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88 [NICHOLL FELLOWSHIPS in SCREENWRITING]
92 http://www.oscars.org/academy/nichollindex.html
99 \begin_layout Plain Layout
111 \begin_layout General
112 Formatted text courtesy of Ann Garretson
115 \begin_layout General
116 http://www.halcyon.com/aga
119 \begin_layout General
120 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
123 \begin_layout General
127 \begin_layout General
131 \begin_layout General
135 \begin_layout General
136 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
139 \begin_layout General
140 - The NICHOLL FELLOWSHIPS in SCREENWRITING
143 \begin_layout General
144 - http://www.oscars.org/nicholl/index.html
147 \begin_layout General
148 - E-mail: Greg Beal, gbeal@oscars.org
151 \begin_layout General
152 File Info: April, 1998 (online)
155 \begin_layout General
156 - http://www.oscars.org/nicholl/format_a.txt
159 \begin_layout General
160 - View in a monospaced font -- preferably 12-point Courier.
163 \begin_layout General
164 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
167 \begin_layout General
171 \begin_layout General
172 Permission to use this script as a \SpecialChar LyX
173 example file was kindly granted by Greg
174 Beal, gbeal@oscars.org.
177 \begin_layout General
178 I added a few lines at the end of script about binding.
179 The original script ended with the words
180 \begin_inset Quotes eld
183 I'd never let you miss a meal.
184 \begin_inset Quotes erd
187 There were also references to tabs, which don't exist in \SpecialChar LyX
190 Apologies and kudos to Ann Garretson.
191 Be sure to thank her when you get your Oscar.
195 \begin_layout General
200 \begin_layout General
204 \begin_layout General
205 \begin_inset Newpage newpage
217 \begin_inset Newline newline
223 \begin_layout General
224 \begin_inset VSpace vfill
230 \begin_layout Right Address
232 \begin_inset Newline newline
237 \begin_inset Newline newline
241 \begin_inset Newline newline
247 \begin_layout General
248 \begin_inset Newpage newpage
254 \begin_layout FADE IN:
255 \begin_inset CommandInset label
262 \begin_inset CommandInset label
271 \begin_layout General
272 \begin_inset Note Note
275 \begin_layout General
279 \begin_layout General
280 Spacing Other to set the spacing between lines.
281 A value of .85 is probably the minimum.
289 \begin_layout General
290 \begin_inset Note Note
293 \begin_layout General
297 \begin_layout General
305 \begin_layout General
313 \begin_layout General
321 \begin_layout General
329 \begin_layout General
334 speakeroffset}{1.2in}
337 \begin_layout General
338 click \SpecialChar TeX
339 and enter new values as above.
342 \begin_layout General
343 Parenoffset is the offset to the left of parentheticals from speaker names.
346 \begin_layout General
347 Speakeroffset is the offset to the right of the dialog margin, so changing
348 dialogindent will automatically change the position of parentheticals and
355 \begin_inset Note Note
358 \begin_layout General
359 You can put your Speaker names in labels, the insert cross references to
361 The printed version will automatically be capitalized in Speaker even if
362 the label is not capped.
363 This way you can use them in dialogue also, and change all references to
364 your Speaker's names just by changing the label.
373 \begin_layout General
377 \begin_layout Plain Layout
386 \begin_layout Plain Layout
390 \begin_layout Plain Layout
405 DRISKILL HOTEL SEMINAR ROOM - DAY
408 \begin_layout Description
409 JOE and APRIL burst through the doors into a clean, well-lit seminar room
412 \begin_layout General
413 \begin_inset Note Note
416 \begin_layout General
417 Use the description after INT.
419 to keep it on the same page.
420 Narrative is the same, except that it allows a pagebreak before it.
421 Notice that I did not use the labels for Joe and April here because they
422 are upper-cased in discriptions only the first time they are used.
423 You could make extra labels, but I think it would be error-prone.
431 \begin_layout Speaker
432 \begin_inset CommandInset ref
441 \begin_layout Dialogue
445 \begin_layout Speaker
446 \begin_inset CommandInset ref
455 \begin_layout Dialogue
456 How could they start without us? We're the main attraction.
459 \begin_layout Narrative
460 \begin_inset CommandInset ref
466 catches his breath as he leans against the podium at the front of the room.
