Screen+Play+Cues+Cheat+Sheet


 * Screen Play Cues Cheat Sheet **


 * Parts of a Scene in a Screen Play: **

· **COVER PAGE** - The first page of the screenplay. It contains the title, author names, and author address data.

· **LOG LINE** - A one or two sentence summary of your screenplay which is designed to intrigue someone enough to want to read it. ·
 * MASTER SCENE HEADING (SLUG LINE)** - Begins each new scene. It consist of three parts: The LOCATION, PLACE, and TIME of the scene. e.g. * EXT. PLAYGROUND - NIGHT or * INT. BEDROOM - DAY


 * Camera Shots: **

**ANGLE ON** - Directs the camera to focus on a person or thing.

**CUT TO** - To immediately go to another person or setting

**DISSOLVE TO** - A film editing technique where one scene "melts" or fades into another scene. Can be used in place of "cut to" to suggest a longer passage of time but not strictly necessary · · **INSERT** - An item that is inserted into the camera view. Usually a note, or picture is inserted so the audience can either read what is on the note, or see the picture. · · **POV** - Point of View. The perspective view of one character as they look at another character, or thing in the scene. ·
 * FADE IN** - This is the start of the screenplay. The screenplay always begins with this statement.
 * ZOOM** - A camera focus upon something in the scene.
 * FADE OUT** - Equivalent to THE END in a novel. The screenplay always ends with this statement.


 * These are cues for actors: **

· **BEAT** - A pause written into a character's speech or action. Longer pauses can be written as "two beats", "three beats", etc. Equivalent to the beat of a waltz.

· **O.S. / O.C.** - OFF SCREEN or OFF CAMERA. A character talks, or something happens out of view of the camera.

· **PARENTHETICAL (WRYLIES)** - Direction for the actor in a scene e.g. "wryly" or "sadly" Usually signals an emotional action. Only use when it isn't obvious.

· **V.O.** - Voice Over. Usually used by a narrator of a scene. The character doing the VO is usually not in the same location as the scene.

· **EXT.** - Used in the scene heading. Short for exterior.
 * Cues in SLUGs: **

· **INT.** - Used in the Master Scene Heading. Short for interior.

Note: Camera cues are used as well.

** Here are some examples from the book: **
 * Slug **- which contains camera direction, interior or exterior of scene, and a brief description introducing the scene. Your scene will need one slug. This can also be used to introduce a character.


 * Example one:**
 * CUT TO: INTERIOR(INT.): COURTROOM. WENDELL BOLDEN is on the stand. He is average height but heavily built with large, ashy hands. He acts like he’s mad and wants everybody to know it. (Pg. 47)**


 * Eaxmple two:**
 * FADE IN: COURTROOM. STEVE and KING** **are cuffed to a bench. COURT OFFICERS, PETROCELLI, SETNOGRAPHER, JUDGE, BRIGGS, and O’BRIEN are present. (pg. 65)**


 * Note:** notice how it lists all of the important people mentioned in the scene. All important aspects are capitalized. This includes names of places and people, where the shot is, and the camera direction.
 * This is how you will direct the dialog:**


 * Dialog : -name first, all caps, bold, centered in the page. (Directions are explained in parenthesis).**
 * Note: The directions in the parenthesis can be used for several things. It can show a motion of some kind or emotion. This is from pg. 78**

**O’BRIEN (indicating cuffs)** This wasn’t necessary. **STEVE** They just like to show they’re in charge. How do you think the trial is going? **O’BRIEN** It could be going better. **STEVE (surprised)** What’s wrong? **O’BRIEN** Well, frankly, nothing is happening that speaks to your being innocent. Half of those jurors, no matter what they said when we questioned them when we picked the jury, believed you were guilty the moment they laid eyes on you. You’re young, you’re Black, and you’re on trial. What else do they need to know?


 * VO : Here’s an example of a voice over used in a scene. Pg. 16 Cues are bold and whoever is speaking is in parenthesis next to cue.**

**STEVE** I’m writing this whole thing down as a movie. **O’BRIEN** Whatever. Make sure you pay attention. Close attention. **VO (COURT GUARD)** All Rise.


 * END : Now here is how to end your scene. One example of a nice dramatic close is on pg. 113.**

**MR. HARMON (choking with emotion)** Steve. It’s going to be all right, son. It’s going to be all right. You’re going to be home again and it’s going to be all right.


 * The scene blurs and darkens. There is the sound of STEVE’s FATHER sobbing.**

So, what it is?
 * Note: The directions to close the scene are bold, but not centered on the page. The person referenced in the line is in caps.**
 * Here is another example from pg. 151**
 * KING**


 * This phrase is repeated as the camera moves farther and farther away, growing louder and louder as STEVE and KING become ting figure in the bustling mosaic of Harlem.**


 * Note: These are the basic cues you need to use in your own scene. Any cues not listed in examples would be used similarly to the ones reference. If anything is confusing in these examples and explanations, don’t hesitate to ask me.**