I have a question regarding back to back scenes set in the same location.

If a scene is set in a location, and then the following scene is set in the same location, but on a different day, what do I use? Would Later be appropriate, or should a new scene heading be used?

Hmm, personally I think it depends on the amount of time that has passed.

If it was a couple of hours I would just use LATER as a mini slug. If it was the next day I would write 'INT. LOCATION - NEXT DAY'

However, if it's important that you want the audience to know a few days have passed maybe consider using a super? 'SUPER: Three days later' or something along those lines.

Now off-course, not everyone will agree with this. This is just my 2 cent. Hope this helps.

Curtis

On the first day of the scene, is it before the character goes to bed or does the scene end in the middle of the day and picks back up on a different day?

If it's at the end of the day, you could write in an action line that the character falls asleep and use a "MORNING" or "DAY" tag at the end of your next scene.

I think the short answer is use what ever makes it the clearest to your reader.

In terms of your specific question:

Quoted Text If a scene is set in a location, and then the following scene is set in the same location, but on a different day, what do I use? Would Later be appropriate, or should a new scene heading be used?

I would generally do this:

INT. ELDAVE'S HOUSE - DAY

INT. ELDAVE'S HOUSE - NEXT DAY

Not sure if it violates any rules - but it is clear to me

Thank you guys for the help! It's about a week that passes, so I think I will do this:

INT. LOCATION - DAYS LATER

I would simply use a

BOLD ACTION SLUG THAT CLEARLY COMMUNICATES WE STAYED IN THE SAME SCENE BUT RATHER TIME JUMPED

such as:

ONE (1) DAY LATER... (CONTINUOUS)

Time elements in Slugs are what they are, and you shouldn't use something like NEXT DAY, DAYS LATER, A WEEK LATER, or anything like that at all.

Thin about it...how often does time fly in scripts/movies?  Most of the time!  If you were to do what some are suggesting, then why wouldn't you do that every time a day or more has passed?

Here's the bottom line...ending and starting scenes in the exact same location doesn't transfer well to film, unless you're doing this for a point...like showing the boring over and over routine a character is stuck in, or for comic effect of a characters doing whacky things in the same location over and over.

You need a new Slug every single time that time passes, whether or not the locale has changed.  You just need to be more careful that it makes sense to your readers when time is passing and that's going to be with some sort of visual, written in an action/description line - because if there isn't a visual "showing" this, it wouldn't even be clear in a filmed version.

Quoted from Dreamscale Time elements in Slugs are what they are, and you shouldn't use something like NEXT DAY, DAYS LATER, A WEEK LATER, or anything like that at all. Thin about it...how often does time fly in scripts/movies?  Most of the time!  If you were to do what some are suggesting, then why wouldn't you do that every time a day or more has passed? Here's the bottom line...ending and starting scenes in the exact same location doesn't transfer well to film, unless you're doing this for a point...like showing the boring over and over routine a character is stuck in, or for comic effect of a characters doing whacky things in the same location over and over. You need a new Slug every single time that time passes, whether or not the locale has changed.  You just need to be more careful that it makes sense to your readers when time is passing and that's going to be with some sort of visual, written in an action/description line - because if there isn't a visual "showing" this, it wouldn't even be clear in a filmed version.

I don't agree.

The premise was same location-later - so I am assuming there is a story reason for this. i.e., not going to debate the wisdom of having two consecutive scenes in the same location sense no one - other than the author of the post - knows the details.

Your scene heading should be what makes sense and adds clarity to the read. Whether you use - DAWN, DUSK, DAY, NIGHT or add a LATER. That's just my opinion.

Quoted from eldave1 Your scene heading should be what makes sense and adds clarity to the read. Whether you use - DAWN, DUSK, DAY, NIGHT or add a LATER. That's just my opinion.

All the time elements you listed are fine, Dave.

The issue is suggesting to use something like "DAYS LATER", NEXT DAY", "WEEKS LATER", etc.  These do not transfer to film, and are in fact, unfilmables.  But the bigger issue is that they are not acceptable Slug Time Elements

Would you advise someone to use such time elements every time there's a jump in time?  Of course you wouldn't.

Each and every writer gets to choose where and when to set their story and why it's important.