469 \begin_layout Speaker
470 \begin_inset CommandInset ref
479 \begin_layout Parenthetical
480 looking about the room
483 \begin_layout Dialogue
487 \begin_layout Speaker
488 \begin_inset CommandInset ref
497 \begin_layout Dialogue
499 You know we've been invited to Austin to discuss script format.
502 \begin_layout Speaker
503 \begin_inset CommandInset ref
512 \begin_layout Dialogue
513 But why is the room empty?
516 \begin_layout Narrative
517 \begin_inset CommandInset ref
524 \begin_inset CommandInset ref
530 both look out across the room -- rows of empty chairs and nary a person
534 \begin_layout Speaker
535 \begin_inset CommandInset ref
544 \begin_layout Dialogue
545 Okay, okay, don't panic.
548 \begin_layout Narrative
549 She takes three deep breaths.
550 Then she looks at her watch and smiles.
553 \begin_layout Continuing
557 \begin_layout Dialogue
562 \begin_layout Speaker
563 \begin_inset CommandInset ref
572 \begin_layout Dialogue
577 \begin_layout Speaker
578 \begin_inset CommandInset ref
587 \begin_layout Dialogue
590 Top, 1.0 inch to the body, 0.5 inches to the number.
591 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
594 \begin_layout Speaker
595 \begin_inset CommandInset ref
604 \begin_layout Dialogue
608 \begin_layout Speaker
609 \begin_inset CommandInset ref
618 \begin_layout Dialogue
620 Rules for breaking a page.
621 Scene headers, like INT., remain attached to Description.
622 If a page breaks between a Speaker and a one sentence Dialogue, move it
624 A long Dialogue passage would be split -- but I'll get to that later.
627 \begin_layout Speaker
628 \begin_inset CommandInset ref
637 \begin_layout Dialogue
641 \begin_layout Speaker
642 \begin_inset CommandInset ref
651 \begin_layout Dialogue
652 Courier, 12 point, 10 pitch.
653 Make sure it's a non-proportional version of Courier.
656 \begin_layout Narrative
657 \begin_inset CommandInset ref
663 's grimace suggests that he's deep in thought.
666 \begin_layout Speaker
667 \begin_inset CommandInset ref
676 \begin_layout Dialogue
677 What about bold-face or italics? Or a Gothic font? I love to jazz up my
681 \begin_layout Speaker
682 \begin_inset CommandInset ref
691 \begin_layout Dialogue
692 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
694 That's the industry standard.
697 \begin_layout Speaker
698 \begin_inset CommandInset ref
707 \begin_layout Dialogue
708 Oh, we're talking about industry standards?
711 \begin_layout Narrative
713 \begin_inset CommandInset ref
719 bolts from behind the podium and runs out into:
723 DRISKILL HOTEL HALLWAY - DAY
726 \begin_layout Description
727 \begin_inset CommandInset ref
733 glances up and down the hallway, then reaches back to open the door.
736 \begin_layout Speaker
737 \begin_inset CommandInset ref
746 \begin_layout Parenthetical
750 \begin_layout Dialogue
751 \begin_inset CommandInset ref
757 -- come on! There's no one here.
760 \begin_layout Speaker
761 \begin_inset CommandInset ref
770 \begin_layout Parenthetical
771 walking through the door
774 \begin_layout Dialogue
776 Or a slug line, as I was taught in film school.
778 What happens if we \SpecialChar ldots
783 TEXAS CAPITOL BUILDING - DAY
786 \begin_layout Description
787 \begin_inset CommandInset ref
793 pinches himself as he stands with
794 \begin_inset CommandInset ref
800 before the seat of Texas politics.
803 \begin_layout Speaker
804 \begin_inset CommandInset ref
813 \begin_layout Dialogue
817 \begin_layout Speaker
818 \begin_inset CommandInset ref
827 \begin_layout Dialogue
828 There was a cut -- from the hallway to the capitol.
829 What'd you want to do -- ride in a cab?
832 \begin_layout Speaker
833 \begin_inset CommandInset ref
842 \begin_layout Dialogue
846 \begin_layout Speaker
847 \begin_inset CommandInset ref
856 \begin_layout Dialogue
859 Of course, you can cheat those a tad.
862 \begin_layout Dialogue
863 \begin_inset Note Note
866 \begin_layout General
867 These are from the paper edge, but you specify them from
870 \begin_layout General
871 the left margin using dialoglength and dialogIndent.
