Hi folks quick question.
I am writing a script where normally I have a scene set in either a cafe or its kitchen.
ButI am now writing a scene where a character has to rush from the cafe into the kitchen and the action continues in there.
Is this still one scene or do I start a new one when they go into the Kitchen.
Thank You.
Whenever you switch location or move forwards (or backwards) in time you should begin a new scene heading.
Cheers David
Good question. I'm afraid I don't have the answer but have a similar question myself. I have written a scene that takes place in a pub but there is one conversation going on at the bar and one at a table. When I switch between the two does this count as a new scene as both conversations are not seen on screen at the same time? Does that make any sense?
Quote: Johnny Green @ January 12 2009, 3:51 PM GMTGood question. I'm afraid I don't have the answer but have a similar question myself. I have written a scene that takes place in a pub but there is one conversation going on at the bar and one at a table. When I switch between the two does this count as a new scene as both conversations are not seen on screen at the same time? Does that make any sense?
New scene IMHO:-
INT. PUB BAR -DAY
INT. PUB TABLE -CONTINUOUS
INT. PUB BAR - CONTINUOUS
Quote: David Bussell @ January 12 2009, 3:49 PM GMTWhenever you switch location or move forwards (or backwards) in time you should begin a new scene heading.
That's not strictly true David. You can legitimately have a scene heading,
INT. CAFE DINER/KITCHEN.
You can then have a character move from the eating part of the cafe to the kitchen as one scene. Particularly if it is time continuous.
Quote: Johnny Green @ January 12 2009, 3:51 PM GMTGood question. I'm afraid I don't have the answer but have a similar question myself. I have written a scene that takes place in a pub but there is one conversation going on at the bar and one at a table. When I switch between the two does this count as a new scene as both conversations are not seen on screen at the same time? Does that make any sense?
If the bar and the table are in the same room/set then it should count as one scene. Just introduce one character as being in the bar and the other as being at a table and let the director worry about the specifics.
If they are having a conversation between two different rooms, you'd probably do it as so...
INT. BAR. DAY
DAVE: Steve?
CUT TO:
INT. TABLE. DAY (CONT.)
STEVE: Yeah?
CUT TO:
INT. BAR. DAY (CONT.)
DAVE: You alright?
CUT TO:
INT. TABLE. DAY (CONT.)
STEVE: Yeah
...but this is tiring to read and would probably piss off the commissioner/director.
I'd probably ask yourself how necessary it is to have them in different rooms. Different rooms = different sets and even a single camera sitcom will require a minimum amount of sets. If they count as one set in your head then write it as one scene and introduce the characters as being at specific areas of the set.
Edit: yeah, I forgot about the "cont." bits.
Quote: Lazzard @ January 12 2009, 3:56 PM GMTNew scene IMHO:-
INT. PUB BAR -DAY
INT. PUB TABLE -CONTINUOUS
INT. PUB BAR - CONTINUOUS
S'what I'd do too.
Quote: Marc P @ January 12 2009, 4:12 PM GMTThat's not strictly true David. You can legitimately have a scene heading,
INT. CAFE DINER/KITCHEN.
You can then have a character move from the eating part of the cafe to the kitchen as one scene. Particularly if it is time continuous.
Hoisted by my own Jean Luc Picard!
Can't really argue with someone who actually sells these things for a living. I suppose by "should" I meant, "according to the writing books", the knowledge of which is worth precisely dick to producers.
Quote: David Bussell @ January 12 2009, 4:46 PM GMTHoisted by my own Jean Luc Picard!
Can't really argue with someone who actually sells these things for a living. I suppose by "should" I meant, "according to the writing books", the knowledge of which is worth precisely dick to producers.
I just had a look at the scripts up at the writersroom and here is an example of one scene moving through various locations:
42/1. INT. OTTER. NURSES' STATION/CORRIDOR/BARN OWL. DAY 1 [1100]
[STEVE IS HANGING UP THE PHONE AS JANICE APPROACHES]
STEVE:
The labs have cross matched Jason, so outpatients are sending him up now.
JANICE:
[NODS] Okay.
[JANICE PICKS UP SOME NOTES AND STEVE COMES AROUND]
STEVE:
No life for a kid is it? Having to come here for fresh blood every month.
