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92 [NICHOLL FELLOWSHIPS in SCREENWRITING]
96 http://www.oscars.org/academy/nichollindex.html
103 \begin_layout Plain Layout
115 \begin_layout General
116 Formatted text courtesy of Ann Garretson
119 \begin_layout General
120 http://www.halcyon.com/aga
123 \begin_layout General
124 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
127 \begin_layout General
131 \begin_layout General
135 \begin_layout General
139 \begin_layout General
140 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
143 \begin_layout General
144 - The NICHOLL FELLOWSHIPS in SCREENWRITING
147 \begin_layout General
148 - http://www.oscars.org/nicholl/index.html
151 \begin_layout General
152 - E-mail: Greg Beal, gbeal@oscars.org
155 \begin_layout General
156 File Info: April, 1998 (online)
159 \begin_layout General
160 - http://www.oscars.org/nicholl/format_a.txt
163 \begin_layout General
164 - View in a monospaced font -- preferably 12-point Courier.
167 \begin_layout General
168 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
171 \begin_layout General
175 \begin_layout General
176 Permission to use this script as a \SpecialChar LyX
177 example file was kindly granted by Greg
178 Beal, gbeal@oscars.org.
181 \begin_layout General
182 I added a few lines at the end of script about binding.
183 The original script ended with the words
184 \begin_inset Quotes eld
187 I'd never let you miss a meal.
188 \begin_inset Quotes erd
191 There were also references to tabs, which don't exist in \SpecialChar LyX
194 Apologies and kudos to Ann Garretson.
195 Be sure to thank her when you get your Oscar.
199 \begin_layout General
204 \begin_layout General
208 \begin_layout General
209 \begin_inset Newpage newpage
221 \begin_inset Newline newline
227 \begin_layout General
228 \begin_inset VSpace vfill
234 \begin_layout Right Address
236 \begin_inset Newline newline
241 \begin_inset Newline newline
245 \begin_inset Newline newline
251 \begin_layout General
252 \begin_inset Newpage newpage
258 \begin_layout FADE IN:
259 \begin_inset CommandInset label
266 \begin_inset CommandInset label
275 \begin_layout General
276 \begin_inset Note Note
279 \begin_layout General
283 \begin_layout General
284 Spacing Other to set the spacing between lines.
285 A value of .85 is probably the minimum.
293 \begin_layout General
294 \begin_inset Note Note
297 \begin_layout General
301 \begin_layout General
309 \begin_layout General
317 \begin_layout General
325 \begin_layout General
333 \begin_layout General
338 speakeroffset}{1.2in}
341 \begin_layout General
342 click \SpecialChar TeX
343 and enter new values as above.
346 \begin_layout General
347 Parenoffset is the offset to the left of parentheticals from speaker names.
350 \begin_layout General
351 Speakeroffset is the offset to the right of the dialog margin, so changing
352 dialogindent will automatically change the position of parentheticals and
359 \begin_inset Note Note
362 \begin_layout General
363 You can put your Speaker names in labels, the insert cross references to
365 The printed version will automatically be capitalized in Speaker even if
366 the label is not capped.
367 This way you can use them in dialogue also, and change all references to
368 your Speaker's names just by changing the label.
377 \begin_layout General
381 \begin_layout Plain Layout
390 \begin_layout Plain Layout
394 \begin_layout Plain Layout
409 DRISKILL HOTEL SEMINAR ROOM - DAY
412 \begin_layout Description
413 JOE and APRIL burst through the doors into a clean, well-lit seminar room
416 \begin_layout General
417 \begin_inset Note Note
420 \begin_layout General
421 Use the description after INT.
423 to keep it on the same page.
424 Narrative is the same, except that it allows a pagebreak before it.
425 Notice that I did not use the labels for Joe and April here because they
426 are upper-cased in discriptions only the first time they are used.
427 You could make extra labels, but I think it would be error-prone.
435 \begin_layout Speaker
436 \begin_inset CommandInset ref
445 \begin_layout Dialogue
449 \begin_layout Speaker
450 \begin_inset CommandInset ref
459 \begin_layout Dialogue
460 How could they start without us? We're the main attraction.
463 \begin_layout Narrative
464 \begin_inset CommandInset ref
470 catches his breath as he leans against the podium at the front of the room.