879 \begin_layout Speaker
880 \begin_inset CommandInset ref
889 \begin_layout Dialogue
890 So, you have about 3.0 inches for each line of your dialogue?
893 \begin_layout Speaker
894 \begin_inset CommandInset ref
903 \begin_layout Dialogue
905 Though you can go out another three or four spaces to the right and no
906 one will hold it against you.
909 \begin_layout Narrative
910 \begin_inset CommandInset ref
916 jots down several notes on a 3 x 5 card, studies the card for a moment,
917 then scribbles another note.
920 \begin_layout Speaker
921 \begin_inset CommandInset ref
930 \begin_layout Parenthetical
934 \begin_layout Dialogue
935 And the position of the speaker's name?
938 \begin_layout Speaker
939 \begin_inset CommandInset ref
948 \begin_layout Dialogue
949 All CAPS, and about 2.7 inches from the left margin.
950 Some writers center all the speakers' names.
953 \begin_layout General
954 \begin_inset Note Note
957 \begin_layout General
958 Use More to break up a dialogue across a page boundary.
959 It will put (MORE) at the bottom of the page, and insert the current speaker
960 name and (CONT'D) at the top of the next page.
961 You should not break mid-sentence.
973 \begin_layout Dialogue
974 Personally, I don't think it matters.
975 The look of the script pages is slightly different in either case.
978 \begin_layout Speaker
979 \begin_inset CommandInset ref
988 \begin_layout Dialogue
992 \begin_layout Speaker
993 \begin_inset CommandInset ref
1002 \begin_layout Dialogue
1003 A page break appeared in the middle of my dialogue.
1004 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1005 continues onto the next page.
1006 Then (CONT'D) next to the speaker to show that it has roots in the previous
1010 \begin_layout Speaker
1011 \begin_inset CommandInset ref
1020 \begin_layout Dialogue
1021 But not everybody uses MOREs and CONT'Ds, do they?
1025 CAPITOL BUILDING - DAY
1028 \begin_layout Description
1029 \begin_inset CommandInset ref
1035 stares up into the dome.
1037 \begin_inset CommandInset ref
1043 examines the portraits of Texas governors on the nearby walls.
1046 \begin_layout Speaker
1047 \begin_inset CommandInset ref
1056 \begin_layout Dialogue
1057 Some writers just plan their page ends so as to avoid them.
1060 \begin_layout Speaker
1061 \begin_inset CommandInset ref
1070 \begin_layout Parenthetical
1074 \begin_layout Dialogue
1075 What about parentheticals?
1078 \begin_layout Speaker
1079 \begin_inset CommandInset ref
1088 \begin_layout Dialogue
1089 Start them about a half-inch to the left of the speaker name.
1090 In our case that would be at 2.2 inches from the left margin.
1093 \begin_layout Speaker
1094 \begin_inset CommandInset ref
1103 \begin_layout Dialogue
1104 And what are they for?
1107 \begin_layout Speaker
1108 \begin_inset CommandInset ref
1117 \begin_layout Dialogue
1118 For years, parentheticals were used to express emotion, the manner in which
1119 a speaker spoke her lines.
1120 Loudly, passionately, sadly, and so on.
1121 In recent years writers have often used them for brief bits of action.
1124 \begin_layout Speaker
1125 \begin_inset CommandInset ref
1134 \begin_layout Parenthetical
1138 \begin_layout Dialogue
1139 Something like this?
1142 \begin_layout Speaker
1143 \begin_inset CommandInset ref
1152 \begin_layout Parenthetical
1156 \begin_layout Dialogue
1160 \begin_layout Speaker
1161 \begin_inset CommandInset ref
1170 \begin_layout Dialogue
1171 How wide are parentheticals?
1174 \begin_layout Speaker
1175 \begin_inset CommandInset ref
1184 \begin_layout Dialogue
1185 Not very -- about 1.5 inches.
1186 And they should wrap to the following line when they extend beyond that
1190 \begin_layout Parenthetical
1191 pointing up to the top of the page
1194 \begin_layout Dialogue
1195 If you place a parenthetical in the middle of a dialogue passage, it should
1196 remain distinct from the dialogue.
