1 #LyX 1.5.0svn created this file. For more info see http://www.lyx.org/
10 \font_typewriter default
11 \font_default_family default
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25 \paperorientation portrait
35 \paragraph_separation indent
37 \quotes_language english
41 \tracking_changes false
49 [NICHOLL FELLOWSHIPS in SCREENWRITING]
54 http://www.oscars.org/academy/nichollindex.html
63 \begin_layout Standard
76 Formatted text courtesy of Ann Garretson
81 http://www.halcyon.com/aga
86 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
104 \begin_layout General
106 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
109 \begin_layout General
111 - The NICHOLL FELLOWSHIPS in SCREENWRITING
114 \begin_layout General
116 - http://www.oscars.org/nicholl/index.html
119 \begin_layout General
121 - E-mail: Greg Beal, gbeal@oscars.org
124 \begin_layout General
126 File Info: April, 1998 (online)
129 \begin_layout General
131 - http://www.oscars.org/nicholl/format_a.txt
134 \begin_layout General
136 - View in a monospaced font -- preferably 12-point Courier.
139 \begin_layout General
141 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
144 \begin_layout General
149 \begin_layout General
151 Permission to use this script as a LyX example file was kindly granted by
152 Greg Beal, gbeal@oscars.org.
155 \begin_layout General
157 I added a few lines at the end of script about binding.
158 The original script ended with the words
159 \begin_inset Quotes eld
162 I'd never let you miss a meal.
163 \begin_inset Quotes erd
166 There were also references to tabs, which don't exist in LyX, so I made
167 minor changes in the text.
168 Apologies and kudos to Ann Garretson.
169 Be sure to thank her when you get your Oscar.
173 \begin_layout General
179 \begin_layout General
184 \begin_layout Standard
204 \begin_layout Standard
207 \begin_inset VSpace vfill
214 \begin_layout Right Address
226 \begin_layout Standard
234 \begin_layout FADE IN:
237 \begin_inset LatexCommand label
242 \begin_inset LatexCommand label
249 \begin_layout General
252 \begin_inset Note Note
255 \begin_layout General
260 \begin_layout General
262 Spacing Other to set the spacing between lines.
263 A value of .85 is probably the minimum.
271 \begin_layout General
274 \begin_inset Note Note
277 \begin_layout General
282 \begin_layout General
291 \begin_layout General
300 \begin_layout General
309 \begin_layout General
318 \begin_layout General
324 speakeroffset}{1.2in}
327 \begin_layout General
329 click TeX and enter new values as above.
332 \begin_layout General
334 Parenoffset is the offset to the left of parentheticals from speaker names.
337 \begin_layout General
339 Speakeroffset is the offset to the right of the dialog margin, so changing
340 dialogindent will automatically change the position of parentheticals and
347 \begin_inset Note Note
350 \begin_layout General
352 You can put your Speaker names in labels, the insert cross references to
354 The printed version will automatically be capitalized in Speaker even if
355 the label is not capped.
356 This way you can use them in dialogue also, and change all references to
357 your Speaker's names just by changing the label.
366 \begin_layout General
372 \begin_layout Standard
380 \begin_layout Standard
384 \begin_layout Standard
399 DRISKILL HOTEL SEMINAR ROOM - DAY
402 \begin_layout Description
404 JOE and APRIL burst through the doors into a clean, well-lit seminar room
407 \begin_layout General
410 \begin_inset Note Note
413 \begin_layout General
415 Use the description after INT.
417 to keep it on the same page.
418 Narrative is the same, except that it allows a pagebreak before it.
419 Notice that I did not use the labels for Joe and April here because they
420 are upper-cased in discriptions only the first time they are used.
421 You could make extra labels, but I think it would be error-prone.
429 \begin_layout Speaker
432 \begin_inset LatexCommand ref
439 \begin_layout Dialogue
444 \begin_layout Speaker
447 \begin_inset LatexCommand ref
454 \begin_layout Dialogue
456 How could they start without us? We're the main attraction.
459 \begin_layout Narrative
462 \begin_inset LatexCommand ref
466 catches his breath as he leans against the podium at the front of the room.
