1 #LyX 2.0 created this file. For more info see http://www.lyx.org/
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57 \quotes_language english
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71 [NICHOLL FELLOWSHIPS in SCREENWRITING]
75 http://www.oscars.org/academy/nichollindex.html
82 \begin_layout Plain Layout
95 Formatted text courtesy of Ann Garretson
99 http://www.halcyon.com/aga
102 \begin_layout General
103 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
106 \begin_layout General
110 \begin_layout General
114 \begin_layout General
118 \begin_layout General
119 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
122 \begin_layout General
123 - The NICHOLL FELLOWSHIPS in SCREENWRITING
126 \begin_layout General
127 - http://www.oscars.org/nicholl/index.html
130 \begin_layout General
131 - E-mail: Greg Beal, gbeal@oscars.org
134 \begin_layout General
135 File Info: April, 1998 (online)
138 \begin_layout General
139 - http://www.oscars.org/nicholl/format_a.txt
142 \begin_layout General
143 - View in a monospaced font -- preferably 12-point Courier.
146 \begin_layout General
147 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
150 \begin_layout General
154 \begin_layout General
155 Permission to use this script as a LyX example file was kindly granted by
156 Greg Beal, gbeal@oscars.org.
159 \begin_layout General
160 I added a few lines at the end of script about binding.
161 The original script ended with the words
162 \begin_inset Quotes eld
165 I'd never let you miss a meal.
166 \begin_inset Quotes erd
169 There were also references to tabs, which don't exist in LyX, so I made
170 minor changes in the text.
171 Apologies and kudos to Ann Garretson.
172 Be sure to thank her when you get your Oscar.
176 \begin_layout General
181 \begin_layout General
185 \begin_layout General
186 \begin_inset Newpage newpage
198 \begin_inset Newline newline
204 \begin_layout General
205 \begin_inset VSpace vfill
211 \begin_layout Right Address
213 \begin_inset Newline newline
218 \begin_inset Newline newline
222 \begin_inset Newline newline
228 \begin_layout General
229 \begin_inset Newpage newpage
235 \begin_layout FADE IN:
236 \begin_inset CommandInset label
243 \begin_inset CommandInset label
252 \begin_layout General
253 \begin_inset Note Note
256 \begin_layout General
260 \begin_layout General
261 Spacing Other to set the spacing between lines.
262 A value of .85 is probably the minimum.
270 \begin_layout General
271 \begin_inset Note Note
274 \begin_layout General
278 \begin_layout General
286 \begin_layout General
294 \begin_layout General
302 \begin_layout General
310 \begin_layout General
315 speakeroffset}{1.2in}
318 \begin_layout General
319 click TeX and enter new values as above.
322 \begin_layout General
323 Parenoffset is the offset to the left of parentheticals from speaker names.
326 \begin_layout General
327 Speakeroffset is the offset to the right of the dialog margin, so changing
328 dialogindent will automatically change the position of parentheticals and
335 \begin_inset Note Note
338 \begin_layout General
339 You can put your Speaker names in labels, the insert cross references to
341 The printed version will automatically be capitalized in Speaker even if
342 the label is not capped.
343 This way you can use them in dialogue also, and change all references to
344 your Speaker's names just by changing the label.
353 \begin_layout General
357 \begin_layout Plain Layout
366 \begin_layout Plain Layout
370 \begin_layout Plain Layout
385 DRISKILL HOTEL SEMINAR ROOM - DAY
388 \begin_layout Description
389 JOE and APRIL burst through the doors into a clean, well-lit seminar room
392 \begin_layout General
393 \begin_inset Note Note
396 \begin_layout General
397 Use the description after INT.
399 to keep it on the same page.
400 Narrative is the same, except that it allows a pagebreak before it.
401 Notice that I did not use the labels for Joe and April here because they
402 are upper-cased in discriptions only the first time they are used.
403 You could make extra labels, but I think it would be error-prone.
411 \begin_layout Speaker
412 \begin_inset CommandInset ref
421 \begin_layout Dialogue
425 \begin_layout Speaker
426 \begin_inset CommandInset ref
435 \begin_layout Dialogue
436 How could they start without us? We're the main attraction.
439 \begin_layout Narrative
440 \begin_inset CommandInset ref
446 catches his breath as he leans against the podium at the front of the room.
