1 #LyX 2.2 created this file. For more info see http://www.lyx.org/
5 \origin /systemlyxdir/examples/
7 \use_default_options false
8 \maintain_unincluded_children false
10 \language_package default
13 \font_roman "default" "default"
14 \font_sans "default" "default"
15 \font_typewriter "default" "default"
16 \font_math "auto" "auto"
17 \font_default_family default
18 \use_non_tex_fonts false
21 \font_sf_scale 100 100
22 \font_tt_scale 100 100
24 \default_output_format default
26 \bibtex_command default
27 \index_command default
28 \paperfontsize default
33 \use_package amsmath 0
34 \use_package amssymb 0
37 \use_package mathdots 1
38 \use_package mathtools 0
40 \use_package stackrel 0
41 \use_package stmaryrd 0
42 \use_package undertilde 0
44 \cite_engine_type default
48 \paperorientation portrait
65 \paragraph_separation indent
66 \paragraph_indentation default
67 \quotes_language english
71 \tracking_changes false
81 [NICHOLL FELLOWSHIPS in SCREENWRITING]
85 http://www.oscars.org/academy/nichollindex.html
92 \begin_layout Plain Layout
104 \begin_layout General
105 Formatted text courtesy of Ann Garretson
108 \begin_layout General
109 http://www.halcyon.com/aga
112 \begin_layout General
113 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
116 \begin_layout General
123 \begin_layout General
127 \begin_layout General
134 \begin_layout General
135 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
138 \begin_layout General
139 - The NICHOLL FELLOWSHIPS in SCREENWRITING
142 \begin_layout General
143 - http://www.oscars.org/nicholl/index.html
146 \begin_layout General
147 - E-mail: Greg Beal, gbeal@oscars.org
150 \begin_layout General
151 File Info: April, 1998 (online)
154 \begin_layout General
155 - http://www.oscars.org/nicholl/format_a.txt
158 \begin_layout General
159 - View in a monospaced font \twohyphens
160 preferably 12-point Courier.
163 \begin_layout General
164 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
167 \begin_layout General
174 \begin_layout General
175 Permission to use this script as a \SpecialCharNoPassThru LyX
176 example file was kindly granted by
177 Greg Beal, gbeal@oscars.org.
180 \begin_layout General
181 I added a few lines at the end of script about binding.
182 The original script ended with the words
183 \begin_inset Quotes eld
186 I'd never let you miss a meal.
187 \begin_inset Quotes erd
190 There were also references to tabs, which don't exist in \SpecialCharNoPassThru LyX
192 minor changes in the text.
193 Apologies and kudos to Ann Garretson.
194 Be sure to thank her when you get your Oscar.
198 \begin_layout General
203 \begin_layout General
207 \begin_layout General
208 \begin_inset Newpage newpage
220 \begin_inset Newline newline
226 \begin_layout General
227 \begin_inset VSpace vfill
233 \begin_layout Right Address
235 \begin_inset Newline newline
240 \begin_inset Newline newline
244 \begin_inset Newline newline
250 \begin_layout General
251 \begin_inset Newpage newpage
257 \begin_layout FADE IN:
258 \begin_inset CommandInset label
265 \begin_inset CommandInset label
274 \begin_layout General
275 \begin_inset Note Note
278 \begin_layout General
282 \begin_layout General
283 Spacing Other to set the spacing between lines.
284 A value of .85 is probably the minimum.
292 \begin_layout General
293 \begin_inset Note Note
296 \begin_layout General
300 \begin_layout General
308 \begin_layout General
316 \begin_layout General
324 \begin_layout General
332 \begin_layout General
337 speakeroffset}{1.2in}
340 \begin_layout General
341 click \SpecialCharNoPassThru TeX
342 and enter new values as above.
345 \begin_layout General
346 Parenoffset is the offset to the left of parentheticals from speaker names.
349 \begin_layout General
350 Speakeroffset is the offset to the right of the dialog margin, so changing
351 dialogindent will automatically change the position of parentheticals and
358 \begin_inset Note Note
361 \begin_layout General
362 You can put your Speaker names in labels, the insert cross references to
364 The printed version will automatically be capitalized in Speaker even if
365 the label is not capped.
366 This way you can use them in dialogue also, and change all references to
367 your Speaker's names just by changing the label.
