1 #LyX 2.4 created this file. For more info see https://www.lyx.org/
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96 [NICHOLL FELLOWSHIPS in SCREENWRITING]
100 http://www.oscars.org/academy/nichollindex.html
103 \begin_layout General
107 \begin_layout Plain Layout
119 \begin_layout General
120 Formatted text courtesy of Ann Garretson
123 \begin_layout General
124 http://www.halcyon.com/aga
127 \begin_layout General
128 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
131 \begin_layout General
135 \begin_layout General
139 \begin_layout General
143 \begin_layout General
145 Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
148 \begin_layout General
149 - The NICHOLL FELLOWSHIPS in SCREENWRITING
152 \begin_layout General
153 - http://www.oscars.org/nicholl/index.html
156 \begin_layout General
162 \begin_layout General
168 \begin_layout General
169 - http://www.oscars.org/nicholl/format_a.txt
172 \begin_layout General
173 - View in a monospaced font -- preferably 12-point Courier.
176 \begin_layout General
177 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
180 \begin_layout General
184 \begin_layout General
185 Permission to use this script as a \SpecialChar LyX
186 example file was kindly granted by Greg Beal,
190 \begin_layout General
191 I added a few lines at the end of script about binding.
192 The original script ended with the words
193 \begin_inset Quotes eld
196 I'd never let you miss a meal.
197 \begin_inset Quotes erd
200 There were also references to tabs,
201 which don't exist in \SpecialChar LyX
203 so I made minor changes in the text.
204 Apologies and kudos to Ann Garretson.
205 Be sure to thank her when you get your Oscar.
209 \begin_layout General
214 \begin_layout General
218 \begin_layout General
219 \begin_inset Newpage newpage
231 \begin_inset Newline newline
237 \begin_layout General
238 \begin_inset VSpace vfill
244 \begin_layout Right Address
246 \begin_inset Newline newline
251 \begin_inset Newline newline
256 \begin_inset Newline newline
262 \begin_layout General
263 \begin_inset Newpage newpage
269 \begin_layout FADE IN:
270 \begin_inset CommandInset label
277 \begin_inset CommandInset label
286 \begin_layout General
287 \begin_inset Note Note
290 \begin_layout General
294 \begin_layout General
295 Spacing Other to set the spacing between lines.
296 A value of .85 is probably the minimum.
304 \begin_layout General
305 \begin_inset Note Note
308 \begin_layout General
312 \begin_layout General
320 \begin_layout General
328 \begin_layout General
336 \begin_layout General
344 \begin_layout General
349 speakeroffset}{1.2in}
352 \begin_layout General
353 click \SpecialChar TeX
354 and enter new values as above.
357 \begin_layout General
358 Parenoffset is the offset to the left of parentheticals from speaker names.
361 \begin_layout General
362 Speakeroffset is the offset to the right of the dialog margin,
363 so changing dialogindent will automatically change the position of parentheticals and speaker names.
369 \begin_inset Note Note
372 \begin_layout General
373 You can put your Speaker names in labels,
374 the insert cross references to the labels.
375 The printed version will automatically be capitalized in Speaker even if the label is not capped.
376 This way you can use them in dialogue also,
377 and change all references to your Speaker's names just by changing the label.
386 \begin_layout General
390 \begin_layout Plain Layout
399 \begin_layout Plain Layout
403 \begin_layout Plain Layout
418 DRISKILL HOTEL SEMINAR ROOM - DAY
421 \begin_layout Description
422 JOE and APRIL burst through the doors into a clean,
423 well-lit seminar room
426 \begin_layout General
427 \begin_inset Note Note
430 \begin_layout General
431 Use the description after INT.
433 to keep it on the same page.
434 Narrative is the same,
435 except that it allows a pagebreak before it.
436 Notice that I did not use the labels for Joe and April here because they are upper-cased in discriptions only the first time they are used.
437 You could make extra labels,
438 but I think it would be error-prone.
446 \begin_layout Speaker
447 \begin_inset CommandInset ref
457 \begin_layout Dialogue
461 \begin_layout Speaker
462 \begin_inset CommandInset ref
472 \begin_layout Dialogue
473 How could they start without us?
474 We're the main attraction.
477 \begin_layout Narrative
478 \begin_inset CommandInset ref
485 catches his breath as he leans against the podium at the front of the room.
