Alan Moore wrote extensively about scene transitions in Alan Moore's Writing for Comics. While obviously written for another medium, many of the principles are relevant to screenwriting, including the idea of verbal and visual links between scenes.

At the risk of calling down the copyright gods, I'm going to extract the relevant parts of the article in case it comes in useful to you:

Transition, the movement of a scene for another one, is one of the most intricate and intriguing elements of all process of writing. The problem is to move of a place or a time to another one without making something drastic or unskillful that could compromise the delicate wire of the involvement of the reader with the story. If the transition will be dealt with the missed way, this will make the reader "to awake" fast excessively for the fact to be only reading a the story; if you the first scene spent all constructing the involvement of the reader with the drama and the personages, certainly do not go to want that nothing she returns it to the reality. A time that until scene changes requires with frequency a type of breaking, following a pause enters the end of a scene and the start of another one, the transition interval is one of the places where very probably you risk yourself to lose the interest of the reader if she will not be worked adequately.

As I see, a successful the story of any type must almost be as a hypnosis; you fascinate the reader with its first phrase, she more ahead leads it with second, and she has it in settles soft for return of third. Then, having well-taken care of in not waking up it, you ahead take it among the narrow ways of its narrative, and, when it will be completely lost for the story, having itself delivered it, you makes right it with a terrible violence, like hitting a ball with a bat, and thus, she leaves it to beg for the exit in the last page. It believes me, goes to be thankful therefore.

An important thing is that the reader has not waked up until you thus wants it, and the transition between the scenes is the weak point of the enchantment that you are having a labor to launch on it. Of one it forms or another one, as writer you have that to come with its proper repertoire of tools and tricks with which you construct the credibility interval that the scene change represents, taking loaned some advice of other writers and, if God to want, who you know, bringing a little of its proper ones. One that I have used in excess, to judge for the commentaries that I harvested in revisions or letters of the readers, is the use of the overlapping or coincidence of dialogues. Or either, better the one is something very that to fall again into old and crippled "Meanwhile, in the Room of Justice... " or some twitch seemed, and is more widely applicable than some of the boldest experimental ideas on scene change, many of which only possess, in the most instances, a limited use.

Thing that I finish making that it facilitates the transition and it is, some times, everything what it is needed to carry through it, is to write having as basic idea the page, in way that the action of the reader to turn the page if becomes the "compass" in which I moves of scene without disturbing the rhythm of the story. Another boarding is to vary the technique of overlapping of dialogues and to use the sincronicidade of the image more than words or even though a coincident joint of vacant and abstract ideas. It is even though possible to use the color to move of scene: the end of a scene that has a portion of exchange of shots and spilling of blood could finish with one close in the shining red blood all spread on the white floor. The following picture could, suddenly, cut for a commercial square in Italy, in one close of a tent of a florist with a vast profusion of red flowers taking most of the scene. In this example, the simple maintenance of the red color probably is enough successfully to lead the reader to the transition.

The transition nor always has that to be soft. If you the sufficient will be adept, some times you can use a very abrupt transition, with such elegance that nobody will go to perceive any breaking in the flow until the moment has passed and the reader already duly is absorbed by the next scene to the story. An example that comes of the cinema would be the dizzying artifice that Hitchcock used in "the BIRDS"; when finding a body mutilated by the birds, in the leaked eyes, the heroine opens her mouth and inhales, obviously gives to free an shout deafening. Instead of showing the shout, Hitchcock it cuts, suddenly, for the next scene, in one close-up of an engine towing, in an amplified and dissonant racket as what it was formed in the head of who attends, as the shout that if was waiting to hear. The brusque change in the scene is surprising, but Hitchcock obtains to use the sense of surprise with positive ends, accenting the pleasure of the story much more that exhausting the attention. This would not function in a half quadrinhístico, exactly using effect with onomatopéias, but a mind with initiative does not have reason for which cannot find a form to adapt the bases of this artifice in a sequence of words and fixed images.

Transitions, important in itself even so same, can also be considered as part of a general topic on spacing or compass.