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82 [NICHOLL FELLOWSHIPS in SCREENWRITING]
86 http://www.oscars.org/academy/nichollindex.html
93 \begin_layout Plain Layout
105 \begin_layout General
106 Formatted text courtesy of Ann Garretson
109 \begin_layout General
110 http://www.halcyon.com/aga
113 \begin_layout General
114 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
117 \begin_layout General
121 \begin_layout General
125 \begin_layout General
129 \begin_layout General
130 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
133 \begin_layout General
134 - The NICHOLL FELLOWSHIPS in SCREENWRITING
137 \begin_layout General
138 - http://www.oscars.org/nicholl/index.html
141 \begin_layout General
142 - E-mail: Greg Beal, gbeal@oscars.org
145 \begin_layout General
146 File Info: April, 1998 (online)
149 \begin_layout General
150 - http://www.oscars.org/nicholl/format_a.txt
153 \begin_layout General
154 - View in a monospaced font -- preferably 12-point Courier.
157 \begin_layout General
158 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
161 \begin_layout General
165 \begin_layout General
166 Permission to use this script as a \SpecialChar LyX
167 example file was kindly granted by Greg
168 Beal, gbeal@oscars.org.
171 \begin_layout General
172 I added a few lines at the end of script about binding.
173 The original script ended with the words
174 \begin_inset Quotes eld
177 I'd never let you miss a meal.
178 \begin_inset Quotes erd
181 There were also references to tabs, which don't exist in \SpecialChar LyX
184 Apologies and kudos to Ann Garretson.
185 Be sure to thank her when you get your Oscar.
189 \begin_layout General
194 \begin_layout General
198 \begin_layout General
199 \begin_inset Newpage newpage
211 \begin_inset Newline newline
217 \begin_layout General
218 \begin_inset VSpace vfill
224 \begin_layout Right Address
226 \begin_inset Newline newline
231 \begin_inset Newline newline
235 \begin_inset Newline newline
241 \begin_layout General
242 \begin_inset Newpage newpage
248 \begin_layout FADE IN:
249 \begin_inset CommandInset label
256 \begin_inset CommandInset label
265 \begin_layout General
266 \begin_inset Note Note
269 \begin_layout General
273 \begin_layout General
274 Spacing Other to set the spacing between lines.
275 A value of .85 is probably the minimum.
283 \begin_layout General
284 \begin_inset Note Note
287 \begin_layout General
291 \begin_layout General
299 \begin_layout General
307 \begin_layout General
315 \begin_layout General
323 \begin_layout General
328 speakeroffset}{1.2in}
331 \begin_layout General
332 click \SpecialChar TeX
333 and enter new values as above.
336 \begin_layout General
337 Parenoffset is the offset to the left of parentheticals from speaker names.
340 \begin_layout General
341 Speakeroffset is the offset to the right of the dialog margin, so changing
342 dialogindent will automatically change the position of parentheticals and
349 \begin_inset Note Note
352 \begin_layout General
353 You can put your Speaker names in labels, the insert cross references to
355 The printed version will automatically be capitalized in Speaker even if
356 the label is not capped.
357 This way you can use them in dialogue also, and change all references to
358 your Speaker's names just by changing the label.
367 \begin_layout General
371 \begin_layout Plain Layout
380 \begin_layout Plain Layout
384 \begin_layout Plain Layout
399 DRISKILL HOTEL SEMINAR ROOM - DAY
402 \begin_layout Description
403 JOE and APRIL burst through the doors into a clean, well-lit seminar room
406 \begin_layout General
407 \begin_inset Note Note
410 \begin_layout General
411 Use the description after INT.
413 to keep it on the same page.
414 Narrative is the same, except that it allows a pagebreak before it.
415 Notice that I did not use the labels for Joe and April here because they
416 are upper-cased in discriptions only the first time they are used.
417 You could make extra labels, but I think it would be error-prone.
425 \begin_layout Speaker
426 \begin_inset CommandInset ref
435 \begin_layout Dialogue
439 \begin_layout Speaker
440 \begin_inset CommandInset ref
449 \begin_layout Dialogue
450 How could they start without us? We're the main attraction.
453 \begin_layout Narrative
454 \begin_inset CommandInset ref
460 catches his breath as he leans against the podium at the front of the room.