449 \begin_layout Speaker
450 \begin_inset CommandInset ref
459 \begin_layout Parenthetical
460 looking about the room
463 \begin_layout Dialogue
467 \begin_layout Speaker
468 \begin_inset CommandInset ref
477 \begin_layout Dialogue
479 You know we've been invited to Austin to discuss script format.
482 \begin_layout Speaker
483 \begin_inset CommandInset ref
492 \begin_layout Dialogue
493 But why is the room empty?
496 \begin_layout Narrative
497 \begin_inset CommandInset ref
504 \begin_inset CommandInset ref
510 both look out across the room -- rows of empty chairs and nary a person
514 \begin_layout Speaker
515 \begin_inset CommandInset ref
524 \begin_layout Dialogue
525 Okay, okay, don't panic.
528 \begin_layout Narrative
529 She takes three deep breaths.
530 Then she looks at her watch and smiles.
533 \begin_layout Continuing
537 \begin_layout Dialogue
542 \begin_layout Speaker
543 \begin_inset CommandInset ref
552 \begin_layout Dialogue
557 \begin_layout Speaker
558 \begin_inset CommandInset ref
567 \begin_layout Dialogue
570 Top, 1.0 inch to the body, 0.5 inches to the number.
571 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
574 \begin_layout Speaker
575 \begin_inset CommandInset ref
584 \begin_layout Dialogue
588 \begin_layout Speaker
589 \begin_inset CommandInset ref
598 \begin_layout Dialogue
600 Rules for breaking a page.
601 Scene headers, like INT., remain attached to Description.
602 If a page breaks between a Speaker and a one sentence Dialogue, move it
604 A long Dialogue passage would be split -- but I'll get to that later.
607 \begin_layout Speaker
608 \begin_inset CommandInset ref
617 \begin_layout Dialogue
621 \begin_layout Speaker
622 \begin_inset CommandInset ref
631 \begin_layout Dialogue
632 Courier, 12 point, 10 pitch.
633 Make sure it's a non-proportional version of Courier.
636 \begin_layout Narrative
637 \begin_inset CommandInset ref
643 's grimace suggests that he's deep in thought.
646 \begin_layout Speaker
647 \begin_inset CommandInset ref
656 \begin_layout Dialogue
657 What about bold-face or italics? Or a Gothic font? I love to jazz up my
661 \begin_layout Speaker
662 \begin_inset CommandInset ref
671 \begin_layout Dialogue
672 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
674 That's the industry standard.
677 \begin_layout Speaker
678 \begin_inset CommandInset ref
687 \begin_layout Dialogue
688 Oh, we're talking about industry standards?
691 \begin_layout Narrative
693 \begin_inset CommandInset ref
699 bolts from behind the podium and runs out into:
703 DRISKILL HOTEL HALLWAY - DAY
706 \begin_layout Description
707 \begin_inset CommandInset ref
713 glances up and down the hallway, then reaches back to open the door.
716 \begin_layout Speaker
717 \begin_inset CommandInset ref
726 \begin_layout Parenthetical
730 \begin_layout Dialogue
731 \begin_inset CommandInset ref
737 -- come on! There's no one here.
740 \begin_layout Speaker
741 \begin_inset CommandInset ref
750 \begin_layout Parenthetical
751 walking through the door
754 \begin_layout Dialogue
756 Or a slug line, as I was taught in film school.
758 What happens if we \SpecialChar \ldots{}
763 TEXAS CAPITOL BUILDING - DAY
766 \begin_layout Description
767 \begin_inset CommandInset ref
773 pinches himself as he stands with
774 \begin_inset CommandInset ref
780 before the seat of Texas politics.
783 \begin_layout Speaker
784 \begin_inset CommandInset ref
793 \begin_layout Dialogue
797 \begin_layout Speaker
798 \begin_inset CommandInset ref
807 \begin_layout Dialogue
808 There was a cut -- from the hallway to the capitol.
809 What'd you want to do -- ride in a cab?
812 \begin_layout Speaker
813 \begin_inset CommandInset ref
822 \begin_layout Dialogue
826 \begin_layout Speaker
827 \begin_inset CommandInset ref
836 \begin_layout Dialogue
839 Of course, you can cheat those a tad.
842 \begin_layout Dialogue
843 \begin_inset Note Note
846 \begin_layout General
847 These are from the paper edge, but you specify them from
850 \begin_layout General
851 the left margin using dialoglength and dialogIndent.