376 \begin_layout General
380 \begin_layout Plain Layout
389 \begin_layout Plain Layout
393 \begin_layout Plain Layout
408 DRISKILL HOTEL SEMINAR ROOM - DAY
411 \begin_layout Description
412 JOE and APRIL burst through the doors into a clean, well-lit seminar room
415 \begin_layout General
416 \begin_inset Note Note
419 \begin_layout General
420 Use the description after INT.
422 to keep it on the same page.
423 Narrative is the same, except that it allows a pagebreak before it.
424 Notice that I did not use the labels for Joe and April here because they
425 are upper-cased in discriptions only the first time they are used.
426 You could make extra labels, but I think it would be error-prone.
434 \begin_layout Speaker
435 \begin_inset CommandInset ref
444 \begin_layout Dialogue
448 \begin_layout Speaker
449 \begin_inset CommandInset ref
458 \begin_layout Dialogue
459 How could they start without us? We're the main attraction.
462 \begin_layout Narrative
463 \begin_inset CommandInset ref
469 catches his breath as he leans against the podium at the front of the room.
472 \begin_layout Speaker
473 \begin_inset CommandInset ref
482 \begin_layout Parenthetical
483 looking about the room
486 \begin_layout Dialogue
490 \begin_layout Speaker
491 \begin_inset CommandInset ref
500 \begin_layout Dialogue
502 You know we've been invited to Austin to discuss script format.
505 \begin_layout Speaker
506 \begin_inset CommandInset ref
515 \begin_layout Dialogue
516 But why is the room empty?
519 \begin_layout Narrative
520 \begin_inset CommandInset ref
527 \begin_inset CommandInset ref
533 both look out across the room \twohyphens
534 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 \twohyphens
629 but I'll get to that later.
632 \begin_layout Speaker
633 \begin_inset CommandInset ref
642 \begin_layout Dialogue
646 \begin_layout Speaker
647 \begin_inset CommandInset ref
656 \begin_layout Dialogue
657 Courier, 12 point, 10 pitch.
658 Make sure it's a non-proportional version of Courier.
661 \begin_layout Narrative
662 \begin_inset CommandInset ref
668 's grimace suggests that he's deep in thought.
671 \begin_layout Speaker
672 \begin_inset CommandInset ref
681 \begin_layout Dialogue
682 What about bold-face or italics? Or a Gothic font? I love to jazz up my
686 \begin_layout Speaker
687 \begin_inset CommandInset ref
696 \begin_layout Dialogue
697 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
699 That's the industry standard.
702 \begin_layout Speaker
703 \begin_inset CommandInset ref
712 \begin_layout Dialogue
713 Oh, we're talking about industry standards?
716 \begin_layout Narrative
718 \begin_inset CommandInset ref
724 bolts from behind the podium and runs out into:
728 DRISKILL HOTEL HALLWAY - DAY
731 \begin_layout Description
732 \begin_inset CommandInset ref
738 glances up and down the hallway, then reaches back to open the door.
741 \begin_layout Speaker
742 \begin_inset CommandInset ref
751 \begin_layout Parenthetical
755 \begin_layout Dialogue
756 \begin_inset CommandInset ref
763 come on! There's no one here.
766 \begin_layout Speaker
767 \begin_inset CommandInset ref
776 \begin_layout Parenthetical
777 walking through the door
780 \begin_layout Dialogue
782 Or a slug line, as I was taught in film school.
784 What happens if we \SpecialChar ldots
789 TEXAS CAPITOL BUILDING - DAY
792 \begin_layout Description
793 \begin_inset CommandInset ref
799 pinches himself as he stands with
800 \begin_inset CommandInset ref
806 before the seat of Texas politics.
809 \begin_layout Speaker
810 \begin_inset CommandInset ref
819 \begin_layout Dialogue
823 \begin_layout Speaker
824 \begin_inset CommandInset ref
833 \begin_layout Dialogue
834 There was a cut \twohyphens
835 from the hallway to the capitol.
836 What'd you want to do \twohyphens
840 \begin_layout Speaker
841 \begin_inset CommandInset ref
850 \begin_layout Dialogue
854 \begin_layout Speaker
855 \begin_inset CommandInset ref
864 \begin_layout Dialogue
867 Of course, you can cheat those a tad.
870 \begin_layout Dialogue
871 \begin_inset Note Note
874 \begin_layout General
875 These are from the paper edge, but you specify them from
878 \begin_layout General
879 the left margin using dialoglength and dialogIndent.