463 \begin_layout Speaker
464 \begin_inset CommandInset ref
473 \begin_layout Parenthetical
474 looking about the room
477 \begin_layout Dialogue
481 \begin_layout Speaker
482 \begin_inset CommandInset ref
491 \begin_layout Dialogue
493 You know we've been invited to Austin to discuss script format.
496 \begin_layout Speaker
497 \begin_inset CommandInset ref
506 \begin_layout Dialogue
507 But why is the room empty?
510 \begin_layout Narrative
511 \begin_inset CommandInset ref
518 \begin_inset CommandInset ref
524 both look out across the room -- rows of empty chairs and nary a person
528 \begin_layout Speaker
529 \begin_inset CommandInset ref
538 \begin_layout Dialogue
539 Okay, okay, don't panic.
542 \begin_layout Narrative
543 She takes three deep breaths.
544 Then she looks at her watch and smiles.
547 \begin_layout Continuing
551 \begin_layout Dialogue
556 \begin_layout Speaker
557 \begin_inset CommandInset ref
566 \begin_layout Dialogue
571 \begin_layout Speaker
572 \begin_inset CommandInset ref
581 \begin_layout Dialogue
584 Top, 1.0 inch to the body, 0.5 inches to the number.
585 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
588 \begin_layout Speaker
589 \begin_inset CommandInset ref
598 \begin_layout Dialogue
602 \begin_layout Speaker
603 \begin_inset CommandInset ref
612 \begin_layout Dialogue
614 Rules for breaking a page.
615 Scene headers, like INT., remain attached to Description.
616 If a page breaks between a Speaker and a one sentence Dialogue, move it
618 A long Dialogue passage would be split -- but I'll get to that later.
621 \begin_layout Speaker
622 \begin_inset CommandInset ref
631 \begin_layout Dialogue
635 \begin_layout Speaker
636 \begin_inset CommandInset ref
645 \begin_layout Dialogue
646 Courier, 12 point, 10 pitch.
647 Make sure it's a non-proportional version of Courier.
650 \begin_layout Narrative
651 \begin_inset CommandInset ref
657 's grimace suggests that he's deep in thought.
660 \begin_layout Speaker
661 \begin_inset CommandInset ref
670 \begin_layout Dialogue
671 What about bold-face or italics? Or a Gothic font? I love to jazz up my
675 \begin_layout Speaker
676 \begin_inset CommandInset ref
685 \begin_layout Dialogue
686 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
688 That's the industry standard.
691 \begin_layout Speaker
692 \begin_inset CommandInset ref
701 \begin_layout Dialogue
702 Oh, we're talking about industry standards?
705 \begin_layout Narrative
707 \begin_inset CommandInset ref
713 bolts from behind the podium and runs out into:
717 DRISKILL HOTEL HALLWAY - DAY
720 \begin_layout Description
721 \begin_inset CommandInset ref
727 glances up and down the hallway, then reaches back to open the door.
730 \begin_layout Speaker
731 \begin_inset CommandInset ref
740 \begin_layout Parenthetical
744 \begin_layout Dialogue
745 \begin_inset CommandInset ref
751 -- come on! There's no one here.
754 \begin_layout Speaker
755 \begin_inset CommandInset ref
764 \begin_layout Parenthetical
765 walking through the door
768 \begin_layout Dialogue
770 Or a slug line, as I was taught in film school.
772 What happens if we \SpecialChar ldots
777 TEXAS CAPITOL BUILDING - DAY
780 \begin_layout Description
781 \begin_inset CommandInset ref
787 pinches himself as he stands with
788 \begin_inset CommandInset ref
794 before the seat of Texas politics.
797 \begin_layout Speaker
798 \begin_inset CommandInset ref
807 \begin_layout Dialogue
811 \begin_layout Speaker
812 \begin_inset CommandInset ref
821 \begin_layout Dialogue
822 There was a cut -- from the hallway to the capitol.
823 What'd you want to do -- ride in a cab?
826 \begin_layout Speaker
827 \begin_inset CommandInset ref
836 \begin_layout Dialogue
840 \begin_layout Speaker
841 \begin_inset CommandInset ref
850 \begin_layout Dialogue
853 Of course, you can cheat those a tad.
856 \begin_layout Dialogue
857 \begin_inset Note Note
860 \begin_layout General
861 These are from the paper edge, but you specify them from
864 \begin_layout General
865 the left margin using dialoglength and dialogIndent.