488 \begin_layout Speaker
489 \begin_inset CommandInset ref
499 \begin_layout Parenthetical
500 looking about the room
503 \begin_layout Dialogue
507 \begin_layout Speaker
508 \begin_inset CommandInset ref
518 \begin_layout Dialogue
520 You know we've been invited to Austin to discuss script format.
523 \begin_layout Speaker
524 \begin_inset CommandInset ref
534 \begin_layout Dialogue
535 But why is the room empty?
538 \begin_layout Narrative
539 \begin_inset CommandInset ref
547 \begin_inset CommandInset ref
554 both look out across the room -- rows of empty chairs and nary a person in sight.
557 \begin_layout Speaker
558 \begin_inset CommandInset ref
568 \begin_layout Dialogue
574 \begin_layout Narrative
575 She takes three deep breaths.
576 Then she looks at her watch and smiles.
579 \begin_layout Continuing
583 \begin_layout Dialogue
588 \begin_layout Speaker
589 \begin_inset CommandInset ref
599 \begin_layout Dialogue
605 \begin_layout Speaker
606 \begin_inset CommandInset ref
616 \begin_layout Dialogue
622 1.0 inch to the body,
623 0.5 inches to the number.
626 depending on where the page break comes.
629 \begin_layout Speaker
630 \begin_inset CommandInset ref
640 \begin_layout Dialogue
644 \begin_layout Speaker
645 \begin_inset CommandInset ref
655 \begin_layout Dialogue
657 Rules for breaking a page.
660 remain attached to Description.
661 If a page breaks between a Speaker and a one sentence Dialogue,
662 move it above the Speaker.
663 A long Dialogue passage would be split -- but I'll get to that later.
666 \begin_layout Speaker
667 \begin_inset CommandInset ref
677 \begin_layout Dialogue
681 \begin_layout Speaker
682 \begin_inset CommandInset ref
692 \begin_layout Dialogue
696 Make sure it's a non-proportional version of Courier.
699 \begin_layout Narrative
700 \begin_inset CommandInset ref
707 's grimace suggests that he's deep in thought.
710 \begin_layout Speaker
711 \begin_inset CommandInset ref
721 \begin_layout Dialogue
722 What about bold-face or italics?
724 I love to jazz up my scripts.
727 \begin_layout Speaker
728 \begin_inset CommandInset ref
738 \begin_layout Dialogue
746 That's the industry standard.
749 \begin_layout Speaker
750 \begin_inset CommandInset ref
760 \begin_layout Dialogue
762 we're talking about industry standards?
765 \begin_layout Narrative
768 \begin_inset CommandInset ref
775 bolts from behind the podium and runs out into:
779 DRISKILL HOTEL HALLWAY - DAY
782 \begin_layout Description
783 \begin_inset CommandInset ref
790 glances up and down the hallway,
791 then reaches back to open the door.
794 \begin_layout Speaker
795 \begin_inset CommandInset ref
805 \begin_layout Parenthetical
809 \begin_layout Dialogue
810 \begin_inset CommandInset ref
821 \begin_layout Speaker
822 \begin_inset CommandInset ref
832 \begin_layout Parenthetical
833 walking through the door
836 \begin_layout Dialogue
840 as I was taught in film school.
842 What happens if we \SpecialChar ldots
847 TEXAS CAPITOL BUILDING - DAY
850 \begin_layout Description
851 \begin_inset CommandInset ref
858 pinches himself as he stands with
859 \begin_inset CommandInset ref
866 before the seat of Texas politics.
869 \begin_layout Speaker
870 \begin_inset CommandInset ref
880 \begin_layout Dialogue
884 \begin_layout Speaker
885 \begin_inset CommandInset ref
895 \begin_layout Dialogue
896 There was a cut -- from the hallway to the capitol.
897 What'd you want to do -- ride in a cab?
900 \begin_layout Speaker
901 \begin_inset CommandInset ref
911 \begin_layout Dialogue
915 \begin_layout Speaker
916 \begin_inset CommandInset ref
926 \begin_layout Dialogue
932 you can cheat those a tad.
935 \begin_layout Dialogue
936 \begin_inset Note Note
939 \begin_layout General
940 These are from the paper edge,
941 but you specify them from
944 \begin_layout General
945 the left margin using dialoglength and dialogIndent.