859 \begin_layout Speaker
860 \begin_inset CommandInset ref
869 \begin_layout Dialogue
870 So, you have about 3.0 inches for each line of your dialogue?
873 \begin_layout Speaker
874 \begin_inset CommandInset ref
883 \begin_layout Dialogue
885 Though you can go out another three or four spaces to the right and no
886 one will hold it against you.
889 \begin_layout Narrative
890 \begin_inset CommandInset ref
896 jots down several notes on a 3 x 5 card, studies the card for a moment,
897 then scribbles another note.
900 \begin_layout Speaker
901 \begin_inset CommandInset ref
910 \begin_layout Parenthetical
914 \begin_layout Dialogue
915 And the position of the speaker's name?
918 \begin_layout Speaker
919 \begin_inset CommandInset ref
928 \begin_layout Dialogue
929 All CAPS, and about 2.7 inches from the left margin.
930 Some writers center all the speakers' names.
933 \begin_layout General
934 \begin_inset Note Note
937 \begin_layout General
938 Use More to break up a dialogue across a page boundary.
939 It will put (MORE) at the bottom of the page, and insert the current speaker
940 name and (CONT'D) at the top of the next page.
941 You should not break mid-sentence.
953 \begin_layout Dialogue
954 Personally, I don't think it matters.
955 The look of the script pages is slightly different in either case.
958 \begin_layout Speaker
959 \begin_inset CommandInset ref
968 \begin_layout Dialogue
972 \begin_layout Speaker
973 \begin_inset CommandInset ref
982 \begin_layout Dialogue
983 A page break appeared in the middle of my dialogue.
984 You use (MORE) at the bottom of the page to show that the speaker's dialogue
985 continues onto the next page.
986 Then (CONT'D) next to the speaker to show that it has roots in the previous
990 \begin_layout Speaker
991 \begin_inset CommandInset ref
1000 \begin_layout Dialogue
1001 But not everybody uses MOREs and CONT'Ds, do they?
1005 CAPITOL BUILDING - DAY
1008 \begin_layout Description
1009 \begin_inset CommandInset ref
1015 stares up into the dome.
1017 \begin_inset CommandInset ref
1023 examines the portraits of Texas governors on the nearby walls.
1026 \begin_layout Speaker
1027 \begin_inset CommandInset ref
1036 \begin_layout Dialogue
1037 Some writers just plan their page ends so as to avoid them.
1040 \begin_layout Speaker
1041 \begin_inset CommandInset ref
1050 \begin_layout Parenthetical
1054 \begin_layout Dialogue
1055 What about parentheticals?
1058 \begin_layout Speaker
1059 \begin_inset CommandInset ref
1068 \begin_layout Dialogue
1069 Start them about a half-inch to the left of the speaker name.
1070 In our case that would be at 2.2 inches from the left margin.
1073 \begin_layout Speaker
1074 \begin_inset CommandInset ref
1083 \begin_layout Dialogue
1084 And what are they for?
1087 \begin_layout Speaker
1088 \begin_inset CommandInset ref
1097 \begin_layout Dialogue
1098 For years, parentheticals were used to express emotion, the manner in which
1099 a speaker spoke her lines.
1100 Loudly, passionately, sadly, and so on.
1101 In recent years writers have often used them for brief bits of action.
1104 \begin_layout Speaker
1105 \begin_inset CommandInset ref
1114 \begin_layout Parenthetical
1118 \begin_layout Dialogue
1119 Something like this?
1122 \begin_layout Speaker
1123 \begin_inset CommandInset ref
1132 \begin_layout Parenthetical
1136 \begin_layout Dialogue
1140 \begin_layout Speaker
1141 \begin_inset CommandInset ref
1150 \begin_layout Dialogue
1151 How wide are parentheticals?
1154 \begin_layout Speaker
1155 \begin_inset CommandInset ref
1164 \begin_layout Dialogue
1165 Not very -- about 1.5 inches.
1166 And they should wrap to the following line when they extend beyond that
1170 \begin_layout Parenthetical
1171 pointing up to the top of the page
1174 \begin_layout Dialogue
1175 If you place a parenthetical in the middle of a dialogue passage, it should
1176 remain distinct from the dialogue.