473 \begin_layout Speaker
474 \begin_inset CommandInset ref
483 \begin_layout Parenthetical
484 looking about the room
487 \begin_layout Dialogue
491 \begin_layout Speaker
492 \begin_inset CommandInset ref
501 \begin_layout Dialogue
503 You know we've been invited to Austin to discuss script format.
506 \begin_layout Speaker
507 \begin_inset CommandInset ref
516 \begin_layout Dialogue
517 But why is the room empty?
520 \begin_layout Narrative
521 \begin_inset CommandInset ref
528 \begin_inset CommandInset ref
534 both look out across the room -- rows of empty chairs and nary a person
538 \begin_layout Speaker
539 \begin_inset CommandInset ref
548 \begin_layout Dialogue
549 Okay, okay, don't panic.
552 \begin_layout Narrative
553 She takes three deep breaths.
554 Then she looks at her watch and smiles.
557 \begin_layout Continuing
561 \begin_layout Dialogue
566 \begin_layout Speaker
567 \begin_inset CommandInset ref
576 \begin_layout Dialogue
581 \begin_layout Speaker
582 \begin_inset CommandInset ref
591 \begin_layout Dialogue
594 Top, 1.0 inch to the body, 0.5 inches to the number.
595 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
598 \begin_layout Speaker
599 \begin_inset CommandInset ref
608 \begin_layout Dialogue
612 \begin_layout Speaker
613 \begin_inset CommandInset ref
622 \begin_layout Dialogue
624 Rules for breaking a page.
625 Scene headers, like INT., remain attached to Description.
626 If a page breaks between a Speaker and a one sentence Dialogue, move it
628 A long Dialogue passage would be split -- but I'll get to that later.
631 \begin_layout Speaker
632 \begin_inset CommandInset ref
641 \begin_layout Dialogue
645 \begin_layout Speaker
646 \begin_inset CommandInset ref
655 \begin_layout Dialogue
656 Courier, 12 point, 10 pitch.
657 Make sure it's a non-proportional version of Courier.
660 \begin_layout Narrative
661 \begin_inset CommandInset ref
667 's grimace suggests that he's deep in thought.
670 \begin_layout Speaker
671 \begin_inset CommandInset ref
680 \begin_layout Dialogue
681 What about bold-face or italics? Or a Gothic font? I love to jazz up my
685 \begin_layout Speaker
686 \begin_inset CommandInset ref
695 \begin_layout Dialogue
696 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
698 That's the industry standard.
701 \begin_layout Speaker
702 \begin_inset CommandInset ref
711 \begin_layout Dialogue
712 Oh, we're talking about industry standards?
715 \begin_layout Narrative
717 \begin_inset CommandInset ref
723 bolts from behind the podium and runs out into:
727 DRISKILL HOTEL HALLWAY - DAY
730 \begin_layout Description
731 \begin_inset CommandInset ref
737 glances up and down the hallway, then reaches back to open the door.
740 \begin_layout Speaker
741 \begin_inset CommandInset ref
750 \begin_layout Parenthetical
754 \begin_layout Dialogue
755 \begin_inset CommandInset ref
761 -- come on! There's no one here.
764 \begin_layout Speaker
765 \begin_inset CommandInset ref
774 \begin_layout Parenthetical
775 walking through the door
778 \begin_layout Dialogue
780 Or a slug line, as I was taught in film school.
782 What happens if we \SpecialChar ldots
787 TEXAS CAPITOL BUILDING - DAY
790 \begin_layout Description
791 \begin_inset CommandInset ref
797 pinches himself as he stands with
798 \begin_inset CommandInset ref
804 before the seat of Texas politics.
807 \begin_layout Speaker
808 \begin_inset CommandInset ref
817 \begin_layout Dialogue
821 \begin_layout Speaker
822 \begin_inset CommandInset ref
831 \begin_layout Dialogue
832 There was a cut -- from the hallway to the capitol.
833 What'd you want to do -- ride in a cab?
836 \begin_layout Speaker
837 \begin_inset CommandInset ref
846 \begin_layout Dialogue
850 \begin_layout Speaker
851 \begin_inset CommandInset ref
860 \begin_layout Dialogue
863 Of course, you can cheat those a tad.
866 \begin_layout Dialogue
867 \begin_inset Note Note
870 \begin_layout General
871 These are from the paper edge, but you specify them from
874 \begin_layout General
875 the left margin using dialoglength and dialogIndent.