[JANICE WRITES ON A FORM]
JANICE:
It's keeping him alive.
[STEVE NODS REFLECTIVELY]
STEVE:
For how long?
JANICE:
[SLIGHTLY REPROVING] For as long as possible.
[THEY WALK ALONG THE CORRIDOR TOWARDS THE RECEPTION]
STEVE:
Alistair called while you were out.
JANICE:
[COOL] Did he now?
STEVE: No message.
JANICE:
Good. Because I've got nothing to say to him either.
- 1 -
Converted to PDF by www.bbc.co.uk/writersroom
STEVE:
[DELICATELY] Can't be easy for you, him being back here.
[JANICE SHRUGS]
JANICE:
He wants a divorce Steve. So he's not going to be my problem anymore is he?
STEVE:
I guess not.
JANICE:
And it's not as if I have to work with the man.
[THEY REACH THE RECEPTION AREA WHERE THE DOORS OPEN TO ADMIT JASON AND HIS PARENTS.
JASON, IS A PALE FACED AND THIN BOY, WITH BRUISES ON HIS ARMS AND IN A WHEELCHAIR. WHEELING HIM IN IS HIS FATHER DAMAN, A YOUNG FIFTY YEAR OLD, NICELY DRESSED WITH A SUN BED TAN, A GRAVELLY VOICE AND A NICE SMILE, HE HAS THE MANNER OF A SECOND HAND CAR SALESMAN THAT YOU CAN'T HELP LIKING. HIS WIFE LESLEY IS FORTY TWO BUT ALSO LOOKS YOUNGER. ALTHOUGH SHE DRESSES SEXILY CHIC FOR HIM SHE IS SOME 28 WEEKS PREGNANT, AND LOOKS DRAINED AND TIRED. DAMAN SMILES AT STEVE AND JANICE]
DAMAN:
You heard the verdict then?
JANICE:
[NODS] Yes. Sorry Jason.
[DAMAN SMILES AT JASON AS THEY ALL WALK DOWN THE CORRIDOR TOWARDS BARN OWL]
DAMAN:
Just fill her up please. Unleaded.
LESLEY:
[REPROVING] Daman! - 2 -
DAMAN:
He knows I'm only joking.
JASON:
It's all right mum.
DAMAN:
[PROMPTING JASON] Where would we be if we didn't have a sense of humour, eh son?
JASON:
Germany?
DAMAN:
There you go.
LESLEY:
[ANNOYED] It's not funny Daman. [TO JANICE] We thought he might be alright this time. He's been so much better. No nosebleeds. No rashes.
[JASON NODS]
JASON:
[PIQUED] I didn't need this wheelchair. They put me in it downstairs.
JANICE:
[REASSURING]They're just being cautious. Your haemoglobin is down to eight grams Jason. Not too serious. But it's best we sort you out.
JASON:
Okay.
DAMAN:
And you can do it today they said?
STEVE:
We've got a match yes.
[DAMAN SMILES AT JASON]
DAMAN:
There you go then. No harm no foul and we'll have you back in time for the snooker. [TO STEVE] We want him to turn pro so he can take care of us when we retire.
- 3 -
[STEVE SMILES AWKWARDLY AT JASON AS THEY MOVE INTO BARN OWL]
STEVE:
You'll be staying overnight again.
JASON:
That's ok. I'm used to it.
DAMAN:
We better get his clobber then love.
LESLEY:
[DRY] It's already in the car.
[DAMAN SMILES AT THE SLIGHT CRITICISM]
DAMAN:
What would we do without her?
LESLEY:
I shudder to think. I'll be right back.
[SHE LEAVES. JANICE HELPS STEVE WITH JASON AS HE CLIMBS ONTO THE BED]
STEVE:
Looking forward to having a little sister then?
JASON:
I'd rather have a brother.
DAMAN:
[LAUGHS] Well unfortunately we don't get to choose what we have, do we doctor? It doesn't work that way I'm afraid.
[OUT ON DAMAN SMILING AT JASON]
CUT TO:
Quote: Marc P @ January 12 2009, 5:22 PM GMTI just had a look at the scripts up at the writersroom and here is an example of one scene moving through various locations:
They post some really awful scripts up on the Writersroom website. There's a Doctor's one and a Holby City one that bring me out in goosebumps. 