1180 MISSISSIPPI RIVERBOAT - NIGHT
1183 \begin_layout Description
1184 A gambling boat rolls slowly along the mighty river.
1186 \begin_inset CommandInset ref
1193 \begin_inset CommandInset ref
1199 wander about its upper deck.
1202 \begin_layout Speaker
1203 \begin_inset CommandInset ref
1212 \begin_layout Dialogue
1213 I have to ask -- what happened to CUT TO:s between scenes.
1216 \begin_layout Speaker
1217 \begin_inset CommandInset ref
1226 \begin_layout Dialogue
1227 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1231 \begin_layout Speaker
1232 \begin_inset CommandInset ref
1241 \begin_layout Dialogue
1242 Those would introduce a new scene header?
1245 \begin_layout Speaker
1246 \begin_inset CommandInset ref
1255 \begin_layout Dialogue
1256 And typically a different time and/or place.
1257 But many writers have dispensed with such transitions, feeling that a new
1258 scene header signifies a cut without the need of any additional indicator.
1261 \begin_layout Narrative
1262 \begin_inset CommandInset ref
1268 stares out at the river.
1271 \begin_layout Speaker
1272 \begin_inset CommandInset ref
1281 \begin_layout Dialogue
1282 How did we reach the Mississippi and when did the sun set?
1285 \begin_layout Speaker
1286 \begin_inset CommandInset ref
1295 \begin_layout Dialogue
1296 If you'd like \SpecialChar \ldots{}
1304 \begin_layout Description
1305 A jet liner cruises East across Texas.
1312 \begin_layout Description
1313 A customized interior, replete with lounge chairs and sofas.
1315 \begin_inset CommandInset ref
1322 \begin_inset CommandInset ref
1331 \begin_layout Speaker
1332 \begin_inset CommandInset ref
1341 \begin_layout Dialogue
1342 Is this a flashback?
1345 \begin_layout Speaker
1346 \begin_inset CommandInset ref
1355 \begin_layout Dialogue
1356 Or it could be tomorrow.
1360 \begin_layout TITLE OVER:
1364 \begin_layout Continuing
1368 \begin_layout General
1369 \begin_inset Note Note
1372 \begin_layout General
1374 \begin_inset Quotes eld
1378 \begin_inset Quotes erd
1381 will insert the current Speaker followed by (continuing) as a parenthetical.
1382 Don't worry, it will look right on the printed version.
1390 \begin_layout Dialogue
1391 You see, a few weeks have passed.
1394 \begin_layout Speaker
1395 \begin_inset CommandInset ref
1404 \begin_layout Dialogue
1405 Okay, I didn't notice.
1406 But I thought only DAY and NIGHT were allowed on scene headers.
1409 \begin_layout Speaker
1410 \begin_inset CommandInset ref
1419 \begin_layout Dialogue
1420 Production managers would certainly prefer it that way, but many writers
1421 use headers as a means of showing a particular time of day, especially
1425 \begin_layout Speaker
1426 \begin_inset CommandInset ref
1435 \begin_layout Dialogue
1439 \begin_layout Speaker
1440 \begin_inset CommandInset ref
1449 \begin_layout Dialogue
1450 On writer's drafts, without a doubt.
1453 \begin_layout Speaker
1454 \begin_inset CommandInset ref
1463 \begin_layout Dialogue
1467 \begin_layout Speaker
1468 \begin_inset CommandInset ref
1477 \begin_layout Dialogue
1478 Essentially, any draft that hasn't been paid for.
1479 Any draft to be sent to agents, studio execs, production companies, development
1481 Those are writer's drafts.
1482 And they all should be FIRST DRAFTs, no matter how many versions the writer
1483 has actually written.
