1 #LyX 1.6.0svn created this file. For more info see http://www.lyx.org/
10 \font_typewriter default
11 \font_default_family default
18 \paperfontsize default
27 \paperorientation portrait
37 \paragraph_separation indent
39 \quotes_language english
43 \tracking_changes false
51 [NICHOLL FELLOWSHIPS in SCREENWRITING]
55 http://www.oscars.org/academy/nichollindex.html
62 \begin_layout Plain Layout
75 Formatted text courtesy of Ann Garretson
79 http://www.halcyon.com/aga
83 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
99 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
102 \begin_layout General
103 - The NICHOLL FELLOWSHIPS in SCREENWRITING
106 \begin_layout General
107 - http://www.oscars.org/nicholl/index.html
110 \begin_layout General
111 - E-mail: Greg Beal, gbeal@oscars.org
114 \begin_layout General
115 File Info: April, 1998 (online)
118 \begin_layout General
119 - http://www.oscars.org/nicholl/format_a.txt
122 \begin_layout General
123 - View in a monospaced font -- preferably 12-point Courier.
126 \begin_layout General
127 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
130 \begin_layout General
134 \begin_layout General
135 Permission to use this script as a LyX example file was kindly granted by
136 Greg Beal, gbeal@oscars.org.
139 \begin_layout General
140 I added a few lines at the end of script about binding.
141 The original script ended with the words
142 \begin_inset Quotes eld
145 I'd never let you miss a meal.
146 \begin_inset Quotes erd
149 There were also references to tabs, which don't exist in LyX, so I made
150 minor changes in the text.
151 Apologies and kudos to Ann Garretson.
152 Be sure to thank her when you get your Oscar.
156 \begin_layout General
161 \begin_layout General
165 \begin_layout General
166 \begin_inset Newpage newpage
178 \begin_inset Newline newline
184 \begin_layout General
185 \begin_inset VSpace vfill
191 \begin_layout Right Address
193 \begin_inset Newline newline
198 \begin_inset Newline newline
202 \begin_inset Newline newline
208 \begin_layout General
209 \begin_inset Newpage newpage
215 \begin_layout FADE IN:
216 \begin_inset CommandInset label
223 \begin_inset CommandInset label
232 \begin_layout General
233 \begin_inset Note Note
236 \begin_layout General
240 \begin_layout General
241 Spacing Other to set the spacing between lines.
242 A value of .85 is probably the minimum.
250 \begin_layout General
251 \begin_inset Note Note
254 \begin_layout General
258 \begin_layout General
266 \begin_layout General
274 \begin_layout General
282 \begin_layout General
290 \begin_layout General
295 speakeroffset}{1.2in}
298 \begin_layout General
299 click TeX and enter new values as above.
302 \begin_layout General
303 Parenoffset is the offset to the left of parentheticals from speaker names.
306 \begin_layout General
307 Speakeroffset is the offset to the right of the dialog margin, so changing
308 dialogindent will automatically change the position of parentheticals and
315 \begin_inset Note Note
318 \begin_layout General
319 You can put your Speaker names in labels, the insert cross references to
321 The printed version will automatically be capitalized in Speaker even if
322 the label is not capped.
323 This way you can use them in dialogue also, and change all references to
324 your Speaker's names just by changing the label.
333 \begin_layout General
337 \begin_layout Plain Layout
346 \begin_layout Plain Layout
350 \begin_layout Plain Layout
365 DRISKILL HOTEL SEMINAR ROOM - DAY
368 \begin_layout Description
369 JOE and APRIL burst through the doors into a clean, well-lit seminar room
372 \begin_layout General
373 \begin_inset Note Note
376 \begin_layout General
377 Use the description after INT.
379 to keep it on the same page.
380 Narrative is the same, except that it allows a pagebreak before it.
381 Notice that I did not use the labels for Joe and April here because they
382 are upper-cased in discriptions only the first time they are used.
383 You could make extra labels, but I think it would be error-prone.
391 \begin_layout Speaker
392 \begin_inset CommandInset ref
401 \begin_layout Dialogue
405 \begin_layout Speaker
406 \begin_inset CommandInset ref
415 \begin_layout Dialogue
416 How could they start without us? We're the main attraction.
419 \begin_layout Narrative
420 \begin_inset CommandInset ref
426 catches his breath as he leans against the podium at the front of the room.