887 \begin_layout Speaker
888 \begin_inset CommandInset ref
897 \begin_layout Dialogue
898 So, you have about 3.0 inches for each line of your dialogue?
901 \begin_layout Speaker
902 \begin_inset CommandInset ref
911 \begin_layout Dialogue
913 Though you can go out another three or four spaces to the right and no
914 one will hold it against you.
917 \begin_layout Narrative
918 \begin_inset CommandInset ref
924 jots down several notes on a 3 x 5 card, studies the card for a moment,
925 then scribbles another note.
928 \begin_layout Speaker
929 \begin_inset CommandInset ref
938 \begin_layout Parenthetical
942 \begin_layout Dialogue
943 And the position of the speaker's name?
946 \begin_layout Speaker
947 \begin_inset CommandInset ref
956 \begin_layout Dialogue
957 All CAPS, and about 2.7 inches from the left margin.
958 Some writers center all the speakers' names.
961 \begin_layout General
962 \begin_inset Note Note
965 \begin_layout General
966 Use More to break up a dialogue across a page boundary.
967 It will put (MORE) at the bottom of the page, and insert the current speaker
968 name and (CONT'D) at the top of the next page.
969 You should not break mid-sentence.
981 \begin_layout Dialogue
982 Personally, I don't think it matters.
983 The look of the script pages is slightly different in either case.
986 \begin_layout Speaker
987 \begin_inset CommandInset ref
996 \begin_layout Dialogue
1000 \begin_layout Speaker
1001 \begin_inset CommandInset ref
1010 \begin_layout Dialogue
1011 A page break appeared in the middle of my dialogue.
1012 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1013 continues onto the next page.
1014 Then (CONT'D) next to the speaker to show that it has roots in the previous
1018 \begin_layout Speaker
1019 \begin_inset CommandInset ref
1028 \begin_layout Dialogue
1029 But not everybody uses MOREs and CONT'Ds, do they?
1033 CAPITOL BUILDING - DAY
1036 \begin_layout Description
1037 \begin_inset CommandInset ref
1043 stares up into the dome.
1045 \begin_inset CommandInset ref
1051 examines the portraits of Texas governors on the nearby walls.
1054 \begin_layout Speaker
1055 \begin_inset CommandInset ref
1064 \begin_layout Dialogue
1065 Some writers just plan their page ends so as to avoid them.
1068 \begin_layout Speaker
1069 \begin_inset CommandInset ref
1078 \begin_layout Parenthetical
1082 \begin_layout Dialogue
1083 What about parentheticals?
1086 \begin_layout Speaker
1087 \begin_inset CommandInset ref
1096 \begin_layout Dialogue
1097 Start them about a half-inch to the left of the speaker name.
1098 In our case that would be at 2.2 inches from the left margin.
1101 \begin_layout Speaker
1102 \begin_inset CommandInset ref
1111 \begin_layout Dialogue
1112 And what are they for?
1115 \begin_layout Speaker
1116 \begin_inset CommandInset ref
1125 \begin_layout Dialogue
1126 For years, parentheticals were used to express emotion, the manner in which
1127 a speaker spoke her lines.
1128 Loudly, passionately, sadly, and so on.
1129 In recent years writers have often used them for brief bits of action.
1132 \begin_layout Speaker
1133 \begin_inset CommandInset ref
1142 \begin_layout Parenthetical
1146 \begin_layout Dialogue
1147 Something like this?
1150 \begin_layout Speaker
1151 \begin_inset CommandInset ref
1160 \begin_layout Parenthetical
1164 \begin_layout Dialogue
1168 \begin_layout Speaker
1169 \begin_inset CommandInset ref
1178 \begin_layout Dialogue
1179 How wide are parentheticals?
1182 \begin_layout Speaker
1183 \begin_inset CommandInset ref
1192 \begin_layout Dialogue
1193 Not very \twohyphens
1195 And they should wrap to the following line when they extend beyond that
1199 \begin_layout Parenthetical
1200 pointing up to the top of the page
1203 \begin_layout Dialogue
1204 If you place a parenthetical in the middle of a dialogue passage, it should
1205 remain distinct from the dialogue.