953 \begin_layout Speaker
954 \begin_inset CommandInset ref
964 \begin_layout Dialogue
966 you have about 3.0 inches for each line of your dialogue?
969 \begin_layout Speaker
970 \begin_inset CommandInset ref
980 \begin_layout Dialogue
982 Though you can go out another three or four spaces to the right and no one will hold it against you.
985 \begin_layout Narrative
986 \begin_inset CommandInset ref
993 jots down several notes on a 3 x 5 card,
994 studies the card for a moment,
995 then scribbles another note.
998 \begin_layout Speaker
999 \begin_inset CommandInset ref
1009 \begin_layout Parenthetical
1013 \begin_layout Dialogue
1014 And the position of the speaker's name?
1017 \begin_layout Speaker
1018 \begin_inset CommandInset ref
1028 \begin_layout Dialogue
1030 and about 2.7 inches from the left margin.
1031 Some writers center all the speakers' names.
1034 \begin_layout General
1035 \begin_inset Note Note
1038 \begin_layout General
1039 Use More to break up a dialogue across a page boundary.
1040 It will put (MORE) at the bottom of the page,
1041 and insert the current speaker name and (CONT'D) at the top of the next page.
1042 You should not break mid-sentence.
1054 \begin_layout Dialogue
1056 I don't think it matters.
1057 The look of the script pages is slightly different in either case.
1060 \begin_layout Speaker
1061 \begin_inset CommandInset ref
1071 \begin_layout Dialogue
1076 \begin_layout Speaker
1077 \begin_inset CommandInset ref
1087 \begin_layout Dialogue
1088 A page break appeared in the middle of my dialogue.
1089 You use (MORE) at the bottom of the page to show that the speaker's dialogue continues onto the next page.
1090 Then (CONT'D) next to the speaker to show that it has roots in the previous page.
1093 \begin_layout Speaker
1094 \begin_inset CommandInset ref
1104 \begin_layout Dialogue
1105 But not everybody uses MOREs and CONT'Ds,
1110 CAPITOL BUILDING - DAY
1113 \begin_layout Description
1114 \begin_inset CommandInset ref
1121 stares up into the dome.
1123 \begin_inset CommandInset ref
1130 examines the portraits of Texas governors on the nearby walls.
1133 \begin_layout Speaker
1134 \begin_inset CommandInset ref
1144 \begin_layout Dialogue
1145 Some writers just plan their page ends so as to avoid them.
1148 \begin_layout Speaker
1149 \begin_inset CommandInset ref
1159 \begin_layout Parenthetical
1163 \begin_layout Dialogue
1164 What about parentheticals?
1167 \begin_layout Speaker
1168 \begin_inset CommandInset ref
1178 \begin_layout Dialogue
1179 Start them about a half-inch to the left of the speaker name.
1180 In our case that would be at 2.2 inches from the left margin.
1183 \begin_layout Speaker
1184 \begin_inset CommandInset ref
1194 \begin_layout Dialogue
1195 And what are they for?
1198 \begin_layout Speaker
1199 \begin_inset CommandInset ref
1209 \begin_layout Dialogue
1211 parentheticals were used to express emotion,
1212 the manner in which a speaker spoke her lines.
1217 In recent years writers have often used them for brief bits of action.
1220 \begin_layout Speaker
1221 \begin_inset CommandInset ref
1231 \begin_layout Parenthetical
1235 \begin_layout Dialogue
1236 Something like this?
1239 \begin_layout Speaker
1240 \begin_inset CommandInset ref
1250 \begin_layout Parenthetical
1254 \begin_layout Dialogue
1258 \begin_layout Speaker
1259 \begin_inset CommandInset ref
1269 \begin_layout Dialogue
1270 How wide are parentheticals?
1273 \begin_layout Speaker
1274 \begin_inset CommandInset ref
1284 \begin_layout Dialogue
1285 Not very -- about 1.5 inches.
1286 And they should wrap to the following line when they extend beyond that point.
1289 \begin_layout Parenthetical
1290 pointing up to the top of the page
1293 \begin_layout Dialogue
1294 If you place a parenthetical in the middle of a dialogue passage,
1295 it should remain distinct from the dialogue.
1299 MISSISSIPPI RIVERBOAT - NIGHT
1302 \begin_layout Description
1303 A gambling boat rolls slowly along the mighty river.
1305 \begin_inset CommandInset ref
1313 \begin_inset CommandInset ref
1320 wander about its upper deck.
