• Wondering which camera, gear, computer, or software to buy? Ask in our Gear Guide.

How should I write a scene like this in a spec script?

H

harmonica44

Since it's a spec script and I am not the director, I was wondering how to write a scene where someone knocks on the door of someone's home, and the person inside goes to answer.

I can start out already in side and have it play this:

Geena hears a knock at the door and heads for it.

GEENA
Who is it?

GUY (O.S.)
(outside the door)
It's Guy.

Geena opens the door.

Or I could cut to the outside, and write it like this.

GEENA
Who is it?

EXT. HOUSE -- DAY

GUY
It's guy.

Then I have to cut back to Geena, when he comes in, but as the writer, I cannot decide the cuts, nor am I suppose to decide if a character's voice is O.S. or not.

So when writing a spec, is there a preferred method of stating where the shot is in that case, or if it cuts?
 
Sort by date Sort by votes
harmonica44 said:
Since it's a spec script and I am not the director, I was wondering how to write a scene where someone knocks on the door of someone's home, and the person inside goes to answer.

I can start out already in side and have it play this:

Geena hears a knock at the door and heads for it.

GEENA
Who is it?

GUY (O.S.)
(outside the door)
It's Guy.

Geena opens the door.

Or I could cut to the outside, and write it like this.

GEENA
Who is it?

EXT. HOUSE -- DAY

GUY
It's guy.

Then I have to cut back to Geena, when he comes in, but as the writer, I cannot decide the cuts, nor am I suppose to decide if a character's voice is O.S. or not.

So when writing a spec, is there a preferred method of stating where the shot is in that case, or if it cuts?
Click to expand...
Of course you can use O.S. and V.O. What you want to avoid are overusing transitions (MATCH CUT:, CUT TO:, FADE TO:, etc.). A judicious transition can enhance the storytelling. You don't need to say MS, CU, etc. And in the script you can describe it from inside, outside or a cross of the two. You have some freedom in describing the scene to convey your story. The director/producer may change it. Writing a spec script is not barren or dogmatic. The problem is most new scriptwriters try to throw every nuance into the script. The spec script is 95% about story and 5% about movie layout. Most scripts don't need transitions or shot descriptors. Even FADE IN and FADE OUT are passe'.

INSIDE SHOT SEQUENCE:
Code: 
INT. GEENA'S KITCHEN - NIGHT

Geena stirs meat in a skillet.

KNOCK at the door.  She is flustered deciding what to do  before
setting down the spoon to heads for the door.

                             GEENA
              Who is it?

                             GUY (O.S.)
              It's Guy.

Geena opens the door to see

Guy, with a bouquet in hand, shifts awkwardly.
OUTSIDE SHOT SEQUENCE:
Code: 
EXT. GEENA'S FRONT DOOR - NIGHT

Guy looks down at the bouquet, looks up at the door,
straightens himself.  He approaches with resolve and -

steps back unsure.  His gumption returns and he gives
a fervent knock on the door.

A beat.

                              GEENA (O.S.)
             Who is it?

Guy, with a bouquet in hand, shifts awkwardly.  

                              GUY
             It's Guy.

The door opens to Geena.  She gives him a once over and 
her face scrunches.
INTERCUT SEQUENCE:
Code: 
EXT. GEENA'S FRONT DOOR - NIGHT

Guy looks down at the bouquet, looks up at the door,
straightens himself.  He approaches with resolve and -

steps back unsure.  His gumption returns and he gives
a fervent knock on the door.


INT. GEENA'S KITCHEN - NIGHT

Geena stirs meat in a skillet.

KNOCK at the door.  She is flustered deciding what to do  before
setting down the spoon to heads for the door.


EXT. GEENA'S FRONT DOOR - NIGHT


                             GEENA (O.S.)
              Who is it?


INT.  GEENA'S FRONT DOOR - NIGHT

                              GUY (O.S.)
             It's Guy.

Geena opens the door to see

Guy, with a bouquet in hand, shifts awkwardly.  


EXT. GEENA'S FRONT DOOR - NIGHT

She gives him a once over and her face scrunches.
 
Last edited:
Upvote 0 Downvote
Okay thanks. I read over other scripts online for examples, but most of them are not spec scripts unfortunately and more of them are production ones, or even shooting ones.

So far in the script I didn't put any transitions, or fade in, fade out, or did I describe any shots. It is a script I would like to direct later, but a lot of shots would be decided once the location is picked, within their limitations.

If I have the freedom to use either O.S. or an intercut, I will pick an O.S. for that scene, since I don't think I want the reader to know who is on the other side of the door, until the voice on the other side, identifies himself. Thanks for the input.
 
Upvote 0 Downvote
You must log in or register to reply here.
Back
Top