883 \begin_layout Speaker
884 \begin_inset CommandInset ref
893 \begin_layout Dialogue
894 So, you have about 3.0 inches for each line of your dialogue?
897 \begin_layout Speaker
898 \begin_inset CommandInset ref
907 \begin_layout Dialogue
909 Though you can go out another three or four spaces to the right and no
910 one will hold it against you.
913 \begin_layout Narrative
914 \begin_inset CommandInset ref
920 jots down several notes on a 3 x 5 card, studies the card for a moment,
921 then scribbles another note.
924 \begin_layout Speaker
925 \begin_inset CommandInset ref
934 \begin_layout Parenthetical
938 \begin_layout Dialogue
939 And the position of the speaker's name?
942 \begin_layout Speaker
943 \begin_inset CommandInset ref
952 \begin_layout Dialogue
953 All CAPS, and about 2.7 inches from the left margin.
954 Some writers center all the speakers' names.
957 \begin_layout General
958 \begin_inset Note Note
961 \begin_layout General
962 Use More to break up a dialogue across a page boundary.
963 It will put (MORE) at the bottom of the page, and insert the current speaker
964 name and (CONT'D) at the top of the next page.
965 You should not break mid-sentence.
977 \begin_layout Dialogue
978 Personally, I don't think it matters.
979 The look of the script pages is slightly different in either case.
982 \begin_layout Speaker
983 \begin_inset CommandInset ref
992 \begin_layout Dialogue
996 \begin_layout Speaker
997 \begin_inset CommandInset ref
1006 \begin_layout Dialogue
1007 A page break appeared in the middle of my dialogue.
1008 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1009 continues onto the next page.
1010 Then (CONT'D) next to the speaker to show that it has roots in the previous
1014 \begin_layout Speaker
1015 \begin_inset CommandInset ref
1024 \begin_layout Dialogue
1025 But not everybody uses MOREs and CONT'Ds, do they?
1029 CAPITOL BUILDING - DAY
1032 \begin_layout Description
1033 \begin_inset CommandInset ref
1039 stares up into the dome.
1041 \begin_inset CommandInset ref
1047 examines the portraits of Texas governors on the nearby walls.
1050 \begin_layout Speaker
1051 \begin_inset CommandInset ref
1060 \begin_layout Dialogue
1061 Some writers just plan their page ends so as to avoid them.
1064 \begin_layout Speaker
1065 \begin_inset CommandInset ref
1074 \begin_layout Parenthetical
1078 \begin_layout Dialogue
1079 What about parentheticals?
1082 \begin_layout Speaker
1083 \begin_inset CommandInset ref
1092 \begin_layout Dialogue
1093 Start them about a half-inch to the left of the speaker name.
1094 In our case that would be at 2.2 inches from the left margin.
1097 \begin_layout Speaker
1098 \begin_inset CommandInset ref
1107 \begin_layout Dialogue
1108 And what are they for?
1111 \begin_layout Speaker
1112 \begin_inset CommandInset ref
1121 \begin_layout Dialogue
1122 For years, parentheticals were used to express emotion, the manner in which
1123 a speaker spoke her lines.
1124 Loudly, passionately, sadly, and so on.
1125 In recent years writers have often used them for brief bits of action.
1128 \begin_layout Speaker
1129 \begin_inset CommandInset ref
1138 \begin_layout Parenthetical
1142 \begin_layout Dialogue
1143 Something like this?
1146 \begin_layout Speaker
1147 \begin_inset CommandInset ref
1156 \begin_layout Parenthetical
1160 \begin_layout Dialogue
1164 \begin_layout Speaker
1165 \begin_inset CommandInset ref
1174 \begin_layout Dialogue
1175 How wide are parentheticals?
1178 \begin_layout Speaker
1179 \begin_inset CommandInset ref
1188 \begin_layout Dialogue
1189 Not very -- about 1.5 inches.
1190 And they should wrap to the following line when they extend beyond that
1194 \begin_layout Parenthetical
1195 pointing up to the top of the page
1198 \begin_layout Dialogue
1199 If you place a parenthetical in the middle of a dialogue passage, it should
1200 remain distinct from the dialogue.