429 \begin_layout Speaker
430 \begin_inset CommandInset ref
439 \begin_layout Parenthetical
440 looking about the room
443 \begin_layout Dialogue
447 \begin_layout Speaker
448 \begin_inset CommandInset ref
457 \begin_layout Dialogue
459 You know we've been invited to Austin to discuss script format.
462 \begin_layout Speaker
463 \begin_inset CommandInset ref
472 \begin_layout Dialogue
473 But why is the room empty?
476 \begin_layout Narrative
477 \begin_inset CommandInset ref
484 \begin_inset CommandInset ref
490 both look out across the room -- rows of empty chairs and nary a person
494 \begin_layout Speaker
495 \begin_inset CommandInset ref
504 \begin_layout Dialogue
505 Okay, okay, don't panic.
508 \begin_layout Narrative
509 She takes three deep breaths.
510 Then she looks at her watch and smiles.
513 \begin_layout Continuing
517 \begin_layout Dialogue
522 \begin_layout Speaker
523 \begin_inset CommandInset ref
532 \begin_layout Dialogue
537 \begin_layout Speaker
538 \begin_inset CommandInset ref
547 \begin_layout Dialogue
550 Top, 1.0 inch to the body, 0.5 inches to the number.
551 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
554 \begin_layout Speaker
555 \begin_inset CommandInset ref
564 \begin_layout Dialogue
568 \begin_layout Speaker
569 \begin_inset CommandInset ref
578 \begin_layout Dialogue
580 Rules for breaking a page.
581 Scene headers, like INT., remain attached to Description.
582 If a page breaks between a Speaker and a one sentence Dialogue, move it
584 A long Dialogue passage would be split -- but I'll get to that later.
587 \begin_layout Speaker
588 \begin_inset CommandInset ref
597 \begin_layout Dialogue
601 \begin_layout Speaker
602 \begin_inset CommandInset ref
611 \begin_layout Dialogue
612 Courier, 12 point, 10 pitch.
613 Make sure it's a non-proportional version of Courier.
616 \begin_layout Narrative
617 \begin_inset CommandInset ref
623 's grimace suggests that he's deep in thought.
626 \begin_layout Speaker
627 \begin_inset CommandInset ref
636 \begin_layout Dialogue
637 What about bold-face or italics? Or a Gothic font? I love to jazz up my
641 \begin_layout Speaker
642 \begin_inset CommandInset ref
651 \begin_layout Dialogue
652 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
654 That's the industry standard.
657 \begin_layout Speaker
658 \begin_inset CommandInset ref
667 \begin_layout Dialogue
668 Oh, we're talking about industry standards?
671 \begin_layout Narrative
673 \begin_inset CommandInset ref
679 bolts from behind the podium and runs out into:
683 DRISKILL HOTEL HALLWAY - DAY
686 \begin_layout Description
687 \begin_inset CommandInset ref
693 glances up and down the hallway, then reaches back to open the door.
696 \begin_layout Speaker
697 \begin_inset CommandInset ref
706 \begin_layout Parenthetical
710 \begin_layout Dialogue
711 \begin_inset CommandInset ref
717 -- come on! There's no one here.
720 \begin_layout Speaker
721 \begin_inset CommandInset ref
730 \begin_layout Parenthetical
731 walking through the door
734 \begin_layout Dialogue
736 Or a slug line, as I was taught in film school.
738 What happens if we \SpecialChar \ldots{}
743 TEXAS CAPITOL BUILDING - DAY
746 \begin_layout Description
747 \begin_inset CommandInset ref
753 pinches himself as he stands with
754 \begin_inset CommandInset ref
760 before the seat of Texas politics.
763 \begin_layout Speaker
764 \begin_inset CommandInset ref
773 \begin_layout Dialogue
777 \begin_layout Speaker
778 \begin_inset CommandInset ref
787 \begin_layout Dialogue
788 There was a cut -- from the hallway to the capitol.
789 What'd you want to do -- ride in a cab?
792 \begin_layout Speaker
793 \begin_inset CommandInset ref
802 \begin_layout Dialogue
806 \begin_layout Speaker
807 \begin_inset CommandInset ref
816 \begin_layout Dialogue
819 Of course, you can cheat those a tad.
822 \begin_layout Dialogue
823 \begin_inset Note Note
826 \begin_layout General
827 These are from the paper edge, but you specify them from
830 \begin_layout General
831 the left margin using dialoglength and dialogIndent.