1323 \begin_layout Speaker
1324 \begin_inset CommandInset ref
1334 \begin_layout Dialogue
1335 I have to ask -- what happened to CUT TO:s between scenes.
1338 \begin_layout Speaker
1339 \begin_inset CommandInset ref
1349 \begin_layout Dialogue
1350 Many writers still use transitions such as CUT TO:
1355 \begin_layout Speaker
1356 \begin_inset CommandInset ref
1366 \begin_layout Dialogue
1367 Those would introduce a new scene header?
1370 \begin_layout Speaker
1371 \begin_inset CommandInset ref
1381 \begin_layout Dialogue
1382 And typically a different time and/or place.
1383 But many writers have dispensed with such transitions,
1384 feeling that a new scene header signifies a cut without the need of any additional indicator.
1387 \begin_layout Narrative
1388 \begin_inset CommandInset ref
1395 stares out at the river.
1398 \begin_layout Speaker
1399 \begin_inset CommandInset ref
1409 \begin_layout Dialogue
1410 How did we reach the Mississippi and when did the sun set?
1413 \begin_layout Speaker
1414 \begin_inset CommandInset ref
1424 \begin_layout Dialogue
1425 If you'd like \SpecialChar ldots
1433 \begin_layout Description
1434 A jet liner cruises East across Texas.
1441 \begin_layout Description
1442 A customized interior,
1443 replete with lounge chairs and sofas.
1445 \begin_inset CommandInset ref
1453 \begin_inset CommandInset ref
1463 \begin_layout Speaker
1464 \begin_inset CommandInset ref
1474 \begin_layout Dialogue
1475 Is this a flashback?
1478 \begin_layout Speaker
1479 \begin_inset CommandInset ref
1489 \begin_layout Dialogue
1490 Or it could be tomorrow.
1494 \begin_layout TITLE OVER:
1499 \begin_layout Continuing
1503 \begin_layout General
1504 \begin_inset Note Note
1507 \begin_layout General
1509 \begin_inset Quotes eld
1513 \begin_inset Quotes erd
1516 will insert the current Speaker followed by (continuing) as a parenthetical.
1518 it will look right on the printed version.
1526 \begin_layout Dialogue
1528 a few weeks have passed.
1531 \begin_layout Speaker
1532 \begin_inset CommandInset ref
1542 \begin_layout Dialogue
1545 But I thought only DAY and NIGHT were allowed on scene headers.
1548 \begin_layout Speaker
1549 \begin_inset CommandInset ref
1559 \begin_layout Dialogue
1560 Production managers would certainly prefer it that way,
1561 but many writers use headers as a means of showing a particular time of day,
1562 especially SUNRISE and SUNSET.
1565 \begin_layout Speaker
1566 \begin_inset CommandInset ref
1576 \begin_layout Dialogue
1580 \begin_layout Speaker
1581 \begin_inset CommandInset ref
1591 \begin_layout Dialogue
1596 \begin_layout Speaker
1597 \begin_inset CommandInset ref
1607 \begin_layout Dialogue
1611 \begin_layout Speaker
1612 \begin_inset CommandInset ref
1622 \begin_layout Dialogue
1624 any draft that hasn't been paid for.
1625 Any draft to be sent to agents,
1627 production companies,
1629 Those are writer's drafts.
1630 And they all should be FIRST DRAFTs,
1631 no matter how many versions the writer has actually written.
1634 \begin_layout Speaker
1635 \begin_inset CommandInset ref
1645 \begin_layout Dialogue
1646 You really think so?
1649 \begin_layout Speaker
1650 \begin_inset CommandInset ref
1660 \begin_layout Dialogue
1661 That's my recommendation.
1668 \begin_layout Description
1669 \begin_inset CommandInset ref
1676 drives along Austin's Congress Avenue as
1677 \begin_inset CommandInset ref
1687 \begin_layout Speaker
1688 \begin_inset CommandInset ref
1698 \begin_layout Dialogue
1699 You speak any foreign languages?
1702 \begin_layout Speaker
1703 \begin_inset CommandInset ref
1713 \begin_layout Parenthetical
1717 \begin_layout Dialogue
1719 (Pour quoi tu demandes?)