1486 \begin_layout Speaker
1487 \begin_inset CommandInset ref
1496 \begin_layout Dialogue
1497 You really think so?
1500 \begin_layout Speaker
1501 \begin_inset CommandInset ref
1510 \begin_layout Dialogue
1511 That's my recommendation.
1518 \begin_layout Description
1519 \begin_inset CommandInset ref
1525 drives along Austin's Congress Avenue as
1526 \begin_inset CommandInset ref
1535 \begin_layout Speaker
1536 \begin_inset CommandInset ref
1545 \begin_layout Dialogue
1546 You speak any foreign languages?
1549 \begin_layout Speaker
1550 \begin_inset CommandInset ref
1559 \begin_layout Parenthetical
1563 \begin_layout Dialogue
1564 Why do you ask? (Pour quoi tu demandes?)
1567 \begin_layout Speaker
1568 \begin_inset CommandInset ref
1577 \begin_layout Dialogue
1578 What about action scenes?
1581 \begin_layout Narrative
1582 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1585 \begin_inset CommandInset ref
1591 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1593 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1594 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1595 pulls into the alley, sealing it shut.
1602 \begin_layout Description
1603 \begin_inset CommandInset ref
1609 leads a dazed and confused
1610 \begin_inset CommandInset ref
1619 \begin_layout Speaker
1620 \begin_inset CommandInset ref
1629 \begin_layout Dialogue
1630 That's one way to do an action scene.
1631 It's a variation on the Bill Goldman style that's used by many writers.
1634 \begin_layout Speaker
1635 \begin_inset CommandInset ref
1644 \begin_layout Parenthetical
1648 \begin_layout Dialogue
1649 But other writers just use normal description and standard scene headers
1650 for action scenes, don't they?
1653 \begin_layout Speaker
1654 \begin_inset CommandInset ref
1663 \begin_layout Dialogue
1668 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1671 \begin_layout Description
1672 A slightly less dazed
1673 \begin_inset CommandInset ref
1679 speaks on the phone.
1682 \begin_layout Speaker
1683 \begin_inset CommandInset ref
1692 \begin_layout Dialogue
1693 I thought we were walking together.
1696 \begin_layout Speaker
1697 \begin_inset CommandInset ref
1706 \begin_layout Parenthetical
1710 \begin_layout Dialogue
1711 Well, we were, but I realized a phone call was needed.
1714 \begin_layout Speaker
1715 \begin_inset CommandInset ref
1724 \begin_layout Dialogue
1728 \begin_layout INTERCUT
1733 STATE CAPITOL PHONE BOOTH - DAY
1736 \begin_layout Description
1737 With the dome looming large behind her,
1738 \begin_inset CommandInset ref
1744 speaks into the phone.
1747 \begin_layout Speaker
1748 \begin_inset CommandInset ref
1757 \begin_layout Dialogue
1758 Only when you hear my voice over the phone.
1759 Radio voices and phone calls often are filtered, though it's a convention
1760 that isn't used by everyone anymore.
1763 \begin_layout Speaker
1764 \begin_inset CommandInset ref
1773 \begin_layout Dialogue
1774 Let's try something easy.
1775 What about page numbers?
1778 \begin_layout Speaker
1779 \begin_inset CommandInset ref
1788 \begin_layout Dialogue
1789 Number each and every page, though you can start with page two.
1790 The numbers should appear in the upper right hand corner, about 0.5 inches
1791 down and 0.75 inches from the right page edge.
1792 Those dimensions are not set in stone, but page numbers should always be
1793 placed in the upper right hand corner.
1797 DRISKILL HOTEL HALLWAY - DAY
1800 \begin_layout Description
1801 \begin_inset CommandInset ref
1807 walks slowly towards the seminar room.
1810 \begin_layout Speaker
1811 \begin_inset CommandInset ref
1820 \begin_layout Dialogue
1821 You know, that pronouncement almost seemed godlike.
1824 \begin_layout Speaker
1825 \begin_inset CommandInset ref
1834 \begin_layout Dialogue
1835 If it were, I probably would have spoken in a voice over and not on the
1839 \begin_layout Narrative
1840 \begin_inset CommandInset ref
1846 searches the ceiling, trying to decide just where this disembodied voice
1850 \begin_layout Speaker
1851 \begin_inset CommandInset ref
1860 \begin_layout Dialogue
1865 \begin_layout Speaker
1866 \begin_inset CommandInset ref
1875 \begin_layout Dialogue
1876 Oftentimes for narration, for a narrator's voice.
1877 In film noir the protagonists often filled the audience in on their thoughts
1879 Documentary films are filled with voice over.
1883 DRISKILL HOTEL SEMINAR ROOM - DAY
1886 \begin_layout Description
1887 \begin_inset CommandInset ref
1894 \begin_inset CommandInset ref
1900 to reach the podium first.