839 \begin_layout Speaker
840 \begin_inset CommandInset ref
849 \begin_layout Dialogue
850 So, you have about 3.0 inches for each line of your dialogue?
853 \begin_layout Speaker
854 \begin_inset CommandInset ref
863 \begin_layout Dialogue
865 Though you can go out another three or four spaces to the right and no
866 one will hold it against you.
869 \begin_layout Narrative
870 \begin_inset CommandInset ref
876 jots down several notes on a 3 x 5 card, studies the card for a moment,
877 then scribbles another note.
880 \begin_layout Speaker
881 \begin_inset CommandInset ref
890 \begin_layout Parenthetical
894 \begin_layout Dialogue
895 And the position of the speaker's name?
898 \begin_layout Speaker
899 \begin_inset CommandInset ref
908 \begin_layout Dialogue
909 All CAPS, and about 2.7 inches from the left margin.
910 Some writers center all the speakers' names.
913 \begin_layout General
914 \begin_inset Note Note
917 \begin_layout General
918 Use More to break up a dialogue across a page boundary.
919 It will put (MORE) at the bottom of the page, and insert the current speaker
920 name and (CONT'D) at the top of the next page.
921 You should not break mid-sentence.
933 \begin_layout Dialogue
934 Personally, I don't think it matters.
935 The look of the script pages is slightly different in either case.
938 \begin_layout Speaker
939 \begin_inset CommandInset ref
948 \begin_layout Dialogue
952 \begin_layout Speaker
953 \begin_inset CommandInset ref
962 \begin_layout Dialogue
963 A page break appeared in the middle of my dialogue.
964 You use (MORE) at the bottom of the page to show that the speaker's dialogue
965 continues onto the next page.
966 Then (CONT'D) next to the speaker to show that it has roots in the previous
970 \begin_layout Speaker
971 \begin_inset CommandInset ref
980 \begin_layout Dialogue
981 But not everybody uses MOREs and CONT'Ds, do they?
985 CAPITOL BUILDING - DAY
988 \begin_layout Description
989 \begin_inset CommandInset ref
995 stares up into the dome.
997 \begin_inset CommandInset ref
1003 examines the portraits of Texas governors on the nearby walls.
1006 \begin_layout Speaker
1007 \begin_inset CommandInset ref
1016 \begin_layout Dialogue
1017 Some writers just plan their page ends so as to avoid them.
1020 \begin_layout Speaker
1021 \begin_inset CommandInset ref
1030 \begin_layout Parenthetical
1034 \begin_layout Dialogue
1035 What about parentheticals?
1038 \begin_layout Speaker
1039 \begin_inset CommandInset ref
1048 \begin_layout Dialogue
1049 Start them about a half-inch to the left of the speaker name.
1050 In our case that would be at 2.2 inches from the left margin.
1053 \begin_layout Speaker
1054 \begin_inset CommandInset ref
1063 \begin_layout Dialogue
1064 And what are they for?
1067 \begin_layout Speaker
1068 \begin_inset CommandInset ref
1077 \begin_layout Dialogue
1078 For years, parentheticals were used to express emotion, the manner in which
1079 a speaker spoke her lines.
1080 Loudly, passionately, sadly, and so on.
1081 In recent years writers have often used them for brief bits of action.
1084 \begin_layout Speaker
1085 \begin_inset CommandInset ref
1094 \begin_layout Parenthetical
1098 \begin_layout Dialogue
1099 Something like this?
1102 \begin_layout Speaker
1103 \begin_inset CommandInset ref
1112 \begin_layout Parenthetical
1116 \begin_layout Dialogue
1120 \begin_layout Speaker
1121 \begin_inset CommandInset ref
1130 \begin_layout Dialogue
1131 How wide are parentheticals?
1134 \begin_layout Speaker
1135 \begin_inset CommandInset ref
1144 \begin_layout Dialogue
1145 Not very -- about 1.5 inches.
1146 And they should wrap to the following line when they extend beyond that
1150 \begin_layout Parenthetical
1151 pointing up to the top of the page
1154 \begin_layout Dialogue
1155 If you place a parenthetical in the middle of a dialogue passage, it should
1156 remain distinct from the dialogue.