1722 \begin_layout Speaker
1723 \begin_inset CommandInset ref
1733 \begin_layout Dialogue
1734 What about action scenes?
1737 \begin_layout Narrative
1739 A BLACK CADILLAC whips around a corner,
1740 racing quickly towards them.
1742 \begin_inset CommandInset ref
1749 punches the accelerator and -- THE BLUE CAMARO leaps forward,
1750 leaving a trail of rubber.
1751 The Camaro takes a left,
1752 then a quick right to accelerate into -- A DARK ALLEY The Camaro quickly reaches a dead end,
1753 just as -- THE BLACK CADILLAC pulls into the alley,
1761 \begin_layout Description
1762 \begin_inset CommandInset ref
1769 leads a dazed and confused
1770 \begin_inset CommandInset ref
1780 \begin_layout Speaker
1781 \begin_inset CommandInset ref
1791 \begin_layout Dialogue
1792 That's one way to do an action scene.
1793 It's a variation on the Bill Goldman style that's used by many writers.
1796 \begin_layout Speaker
1797 \begin_inset CommandInset ref
1807 \begin_layout Parenthetical
1811 \begin_layout Dialogue
1812 But other writers just use normal description and standard scene headers for action scenes,
1816 \begin_layout Speaker
1817 \begin_inset CommandInset ref
1827 \begin_layout Dialogue
1832 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1835 \begin_layout Description
1836 A slightly less dazed
1837 \begin_inset CommandInset ref
1844 speaks on the phone.
1847 \begin_layout Speaker
1848 \begin_inset CommandInset ref
1858 \begin_layout Dialogue
1859 I thought we were walking together.
1862 \begin_layout Speaker
1863 \begin_inset CommandInset ref
1873 \begin_layout Parenthetical
1877 \begin_layout Dialogue
1880 but I realized a phone call was needed.
1883 \begin_layout Speaker
1884 \begin_inset CommandInset ref
1894 \begin_layout Dialogue
1898 \begin_layout INTERCUT
1903 STATE CAPITOL PHONE BOOTH - DAY
1906 \begin_layout Description
1907 With the dome looming large behind her,
1909 \begin_inset CommandInset ref
1916 speaks into the phone.
1919 \begin_layout Speaker
1920 \begin_inset CommandInset ref
1930 \begin_layout Dialogue
1931 Only when you hear my voice over the phone.
1932 Radio voices and phone calls often are filtered,
1933 though it's a convention that isn't used by everyone anymore.
1936 \begin_layout Speaker
1937 \begin_inset CommandInset ref
1947 \begin_layout Dialogue
1948 Let's try something easy.
1949 What about page numbers?
1952 \begin_layout Speaker
1953 \begin_inset CommandInset ref
1963 \begin_layout Dialogue
1964 Number each and every page,
1965 though you can start with page two.
1966 The numbers should appear in the upper right hand corner,
1967 about 0.5 inches down and 0.75 inches from the right page edge.
1968 Those dimensions are not set in stone,
1969 but page numbers should always be placed in the upper right hand corner.
1973 DRISKILL HOTEL HALLWAY - DAY
1976 \begin_layout Description
1977 \begin_inset CommandInset ref
1984 walks slowly towards the seminar room.
1987 \begin_layout Speaker
1988 \begin_inset CommandInset ref
1998 \begin_layout Dialogue
2000 that pronouncement almost seemed godlike.
2003 \begin_layout Speaker
2004 \begin_inset CommandInset ref
2014 \begin_layout Dialogue
2016 I probably would have spoken in a voice over and not on the phone.
2019 \begin_layout Narrative
2020 \begin_inset CommandInset ref
2027 searches the ceiling,
2028 trying to decide just where this disembodied voice is emanating from.
2031 \begin_layout Speaker
2032 \begin_inset CommandInset ref
2042 \begin_layout Dialogue
2047 \begin_layout Speaker
2048 \begin_inset CommandInset ref
2058 \begin_layout Dialogue
2059 Oftentimes for narration,
2060 for a narrator's voice.
2061 In film noir the protagonists often filled the audience in on their thoughts or story details.
2062 Documentary films are filled with voice over.
2066 DRISKILL HOTEL SEMINAR ROOM - DAY
2069 \begin_layout Description
2070 \begin_inset CommandInset ref
2078 \begin_inset CommandInset ref
2085 to reach the podium first.