469 \begin_layout Speaker
472 \begin_inset LatexCommand ref
479 \begin_layout Parenthetical
481 looking about the room
484 \begin_layout Dialogue
489 \begin_layout Speaker
492 \begin_inset LatexCommand ref
499 \begin_layout Dialogue
502 You know we've been invited to Austin to discuss script format.
505 \begin_layout Speaker
508 \begin_inset LatexCommand ref
515 \begin_layout Dialogue
517 But why is the room empty?
520 \begin_layout Narrative
523 \begin_inset LatexCommand ref
528 \begin_inset LatexCommand ref
532 both look out across the room -- rows of empty chairs and nary a person
536 \begin_layout Speaker
539 \begin_inset LatexCommand ref
546 \begin_layout Dialogue
548 Okay, okay, don't panic.
551 \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
567 \begin_layout Speaker
570 \begin_inset LatexCommand ref
577 \begin_layout Dialogue
583 \begin_layout Speaker
586 \begin_inset LatexCommand ref
593 \begin_layout Dialogue
597 Top, 1.0 inch to the body, 0.5 inches to the number.
598 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
601 \begin_layout Speaker
604 \begin_inset LatexCommand ref
611 \begin_layout Dialogue
616 \begin_layout Speaker
619 \begin_inset LatexCommand ref
626 \begin_layout Dialogue
629 Rules for breaking a page.
630 Scene headers, like INT., remain attached to Description.
631 If a page breaks between a Speaker and a one sentence Dialogue, move it
633 A long Dialogue passage would be split -- but I'll get to that later.
636 \begin_layout Speaker
639 \begin_inset LatexCommand ref
646 \begin_layout Dialogue
651 \begin_layout Speaker
654 \begin_inset LatexCommand ref
661 \begin_layout Dialogue
663 Courier, 12 point, 10 pitch.
664 Make sure it's a non-proportional version of Courier.
667 \begin_layout Narrative
670 \begin_inset LatexCommand ref
674 's grimace suggests that he's deep in thought.
677 \begin_layout Speaker
680 \begin_inset LatexCommand ref
687 \begin_layout Dialogue
689 What about bold-face or italics? Or a Gothic font? I love to jazz up my
693 \begin_layout Speaker
696 \begin_inset LatexCommand ref
703 \begin_layout Dialogue
705 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
707 That's the industry standard.
710 \begin_layout Speaker
713 \begin_inset LatexCommand ref
720 \begin_layout Dialogue
722 Oh, we're talking about industry standards?
725 \begin_layout Narrative
728 \begin_inset LatexCommand ref
732 bolts from behind the podium and runs out into:
737 DRISKILL HOTEL HALLWAY - DAY
740 \begin_layout Description
743 \begin_inset LatexCommand ref
747 glances up and down the hallway, then reaches back to open the door.
750 \begin_layout Speaker
753 \begin_inset LatexCommand ref
760 \begin_layout Parenthetical
765 \begin_layout Dialogue
768 \begin_inset LatexCommand ref
772 -- come on! There's no one here.
775 \begin_layout Speaker
778 \begin_inset LatexCommand ref
785 \begin_layout Parenthetical
787 walking through the door
790 \begin_layout Dialogue
793 Or a slug line, as I was taught in film school.
795 What happens if we \SpecialChar \ldots{}
801 TEXAS CAPITOL BUILDING - DAY
804 \begin_layout Description
807 \begin_inset LatexCommand ref
811 pinches himself as he stands with
812 \begin_inset LatexCommand ref
816 before the seat of Texas politics.
819 \begin_layout Speaker
822 \begin_inset LatexCommand ref
829 \begin_layout Dialogue
834 \begin_layout Speaker
837 \begin_inset LatexCommand ref
844 \begin_layout Dialogue
846 There was a cut -- from the hallway to the capitol.
847 What'd you want to do -- ride in a cab?
850 \begin_layout Speaker
853 \begin_inset LatexCommand ref
860 \begin_layout Dialogue
865 \begin_layout Speaker
868 \begin_inset LatexCommand ref
875 \begin_layout Dialogue
879 Of course, you can cheat those a tad.
882 \begin_layout Dialogue
885 \begin_inset Note Note
888 \begin_layout General
890 These are from the paper edge, but you specify them from
893 \begin_layout General
895 the left margin using dialoglength and dialogIndent.
903 \begin_layout Speaker
906 \begin_inset LatexCommand ref
913 \begin_layout Dialogue
915 So, you have about 3.0 inches for each line of your dialogue?
918 \begin_layout Speaker
921 \begin_inset LatexCommand ref
928 \begin_layout Dialogue
931 Though you can go out another three or four spaces to the right and no
932 one will hold it against you.
935 \begin_layout Narrative
938 \begin_inset LatexCommand ref
942 jots down several notes on a 3 x 5 card, studies the card for a moment,
943 then scribbles another note.