873 \begin_layout Speaker
874 \begin_inset CommandInset ref
883 \begin_layout Dialogue
884 So, you have about 3.0 inches for each line of your dialogue?
887 \begin_layout Speaker
888 \begin_inset CommandInset ref
897 \begin_layout Dialogue
899 Though you can go out another three or four spaces to the right and no
900 one will hold it against you.
903 \begin_layout Narrative
904 \begin_inset CommandInset ref
910 jots down several notes on a 3 x 5 card, studies the card for a moment,
911 then scribbles another note.
914 \begin_layout Speaker
915 \begin_inset CommandInset ref
924 \begin_layout Parenthetical
928 \begin_layout Dialogue
929 And the position of the speaker's name?
932 \begin_layout Speaker
933 \begin_inset CommandInset ref
942 \begin_layout Dialogue
943 All CAPS, and about 2.7 inches from the left margin.
944 Some writers center all the speakers' names.
947 \begin_layout General
948 \begin_inset Note Note
951 \begin_layout General
952 Use More to break up a dialogue across a page boundary.
953 It will put (MORE) at the bottom of the page, and insert the current speaker
954 name and (CONT'D) at the top of the next page.
955 You should not break mid-sentence.
967 \begin_layout Dialogue
968 Personally, I don't think it matters.
969 The look of the script pages is slightly different in either case.
972 \begin_layout Speaker
973 \begin_inset CommandInset ref
982 \begin_layout Dialogue
986 \begin_layout Speaker
987 \begin_inset CommandInset ref
996 \begin_layout Dialogue
997 A page break appeared in the middle of my dialogue.
998 You use (MORE) at the bottom of the page to show that the speaker's dialogue
999 continues onto the next page.
1000 Then (CONT'D) next to the speaker to show that it has roots in the previous
1004 \begin_layout Speaker
1005 \begin_inset CommandInset ref
1014 \begin_layout Dialogue
1015 But not everybody uses MOREs and CONT'Ds, do they?
1019 CAPITOL BUILDING - DAY
1022 \begin_layout Description
1023 \begin_inset CommandInset ref
1029 stares up into the dome.
1031 \begin_inset CommandInset ref
1037 examines the portraits of Texas governors on the nearby walls.
1040 \begin_layout Speaker
1041 \begin_inset CommandInset ref
1050 \begin_layout Dialogue
1051 Some writers just plan their page ends so as to avoid them.
1054 \begin_layout Speaker
1055 \begin_inset CommandInset ref
1064 \begin_layout Parenthetical
1068 \begin_layout Dialogue
1069 What about parentheticals?
1072 \begin_layout Speaker
1073 \begin_inset CommandInset ref
1082 \begin_layout Dialogue
1083 Start them about a half-inch to the left of the speaker name.
1084 In our case that would be at 2.2 inches from the left margin.
1087 \begin_layout Speaker
1088 \begin_inset CommandInset ref
1097 \begin_layout Dialogue
1098 And what are they for?
1101 \begin_layout Speaker
1102 \begin_inset CommandInset ref
1111 \begin_layout Dialogue
1112 For years, parentheticals were used to express emotion, the manner in which
1113 a speaker spoke her lines.
1114 Loudly, passionately, sadly, and so on.
1115 In recent years writers have often used them for brief bits of action.
1118 \begin_layout Speaker
1119 \begin_inset CommandInset ref
1128 \begin_layout Parenthetical
1132 \begin_layout Dialogue
1133 Something like this?
1136 \begin_layout Speaker
1137 \begin_inset CommandInset ref
1146 \begin_layout Parenthetical
1150 \begin_layout Dialogue
1154 \begin_layout Speaker
1155 \begin_inset CommandInset ref
1164 \begin_layout Dialogue
1165 How wide are parentheticals?
1168 \begin_layout Speaker
1169 \begin_inset CommandInset ref
1178 \begin_layout Dialogue
1179 Not very -- about 1.5 inches.
1180 And they should wrap to the following line when they extend beyond that
1184 \begin_layout Parenthetical
1185 pointing up to the top of the page
1188 \begin_layout Dialogue
1189 If you place a parenthetical in the middle of a dialogue passage, it should
1190 remain distinct from the dialogue.