1200 MISSISSIPPI RIVERBOAT - NIGHT
1203 \begin_layout Description
1204 A gambling boat rolls slowly along the mighty river.
1206 \begin_inset CommandInset ref
1213 \begin_inset CommandInset ref
1219 wander about its upper deck.
1222 \begin_layout Speaker
1223 \begin_inset CommandInset ref
1232 \begin_layout Dialogue
1233 I have to ask -- what happened to CUT TO:s between scenes.
1236 \begin_layout Speaker
1237 \begin_inset CommandInset ref
1246 \begin_layout Dialogue
1247 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1251 \begin_layout Speaker
1252 \begin_inset CommandInset ref
1261 \begin_layout Dialogue
1262 Those would introduce a new scene header?
1265 \begin_layout Speaker
1266 \begin_inset CommandInset ref
1275 \begin_layout Dialogue
1276 And typically a different time and/or place.
1277 But many writers have dispensed with such transitions, feeling that a new
1278 scene header signifies a cut without the need of any additional indicator.
1281 \begin_layout Narrative
1282 \begin_inset CommandInset ref
1288 stares out at the river.
1291 \begin_layout Speaker
1292 \begin_inset CommandInset ref
1301 \begin_layout Dialogue
1302 How did we reach the Mississippi and when did the sun set?
1305 \begin_layout Speaker
1306 \begin_inset CommandInset ref
1315 \begin_layout Dialogue
1316 If you'd like \SpecialChar ldots
1324 \begin_layout Description
1325 A jet liner cruises East across Texas.
1332 \begin_layout Description
1333 A customized interior, replete with lounge chairs and sofas.
1335 \begin_inset CommandInset ref
1342 \begin_inset CommandInset ref
1351 \begin_layout Speaker
1352 \begin_inset CommandInset ref
1361 \begin_layout Dialogue
1362 Is this a flashback?
1365 \begin_layout Speaker
1366 \begin_inset CommandInset ref
1375 \begin_layout Dialogue
1376 Or it could be tomorrow.
1380 \begin_layout TITLE OVER:
1384 \begin_layout Continuing
1388 \begin_layout General
1389 \begin_inset Note Note
1392 \begin_layout General
1394 \begin_inset Quotes eld
1398 \begin_inset Quotes erd
1401 will insert the current Speaker followed by (continuing) as a parenthetical.
1402 Don't worry, it will look right on the printed version.
1410 \begin_layout Dialogue
1411 You see, a few weeks have passed.
1414 \begin_layout Speaker
1415 \begin_inset CommandInset ref
1424 \begin_layout Dialogue
1425 Okay, I didn't notice.
1426 But I thought only DAY and NIGHT were allowed on scene headers.
1429 \begin_layout Speaker
1430 \begin_inset CommandInset ref
1439 \begin_layout Dialogue
1440 Production managers would certainly prefer it that way, but many writers
1441 use headers as a means of showing a particular time of day, especially
1445 \begin_layout Speaker
1446 \begin_inset CommandInset ref
1455 \begin_layout Dialogue
1459 \begin_layout Speaker
1460 \begin_inset CommandInset ref
1469 \begin_layout Dialogue
1470 On writer's drafts, without a doubt.
1473 \begin_layout Speaker
1474 \begin_inset CommandInset ref
1483 \begin_layout Dialogue
1487 \begin_layout Speaker
1488 \begin_inset CommandInset ref
1497 \begin_layout Dialogue
1498 Essentially, any draft that hasn't been paid for.
1499 Any draft to be sent to agents, studio execs, production companies, development
1501 Those are writer's drafts.
1502 And they all should be FIRST DRAFTs, no matter how many versions the writer
1503 has actually written.
