How to Format a Screenplay: Part III (Scene Transitions)    Start a Free Blog!

By Elaine Radford

Scene transitions in a screenplay indicate changes from one setting to a new setting, or from one time frame to a different time frame.

Transitional instructions should always be used to indicate these changes.

"CUT TO:" is the simplest form of transition. The words "CUT TO:" are typed in capital letters at the right of the page. CUT TO: (punctuated with a colon) is inserted after an abrupt change from one setting to another.

Example:

CLOSE ON the framed photograph of Harriet sitting on a sailboat next to a tall, handsome young man who has his arm around her. They are smiling, happy, in love.

                                                                                                                     CUT TO:

EXT. NEW YORK HARBOR - SAME DAY

We see CHARLES, the handsome young man from the photograph, among a crowd of people boarding a cruise ship docked in New York harbor.

Double spacing is used before and after "CUT TO:" or other transitional instructions. 

Several scenes linked together that move from interior to exterior do not require instructions such as "CUT TO" because the changing scene headings explain the scene change.

In a dynamic screenplay, the action moves inside (INT.) and outside (EXT.). If all the action were to take place in one setting, it would be visually dull. That's why a well-structured screenplay moves from place to place.

Example:

EXT. NEW YORK HARBOR - SAME DAY

We see CHARLES, the handsome young man from the photograph, among a crowd of people boarding a cruise ship docked in New York harbor.                                                                 

Standing next to Charles is a beautiful blonde WOMAN who smiles at Charles and looks at him adoringly.                                                                

Charles takes the WOMAN'S hand. They laugh gaily as they hurry up the gangplank.

BACK TO                                                               

INT. BRIDE'S ROOM - SAME

Harriet reaches for the telephone on her dressing table. She punches in some numbers. We hear what Harriet hears--the voice of an OPERATOR.                                                               

Other transitional instructions you may have seen in published screenplays include FLASHBACK, BACK TO, BACK TO SCENE, SERIES OF SHOTS, etc. These instructions are typed at the left margin, followed by a two-line space. The new scene heading begins on the next line.                                                                

FADE IN and FADE OUT are technically transitional instructions. However, FADE IN: is used only once, at the beginning of a screenplay, to indicate that the action is beginning.                                                                                                    

It is typed two spaces below the title of the screenplay at the left margin. One line space follows the words FADE IN: and the first scene heading of the screenplay begins on the next line.

Example:                                                                

                                   "HE LOVES ME, HE LOVES ME NOT"

FADE IN:

EXT. LONG ISLAND ESTATE - DAY (1998)

A perfect spring day. Elegantly dressed guests sit in chairs arranged along a sprawling lawn facing a wedding canopy of flowers and a breathtaking view of the ocean.

FADE OUT is used at the end of the last scene to indicate the end of the screenplay.
FADE OUT (punctuated with a period) is typed at the right margin and is followed by a period. The words THE END (capitalized, underlined, and centered on the page) always follow FADE OUT.                                                                

Example:

She looks at her reflection in the mirror, reaches up and pulls off her hat and wedding veil.

                                                                 FADE OUT.

         THE END

It is advisable to keep transitional instructions simple and to use them sparingly. In other words, leave the camera directions and editing directions to the film director. The writer's job is to describe the action.

The following example illustrates how to begin a screenplay, format transitional instructions, and end a screenplay.         

Example:                                                                                             

                                   "HE LOVES ME, HE LOVES ME NOT"                             

FADE IN:                                                                        

EXT. LONG ISLAND ESTATE - DAY (1998)

A perfect spring day. Elegantly dressed guests sit in chairs arranged along a sprawling lawn facing a wedding canopy of flowers and a breathtaking view of the ocean.                                    

Twelve violinists sit perched on chairs near the canopy, waiting to play. A riot of flowers on tall pedestals are set up along a red carpet, stretching from the steps of the huge estate home to the wedding canopy.

The guests are whispering and chatting to each other.

A minister stands near the canopy, talking to the FATHER and MOTHER of the BRIDE.                                                               

The BRIDE'S FATHER looks at his watch. He says something to the BRIDE'S MOTHER. She looks around nervously and walks quickly toward the house and up the stairs.                                                               

INT. BRIDE'S ROOM - SAME

HARRIET, the bride, sits at her dressing table, looking at her reflection in the mirror. She is exquisite. Her face, her hair, her wedding gown--everything seems perfect.