946 \begin_layout Speaker
949 \begin_inset LatexCommand ref
956 \begin_layout Parenthetical
961 \begin_layout Dialogue
963 And the position of the speaker's name?
966 \begin_layout Speaker
969 \begin_inset LatexCommand ref
976 \begin_layout Dialogue
978 All CAPS, and about 2.7 inches from the left margin.
979 Some writers center all the speakers' names.
982 \begin_layout General
985 \begin_inset Note Note
988 \begin_layout General
990 Use More to break up a dialogue across a page boundary.
991 It will put (MORE) at the bottom of the page, and insert the current speaker
992 name and (CONT'D) at the top of the next page.
993 You should not break mid-sentence.
1005 \begin_layout Dialogue
1007 Personally, I don't think it matters.
1008 The look of the script pages is slightly different in either case.
1011 \begin_layout Speaker
1014 \begin_inset LatexCommand ref
1021 \begin_layout Dialogue
1026 \begin_layout Speaker
1029 \begin_inset LatexCommand ref
1036 \begin_layout Dialogue
1038 A page break appeared in the middle of my dialogue.
1039 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1040 continues onto the next page.
1041 Then (CONT'D) next to the speaker to show that it has roots in the previous
1045 \begin_layout Speaker
1048 \begin_inset LatexCommand ref
1055 \begin_layout Dialogue
1057 But not everybody uses MOREs and CONT'Ds, do they?
1062 CAPITOL BUILDING - DAY
1065 \begin_layout Description
1068 \begin_inset LatexCommand ref
1072 stares up into the dome.
1074 \begin_inset LatexCommand ref
1078 examines the portraits of Texas governors on the nearby walls.
1081 \begin_layout Speaker
1084 \begin_inset LatexCommand ref
1091 \begin_layout Dialogue
1093 Some writers just plan their page ends so as to avoid them.
1096 \begin_layout Speaker
1099 \begin_inset LatexCommand ref
1106 \begin_layout Parenthetical
1111 \begin_layout Dialogue
1113 What about parentheticals?
1116 \begin_layout Speaker
1119 \begin_inset LatexCommand ref
1126 \begin_layout Dialogue
1128 Start them about a half-inch to the left of the speaker name.
1129 In our case that would be at 2.2 inches from the left margin.
1132 \begin_layout Speaker
1135 \begin_inset LatexCommand ref
1142 \begin_layout Dialogue
1144 And what are they for?
1147 \begin_layout Speaker
1150 \begin_inset LatexCommand ref
1157 \begin_layout Dialogue
1159 For years, parentheticals were used to express emotion, the manner in which
1160 a speaker spoke her lines.
1161 Loudly, passionately, sadly, and so on.
1162 In recent years writers have often used them for brief bits of action.
1165 \begin_layout Speaker
1168 \begin_inset LatexCommand ref
1175 \begin_layout Parenthetical
1180 \begin_layout Dialogue
1182 Something like this?
1185 \begin_layout Speaker
1188 \begin_inset LatexCommand ref
1195 \begin_layout Parenthetical
1200 \begin_layout Dialogue
1205 \begin_layout Speaker
1208 \begin_inset LatexCommand ref
1215 \begin_layout Dialogue
1217 How wide are parentheticals?
1220 \begin_layout Speaker
1223 \begin_inset LatexCommand ref
1230 \begin_layout Dialogue
1232 Not very -- about 1.5 inches.
1233 And they should wrap to the following line when they extend beyond that
1237 \begin_layout Parenthetical
1239 pointing up to the top of the page
1242 \begin_layout Dialogue
1244 If you place a parenthetical in the middle of a dialogue passage, it should
1245 remain distinct from the dialogue.
1250 MISSISSIPPI RIVERBOAT - NIGHT
1253 \begin_layout Description
1255 A gambling boat rolls slowly along the mighty river.
1257 \begin_inset LatexCommand ref
1262 \begin_inset LatexCommand ref
1266 wander about its upper deck.
1269 \begin_layout Speaker
1272 \begin_inset LatexCommand ref
1279 \begin_layout Dialogue
1281 I have to ask -- what happened to CUT TO:s between scenes.
1284 \begin_layout Speaker
1287 \begin_inset LatexCommand ref
1294 \begin_layout Dialogue
1296 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1300 \begin_layout Speaker
1303 \begin_inset LatexCommand ref
1310 \begin_layout Dialogue
1312 Those would introduce a new scene header?
1315 \begin_layout Speaker
1318 \begin_inset LatexCommand ref
1325 \begin_layout Dialogue
1327 And typically a different time and/or place.
1328 But many writers have dispensed with such transitions, feeling that a new
1329 scene header signifies a cut without the need of any additional indicator.