1209 MISSISSIPPI RIVERBOAT - NIGHT
1212 \begin_layout Description
1213 A gambling boat rolls slowly along the mighty river.
1215 \begin_inset CommandInset ref
1222 \begin_inset CommandInset ref
1228 wander about its upper deck.
1231 \begin_layout Speaker
1232 \begin_inset CommandInset ref
1241 \begin_layout Dialogue
1242 I have to ask \twohyphens
1243 what happened to CUT TO:s between scenes.
1246 \begin_layout Speaker
1247 \begin_inset CommandInset ref
1256 \begin_layout Dialogue
1257 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1261 \begin_layout Speaker
1262 \begin_inset CommandInset ref
1271 \begin_layout Dialogue
1272 Those would introduce a new scene header?
1275 \begin_layout Speaker
1276 \begin_inset CommandInset ref
1285 \begin_layout Dialogue
1286 And typically a different time and/or place.
1287 But many writers have dispensed with such transitions, feeling that a new
1288 scene header signifies a cut without the need of any additional indicator.
1291 \begin_layout Narrative
1292 \begin_inset CommandInset ref
1298 stares out at the river.
1301 \begin_layout Speaker
1302 \begin_inset CommandInset ref
1311 \begin_layout Dialogue
1312 How did we reach the Mississippi and when did the sun set?
1315 \begin_layout Speaker
1316 \begin_inset CommandInset ref
1325 \begin_layout Dialogue
1326 If you'd like \SpecialChar ldots
1334 \begin_layout Description
1335 A jet liner cruises East across Texas.
1342 \begin_layout Description
1343 A customized interior, replete with lounge chairs and sofas.
1345 \begin_inset CommandInset ref
1352 \begin_inset CommandInset ref
1361 \begin_layout Speaker
1362 \begin_inset CommandInset ref
1371 \begin_layout Dialogue
1372 Is this a flashback?
1375 \begin_layout Speaker
1376 \begin_inset CommandInset ref
1385 \begin_layout Dialogue
1386 Or it could be tomorrow.
1390 \begin_layout TITLE OVER:
1394 \begin_layout Continuing
1398 \begin_layout General
1399 \begin_inset Note Note
1402 \begin_layout General
1404 \begin_inset Quotes eld
1408 \begin_inset Quotes erd
1411 will insert the current Speaker followed by (continuing) as a parenthetical.
1412 Don't worry, it will look right on the printed version.
1420 \begin_layout Dialogue
1421 You see, a few weeks have passed.
1424 \begin_layout Speaker
1425 \begin_inset CommandInset ref
1434 \begin_layout Dialogue
1435 Okay, I didn't notice.
1436 But I thought only DAY and NIGHT were allowed on scene headers.
1439 \begin_layout Speaker
1440 \begin_inset CommandInset ref
1449 \begin_layout Dialogue
1450 Production managers would certainly prefer it that way, but many writers
1451 use headers as a means of showing a particular time of day, especially
1455 \begin_layout Speaker
1456 \begin_inset CommandInset ref
1465 \begin_layout Dialogue
1469 \begin_layout Speaker
1470 \begin_inset CommandInset ref
1479 \begin_layout Dialogue
1480 On writer's drafts, without a doubt.
1483 \begin_layout Speaker
1484 \begin_inset CommandInset ref
1493 \begin_layout Dialogue
1497 \begin_layout Speaker
1498 \begin_inset CommandInset ref
1507 \begin_layout Dialogue
1508 Essentially, any draft that hasn't been paid for.
1509 Any draft to be sent to agents, studio execs, production companies, development
1511 Those are writer's drafts.
1512 And they all should be FIRST DRAFTs, no matter how many versions the writer
1513 has actually written.
1516 \begin_layout Speaker
1517 \begin_inset CommandInset ref
1526 \begin_layout Dialogue
1527 You really think so?
1530 \begin_layout Speaker
1531 \begin_inset CommandInset ref
1540 \begin_layout Dialogue
1541 That's my recommendation.
1548 \begin_layout Description
1549 \begin_inset CommandInset ref
1555 drives along Austin's Congress Avenue as
1556 \begin_inset CommandInset ref
1565 \begin_layout Speaker
1566 \begin_inset CommandInset ref
1575 \begin_layout Dialogue
1576 You speak any foreign languages?
1579 \begin_layout Speaker
1580 \begin_inset CommandInset ref
1589 \begin_layout Parenthetical
1593 \begin_layout Dialogue
1594 Why do you ask? (Pour quoi tu demandes?)
1597 \begin_layout Speaker
1598 \begin_inset CommandInset ref
1607 \begin_layout Dialogue
1608 What about action scenes?
1611 \begin_layout Narrative
1612 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1615 \begin_inset CommandInset ref
1621 punches the accelerator and \twohyphens
1622 THE BLUE CAMARO leaps forward, leaving a
1624 The Camaro takes a left, then a quick right to accelerate into \twohyphens
1626 ALLEY The Camaro quickly reaches a dead end, just as \twohyphens
1628 pulls into the alley, sealing it shut.
