Conversations over a telephone can be tricky. There are various ways they can be presented, depending on who you would like to be the focus of attention.

Watch the video below for some proper formatting examples! ūüĎá

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Intercut

The most common way is to use an (INTERCUT), formatted as a General from the toolbar above the script. Here you would setup the first location with a brief scene (i.e. the caller dialing the phone), then set up the second location (i.e. the recipient picking up the phone) followed by a sub-header (INTERCUT between the two scenes).

Like this:

INT. BLAKE CAMERONS’ OFFICE - DAY
Blake punches the buttons on his phone as if stabbing a mortal enemy.

               BLAKE
Hey, it's Blake. You got that
surveillance report?

INT. ADAM NORTHS’ OFFICE - DAY
Adam's face drops. He waves his assistant out of the room, cups his hand over the mouthpiece.

               ADAM
Uh, Blake...I'm afraid the
news...It's not good.

INTERCUT - PHONE CONVERSATION

               BLAKE
She's been screwing him, ain't she.
 I knew it!

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Singular Focus

If you'd rather focus on a single character, you'd insert a parenthetical "beat" when we see them listening and reacting.

Like this:

INT. BEDROOM - NIGHT
Eli's phone RINGS, he picks it up to see: "Mom" he answers it.

               ELI
Hey, Ma.
         (beat)
I just need some more time. There's
a lot to think about.

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Show and Hear

If it's important to hear the other side of the conversation, the unseen character would have an extension that reads (V.O.)

Like this:

INT. KITCHEN - DAY
Cindy is making her morning smoothie. Her phone begins to VIBRATE. She looks to see who it is, "Mark" She smiles and answers.

               CINDY
Hello?

               MARK (V.O.)
Hey, Cindy! I know I'm supposed to
wait like two days or something to
call, but I have an extra ticket to
the Dodger game today. I wanted to
see if you'd like to come with me.

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