1506 \begin_layout Speaker
1507 \begin_inset CommandInset ref
1516 \begin_layout Dialogue
1517 You really think so?
1520 \begin_layout Speaker
1521 \begin_inset CommandInset ref
1530 \begin_layout Dialogue
1531 That's my recommendation.
1538 \begin_layout Description
1539 \begin_inset CommandInset ref
1545 drives along Austin's Congress Avenue as
1546 \begin_inset CommandInset ref
1555 \begin_layout Speaker
1556 \begin_inset CommandInset ref
1565 \begin_layout Dialogue
1566 You speak any foreign languages?
1569 \begin_layout Speaker
1570 \begin_inset CommandInset ref
1579 \begin_layout Parenthetical
1583 \begin_layout Dialogue
1584 Why do you ask? (Pour quoi tu demandes?)
1587 \begin_layout Speaker
1588 \begin_inset CommandInset ref
1597 \begin_layout Dialogue
1598 What about action scenes?
1601 \begin_layout Narrative
1602 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1605 \begin_inset CommandInset ref
1611 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1613 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1614 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1615 pulls into the alley, sealing it shut.
1622 \begin_layout Description
1623 \begin_inset CommandInset ref
1629 leads a dazed and confused
1630 \begin_inset CommandInset ref
1639 \begin_layout Speaker
1640 \begin_inset CommandInset ref
1649 \begin_layout Dialogue
1650 That's one way to do an action scene.
1651 It's a variation on the Bill Goldman style that's used by many writers.
1654 \begin_layout Speaker
1655 \begin_inset CommandInset ref
1664 \begin_layout Parenthetical
1668 \begin_layout Dialogue
1669 But other writers just use normal description and standard scene headers
1670 for action scenes, don't they?
1673 \begin_layout Speaker
1674 \begin_inset CommandInset ref
1683 \begin_layout Dialogue
1688 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1691 \begin_layout Description
1692 A slightly less dazed
1693 \begin_inset CommandInset ref
1699 speaks on the phone.
1702 \begin_layout Speaker
1703 \begin_inset CommandInset ref
1712 \begin_layout Dialogue
1713 I thought we were walking together.
1716 \begin_layout Speaker
1717 \begin_inset CommandInset ref
1726 \begin_layout Parenthetical
1730 \begin_layout Dialogue
1731 Well, we were, but I realized a phone call was needed.
1734 \begin_layout Speaker
1735 \begin_inset CommandInset ref
1744 \begin_layout Dialogue
1748 \begin_layout INTERCUT
1753 STATE CAPITOL PHONE BOOTH - DAY
1756 \begin_layout Description
1757 With the dome looming large behind her,
1758 \begin_inset CommandInset ref
1764 speaks into the phone.
1767 \begin_layout Speaker
1768 \begin_inset CommandInset ref
1777 \begin_layout Dialogue
1778 Only when you hear my voice over the phone.
1779 Radio voices and phone calls often are filtered, though it's a convention
1780 that isn't used by everyone anymore.
1783 \begin_layout Speaker
1784 \begin_inset CommandInset ref
1793 \begin_layout Dialogue
1794 Let's try something easy.
1795 What about page numbers?
1798 \begin_layout Speaker
1799 \begin_inset CommandInset ref
1808 \begin_layout Dialogue
1809 Number each and every page, though you can start with page two.
1810 The numbers should appear in the upper right hand corner, about 0.5 inches
1811 down and 0.75 inches from the right page edge.
1812 Those dimensions are not set in stone, but page numbers should always be
1813 placed in the upper right hand corner.
1817 DRISKILL HOTEL HALLWAY - DAY
1820 \begin_layout Description
1821 \begin_inset CommandInset ref
1827 walks slowly towards the seminar room.
1830 \begin_layout Speaker
1831 \begin_inset CommandInset ref
1840 \begin_layout Dialogue
1841 You know, that pronouncement almost seemed godlike.
1844 \begin_layout Speaker
1845 \begin_inset CommandInset ref
1854 \begin_layout Dialogue
1855 If it were, I probably would have spoken in a voice over and not on the
1859 \begin_layout Narrative
1860 \begin_inset CommandInset ref
1866 searches the ceiling, trying to decide just where this disembodied voice
1870 \begin_layout Speaker
1871 \begin_inset CommandInset ref
1880 \begin_layout Dialogue
1885 \begin_layout Speaker
1886 \begin_inset CommandInset ref
1895 \begin_layout Dialogue
1896 Oftentimes for narration, for a narrator's voice.
1897 In film noir the protagonists often filled the audience in on their thoughts
1899 Documentary films are filled with voice over.
1903 DRISKILL HOTEL SEMINAR ROOM - DAY
1906 \begin_layout Description
1907 \begin_inset CommandInset ref
1914 \begin_inset CommandInset ref
1920 to reach the podium first.