1160 MISSISSIPPI RIVERBOAT - NIGHT
1163 \begin_layout Description
1164 A gambling boat rolls slowly along the mighty river.
1166 \begin_inset CommandInset ref
1173 \begin_inset CommandInset ref
1179 wander about its upper deck.
1182 \begin_layout Speaker
1183 \begin_inset CommandInset ref
1192 \begin_layout Dialogue
1193 I have to ask -- what happened to CUT TO:s between scenes.
1196 \begin_layout Speaker
1197 \begin_inset CommandInset ref
1206 \begin_layout Dialogue
1207 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1211 \begin_layout Speaker
1212 \begin_inset CommandInset ref
1221 \begin_layout Dialogue
1222 Those would introduce a new scene header?
1225 \begin_layout Speaker
1226 \begin_inset CommandInset ref
1235 \begin_layout Dialogue
1236 And typically a different time and/or place.
1237 But many writers have dispensed with such transitions, feeling that a new
1238 scene header signifies a cut without the need of any additional indicator.
1241 \begin_layout Narrative
1242 \begin_inset CommandInset ref
1248 stares out at the river.
1251 \begin_layout Speaker
1252 \begin_inset CommandInset ref
1261 \begin_layout Dialogue
1262 How did we reach the Mississippi and when did the sun set?
1265 \begin_layout Speaker
1266 \begin_inset CommandInset ref
1275 \begin_layout Dialogue
1276 If you'd like \SpecialChar \ldots{}
1284 \begin_layout Description
1285 A jet liner cruises East across Texas.
1292 \begin_layout Description
1293 A customized interior, replete with lounge chairs and sofas.
1295 \begin_inset CommandInset ref
1302 \begin_inset CommandInset ref
1311 \begin_layout Speaker
1312 \begin_inset CommandInset ref
1321 \begin_layout Dialogue
1322 Is this a flashback?
1325 \begin_layout Speaker
1326 \begin_inset CommandInset ref
1335 \begin_layout Dialogue
1336 Or it could be tomorrow.
1340 \begin_layout TITLE OVER:
1344 \begin_layout Continuing
1348 \begin_layout General
1349 \begin_inset Note Note
1352 \begin_layout General
1354 \begin_inset Quotes eld
1358 \begin_inset Quotes erd
1361 will insert the current Speaker followed by (continuing) as a parenthetical.
1362 Don't worry, it will look right on the printed version.
1370 \begin_layout Dialogue
1371 You see, a few weeks have passed.
1374 \begin_layout Speaker
1375 \begin_inset CommandInset ref
1384 \begin_layout Dialogue
1385 Okay, I didn't notice.
1386 But I thought only DAY and NIGHT were allowed on scene headers.
1389 \begin_layout Speaker
1390 \begin_inset CommandInset ref
1399 \begin_layout Dialogue
1400 Production managers would certainly prefer it that way, but many writers
1401 use headers as a means of showing a particular time of day, especially
1405 \begin_layout Speaker
1406 \begin_inset CommandInset ref
1415 \begin_layout Dialogue
1419 \begin_layout Speaker
1420 \begin_inset CommandInset ref
1429 \begin_layout Dialogue
1430 On writer's drafts, without a doubt.
1433 \begin_layout Speaker
1434 \begin_inset CommandInset ref
1443 \begin_layout Dialogue
1447 \begin_layout Speaker
1448 \begin_inset CommandInset ref
1457 \begin_layout Dialogue
1458 Essentially, any draft that hasn't been paid for.
1459 Any draft to be sent to agents, studio execs, production companies, development
1461 Those are writer's drafts.
1462 And they all should be FIRST DRAFTs, no matter how many versions the writer
1463 has actually written.
