Short cut-aways
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This week’s rebroadcast looks back to 2015 for tips on making quick cuts on the page.
The script I’m writing has a character who is reconstructing past events. In several scenes, we cut away to these memories, always returning to the current scene.
There are several ways to do this on the page.
The first technique is to simply use full scene headers. (This example is made up just for this post.)
Roger squints in the glare of light.
CUT TO:
INT. EXAMINATION ROOM – NIGHT [FLASHBACK]
ORDERLIES strap Roger’s forehead to the table. A DRILL WHIRRS as a BRIGHT LIGHT swings overhead.
BACK TO:
INT. COPY ROOM – DAY
Roger squats down, suddenly reeling.That BACK TO: is your friend. It’s a reminder to the reader that you were in the middle of another scene, and it’s still happening. Yes, you could just use CUT TO. But it’s ambiguous. Are you still in the same scene, or is this a different place/time?
BACK TO: is also a huge help if the cutaway involves multiple locations. It’s a signal to the reader that all of the cutting is done.
For example, in the finale of Big Fish:
EXT. PARKING LOT - DAY
Will races Edward down the row, finally reaching the Chevrolet.
AT THE CAR
Will lifts his father out of the chair.
WILL (V.O.)
I pick you up and you hardly weigh anything. I can't explain it.
Will sets him in the passenger seat.
EDWARD
Water. I need water.
Scrambling in the back, Will finds a liter of Arrowhead. Hands it off. Edward unscrews the cap, but instead of drinking it, he douses himself. Soaks the blanket.
Will pops the trunk. Starts to fold up the wheelchair.
EDWARD
Leave it! We won't need it.
TIRES SMOKE as the car peals out.
BACK TO:
INT. HOSPITAL ROOM - DAY [REALITY]
TIGHT ON Will, trying to hold back tears as he talks.
WILL
And we have to take Glenville to avoid all the church traffic, because those damn church people drive too slow.
TIGHT ON Edward, enjoying that detail. He's focused completely on Will's story.
WILL
I ask...
BACK TO:
EXT. GLENVILLE BLVD. - DAY [STORY VERSION]
The Chevy slaloms through the Sunday-morning traffic.
WILL (O.S.)
Where are we headed?
WILL (V.O.)
You say...
INT. CHEVY - DAY
EDWARD
The River!Doing less
If you’re cutting away to the same thing often, using the full scene header gets annoying. It’s like that guy at a party who keeps introducing himself.
We know who you are, Dave. You can stop.
In the example above, if we’ve been to that examination room scene before, I’m more likely to write it like this:
Removing the location and the transitions feels like cheating, but it better reflects my intention with the scene. This cutaway is meant to be a nibble, not a meal.
Setting it off with italics isn’t required, but it signals the reader to pay attention — we’re doing something special here. Bold or underline would also work. (If you use special formatting for flashbacks like this, don’t use it for any other narrative device.)
That BACK TO SCENE is also optional, but here I like it as a tiny speed bump to make sure the reader understands that we’re out of flashback mode.
Is it weird to have BACK TO SCENE without a CUT TO? Kind of. You could use a CUT TO: and even skip the italics. But it’s extra lines, and I don’t think the reader is likely to get lost.
In production
When it comes time to make the movie, everything needs a scene number.
We generally think of scene numbers going with scene headers, but the reality is that anything can have a number attached, including the italicized action lines above.
There are different philosophies for how to number flashback scenes, but my preference would be to keep the copy room scene as a single scene number (e.g. 34) and group together all of the examination room scenes as a sequence (e.g. A900, B900, C900). This way, the copy room scene doesn’t get divided across a few strips, potentially confusing everyone.
Numbering scenes is a conversation to have with the director, A.D. and line producer. It’s a luxury problem, because it means your movie is getting made.