In one of my screenplays, there is a scene where two characters jump off a building and, while in air, fire at other descending enemies and at enemies who are below them, on the ground. How can I write this scene's location to show that this happens while they're falling down? Thank you for taking your time to read and answer this!:)
Screenwriting : How can I write this slugline/scene location? by Victor Titimas
How can I write this slugline/scene location?
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EXT. NAKATOMI BUILDING - DAY John McCain and Hans jump from the building. Three enemies jump behind them. John and hans take shots at the three falling enemies and enemies on the ground.
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Find a copy of the script "The Other Guys" with Will Ferrell and Mark Whalberg. Find the scene where Samuel Jackson and The Rock jump from the building. See how the scene is written and modify it for your use.
Hey, I'm new to this place. Thought I'd add my two cents. I did a scene like this once. I used the slug EXT. BUILDING ROOFTOP - DAY. I played the scene up until the jump then wrote on a separate line... THEY FALL. After that I wrote stage direction and dialogue as I normally would. No one who read ever complained that it was incorrect. Good luck.
It sounds like a major scene, and probably should be broken up with the appropriate amount of POV and secondary headings, like BUILDING ROOF...do your thing... MID-AIR....do your thing... ENEMY'S FACE IN MID AIR....do your thing.... MUZZLE OF GUN.....do your thing... HERO'S FACE....do your thing.... ENEMIES ON GROUND....do your thing... THEY LAND.....do your thing.... Picture in your head each one of those different moments you see on the screen; break each one up; and give each one the appropriate amount of sizzle. Think of it like a story-board with multiple panels, which it really is.
Thanks for the post. Sluglines are relatively new to my writing and redrafts and I'm always interested to know how people use them. My take on them is that they're pretty liberating, for both the reader not having to endure the stultifying rigidity of screenplay format, and for the writer who gets to use essentially a poetic device to breakup the images and action envisioned in the script: BOLDFACE. This is a long way of saying you can kind of write it however you want to, so long as it's exhilarating for reader and freeing for you are a writer. It's no longer the screenwriters job to pre-scene break the production schedule with our format, and that's a good thing!