1466 \begin_layout Speaker
1467 \begin_inset CommandInset ref
1476 \begin_layout Dialogue
1477 You really think so?
1480 \begin_layout Speaker
1481 \begin_inset CommandInset ref
1490 \begin_layout Dialogue
1491 That's my recommendation.
1498 \begin_layout Description
1499 \begin_inset CommandInset ref
1505 drives along Austin's Congress Avenue as
1506 \begin_inset CommandInset ref
1515 \begin_layout Speaker
1516 \begin_inset CommandInset ref
1525 \begin_layout Dialogue
1526 You speak any foreign languages?
1529 \begin_layout Speaker
1530 \begin_inset CommandInset ref
1539 \begin_layout Parenthetical
1543 \begin_layout Dialogue
1544 Why do you ask? (Pour quoi tu demandes?)
1547 \begin_layout Speaker
1548 \begin_inset CommandInset ref
1557 \begin_layout Dialogue
1558 What about action scenes?
1561 \begin_layout Narrative
1562 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1565 \begin_inset CommandInset ref
1571 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1573 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1574 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1575 pulls into the alley, sealing it shut.
1582 \begin_layout Description
1583 \begin_inset CommandInset ref
1589 leads a dazed and confused
1590 \begin_inset CommandInset ref
1599 \begin_layout Speaker
1600 \begin_inset CommandInset ref
1609 \begin_layout Dialogue
1610 That's one way to do an action scene.
1611 It's a variation on the Bill Goldman style that's used by many writers.
1614 \begin_layout Speaker
1615 \begin_inset CommandInset ref
1624 \begin_layout Parenthetical
1628 \begin_layout Dialogue
1629 But other writers just use normal description and standard scene headers
1630 for action scenes, don't they?
1633 \begin_layout Speaker
1634 \begin_inset CommandInset ref
1643 \begin_layout Dialogue
1648 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1651 \begin_layout Description
1652 A slightly less dazed
1653 \begin_inset CommandInset ref
1659 speaks on the phone.
1662 \begin_layout Speaker
1663 \begin_inset CommandInset ref
1672 \begin_layout Dialogue
1673 I thought we were walking together.
1676 \begin_layout Speaker
1677 \begin_inset CommandInset ref
1686 \begin_layout Parenthetical
1690 \begin_layout Dialogue
1691 Well, we were, but I realized a phone call was needed.
1694 \begin_layout Speaker
1695 \begin_inset CommandInset ref
1704 \begin_layout Dialogue
1708 \begin_layout INTERCUT
1713 STATE CAPITOL PHONE BOOTH - DAY
1716 \begin_layout Description
1717 With the dome looming large behind her,
1718 \begin_inset CommandInset ref
1724 speaks into the phone.
1727 \begin_layout Speaker
1728 \begin_inset CommandInset ref
1737 \begin_layout Dialogue
1738 Only when you hear my voice over the phone.
1739 Radio voices and phone calls often are filtered, though it's a convention
1740 that isn't used by everyone anymore.
1743 \begin_layout Speaker
1744 \begin_inset CommandInset ref
1753 \begin_layout Dialogue
1754 Let's try something easy.
1755 What about page numbers?
1758 \begin_layout Speaker
1759 \begin_inset CommandInset ref
1768 \begin_layout Dialogue
1769 Number each and every page, though you can start with page two.
1770 The numbers should appear in the upper right hand corner, about 0.5 inches
1771 down and 0.75 inches from the right page edge.
1772 Those dimensions are not set in stone, but page numbers should always be
1773 placed in the upper right hand corner.
1777 DRISKILL HOTEL HALLWAY - DAY
1780 \begin_layout Description
1781 \begin_inset CommandInset ref
1787 walks slowly towards the seminar room.
1790 \begin_layout Speaker
1791 \begin_inset CommandInset ref
1800 \begin_layout Dialogue
1801 You know, that pronouncement almost seemed godlike.
1804 \begin_layout Speaker
1805 \begin_inset CommandInset ref
1814 \begin_layout Dialogue
1815 If it were, I probably would have spoken in a voice over and not on the
1819 \begin_layout Narrative
1820 \begin_inset CommandInset ref
1826 searches the ceiling, trying to decide just where this disembodied voice
1830 \begin_layout Speaker
1831 \begin_inset CommandInset ref
1840 \begin_layout Dialogue
1845 \begin_layout Speaker
1846 \begin_inset CommandInset ref
1855 \begin_layout Dialogue
1856 Oftentimes for narration, for a narrator's voice.
1857 In film noir the protagonists often filled the audience in on their thoughts
1859 Documentary films are filled with voice over.
1863 DRISKILL HOTEL SEMINAR ROOM - DAY
1866 \begin_layout Description
1867 \begin_inset CommandInset ref
1874 \begin_inset CommandInset ref
1880 to reach the podium first.