If it is important, then they also need to come up with a way to visually show that...like...a clock showing different times, a calendar showing different dates, different seasons, different weather or lighting, etc.

This, in an odd way, is exactly why asides and unfilmables are such poor ways of writing, what should be shown or seen.

And just to be clear, "LATER" as a time element in a Slug shows time has passed, but that the overall time element is still the same - as in DAY or NIGHT.

Quoted from Dreamscale All the time elements you listed are fine, Dave. The issue is suggesting to use something like "DAYS LATER", NEXT DAY", "WEEKS LATER", etc.  These do not transfer to film, and are in fact, unfilmables.  But the bigger issue is that they are not acceptable Slug Time Elements Would you advise someone to use such time elements every time there's a jump in time?  Of course you wouldn't. Each and every writer gets to choose where and when to set their story and why it's important. If it is important, then they also need to come up with a way to visually show that...like...a clock showing different times, a calendar showing different dates, different seasons, different weather or lighting, etc. This, in an odd way, is exactly why asides and unfilmables are such poor ways of writing, what should be shown or seen.

Jeff: You are correct from a technical perspective.  However, I believe that clarity and brevity trumps technical rules even in cases where there are unfilmables and asides. To me it is less about the writing and more about the reading.

Let's use the example of the calendar. So - it would be something like:

INT. DAVE'S HOUSE

The calendar shows "DECEMBER 25th.

But in order for that to work as a counter - the reader would have to know that the prior day was DECEMBER 24th which would mandate a calendar in the prior scene. Correct technically - boring and tedious from a reading perspective. So I prefer this:

INT. DAVE'S HOUSE - DAY

something is happening - people are talking

INT. DAVE'S HOUSE - NEXT DAY

something is happening - people are talking

to this:

INT. DAVE'S HOUSE - DAY

The calendar shows "DECEMBER 24th.

something is happening - people are talking

INT. DAVE'S HOUSE - NEXT DAY

The calendar shows "DECEMBER 25th.

something is happening - people are talking

Some films have a super for this situation

'Three weeks earlier' for example or 'Two years later'.

Dave, you're confusing the "read" and the "watch" - as in theory, the script should be what the film turns out to be.

In a filmed version of your example, how would anyone watching know it's now the next day?

Quoted from Dreamscale Dave, you're confusing the "read" and the "watch" - as in theory, the script should be what the film turns out to be. In a filmed version of your example, how would anyone watching know it's now the next day?

Jeff - I get that it's an unfilmable. My view - let the Director figure it out as we do with so many other aspects of writing. Maybe the Actor has a one day growth of beard - maybe he using a spinning newspaper - maybe he throws in a SUPER. To me, it doesn't matter and I don't think much like camera directions and the whole host of other things we say leave to the Director or the Actor that this is really all that different. I do know it reads better the way I have it - at least to my taste. So again - yep - technically, I think you are correct and that is valuable for the original poster to know. I'm still recommending the slug approach cause I think it is better than the technical approach. Cheers mate.

Understood.

Cheers back to ya!

Reading this thread yesterday, I was actually thinking the same thing Jeff did. Part of the reason is because I have a similar situation in a current script. Not about the slugs, but about showing movement in time.

One thing that really helps is if you have another part of the storyline you can break away to. For example, Jeff is exploring a cave system in the Alps looking for the ancient source of Jaegermeister. We want to create the sense of him exploring for some time before something happens. How do we do that?

One way is to break away to Stevie getting a Beatles haircut, and then return to Jeff in the cave. We still don't know from that how long he's been in the cave, but at least some time has presumably passed.

Maybe we show his candle has burned to a nub. Or his flash batteries are weak. Or he's exhausted.

The script I am in now is told all from the perspective of one character's POV, so the time leap issue is a pain in the but plug.

Quoted from leitskev Reading this thread yesterday, I was actually thinking the same thing Jeff did. Part of the reason is because I have a similar situation in a current script. Not about the slugs, but about showing movement in time. One thing that really helps is if you have another part of the storyline you can break away to. For example, Jeff is exploring a cave system in the Alps looking for the ancient source of Jaegermeister. We want to create the sense of him exploring for some time before something happens. How do we do that? One way is to break away to Stevie getting a Beatles haircut, and then return to Jeff in the cave. We still don't know from that how long he's been in the cave, but at least some time has presumably passed. Maybe we show his candle has burned to a nub. Or his flash batteries are weak. Or he's exhausted. The script I am in now is told all from the perspective of one character's POV, so the time leap issue is a pain in the but plug.