1635 \begin_layout Description
1636 \begin_inset CommandInset ref
1642 leads a dazed and confused
1643 \begin_inset CommandInset ref
1652 \begin_layout Speaker
1653 \begin_inset CommandInset ref
1662 \begin_layout Dialogue
1663 That's one way to do an action scene.
1664 It's a variation on the Bill Goldman style that's used by many writers.
1667 \begin_layout Speaker
1668 \begin_inset CommandInset ref
1677 \begin_layout Parenthetical
1681 \begin_layout Dialogue
1682 But other writers just use normal description and standard scene headers
1683 for action scenes, don't they?
1686 \begin_layout Speaker
1687 \begin_inset CommandInset ref
1696 \begin_layout Dialogue
1701 DRISKILL HOTEL ENTRANCE HALL \twohyphens
1705 \begin_layout Description
1706 A slightly less dazed
1707 \begin_inset CommandInset ref
1713 speaks on the phone.
1716 \begin_layout Speaker
1717 \begin_inset CommandInset ref
1726 \begin_layout Dialogue
1727 I thought we were walking together.
1730 \begin_layout Speaker
1731 \begin_inset CommandInset ref
1740 \begin_layout Parenthetical
1744 \begin_layout Dialogue
1745 Well, we were, but I realized a phone call was needed.
1748 \begin_layout Speaker
1749 \begin_inset CommandInset ref
1758 \begin_layout Dialogue
1762 \begin_layout INTERCUT
1767 STATE CAPITOL PHONE BOOTH - DAY
1770 \begin_layout Description
1771 With the dome looming large behind her,
1772 \begin_inset CommandInset ref
1778 speaks into the phone.
1781 \begin_layout Speaker
1782 \begin_inset CommandInset ref
1791 \begin_layout Dialogue
1792 Only when you hear my voice over the phone.
1793 Radio voices and phone calls often are filtered, though it's a convention
1794 that isn't used by everyone anymore.
1797 \begin_layout Speaker
1798 \begin_inset CommandInset ref
1807 \begin_layout Dialogue
1808 Let's try something easy.
1809 What about page numbers?
1812 \begin_layout Speaker
1813 \begin_inset CommandInset ref
1822 \begin_layout Dialogue
1823 Number each and every page, though you can start with page two.
1824 The numbers should appear in the upper right hand corner, about 0.5 inches
1825 down and 0.75 inches from the right page edge.
1826 Those dimensions are not set in stone, but page numbers should always be
1827 placed in the upper right hand corner.
1831 DRISKILL HOTEL HALLWAY - DAY
1834 \begin_layout Description
1835 \begin_inset CommandInset ref
1841 walks slowly towards the seminar room.
1844 \begin_layout Speaker
1845 \begin_inset CommandInset ref
1854 \begin_layout Dialogue
1855 You know, that pronouncement almost seemed godlike.
1858 \begin_layout Speaker
1859 \begin_inset CommandInset ref
1868 \begin_layout Dialogue
1869 If it were, I probably would have spoken in a voice over and not on the
1873 \begin_layout Narrative
1874 \begin_inset CommandInset ref
1880 searches the ceiling, trying to decide just where this disembodied voice
1884 \begin_layout Speaker
1885 \begin_inset CommandInset ref
1894 \begin_layout Dialogue
1899 \begin_layout Speaker
1900 \begin_inset CommandInset ref
1909 \begin_layout Dialogue
1910 Oftentimes for narration, for a narrator's voice.
1911 In film noir the protagonists often filled the audience in on their thoughts
1913 Documentary films are filled with voice over.
1917 DRISKILL HOTEL SEMINAR ROOM - DAY
1920 \begin_layout Description
1921 \begin_inset CommandInset ref
1928 \begin_inset CommandInset ref
1934 to reach the podium first.