1902 \begin_inset CommandInset ref
1908 walks slowly past the still-empty chairs.
1912 \begin_layout Description
1914 \begin_inset CommandInset ref
1920 gestures with his hands as if he were making a major political speech.
1923 \begin_layout Description
1924 \begin_inset CommandInset ref
1930 sneaks up behind him and mimics his movements -- until he notices.
1932 \begin_inset CommandInset ref
1938 spins to confront her.
1941 \begin_layout Speaker
1942 \begin_inset CommandInset ref
1951 \begin_layout Dialogue
1952 Why I ought'a \SpecialChar \ldots{}
1956 \begin_layout Speaker
1957 \begin_inset CommandInset ref
1966 \begin_layout Dialogue
1967 I was just demonstrating the way many writers break description into shorter
1969 I've seen blocks of description covering an entire page.
1972 \begin_layout Speaker
1973 \begin_inset CommandInset ref
1982 \begin_layout Dialogue
1983 That makes for tough reading, doesn't it?
1986 \begin_layout Speaker
1987 \begin_inset CommandInset ref
1996 \begin_layout Dialogue
1997 I know studio readers who just skip long description and read only dialogue.
2000 \begin_layout Speaker
2001 \begin_inset CommandInset ref
2010 \begin_layout Dialogue
2011 But there are pros who write scripts with extended descriptive passages.
2014 \begin_layout Speaker
2015 \begin_inset CommandInset ref
2024 \begin_layout Dialogue
2025 When you make a half-million or so per script, you can pretty much use any
2029 \begin_layout Narrative
2030 \begin_inset CommandInset ref
2036 climbs atop the podium.
2039 \begin_layout Speaker
2040 \begin_inset CommandInset ref
2049 \begin_layout Dialogue
2050 But when you're like me, you have to stick to format.
2051 Is that what you're trying to say?
2054 \begin_layout Speaker
2055 \begin_inset CommandInset ref
2064 \begin_layout Dialogue
2068 \begin_layout Narrative
2069 \begin_inset CommandInset ref
2075 jumps down from the podium and runs out the door just as conference ATTENDEES
2079 \begin_layout Continuing
2083 \begin_layout Dialogue
2084 By the way, the first time you introduce a speaker in description, you CAP
2086 And when you break dialogue with description, the standard is to place
2087 "continuing" within parentheses when a speaker chatters on and on.
2090 \begin_layout Narrative
2091 \begin_inset CommandInset ref
2097 watches as a number of people sit down before her.
2100 \begin_layout Continuing
2104 \begin_layout Dialogue
2105 Of course, many writers have dropped "continuing" from their repertoire.
2106 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2110 \begin_layout Speaker
2111 \begin_inset CommandInset ref
2120 \begin_layout Parenthetical
2121 shouting from beyond the door
2124 \begin_layout Dialogue
2126 \begin_inset CommandInset ref
2133 There's a buffet at the hotel and a shuttle leaving in two minutes.
2136 \begin_layout Speaker
2137 \begin_inset CommandInset ref
2146 \begin_layout Parenthetical
2150 \begin_layout Dialogue
2151 We haven't mentioned master scenes.
2154 \begin_layout Narrative
2156 \begin_inset CommandInset ref
2162 enters, then glances about the room as he slowly approaches the podium.
2165 \begin_layout Speaker
2166 \begin_inset CommandInset ref
2175 \begin_layout Dialogue
2177 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2178 Just scene headers, description and dialogue.
2179 And no scene numbers.
2180 Those are left to shooting scripts.
2183 \begin_layout Speaker
2184 \begin_inset CommandInset ref
2193 \begin_layout Dialogue
2194 Don't worry, I would never let you miss a meal.
2195 Do you know how to make a script sandwich?
2198 \begin_layout Speaker
2199 \begin_inset CommandInset ref
2208 \begin_layout Dialogue
2212 \begin_layout Speaker
2213 \begin_inset CommandInset ref
2222 \begin_layout Dialogue
2223 You need your script, two sheets of plain manila binding stock, a three
2224 hole punch, and three 1.5 inch brass brads.
2225 No title or name on the binding stock.
2226 When you get it all assembled, you can hammer the brass brads down to make
2231 \begin_layout FADE OUT
2235 \begin_layout Speaker