1204 MISSISSIPPI RIVERBOAT - NIGHT
1207 \begin_layout Description
1208 A gambling boat rolls slowly along the mighty river.
1210 \begin_inset CommandInset ref
1217 \begin_inset CommandInset ref
1223 wander about its upper deck.
1226 \begin_layout Speaker
1227 \begin_inset CommandInset ref
1236 \begin_layout Dialogue
1237 I have to ask -- what happened to CUT TO:s between scenes.
1240 \begin_layout Speaker
1241 \begin_inset CommandInset ref
1250 \begin_layout Dialogue
1251 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1255 \begin_layout Speaker
1256 \begin_inset CommandInset ref
1265 \begin_layout Dialogue
1266 Those would introduce a new scene header?
1269 \begin_layout Speaker
1270 \begin_inset CommandInset ref
1279 \begin_layout Dialogue
1280 And typically a different time and/or place.
1281 But many writers have dispensed with such transitions, feeling that a new
1282 scene header signifies a cut without the need of any additional indicator.
1285 \begin_layout Narrative
1286 \begin_inset CommandInset ref
1292 stares out at the river.
1295 \begin_layout Speaker
1296 \begin_inset CommandInset ref
1305 \begin_layout Dialogue
1306 How did we reach the Mississippi and when did the sun set?
1309 \begin_layout Speaker
1310 \begin_inset CommandInset ref
1319 \begin_layout Dialogue
1320 If you'd like \SpecialChar ldots
1328 \begin_layout Description
1329 A jet liner cruises East across Texas.
1336 \begin_layout Description
1337 A customized interior, replete with lounge chairs and sofas.
1339 \begin_inset CommandInset ref
1346 \begin_inset CommandInset ref
1355 \begin_layout Speaker
1356 \begin_inset CommandInset ref
1365 \begin_layout Dialogue
1366 Is this a flashback?
1369 \begin_layout Speaker
1370 \begin_inset CommandInset ref
1379 \begin_layout Dialogue
1380 Or it could be tomorrow.
1384 \begin_layout TITLE OVER:
1388 \begin_layout Continuing
1392 \begin_layout General
1393 \begin_inset Note Note
1396 \begin_layout General
1398 \begin_inset Quotes eld
1402 \begin_inset Quotes erd
1405 will insert the current Speaker followed by (continuing) as a parenthetical.
1406 Don't worry, it will look right on the printed version.
1414 \begin_layout Dialogue
1415 You see, a few weeks have passed.
1418 \begin_layout Speaker
1419 \begin_inset CommandInset ref
1428 \begin_layout Dialogue
1429 Okay, I didn't notice.
1430 But I thought only DAY and NIGHT were allowed on scene headers.
1433 \begin_layout Speaker
1434 \begin_inset CommandInset ref
1443 \begin_layout Dialogue
1444 Production managers would certainly prefer it that way, but many writers
1445 use headers as a means of showing a particular time of day, especially
1449 \begin_layout Speaker
1450 \begin_inset CommandInset ref
1459 \begin_layout Dialogue
1463 \begin_layout Speaker
1464 \begin_inset CommandInset ref
1473 \begin_layout Dialogue
1474 On writer's drafts, without a doubt.
1477 \begin_layout Speaker
1478 \begin_inset CommandInset ref
1487 \begin_layout Dialogue
1491 \begin_layout Speaker
1492 \begin_inset CommandInset ref
1501 \begin_layout Dialogue
1502 Essentially, any draft that hasn't been paid for.
1503 Any draft to be sent to agents, studio execs, production companies, development
1505 Those are writer's drafts.
1506 And they all should be FIRST DRAFTs, no matter how many versions the writer
1507 has actually written.