Well put.

Changing locales is the best way to show time passing, as long as something has changed in the scene when you go back - longer hair (wouldn't work for me, as mine doesn't grow all that much   _, bear growing, clothes ragged, etc.

Just put up a score of the Niners next win - that could mean a year has passed

Another thing: let's say you actually DO want to show Jeff wandering he cave for a length of time where nothing happens. The sense of time can be recreated in the actual script writing. There are different ways to do this. It's not perfect, but the reading needs to recreate at least a little sense of the pacing.

INT. THE JAEGER CAVE -  LATER

Jeff's candle is down to a nub. He lights another one and pushes on.

Careful where he steps.

Stalagmites dripping water.

A spooked nest of bats.

He squeezes through narrow passages.

Ducks under more stalagmites.

His expression growing more pained and lost.

He checks his book of matches: one left.

INT. YELLOW SUBMARINE BARBER SHOP - DAY

Stevie points to the 60s photo of McCartney on the wall. The smiling BARBER nods.

INT. JEAGER CAVE -  LATER

Jeff's candle near its end. Desperation on his face.

He ducks into a

CAVERN

Sound of dripping water.

On wobbly legs he hurries.

Reaches where the water pools. Bends and cups his hands to the dark water.

A little taste. A big smile.

From his pocket, a shot glass. He breaks into a dance.

Quoted from stevie Just put up a score of the Niners next win - that could mean a year has passed

Love this

Lol and I love Kev's scene!  Although, like my buddy Jeff, I have no hair too!

rewrite:

INT. YELLOW SUBMARINE BARBER SHOT

Stevie, his head so smooth you can see your reflection, pointed longingly at the McCartney hairdo.

The barber smiles. Reaches under his sink...

LATER

EXT. YELLOW SUB BARBER SHOP

Stevie skips out wearing a fishbowl shaped wig and a cat-eating grin.

IMHO, this is an editor's choice, not the writer's. Sure it might help if you cut away to make it easier for the reader, but this is what b-roll is for. The editor cuts away to something else and when we get back to the scene there's something there showing us time has moved. Like the candle burned down or the beard growth.  I personally would just write LATER and then show some change, small or big depending on time, then trust the editor to find something suitable to make that transition.

"stalagmites" rise from the floor..."stalactites" drop from the ceiling.

Leitskev,

How about Jeff looking at his watch to show how long he has been in the cave?

Using the watch requires 2 things: first, it requires to shots, the before and after. That's bad on film I think. And it a;so require the audience to remember what the first time was.

Maybe Jeff has an oxygen tank and the meter is low.

Quoted from MichaelYu Leitskev, How about Jeff looking at his watch to show how long he has been in the cave?

That works, as long as the watch shows the date, as well, assuming we want days to pass.

Sometimes, you'll see a character write in a journal...sometimes with a VO...showing (and telling) that time is passing.

Another way would be to have a long line of babes of different Nationalities all lined up and each time we return to the scene, we see Jeff engaged with a different one, further up the line, and the babes he's already serviced, passed out, or just in ecstasy on the cave floor behind him.

Jeff would have to add DEAM FLASH to the slug.

Quoted from leitskev Jeff would have to add DREAM FLASH to the slug.

Most certainly bro!

Quoted from leitskev Jeff would have to add DEAM FLASH to the slug.

How about...

"WET DREAM FLASHBACK"  

Or if the scene involved Stevie in the cave, you could simply have a bunch of dudes with moptop hairdos, and have him making out with each of them with googly eyes, as he runs his hands through their thick hair.

Stevie would find Strawberry Blondes Forever.

It is hard to answer your question because we got a little information on the story. However, if Jeff is trapped in the cave and he needs to try his best to get out of it, the use of oxygen tank and the meter is good.

If not, I suggest you consider adding some scenes in which Jeff's wife and son talk about him. Through the dialogue, we can know how long he has been in the cave. Besides, the scenes can also show their anxiety about Jeff's safety.

Hope this helps.