1922 \begin_inset CommandInset ref
1928 walks slowly past the still-empty chairs.
1932 \begin_layout Description
1934 \begin_inset CommandInset ref
1940 gestures with his hands as if he were making a major political speech.
1943 \begin_layout Description
1944 \begin_inset CommandInset ref
1950 sneaks up behind him and mimics his movements -- until he notices.
1952 \begin_inset CommandInset ref
1958 spins to confront her.
1961 \begin_layout Speaker
1962 \begin_inset CommandInset ref
1971 \begin_layout Dialogue
1972 Why I ought'a \SpecialChar ldots
1976 \begin_layout Speaker
1977 \begin_inset CommandInset ref
1986 \begin_layout Dialogue
1987 I was just demonstrating the way many writers break description into shorter
1989 I've seen blocks of description covering an entire page.
1992 \begin_layout Speaker
1993 \begin_inset CommandInset ref
2002 \begin_layout Dialogue
2003 That makes for tough reading, doesn't it?
2006 \begin_layout Speaker
2007 \begin_inset CommandInset ref
2016 \begin_layout Dialogue
2017 I know studio readers who just skip long description and read only dialogue.
2020 \begin_layout Speaker
2021 \begin_inset CommandInset ref
2030 \begin_layout Dialogue
2031 But there are pros who write scripts with extended descriptive passages.
2034 \begin_layout Speaker
2035 \begin_inset CommandInset ref
2044 \begin_layout Dialogue
2045 When you make a half-million or so per script, you can pretty much use any
2049 \begin_layout Narrative
2050 \begin_inset CommandInset ref
2056 climbs atop the podium.
2059 \begin_layout Speaker
2060 \begin_inset CommandInset ref
2069 \begin_layout Dialogue
2070 But when you're like me, you have to stick to format.
2071 Is that what you're trying to say?
2074 \begin_layout Speaker
2075 \begin_inset CommandInset ref
2084 \begin_layout Dialogue
2088 \begin_layout Narrative
2089 \begin_inset CommandInset ref
2095 jumps down from the podium and runs out the door just as conference ATTENDEES
2099 \begin_layout Continuing
2103 \begin_layout Dialogue
2104 By the way, the first time you introduce a speaker in description, you CAP
2106 And when you break dialogue with description, the standard is to place
2107 "continuing" within parentheses when a speaker chatters on and on.
2110 \begin_layout Narrative
2111 \begin_inset CommandInset ref
2117 watches as a number of people sit down before her.
2120 \begin_layout Continuing
2124 \begin_layout Dialogue
2125 Of course, many writers have dropped "continuing" from their repertoire.
2126 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2130 \begin_layout Speaker
2131 \begin_inset CommandInset ref
2140 \begin_layout Parenthetical
2141 shouting from beyond the door
2144 \begin_layout Dialogue
2146 \begin_inset CommandInset ref
2153 There's a buffet at the hotel and a shuttle leaving in two minutes.
2156 \begin_layout Speaker
2157 \begin_inset CommandInset ref
2166 \begin_layout Parenthetical
2170 \begin_layout Dialogue
2171 We haven't mentioned master scenes.
2174 \begin_layout Narrative
2176 \begin_inset CommandInset ref
2182 enters, then glances about the room as he slowly approaches the podium.
2185 \begin_layout Speaker
2186 \begin_inset CommandInset ref
2195 \begin_layout Dialogue
2197 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2198 Just scene headers, description and dialogue.
2199 And no scene numbers.
2200 Those are left to shooting scripts.
2203 \begin_layout Speaker
2204 \begin_inset CommandInset ref
2213 \begin_layout Dialogue
2214 Don't worry, I would never let you miss a meal.
2215 Do you know how to make a script sandwich?
2218 \begin_layout Speaker
2219 \begin_inset CommandInset ref
2228 \begin_layout Dialogue
2232 \begin_layout Speaker
2233 \begin_inset CommandInset ref
2242 \begin_layout Dialogue
2243 You need your script, two sheets of plain manila binding stock, a three
2244 hole punch, and three 1.5 inch brass brads.
2245 No title or name on the binding stock.
2246 When you get it all assembled, you can hammer the brass brads down to make
2251 \begin_layout FADE OUT
2255 \begin_layout Speaker