1510 \begin_layout Speaker
1511 \begin_inset CommandInset ref
1520 \begin_layout Dialogue
1521 You really think so?
1524 \begin_layout Speaker
1525 \begin_inset CommandInset ref
1534 \begin_layout Dialogue
1535 That's my recommendation.
1542 \begin_layout Description
1543 \begin_inset CommandInset ref
1549 drives along Austin's Congress Avenue as
1550 \begin_inset CommandInset ref
1559 \begin_layout Speaker
1560 \begin_inset CommandInset ref
1569 \begin_layout Dialogue
1570 You speak any foreign languages?
1573 \begin_layout Speaker
1574 \begin_inset CommandInset ref
1583 \begin_layout Parenthetical
1587 \begin_layout Dialogue
1588 Why do you ask? (Pour quoi tu demandes?)
1591 \begin_layout Speaker
1592 \begin_inset CommandInset ref
1601 \begin_layout Dialogue
1602 What about action scenes?
1605 \begin_layout Narrative
1606 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1609 \begin_inset CommandInset ref
1615 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1617 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1618 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1619 pulls into the alley, sealing it shut.
1626 \begin_layout Description
1627 \begin_inset CommandInset ref
1633 leads a dazed and confused
1634 \begin_inset CommandInset ref
1643 \begin_layout Speaker
1644 \begin_inset CommandInset ref
1653 \begin_layout Dialogue
1654 That's one way to do an action scene.
1655 It's a variation on the Bill Goldman style that's used by many writers.
1658 \begin_layout Speaker
1659 \begin_inset CommandInset ref
1668 \begin_layout Parenthetical
1672 \begin_layout Dialogue
1673 But other writers just use normal description and standard scene headers
1674 for action scenes, don't they?
1677 \begin_layout Speaker
1678 \begin_inset CommandInset ref
1687 \begin_layout Dialogue
1692 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1695 \begin_layout Description
1696 A slightly less dazed
1697 \begin_inset CommandInset ref
1703 speaks on the phone.
1706 \begin_layout Speaker
1707 \begin_inset CommandInset ref
1716 \begin_layout Dialogue
1717 I thought we were walking together.
1720 \begin_layout Speaker
1721 \begin_inset CommandInset ref
1730 \begin_layout Parenthetical
1734 \begin_layout Dialogue
1735 Well, we were, but I realized a phone call was needed.
1738 \begin_layout Speaker
1739 \begin_inset CommandInset ref
1748 \begin_layout Dialogue
1752 \begin_layout INTERCUT
1757 STATE CAPITOL PHONE BOOTH - DAY
1760 \begin_layout Description
1761 With the dome looming large behind her,
1762 \begin_inset CommandInset ref
1768 speaks into the phone.
1771 \begin_layout Speaker
1772 \begin_inset CommandInset ref
1781 \begin_layout Dialogue
1782 Only when you hear my voice over the phone.
1783 Radio voices and phone calls often are filtered, though it's a convention
1784 that isn't used by everyone anymore.
1787 \begin_layout Speaker
1788 \begin_inset CommandInset ref
1797 \begin_layout Dialogue
1798 Let's try something easy.
1799 What about page numbers?
1802 \begin_layout Speaker
1803 \begin_inset CommandInset ref
1812 \begin_layout Dialogue
1813 Number each and every page, though you can start with page two.
1814 The numbers should appear in the upper right hand corner, about 0.5 inches
1815 down and 0.75 inches from the right page edge.
1816 Those dimensions are not set in stone, but page numbers should always be
1817 placed in the upper right hand corner.
1821 DRISKILL HOTEL HALLWAY - DAY
1824 \begin_layout Description
1825 \begin_inset CommandInset ref
1831 walks slowly towards the seminar room.
1834 \begin_layout Speaker
1835 \begin_inset CommandInset ref
1844 \begin_layout Dialogue
1845 You know, that pronouncement almost seemed godlike.
1848 \begin_layout Speaker
1849 \begin_inset CommandInset ref
1858 \begin_layout Dialogue
1859 If it were, I probably would have spoken in a voice over and not on the
1863 \begin_layout Narrative
1864 \begin_inset CommandInset ref
1870 searches the ceiling, trying to decide just where this disembodied voice
1874 \begin_layout Speaker
1875 \begin_inset CommandInset ref
1884 \begin_layout Dialogue
1889 \begin_layout Speaker
1890 \begin_inset CommandInset ref
1899 \begin_layout Dialogue
1900 Oftentimes for narration, for a narrator's voice.
1901 In film noir the protagonists often filled the audience in on their thoughts
1903 Documentary films are filled with voice over.
1907 DRISKILL HOTEL SEMINAR ROOM - DAY
1910 \begin_layout Description
1911 \begin_inset CommandInset ref
1918 \begin_inset CommandInset ref
1924 to reach the podium first.