1936 \begin_inset CommandInset ref
1942 walks slowly past the still-empty chairs.
1946 \begin_layout Description
1948 \begin_inset CommandInset ref
1954 gestures with his hands as if he were making a major political speech.
1957 \begin_layout Description
1958 \begin_inset CommandInset ref
1964 sneaks up behind him and mimics his movements \twohyphens
1967 \begin_inset CommandInset ref
1973 spins to confront her.
1976 \begin_layout Speaker
1977 \begin_inset CommandInset ref
1986 \begin_layout Dialogue
1987 Why I ought'a \SpecialChar ldots
1991 \begin_layout Speaker
1992 \begin_inset CommandInset ref
2001 \begin_layout Dialogue
2002 I was just demonstrating the way many writers break description into shorter
2004 I've seen blocks of description covering an entire page.
2007 \begin_layout Speaker
2008 \begin_inset CommandInset ref
2017 \begin_layout Dialogue
2018 That makes for tough reading, doesn't it?
2021 \begin_layout Speaker
2022 \begin_inset CommandInset ref
2031 \begin_layout Dialogue
2032 I know studio readers who just skip long description and read only dialogue.
2035 \begin_layout Speaker
2036 \begin_inset CommandInset ref
2045 \begin_layout Dialogue
2046 But there are pros who write scripts with extended descriptive passages.
2049 \begin_layout Speaker
2050 \begin_inset CommandInset ref
2059 \begin_layout Dialogue
2060 When you make a half-million or so per script, you can pretty much use any
2064 \begin_layout Narrative
2065 \begin_inset CommandInset ref
2071 climbs atop the podium.
2074 \begin_layout Speaker
2075 \begin_inset CommandInset ref
2084 \begin_layout Dialogue
2085 But when you're like me, you have to stick to format.
2086 Is that what you're trying to say?
2089 \begin_layout Speaker
2090 \begin_inset CommandInset ref
2099 \begin_layout Dialogue
2103 \begin_layout Narrative
2104 \begin_inset CommandInset ref
2110 jumps down from the podium and runs out the door just as conference ATTENDEES
2114 \begin_layout Continuing
2118 \begin_layout Dialogue
2119 By the way, the first time you introduce a speaker in description, you CAP
2121 And when you break dialogue with description, the standard is to place
2122 "continuing" within parentheses when a speaker chatters on and on.
2125 \begin_layout Narrative
2126 \begin_inset CommandInset ref
2132 watches as a number of people sit down before her.
2135 \begin_layout Continuing
2139 \begin_layout Dialogue
2140 Of course, many writers have dropped "continuing" from their repertoire.
2141 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2145 \begin_layout Speaker
2146 \begin_inset CommandInset ref
2155 \begin_layout Parenthetical
2156 shouting from beyond the door
2159 \begin_layout Dialogue
2161 \begin_inset CommandInset ref
2168 There's a buffet at the hotel and a shuttle leaving in two minutes.
2171 \begin_layout Speaker
2172 \begin_inset CommandInset ref
2181 \begin_layout Parenthetical
2185 \begin_layout Dialogue
2186 We haven't mentioned master scenes.
2189 \begin_layout Narrative
2191 \begin_inset CommandInset ref
2197 enters, then glances about the room as he slowly approaches the podium.
2200 \begin_layout Speaker
2201 \begin_inset CommandInset ref
2210 \begin_layout Dialogue
2212 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2213 Just scene headers, description and dialogue.
2214 And no scene numbers.
2215 Those are left to shooting scripts.
2218 \begin_layout Speaker
2219 \begin_inset CommandInset ref
2228 \begin_layout Dialogue
2229 Don't worry, I would never let you miss a meal.
2230 Do you know how to make a script sandwich?
2233 \begin_layout Speaker
2234 \begin_inset CommandInset ref
2243 \begin_layout Dialogue
2247 \begin_layout Speaker
2248 \begin_inset CommandInset ref
2257 \begin_layout Dialogue
2258 You need your script, two sheets of plain manila binding stock, a three
2259 hole punch, and three 1.5 inch brass brads.
2260 No title or name on the binding stock.
2261 When you get it all assembled, you can hammer the brass brads down to make
2266 \begin_layout FADE OUT
2270 \begin_layout Speaker