1. SCREENPLAY FORMAT FOR TV SHOWS
"Episode Title"
Written by
Name of Writer
Name (of company, if applicable) Name of agent
Email Address number of agent
Phone Number draft # if for spec.

2. SERIES TITLE
"Episode Title"
TEASER
FADE IN:
EXT. LOCATION #1 - DAY
Action goes here.
INT. LOCATION #2 - NIGHT
More action goes here.
CHARACTER #1
Hi, I’m Character #1.
CHARACTER #2
And I’m Character #2.
CHARACTER #2 (CONT'D)
(pause)
I just paused.
CHARACTER #1
(beat)
I just took a beat.
If scene action interrupts a character's speech on the same
page...
CHARACTER #1 (CONT'D)
Now I’m talking again.
End the Teaser and each Act like this.
FADE OUT.
END OF TEASER

3. 2.
ACT ONE
FADE IN:
EXT. LOCATION #1 - NIGHT
Here’s how dual-dialogue looks.
CHARACTER #1 CHARACTER #2
Dialogue here. More dialogue here.
CHARACTER #2
And even more dialogue here.
EXT. LOCATION #2 - NIGHT
Here’s how the Beeb does foreign languages.
CHARACTER #1
(in French)
Indicate the language in parens and
write the dialogue in English.
CHARACTER #2
(in Spanish; English
subtitles)
If your character is speaking in a
foreign language with subtitles, it’s
written like this.
If the whole scene is being spoken in a foreign language, make
a note of this in the scene action, like this.
NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN WELSH AND SUBTITLED
IN ENGLISH.
CHARACTER #1
Then just write the dialogue in
English.
CHARACTER #2
Let the reader know with a note that
the subtitles have ended.
END OF SUBTITLES.
INT. LOCATION #2 - DAY
Action here.
DISSOLVE TO:
SERIES OF SHOTS:

4. 3.
A) SERIES OF SHOTS: This is the first shot.
B) This is the second shot.
C) MONTAGE: another series of shots.
EXT. LOCATION #1 - NIGHT
Action here.
FADE OUT.
END OF ACT ONE

5. 4.
ACT TWO
FADE IN:
EXT. LOCATION #2 - NIGHT
Here’s where the second act begins.
CHARACTER #1 (O.S.)
Dialogue here.
CHARACTER #2 (V.O.)
Dialogue here.
CHARACTER #2
Dialogue here.
INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY
Here’s how intercut scenes are handled.
CHARACTER #1
(into phone)
Dialogue here.
CHARACTER #2
(into phone)
Dialogue here.
CHARACTER #1
(into phone)
Dialogue here.
(hangs up)
Dialogue here.
INT. LOCATION #1 - DAY
You can also establish both locations separately.
CHARACTER #1
(into phone)
Dialogue here.
INT. LOCATION #2 - DAY
Then establish your next location.
CHARACTER #2
(into phone)
Dialogue here.
INTERCUT:

6. 5.
CHARACTER #1
(into phone)
Dialogue here.
CHARACTER #2
(hangs up)
Dialogue here.
END OF ACT TWO

7. 6.
ACT THREE
FADE IN:
EXT. LOCATION #2 - NIGHT
On-screen text, such as letters, e-mails, or signs, are
formatted in a couple of ways. Brief text, such as a sign, can
go in the body of the scene action: "THIS IS A SIGN"
"Something longer, like a letter, is formatted like dialogue
enclosed within double-quote marks. It can be in normal upper
and lower case text, OR ALL IN CAPITALS depending on the text
it is representing."
END OF ACT THREE

8. 7.
ACT FOUR
FADE IN:
EXT. LOCATION #2 - NIGHT
On-screen text, such as letters, e-mails, or signs, are
formatted in a couple of ways. Brief text, such as a sign, can
go in the body of the scene action: "THIS IS A SIGN"
"Something longer, like a letter, is formatted like dialogue
enclosed within double-quote marks. It can be in normal upper
and lower case text, OR ALL IN CAPITALS depending on the text
it is representing."
END OF ACT FOUR

9. 8.
TAG
FADE IN:
EXT. LOCATION #2 - NIGHT
On-screen text, such as letters, e-mails, or signs, are
formatted in a couple of ways. Brief text, such as a sign, can
go in the body of the scene action: "THIS IS A SIGN"
"Something longer, like a letter, is formatted like dialogue
enclosed within double-quote marks. It can be in normal upper
and lower case text, OR ALL IN CAPITALS depending on the text
it is representing."
END OF SHOW.