1926 \begin_inset CommandInset ref
1932 walks slowly past the still-empty chairs.
1936 \begin_layout Description
1938 \begin_inset CommandInset ref
1944 gestures with his hands as if he were making a major political speech.
1947 \begin_layout Description
1948 \begin_inset CommandInset ref
1954 sneaks up behind him and mimics his movements -- until he notices.
1956 \begin_inset CommandInset ref
1962 spins to confront her.
1965 \begin_layout Speaker
1966 \begin_inset CommandInset ref
1975 \begin_layout Dialogue
1976 Why I ought'a \SpecialChar ldots
1980 \begin_layout Speaker
1981 \begin_inset CommandInset ref
1990 \begin_layout Dialogue
1991 I was just demonstrating the way many writers break description into shorter
1993 I've seen blocks of description covering an entire page.
1996 \begin_layout Speaker
1997 \begin_inset CommandInset ref
2006 \begin_layout Dialogue
2007 That makes for tough reading, doesn't it?
2010 \begin_layout Speaker
2011 \begin_inset CommandInset ref
2020 \begin_layout Dialogue
2021 I know studio readers who just skip long description and read only dialogue.
2024 \begin_layout Speaker
2025 \begin_inset CommandInset ref
2034 \begin_layout Dialogue
2035 But there are pros who write scripts with extended descriptive passages.
2038 \begin_layout Speaker
2039 \begin_inset CommandInset ref
2048 \begin_layout Dialogue
2049 When you make a half-million or so per script, you can pretty much use any
2053 \begin_layout Narrative
2054 \begin_inset CommandInset ref
2060 climbs atop the podium.
2063 \begin_layout Speaker
2064 \begin_inset CommandInset ref
2073 \begin_layout Dialogue
2074 But when you're like me, you have to stick to format.
2075 Is that what you're trying to say?
2078 \begin_layout Speaker
2079 \begin_inset CommandInset ref
2088 \begin_layout Dialogue
2092 \begin_layout Narrative
2093 \begin_inset CommandInset ref
2099 jumps down from the podium and runs out the door just as conference ATTENDEES
2103 \begin_layout Continuing
2107 \begin_layout Dialogue
2108 By the way, the first time you introduce a speaker in description, you CAP
2110 And when you break dialogue with description, the standard is to place
2111 "continuing" within parentheses when a speaker chatters on and on.
2114 \begin_layout Narrative
2115 \begin_inset CommandInset ref
2121 watches as a number of people sit down before her.
2124 \begin_layout Continuing
2128 \begin_layout Dialogue
2129 Of course, many writers have dropped "continuing" from their repertoire.
2130 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2134 \begin_layout Speaker
2135 \begin_inset CommandInset ref
2144 \begin_layout Parenthetical
2145 shouting from beyond the door
2148 \begin_layout Dialogue
2150 \begin_inset CommandInset ref
2157 There's a buffet at the hotel and a shuttle leaving in two minutes.
2160 \begin_layout Speaker
2161 \begin_inset CommandInset ref
2170 \begin_layout Parenthetical
2174 \begin_layout Dialogue
2175 We haven't mentioned master scenes.
2178 \begin_layout Narrative
2180 \begin_inset CommandInset ref
2186 enters, then glances about the room as he slowly approaches the podium.
2189 \begin_layout Speaker
2190 \begin_inset CommandInset ref
2199 \begin_layout Dialogue
2201 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2202 Just scene headers, description and dialogue.
2203 And no scene numbers.
2204 Those are left to shooting scripts.
2207 \begin_layout Speaker
2208 \begin_inset CommandInset ref
2217 \begin_layout Dialogue
2218 Don't worry, I would never let you miss a meal.
2219 Do you know how to make a script sandwich?
2222 \begin_layout Speaker
2223 \begin_inset CommandInset ref
2232 \begin_layout Dialogue
2236 \begin_layout Speaker
2237 \begin_inset CommandInset ref
2246 \begin_layout Dialogue
2247 You need your script, two sheets of plain manila binding stock, a three
2248 hole punch, and three 1.5 inch brass brads.
2249 No title or name on the binding stock.
2250 When you get it all assembled, you can hammer the brass brads down to make
2255 \begin_layout FADE OUT
2259 \begin_layout Speaker