Hi all,
First time here. I'm a french screenwriter, so sorry for my english level !
Here in France, there is no online active communauty as you, because screenplays are not published on the web, or in libraries. I don't know why. Intellectual rights i suppose. So, newbies as me can't learn by themselves from produced scripts, and globally, the general level of unknown screenwriters stay low. Pity !

So, i'm learning with american opened people ! I have some basic questions regarding my own work. I've looked the FAQ of course, but for me, read in english is not very easy.

Here is the situation make me problem :

Noah runs in French Forest. He feels a danger in another place, in same forest. His intuition knows where to run. During his race, he has some flashback, when he was a child, running in a polish forest, fleeing something... Now, Adult Noah run towards a naked woman. She's alone and angry in another place in French Forest...

So this is a pure and long action scène, with intercutting. How to write sluglines, and CUT transition ?

Here is a summary of the "multiple" scenes.

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EXT. A FRENCH FOREST - 2015 - DAY

NOAH runs awkwardly under the rain...

A NAKED WOMAN looks angry, looking around here. She feels a close danger among the trees.

Noah abruptly change direction. He's speeding-up. He sees a crow landed on a branch. And suddenly, the bird takes off.  Memory Shock.

                                                                 CUT TO:

EXT. A POLISH FOREST - 1978 - NIGHT

A crow, then a group of crows are flying above THE YOUNG NOAH. He runs with silence, and agility. The black forest seems to open face him...

                                                                 CUT BACK TO:

INTERCUT BETWEEN ADULT NOAH / YOUNG NOAH / NAKED WOMAN

Noah left the trail and runs now beetween the trees. Branchs are hurting his face.

Young Noah runs easiest in dark forest... Without stop, he sees yellow wolves eyes running front of him...

The Naked woman feels a danger so close and close... suddenly, another noise from a bush !

etc. (passing from one character to another one about 3 times. A new event intervene each time)
------------------------------------------------------------------------------------------------

So what about transitions and sluglines ? Do i have CUT and BACK TO again and again ?
And when the action with YOUNG NOAH is over, do i have create a new slugline with only FRENCH FOREST ?

Thanks for all your help, guys.

You don't need the CUT TOs at all.  Those have become somewhat redundant lately.

As far as the intercut, I'd actually go with the time...

INTERCUT: 2015 and 1978

We already know who's there, so you could save space by jumping back and forth via the year.

Quoted from Shelton You don't need the CUT TOs at all.  Those have become somewhat redundant lately.

Thx Shelton for your quick answer !
Looks like better, agree with you.

But what about the first CUT TO between 2015 and 1978, which is as a "continuous" similar action beetwen Adult Noah and Young Noah ? May i have to write an indication in SLUGLINE or something else ?

You might almost get away with what you have up there as a SERIES OF SHOTS.

So

SERIES OF SHOTS

It is raining. NOAH runs awkwardly through the forest...

A NAKED WOMAN seems angry as she stares into the darkness between the trees.

Noah changes direction. He's speeds up.

A crow lands on a branch. And then takes off.  It joins a flock of crows in the sky.

Beneath them, YOUNG NOAH runs through the forest with silence, and agility.

Noah leaves the trail and runs through the trees. Branches slap against his face.

Young Noah runs easily through the dark forest...

Yellow wolves eyes dart out of the brush and into his path.

The Naked Woman is worried.  She jumps at a noise coming from the forest.

etc. (passing from one character to another one about 3 times. A new event intervene each time)

END SERIES OF SHOTS

I rewrote some of your action stuff so it would fit into a shot.

I am new at this as well, and this raises a question.  When do you decide between a 'SERIES OF SHOTS', and a 'MONTAGE'?

I believe a montage typically relies on the passage of time (hours, days, weeks, so on). A series of shots merely breaks up a scene.

--Julio

That would make sense.  Thank you.

Quoted from mcornetto SERIES OF SHOTS ... END SERIES OF SHOTS I rewrote some of your action stuff so it would fit into a shot.

I've understood the sense of SERIES OF SHOT. Cool for short switching descriptions in action.
Unfortunately, theses actions in french script are a little more developped, and took 2-5 lines each one. So intercutting is more appropriate, no ?
another question : Are SERIES OF SHOTS  appropriate according to there are here 2 characters (separated) in same scene, and 1 character on another scene-and-time as a flashback ?
If yes, so what's the real difference between intercutting and SERIES OF SHOTS ?  

Personally, I use series of shots when I have a bunch of images I want to tie together but they need to interconnect.  It doesn't have to be one liners.  Here's an example from one of my scripts.

SERIES OF SHOTS
The ivory Buddha lies toppled on the ground. A woman's
bloodied hand stretches out toward it.

Ling sits up in bed and gazes more intently at the Buddha on
the dresser.

A woman's body, bruised, beaten, bloody, her outstretched
hand reaches toward the toppled Buddha and it begins to glow.
Her fingers spasm, then stop.

Ling crawls toward the foot of the bed. The Buddha's glow
intensifies.

A man stands next to the dead woman's body. He wipes his
bloodied staff on his tunic.

The transparent image of the dead woman's face floats before
the Buddha. Ling gasps, her hand reaches out toward the
dresser.

LING
Mother?

A toddler, BABY LING, crawls up to the toppled Buddha and
grabs it.

The man steps over the corpse of LING'S MOTHER and lifts the
toddler from the floor, the glowing Buddha still in its
hands. YOUNGER WEI smiles at the toddler he holds in his
arms.

Anger twists Ling's face. She looks at the transparent face
of her mother floating before the Buddha.

LING
Wei murdered you?

Wei stands outside the bedroom door. He screws his face
trying to locate the muffled sound. Then he puts his ear to
the door.

The transparent face speaks.

LING'S MOTHER
There is limited time. Listen
carefully. You are to become a
woman tonight. It is your destiny.

Wei's places his hand firmly against the sliding door.

Ling listens to her dead mother.

LING'S MOTHER
It is not how I would have it
happen. I can no longer prevent it
but I can guide you through the
night, perhaps longer but that I
cannot guarantee. Here is what you
must do.

END SERIES OF SHOTS

This is happening at two different time periods.  That's a bit unclear here because it's taken from the context of the script around it but it certainly is close to the problem you are having.  

However, you are perfectly fine using the intercut as well.  Neither way is wrong. What's important is that people understand what you are writing.

Quoted from mcornetto However, you are perfectly fine using the intercut as well.  Neither way is wrong. What's important is that people understand what you are writing.

Two ways is better than No Way.  
Thx4all Mcornetto