities in reality? I mean, I'm writing to make this clear to a potential investor not the director, right?Īnyone know of a guide that gives definitive, widely-observed standards? Or does an expert want to clear this up for me by correcting my mind-bending roller coaster of a sample script above?ĮDIT: No idea why my 'CUT TO:' entries formatted Reddit like that. I know CUT TO: is required for scene/location changes and passages of time, but do I just skip that tag when moving outdoors from indoors with no time lapse? What about for flashbacks? Do I use a new slugline for every new location and new shots under a slugline for sequences in the same location? CUT TO:īrian walks away from the museum doors. So this is not so much an issue of specifying every single shot, but breaking 'scenes' up logically.īrain walks out of the bathroom and to the exit of the museum. This isn't a shooting script: I'm not trying to be a director. I am at a bit of a loss regarding the difference in scene headings and shots. I'm on the 4th or 5th run-through (rewrite) of my first screenplay (film) and I'm shifting focus from character and story issues to checking my technical consistency and industry adherence.

Slugline cuts off last letter