1332 \begin_layout Narrative
1335 \begin_inset LatexCommand ref
1339 stares out at the river.
1342 \begin_layout Speaker
1345 \begin_inset LatexCommand ref
1352 \begin_layout Dialogue
1354 How did we reach the Mississippi and when did the sun set?
1357 \begin_layout Speaker
1360 \begin_inset LatexCommand ref
1367 \begin_layout Dialogue
1369 If you'd like \SpecialChar \ldots{}
1378 \begin_layout Description
1380 A jet liner cruises East across Texas.
1388 \begin_layout Description
1390 A customized interior, replete with lounge chairs and sofas.
1392 \begin_inset LatexCommand ref
1397 \begin_inset LatexCommand ref
1404 \begin_layout Speaker
1407 \begin_inset LatexCommand ref
1414 \begin_layout Dialogue
1416 Is this a flashback?
1419 \begin_layout Speaker
1422 \begin_inset LatexCommand ref
1429 \begin_layout Dialogue
1431 Or it could be tomorrow.
1435 \begin_layout TITLE OVER:
1440 \begin_layout Continuing
1444 \begin_layout General
1447 \begin_inset Note Note
1450 \begin_layout General
1453 \begin_inset Quotes eld
1457 \begin_inset Quotes erd
1460 will insert the current Speaker followed by (continuing) as a parenthetical.
1461 Don't worry, it will look right on the printed version.
1469 \begin_layout Dialogue
1471 You see, a few weeks have passed.
1474 \begin_layout Speaker
1477 \begin_inset LatexCommand ref
1484 \begin_layout Dialogue
1486 Okay, I didn't notice.
1487 But I thought only DAY and NIGHT were allowed on scene headers.
1490 \begin_layout Speaker
1493 \begin_inset LatexCommand ref
1500 \begin_layout Dialogue
1502 Production managers would certainly prefer it that way, but many writers
1503 use headers as a means of showing a particular time of day, especially
1507 \begin_layout Speaker
1510 \begin_inset LatexCommand ref
1517 \begin_layout Dialogue
1522 \begin_layout Speaker
1525 \begin_inset LatexCommand ref
1532 \begin_layout Dialogue
1534 On writer's drafts, without a doubt.
1537 \begin_layout Speaker
1540 \begin_inset LatexCommand ref
1547 \begin_layout Dialogue
1552 \begin_layout Speaker
1555 \begin_inset LatexCommand ref
1562 \begin_layout Dialogue
1564 Essentially, any draft that hasn't been paid for.
1565 Any draft to be sent to agents, studio execs, production companies, development
1567 Those are writer's drafts.
1568 And they all should be FIRST DRAFTs, no matter how many versions the writer
1569 has actually written.
1572 \begin_layout Speaker
1575 \begin_inset LatexCommand ref
1582 \begin_layout Dialogue
1584 You really think so?
1587 \begin_layout Speaker
1590 \begin_inset LatexCommand ref
1597 \begin_layout Dialogue
1599 That's my recommendation.
1607 \begin_layout Description
1610 \begin_inset LatexCommand ref
1614 drives along Austin's Congress Avenue as
1615 \begin_inset LatexCommand ref
1622 \begin_layout Speaker
1625 \begin_inset LatexCommand ref
1632 \begin_layout Dialogue
1634 You speak any foreign languages?
1637 \begin_layout Speaker
1640 \begin_inset LatexCommand ref
1647 \begin_layout Parenthetical
1652 \begin_layout Dialogue
1654 Why do you ask? (Pour quoi tu demandes?)
1657 \begin_layout Speaker
1660 \begin_inset LatexCommand ref
1667 \begin_layout Dialogue
1669 What about action scenes?
1672 \begin_layout Narrative
1674 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1677 \begin_inset LatexCommand ref
1681 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1683 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1684 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1685 pulls into the alley, sealing it shut.