2087 \begin_inset CommandInset ref
2094 walks slowly past the still-empty chairs.
2098 \begin_layout Description
2100 \begin_inset CommandInset ref
2107 gestures with his hands as if he were making a major political speech.
2110 \begin_layout Description
2111 \begin_inset CommandInset ref
2118 sneaks up behind him and mimics his movements -- until he notices.
2120 \begin_inset CommandInset ref
2127 spins to confront her.
2130 \begin_layout Speaker
2131 \begin_inset CommandInset ref
2141 \begin_layout Dialogue
2142 Why I ought'a \SpecialChar ldots
2146 \begin_layout Speaker
2147 \begin_inset CommandInset ref
2157 \begin_layout Dialogue
2158 I was just demonstrating the way many writers break description into shorter paragraphs.
2159 I've seen blocks of description covering an entire page.
2162 \begin_layout Speaker
2163 \begin_inset CommandInset ref
2173 \begin_layout Dialogue
2174 That makes for tough reading,
2178 \begin_layout Speaker
2179 \begin_inset CommandInset ref
2189 \begin_layout Dialogue
2190 I know studio readers who just skip long description and read only dialogue.
2193 \begin_layout Speaker
2194 \begin_inset CommandInset ref
2204 \begin_layout Dialogue
2205 But there are pros who write scripts with extended descriptive passages.
2208 \begin_layout Speaker
2209 \begin_inset CommandInset ref
2219 \begin_layout Dialogue
2220 When you make a half-million or so per script,
2221 you can pretty much use any format you want.
2224 \begin_layout Narrative
2225 \begin_inset CommandInset ref
2232 climbs atop the podium.
2235 \begin_layout Speaker
2236 \begin_inset CommandInset ref
2246 \begin_layout Dialogue
2247 But when you're like me,
2248 you have to stick to format.
2249 Is that what you're trying to say?
2252 \begin_layout Speaker
2253 \begin_inset CommandInset ref
2263 \begin_layout Dialogue
2267 \begin_layout Narrative
2268 \begin_inset CommandInset ref
2275 jumps down from the podium and runs out the door just as conference ATTENDEES begin to enter.
2278 \begin_layout Continuing
2282 \begin_layout Dialogue
2284 the first time you introduce a speaker in description,
2286 And when you break dialogue with description,
2287 the standard is to place "continuing" within parentheses when a speaker chatters on and on.
2290 \begin_layout Narrative
2291 \begin_inset CommandInset ref
2298 watches as a number of people sit down before her.
2301 \begin_layout Continuing
2305 \begin_layout Dialogue
2307 many writers have dropped "continuing" from their repertoire.
2309 it's obvious that I'm still speaking,
2311 And that I never stopped speaking.
2314 \begin_layout Speaker
2315 \begin_inset CommandInset ref
2325 \begin_layout Parenthetical
2326 shouting from beyond the door
2329 \begin_layout Dialogue
2332 \begin_inset CommandInset ref
2341 There's a buffet at the hotel and a shuttle leaving in two minutes.
2344 \begin_layout Speaker
2345 \begin_inset CommandInset ref
2355 \begin_layout Parenthetical
2359 \begin_layout Dialogue
2360 We haven't mentioned master scenes.
2363 \begin_layout Narrative
2365 \begin_inset CommandInset ref
2373 then glances about the room as he slowly approaches the podium.
2376 \begin_layout Speaker
2377 \begin_inset CommandInset ref
2387 \begin_layout Dialogue
2391 no shots of any sort.
2393 description and dialogue.
2394 And no scene numbers.
2395 Those are left to shooting scripts.
2398 \begin_layout Speaker
2399 \begin_inset CommandInset ref
2409 \begin_layout Dialogue
2411 I would never let you miss a meal.
2412 Do you know how to make a script sandwich?
2415 \begin_layout Speaker
2416 \begin_inset CommandInset ref
2426 \begin_layout Dialogue
2430 \begin_layout Speaker
2431 \begin_inset CommandInset ref
2441 \begin_layout Dialogue
2442 You need your script,
2443 two sheets of plain manila binding stock,
2445 and three 1.5 inch brass brads.
2446 No title or name on the binding stock.
2447 When you get it all assembled,
2448 you can hammer the brass brads down to make it good and tight.
2452 \begin_layout FADE OUT
2456 \begin_layout Speaker