1194 MISSISSIPPI RIVERBOAT - NIGHT
1197 \begin_layout Description
1198 A gambling boat rolls slowly along the mighty river.
1200 \begin_inset CommandInset ref
1207 \begin_inset CommandInset ref
1213 wander about its upper deck.
1216 \begin_layout Speaker
1217 \begin_inset CommandInset ref
1226 \begin_layout Dialogue
1227 I have to ask -- what happened to CUT TO:s between scenes.
1230 \begin_layout Speaker
1231 \begin_inset CommandInset ref
1240 \begin_layout Dialogue
1241 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1245 \begin_layout Speaker
1246 \begin_inset CommandInset ref
1255 \begin_layout Dialogue
1256 Those would introduce a new scene header?
1259 \begin_layout Speaker
1260 \begin_inset CommandInset ref
1269 \begin_layout Dialogue
1270 And typically a different time and/or place.
1271 But many writers have dispensed with such transitions, feeling that a new
1272 scene header signifies a cut without the need of any additional indicator.
1275 \begin_layout Narrative
1276 \begin_inset CommandInset ref
1282 stares out at the river.
1285 \begin_layout Speaker
1286 \begin_inset CommandInset ref
1295 \begin_layout Dialogue
1296 How did we reach the Mississippi and when did the sun set?
1299 \begin_layout Speaker
1300 \begin_inset CommandInset ref
1309 \begin_layout Dialogue
1310 If you'd like \SpecialChar ldots
1318 \begin_layout Description
1319 A jet liner cruises East across Texas.
1326 \begin_layout Description
1327 A customized interior, replete with lounge chairs and sofas.
1329 \begin_inset CommandInset ref
1336 \begin_inset CommandInset ref
1345 \begin_layout Speaker
1346 \begin_inset CommandInset ref
1355 \begin_layout Dialogue
1356 Is this a flashback?
1359 \begin_layout Speaker
1360 \begin_inset CommandInset ref
1369 \begin_layout Dialogue
1370 Or it could be tomorrow.
1374 \begin_layout TITLE OVER:
1378 \begin_layout Continuing
1382 \begin_layout General
1383 \begin_inset Note Note
1386 \begin_layout General
1388 \begin_inset Quotes eld
1392 \begin_inset Quotes erd
1395 will insert the current Speaker followed by (continuing) as a parenthetical.
1396 Don't worry, it will look right on the printed version.
1404 \begin_layout Dialogue
1405 You see, a few weeks have passed.
1408 \begin_layout Speaker
1409 \begin_inset CommandInset ref
1418 \begin_layout Dialogue
1419 Okay, I didn't notice.
1420 But I thought only DAY and NIGHT were allowed on scene headers.
1423 \begin_layout Speaker
1424 \begin_inset CommandInset ref
1433 \begin_layout Dialogue
1434 Production managers would certainly prefer it that way, but many writers
1435 use headers as a means of showing a particular time of day, especially
1439 \begin_layout Speaker
1440 \begin_inset CommandInset ref
1449 \begin_layout Dialogue
1453 \begin_layout Speaker
1454 \begin_inset CommandInset ref
1463 \begin_layout Dialogue
1464 On writer's drafts, without a doubt.
1467 \begin_layout Speaker
1468 \begin_inset CommandInset ref
1477 \begin_layout Dialogue
1481 \begin_layout Speaker
1482 \begin_inset CommandInset ref
1491 \begin_layout Dialogue
1492 Essentially, any draft that hasn't been paid for.
1493 Any draft to be sent to agents, studio execs, production companies, development
1495 Those are writer's drafts.
1496 And they all should be FIRST DRAFTs, no matter how many versions the writer
1497 has actually written.