We hear a soft KNOCK on the door.

                                                             HARRIET
                                    Come in.

                                                             MOTHER
                                                 (anxious)
                                    Darling, has Charles called?

                                                             HARRIET
                                                 (dreamy)
                                    No.

                                                             MOTHER
                                    Where can he be?  

                                                             HARRIET
                                    He's on his way. I'm sure of it.

Mother approaches Harriet, fluffs her veil. There are tears in her eyes as she looks at her daughter in the mirror. 

                                                             HARRIET (CONT'D)
                                    Go back to our guests… And stop worrying.

Mother kisses Harriet lightly on her cheek and exits the room.                                   

Harriet's eyes move to a photograph on the dressing table.

CLOSE ON the framed photograph of Harriet sitting on a sailboat next to a tall, handsome young man who has his arm around her. They are smiling, happy, in love.

                                                                                                                     CUT TO:

EXT. NEW YORK HARBOR - SAME DAY

We see CHARLES, the handsome young man from the photograph, among a crowd of people boarding a cruise ship docked in New York harbor.

Standing next to Charles is a beautiful blonde WOMAN who smiles at Charles and looks at him adoringly.

Charles takes the WOMAN'S hand. They laugh gaily as they hurry up the gangplank.

BACK TO

INT. BRIDE'S ROOM - SAME  

Harriet reaches for the telephone on her dressing table. She punches in some numbers. We hear what Harriet hears--the voice of an OPERATOR.

                                                             OPERATOR (V.O.)
                                    This number has been disconnected.

The color drains from Harriet's face as she places the phone back in the cradle.

She looks at her reflection in the mirror, reaches up and pulls off her hat and wedding veil.                                                               

                                                                                                                     FADE OUT.

                                                              THE END

Explanatory Notes:                                                                

In this sample scene, we used CUT TO: after the close-up of the photograph in Harriet's room because the next scene setting abruptly changes to New York Harbor.

Example:

CLOSE ON the framed photograph of Harriet sitting on a sailboat next to a tall, handsome young man who has his arm around her. They are smiling, happy, in love.                                                               

                                                                                                                     CUT TO:

EXT. NEW YORK HARBOR - SAME DAY

We see CHARLES, the handsome young man from the photograph, among a crowd of people boarding a cruise ship docked in New York harbor.

Additionally, the close-up view of the photograph prepares the audience for meeting Charles in the next scene.

To indicate a close-up shot, we used the words "CLOSE ON" (capitalized) and then described the object that the audience sees.

"CLOSE ON" should be used sparingly, only when it's necessary for the audience to see something important in detail because it provides a clue or moves the story forward. In this case, we wanted the audience to make the connection between Harriet's fiancé and the man hurrying off with another woman.

After we see Charles and what he's up to, we use the transition "BACK TO" before returning to Harriet's room.

Example:

Charles takes the WOMAN'S hand. They laugh gaily as they hurry up the gangplank.

BACK TO

INT. BRIDE'S ROOM - SAME

Harriet reaches for the telephone on her dressing table.

When Harriet dials a phone number and the audience hears the voice of the Operator, we add (V.O.) next to the Operator's name to explain that we are hearing a "Voice Over" and the Operator is not actually seen on-screen.

Example:

                                                             OPERATOR (V.O.)
                                    This number has been disconnected.

The color drains from Harriet's face as she places the phone back in the cradle.

If this example were an entire screenplay, there would be 100 or more pages of action and dialogue. We have ended the screenplay here to show you how a screenplay ends, with the words "FADE OUT." Note that it is typed in the far right margin. Several line spaces follow "FADE OUT."  THE END is typed in the center of the page and underscored.

Formatting Exercise: Use the example above of "HE LOVES ME, HE LOVES ME NOT." Delete "FADE OUT" and "THE END" and continue the story using some of the elements of screenplay transitions explained here. End the story where you think it should end.

Coming Next: Establishing Time And Place

Further Reading:

Screenwriting.info. Screenplay Transitions. The Writers' Computer Store, 2002-2004. Provides a clear explanation of the main elements of screenplay transitions.

The Don & Gee Nicholl Fellowships in Screenwriting. Formatting. The Academy of Motion Picture Arts & Sciences. Provides a good overview of how to format and bind a screenplay for contest submission.