Okay, Strange, here's some Q's on Intercut (*open*)

[ksk2]

Just because you're an international kinda guy...

A writer wants to intercut 2 locales, with action for both occuring simultaneously . Question: they're in far different time zones (let's say EST and, oh what the f-ck, RUSSIA); How would *you* write the slugs?

Same sceneario, different question: The 2 intercut scenes require significant "set-up" (but adhere to WCM's 4 line rule). How far can we go into both scenes separately before hitting the Intercut slug?


There. I don't believe those exact questions have been asked before, but I'll bet the answers will be helpful.

Thanks for your support!

[Nemesis Unbound]

Part One:

INT. KREMLIN

blah blah blah blah

INT. WHITE HOUSE

blah blah blah blah

INT. KREMLIN-INTERCUT

Yadda yadda yadda

EXT. NEW YORK-INTERCUT

Maybe add DAY or NIGHT if its imporant and to emphasize difference in time zone.

Part Two:

Assuming I understand you question correctly, I think this is a matter of pacing. I would start intercutting at the point where the length of time you spend in either location is becoming shorter and shorter as the action comes to a head. Not sure if thats what you were asking though.

[Strange Mind]

i hope this answers both your questions...ask me more if it doesn't.


EXT. TALADEGA RACETRACK - DAY

The lone, red Pennzoil Chevy STREAKS by...

INT. CHEVY - MOVING

RPMs at 8000, 9000, 9500...

DANNY upshifts.

THE CHEVY

Hugs Turn 1 at 175mph, STILL ACCELERATING...


GRAINY B/W CAMERA FOOTAGE - TOP DOWN VIEW (INT. RUSSIAN SPY LAB - SAME)

Of the Chevy as it pulls out of the turn...

The live feed of the Chevy is displayed on a WALL OF MONITORS, each displaying in real time, a varied number of CAMERA POVs.

PIOTR leans in towards the console. Checks numbers.

PIOTR
(to himself)
54.21 seconds. It appears you're as good as they say you are, <!--EZCODE ITALIC START--> tovarich<!--EZCODE ITALIC END-->.


INT. CHEVY

Danny upshifts. Then into his headset -

DANNY
How's the numbers, Roger?


EXT. PIT STOP - INTERCUT

ROGER looks at the stopwatch.

ROGER
You're okay, Danny.

DANNY
Okay isn't good enough, Roger, I'm taking it up a notch.

He upshifts and GUNS it.

ROGER
Listen to me, Danny, don't go for broke here -

DANNY
- over and out, Rog.

THE CHEVY

BURSTS out of Turn 3...
Too fast -

THE WALL

Comes closer and closer...

DANNY
Oh sh.t...

He CUTS THE WHEEL...

THE CHEVY

Wiggles loose, then SPINS...
Wheels lock...
Clouds of smoke billowing...
Round and round she goes...
Till she stops on the grass.

Danny leans back in his seat. Unbuckles his chin strap.

DANNY
Jesus that was close.

ROGER

Throws his headset on the ground.


INT. RUSSIAN SPY LAB

Piotr leans back in his seat. A smile -- he's seen everything.

PIOTR
I think that's how I will beat you my friend.

[ksk2]

That's nearly what I was looking for, and confirmed what I'd done previously. Many thanks. But I'll probably refine question #2 in a bit...

This'll make for some good stuff in "Basics"...

[ksk2]

One other quick question:

Most intercuts I see are "binary"; they deal with 2 sets of action/dialogue.

In one movie I enjoyed, there was what appeared to be a three-way intercut. I couldn't find the script, so I don't know if it was written that way.

Do you reckon it's acceptable to do an intercut "menage a trois"? I don't see as to how it's a leap from the basic intercut...

[Strange Mind]

ksk,

i don't see why you shouldn't. the thing to be aware of is that it may not have been written that way into the movie, and it might have been a stylistic choice by the director.

however, i don't see a problem with writing it into your script, the only provision being that you need to be clear about what's going on.

my suggestion would be to drop the intercut altogether, and just write them out as short, quick scenes. if you notice up in the rough example above, i left out the INTERCUT but hopefully it was clear enough what was going on, that you didn't need it.

or cheat...use a line of action in one scene and carry it over to the next:


INT. CAR 1 - DAY

As Ksk turns the key in the ignition...


INT. WATCHTOWER

Strange, watching him from his vantage point, picks up the walkie talkie -

STRANGE
You see him?


INT. CAR 2

Ry is on the other walkie talkie.

RY
Yeah I see him.

STRANGE
(filtered)
Okay go.


that's weak but you didn't need an intercut for that at all. and from here on, if your sequence is something fairly short that needs to move fast, you can start to use WATCHTOWER, CAR 1, CAR 2, etc. as sluglines, or you can make the character/car the sluglines:

WATCHTOWER

Strange paces the floor. Looks at his watch, tense.

RY

Looks around. Sees a whole bunch of cars. None of them Ksk's.

CAR 1

Makes a left turn on an orange light.

RY

Sees Ksk make the left, guns it...
Red light...
He emergency brakes as cross-traffic starts to move.

play with it. the faster and clearer it reads, the better. i'm not fond of intercuts myself, unless it's some phone conversation.

[ksk2]

Thanks, pal. VERY helpful!