1500 \begin_layout Speaker
1501 \begin_inset CommandInset ref
1510 \begin_layout Dialogue
1511 You really think so?
1514 \begin_layout Speaker
1515 \begin_inset CommandInset ref
1524 \begin_layout Dialogue
1525 That's my recommendation.
1532 \begin_layout Description
1533 \begin_inset CommandInset ref
1539 drives along Austin's Congress Avenue as
1540 \begin_inset CommandInset ref
1549 \begin_layout Speaker
1550 \begin_inset CommandInset ref
1559 \begin_layout Dialogue
1560 You speak any foreign languages?
1563 \begin_layout Speaker
1564 \begin_inset CommandInset ref
1573 \begin_layout Parenthetical
1577 \begin_layout Dialogue
1578 Why do you ask? (Pour quoi tu demandes?)
1581 \begin_layout Speaker
1582 \begin_inset CommandInset ref
1591 \begin_layout Dialogue
1592 What about action scenes?
1595 \begin_layout Narrative
1596 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1599 \begin_inset CommandInset ref
1605 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1607 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1608 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1609 pulls into the alley, sealing it shut.
1616 \begin_layout Description
1617 \begin_inset CommandInset ref
1623 leads a dazed and confused
1624 \begin_inset CommandInset ref
1633 \begin_layout Speaker
1634 \begin_inset CommandInset ref
1643 \begin_layout Dialogue
1644 That's one way to do an action scene.
1645 It's a variation on the Bill Goldman style that's used by many writers.
1648 \begin_layout Speaker
1649 \begin_inset CommandInset ref
1658 \begin_layout Parenthetical
1662 \begin_layout Dialogue
1663 But other writers just use normal description and standard scene headers
1664 for action scenes, don't they?
1667 \begin_layout Speaker
1668 \begin_inset CommandInset ref
1677 \begin_layout Dialogue
1682 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1685 \begin_layout Description
1686 A slightly less dazed
1687 \begin_inset CommandInset ref
1693 speaks on the phone.
1696 \begin_layout Speaker
1697 \begin_inset CommandInset ref
1706 \begin_layout Dialogue
1707 I thought we were walking together.
1710 \begin_layout Speaker
1711 \begin_inset CommandInset ref
1720 \begin_layout Parenthetical
1724 \begin_layout Dialogue
1725 Well, we were, but I realized a phone call was needed.
1728 \begin_layout Speaker
1729 \begin_inset CommandInset ref
1738 \begin_layout Dialogue
1742 \begin_layout INTERCUT
1747 STATE CAPITOL PHONE BOOTH - DAY
1750 \begin_layout Description
1751 With the dome looming large behind her,
1752 \begin_inset CommandInset ref
1758 speaks into the phone.
1761 \begin_layout Speaker
1762 \begin_inset CommandInset ref
1771 \begin_layout Dialogue
1772 Only when you hear my voice over the phone.
1773 Radio voices and phone calls often are filtered, though it's a convention
1774 that isn't used by everyone anymore.
1777 \begin_layout Speaker
1778 \begin_inset CommandInset ref
1787 \begin_layout Dialogue
1788 Let's try something easy.
1789 What about page numbers?
1792 \begin_layout Speaker
1793 \begin_inset CommandInset ref
1802 \begin_layout Dialogue
1803 Number each and every page, though you can start with page two.
1804 The numbers should appear in the upper right hand corner, about 0.5 inches
1805 down and 0.75 inches from the right page edge.
1806 Those dimensions are not set in stone, but page numbers should always be
1807 placed in the upper right hand corner.
1811 DRISKILL HOTEL HALLWAY - DAY
1814 \begin_layout Description
1815 \begin_inset CommandInset ref
1821 walks slowly towards the seminar room.
1824 \begin_layout Speaker
1825 \begin_inset CommandInset ref
1834 \begin_layout Dialogue
1835 You know, that pronouncement almost seemed godlike.
1838 \begin_layout Speaker
1839 \begin_inset CommandInset ref
1848 \begin_layout Dialogue
1849 If it were, I probably would have spoken in a voice over and not on the
1853 \begin_layout Narrative
1854 \begin_inset CommandInset ref
1860 searches the ceiling, trying to decide just where this disembodied voice
1864 \begin_layout Speaker
1865 \begin_inset CommandInset ref
1874 \begin_layout Dialogue
1879 \begin_layout Speaker
1880 \begin_inset CommandInset ref
1889 \begin_layout Dialogue
1890 Oftentimes for narration, for a narrator's voice.
1891 In film noir the protagonists often filled the audience in on their thoughts
1893 Documentary films are filled with voice over.
1897 DRISKILL HOTEL SEMINAR ROOM - DAY
1900 \begin_layout Description
1901 \begin_inset CommandInset ref
1908 \begin_inset CommandInset ref
1914 to reach the podium first.