1882 \begin_inset CommandInset ref
1888 walks slowly past the still-empty chairs.
1892 \begin_layout Description
1894 \begin_inset CommandInset ref
1900 gestures with his hands as if he were making a major political speech.
1903 \begin_layout Description
1904 \begin_inset CommandInset ref
1910 sneaks up behind him and mimics his movements -- until he notices.
1912 \begin_inset CommandInset ref
1918 spins to confront her.
1921 \begin_layout Speaker
1922 \begin_inset CommandInset ref
1931 \begin_layout Dialogue
1932 Why I ought'a \SpecialChar \ldots{}
1936 \begin_layout Speaker
1937 \begin_inset CommandInset ref
1946 \begin_layout Dialogue
1947 I was just demonstrating the way many writers break description into shorter
1949 I've seen blocks of description covering an entire page.
1952 \begin_layout Speaker
1953 \begin_inset CommandInset ref
1962 \begin_layout Dialogue
1963 That makes for tough reading, doesn't it?
1966 \begin_layout Speaker
1967 \begin_inset CommandInset ref
1976 \begin_layout Dialogue
1977 I know studio readers who just skip long description and read only dialogue.
1980 \begin_layout Speaker
1981 \begin_inset CommandInset ref
1990 \begin_layout Dialogue
1991 But there are pros who write scripts with extended descriptive passages.
1994 \begin_layout Speaker
1995 \begin_inset CommandInset ref
2004 \begin_layout Dialogue
2005 When you make a half-million or so per script, you can pretty much use any
2009 \begin_layout Narrative
2010 \begin_inset CommandInset ref
2016 climbs atop the podium.
2019 \begin_layout Speaker
2020 \begin_inset CommandInset ref
2029 \begin_layout Dialogue
2030 But when you're like me, you have to stick to format.
2031 Is that what you're trying to say?
2034 \begin_layout Speaker
2035 \begin_inset CommandInset ref
2044 \begin_layout Dialogue
2048 \begin_layout Narrative
2049 \begin_inset CommandInset ref
2055 jumps down from the podium and runs out the door just as conference ATTENDEES
2059 \begin_layout Continuing
2063 \begin_layout Dialogue
2064 By the way, the first time you introduce a speaker in description, you CAP
2066 And when you break dialogue with description, the standard is to place
2067 "continuing" within parentheses when a speaker chatters on and on.
2070 \begin_layout Narrative
2071 \begin_inset CommandInset ref
2077 watches as a number of people sit down before her.
2080 \begin_layout Continuing
2084 \begin_layout Dialogue
2085 Of course, many writers have dropped "continuing" from their repertoire.
2086 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2090 \begin_layout Speaker
2091 \begin_inset CommandInset ref
2100 \begin_layout Parenthetical
2101 shouting from beyond the door
2104 \begin_layout Dialogue
2106 \begin_inset CommandInset ref
2113 There's a buffet at the hotel and a shuttle leaving in two minutes.
2116 \begin_layout Speaker
2117 \begin_inset CommandInset ref
2126 \begin_layout Parenthetical
2130 \begin_layout Dialogue
2131 We haven't mentioned master scenes.
2134 \begin_layout Narrative
2136 \begin_inset CommandInset ref
2142 enters, then glances about the room as he slowly approaches the podium.
2145 \begin_layout Speaker
2146 \begin_inset CommandInset ref
2155 \begin_layout Dialogue
2157 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2158 Just scene headers, description and dialogue.
2159 And no scene numbers.
2160 Those are left to shooting scripts.
2163 \begin_layout Speaker
2164 \begin_inset CommandInset ref
2173 \begin_layout Dialogue
2174 Don't worry, I would never let you miss a meal.
2175 Do you know how to make a script sandwich?
2178 \begin_layout Speaker
2179 \begin_inset CommandInset ref
2188 \begin_layout Dialogue
2192 \begin_layout Speaker
2193 \begin_inset CommandInset ref
2202 \begin_layout Dialogue
2203 You need your script, two sheets of plain manila binding stock, a three
2204 hole punch, and three 1.5 inch brass brads.
2205 No title or name on the binding stock.
2206 When you get it all assembled, you can hammer the brass brads down to make
2211 \begin_layout FADE OUT
2215 \begin_layout Speaker