Screenwriting : Int./ext. by Chahla Garrett

From what I know, I would say it would read: EXT. ROOM. The description following should be able to describe the fact that the person is outside the door.

It's all based on camera location, if the camera is outside with the character looking in to the room then it would be EXT. if the camera is inside and looking out to the character then it would be INT. How do you visualze this scene?

you would just write that the character looks into the room. describe what is seen. if no action takes place in the room, then you don't need to create a new scene with INT. or EXT. there has to be action in the room for the new slugline... the camera is not your responsibility to conceive.. that is for the director.

Not sure what point you're trying to make, Typo. Perhaps there's an interpretation issue here. If the character is outside and they open a door to look inside then your existing EXT slug is fine. Or you could switch to an INT slug as the doors open to reveal your exterior character as they peer into the room. There's nothing wrong with either of those examples. I don't agree with "there has to be action in the room for a new slugline". That's not true at all. There can be no action in the room with all the action taking place outside but filmed from the inside of the room in which case it would be an INT slug. I also don't understand your statement "the camera is not your responsibility to conceive". Are you saying we shouldn't use INT or EXT because that would be directing from the page? What's the point of a slug then?

Hi, in this case it's someone who's searching for a person, who's an enemy. He oens four doors. The first two are emty rooms. I think that the best idea is a combination of both your suggestions. Here's what it would be like: EXT. THE FIRST ROOM DOOR Don yanks the door open. INT. THE FIRST ROOM The room is empty. What do you think?

If you only want to show the room is empty and it can be seen from Don's POV then you don't need the INT shot. Just say he yanks the door open. The room is empty and he moves to the next door.

if there is no action from inside the room... if it is simply that the writer imagines that particular vantage as dramatically important... then i'm afraid it is superfluous for the screenplay because such interpretations are for the director, not the writer. some exceptions are when you create a slugline for extreme closeups and such. a novel view is for the director to determine. the scene could be written like this... The man looks into the bedroom. He feels the space open up as if it were looking back at him, beckoning him to enter. ... that is an example to illustrate the point. you wouldn't create a separate slugline with an interior to describe exactly the same dramatic action and diegetic space as was determined through the previous slugline and its accompanying description.

Hi, Thank you all, for all the help. I didn't use night or day, because these examples are mini slugs, and there is an establishing shot before them. EXT. FIRST ROOM Don yanks the door open. Empty. This is nice.