1916 \begin_inset CommandInset ref
1922 walks slowly past the still-empty chairs.
1926 \begin_layout Description
1928 \begin_inset CommandInset ref
1934 gestures with his hands as if he were making a major political speech.
1937 \begin_layout Description
1938 \begin_inset CommandInset ref
1944 sneaks up behind him and mimics his movements -- until he notices.
1946 \begin_inset CommandInset ref
1952 spins to confront her.
1955 \begin_layout Speaker
1956 \begin_inset CommandInset ref
1965 \begin_layout Dialogue
1966 Why I ought'a \SpecialChar ldots
1970 \begin_layout Speaker
1971 \begin_inset CommandInset ref
1980 \begin_layout Dialogue
1981 I was just demonstrating the way many writers break description into shorter
1983 I've seen blocks of description covering an entire page.
1986 \begin_layout Speaker
1987 \begin_inset CommandInset ref
1996 \begin_layout Dialogue
1997 That makes for tough reading, doesn't it?
2000 \begin_layout Speaker
2001 \begin_inset CommandInset ref
2010 \begin_layout Dialogue
2011 I know studio readers who just skip long description and read only dialogue.
2014 \begin_layout Speaker
2015 \begin_inset CommandInset ref
2024 \begin_layout Dialogue
2025 But there are pros who write scripts with extended descriptive passages.
2028 \begin_layout Speaker
2029 \begin_inset CommandInset ref
2038 \begin_layout Dialogue
2039 When you make a half-million or so per script, you can pretty much use any
2043 \begin_layout Narrative
2044 \begin_inset CommandInset ref
2050 climbs atop the podium.
2053 \begin_layout Speaker
2054 \begin_inset CommandInset ref
2063 \begin_layout Dialogue
2064 But when you're like me, you have to stick to format.
2065 Is that what you're trying to say?
2068 \begin_layout Speaker
2069 \begin_inset CommandInset ref
2078 \begin_layout Dialogue
2082 \begin_layout Narrative
2083 \begin_inset CommandInset ref
2089 jumps down from the podium and runs out the door just as conference ATTENDEES
2093 \begin_layout Continuing
2097 \begin_layout Dialogue
2098 By the way, the first time you introduce a speaker in description, you CAP
2100 And when you break dialogue with description, the standard is to place
2101 "continuing" within parentheses when a speaker chatters on and on.
2104 \begin_layout Narrative
2105 \begin_inset CommandInset ref
2111 watches as a number of people sit down before her.
2114 \begin_layout Continuing
2118 \begin_layout Dialogue
2119 Of course, many writers have dropped "continuing" from their repertoire.
2120 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2124 \begin_layout Speaker
2125 \begin_inset CommandInset ref
2134 \begin_layout Parenthetical
2135 shouting from beyond the door
2138 \begin_layout Dialogue
2140 \begin_inset CommandInset ref
2147 There's a buffet at the hotel and a shuttle leaving in two minutes.
2150 \begin_layout Speaker
2151 \begin_inset CommandInset ref
2160 \begin_layout Parenthetical
2164 \begin_layout Dialogue
2165 We haven't mentioned master scenes.
2168 \begin_layout Narrative
2170 \begin_inset CommandInset ref
2176 enters, then glances about the room as he slowly approaches the podium.
2179 \begin_layout Speaker
2180 \begin_inset CommandInset ref
2189 \begin_layout Dialogue
2191 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2192 Just scene headers, description and dialogue.
2193 And no scene numbers.
2194 Those are left to shooting scripts.
2197 \begin_layout Speaker
2198 \begin_inset CommandInset ref
2207 \begin_layout Dialogue
2208 Don't worry, I would never let you miss a meal.
2209 Do you know how to make a script sandwich?
2212 \begin_layout Speaker
2213 \begin_inset CommandInset ref
2222 \begin_layout Dialogue
2226 \begin_layout Speaker
2227 \begin_inset CommandInset ref
2236 \begin_layout Dialogue
2237 You need your script, two sheets of plain manila binding stock, a three
2238 hole punch, and three 1.5 inch brass brads.
2239 No title or name on the binding stock.
2240 When you get it all assembled, you can hammer the brass brads down to make
2245 \begin_layout FADE OUT
2249 \begin_layout Speaker