1693 \begin_layout Description
1696 \begin_inset LatexCommand ref
1700 leads a dazed and confused
1701 \begin_inset LatexCommand ref
1708 \begin_layout Speaker
1711 \begin_inset LatexCommand ref
1718 \begin_layout Dialogue
1720 That's one way to do an action scene.
1721 It's a variation on the Bill Goldman style that's used by many writers.
1724 \begin_layout Speaker
1727 \begin_inset LatexCommand ref
1734 \begin_layout Parenthetical
1739 \begin_layout Dialogue
1741 But other writers just use normal description and standard scene headers
1742 for action scenes, don't they?
1745 \begin_layout Speaker
1748 \begin_inset LatexCommand ref
1755 \begin_layout Dialogue
1762 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1765 \begin_layout Description
1767 A slightly less dazed
1768 \begin_inset LatexCommand ref
1772 speaks on the phone.
1775 \begin_layout Speaker
1778 \begin_inset LatexCommand ref
1785 \begin_layout Dialogue
1787 I thought we were walking together.
1790 \begin_layout Speaker
1793 \begin_inset LatexCommand ref
1800 \begin_layout Parenthetical
1805 \begin_layout Dialogue
1807 Well, we were, but I realized a phone call was needed.
1810 \begin_layout Speaker
1813 \begin_inset LatexCommand ref
1820 \begin_layout Dialogue
1825 \begin_layout INTERCUT
1831 STATE CAPITOL PHONE BOOTH - DAY
1834 \begin_layout Description
1836 With the dome looming large behind her,
1837 \begin_inset LatexCommand ref
1841 speaks into the phone.
1844 \begin_layout Speaker
1847 \begin_inset LatexCommand ref
1854 \begin_layout Dialogue
1856 Only when you hear my voice over the phone.
1857 Radio voices and phone calls often are filtered, though it's a convention
1858 that isn't used by everyone anymore.
1861 \begin_layout Speaker
1864 \begin_inset LatexCommand ref
1871 \begin_layout Dialogue
1873 Let's try something easy.
1874 What about page numbers?
1877 \begin_layout Speaker
1880 \begin_inset LatexCommand ref
1887 \begin_layout Dialogue
1889 Number each and every page, though you can start with page two.
1890 The numbers should appear in the upper right hand corner, about 0.5 inches
1891 down and 0.75 inches from the right page edge.
1892 Those dimensions are not set in stone, but page numbers should always be
1893 placed in the upper right hand corner.
1898 DRISKILL HOTEL HALLWAY - DAY
1901 \begin_layout Description
1904 \begin_inset LatexCommand ref
1908 walks slowly towards the seminar room.
1911 \begin_layout Speaker
1914 \begin_inset LatexCommand ref
1921 \begin_layout Dialogue
1923 You know, that pronouncement almost seemed godlike.
1926 \begin_layout Speaker
1929 \begin_inset LatexCommand ref
1936 \begin_layout Dialogue
1938 If it were, I probably would have spoken in a voice over and not on the
1942 \begin_layout Narrative
1945 \begin_inset LatexCommand ref
1949 searches the ceiling, trying to decide just where this disembodied voice
1953 \begin_layout Speaker
1956 \begin_inset LatexCommand ref
1963 \begin_layout Dialogue
1969 \begin_layout Speaker
1972 \begin_inset LatexCommand ref
1979 \begin_layout Dialogue
1981 Oftentimes for narration, for a narrator's voice.
1982 In film noir the protagonists often filled the audience in on their thoughts
1984 Documentary films are filled with voice over.
1989 DRISKILL HOTEL SEMINAR ROOM - DAY
1992 \begin_layout Description
1995 \begin_inset LatexCommand ref
2000 \begin_inset LatexCommand ref
2004 to reach the podium first.
2006 \begin_inset LatexCommand ref
2010 walks slowly past the still-empty chairs.
2014 \begin_layout Description
2017 \begin_inset LatexCommand ref
2021 gestures with his hands as if he were making a major political speech.
2024 \begin_layout Description
2027 \begin_inset LatexCommand ref
2031 sneaks up behind him and mimics his movements -- until he notices.
2033 \begin_inset LatexCommand ref
2037 spins to confront her.
2040 \begin_layout Speaker
2043 \begin_inset LatexCommand ref
2050 \begin_layout Dialogue
2052 Why I ought'a \SpecialChar \ldots{}
2056 \begin_layout Speaker
2059 \begin_inset LatexCommand ref
2066 \begin_layout Dialogue
2068 I was just demonstrating the way many writers break description into shorter
2070 I've seen blocks of description covering an entire page.
2073 \begin_layout Speaker
2076 \begin_inset LatexCommand ref
2083 \begin_layout Dialogue
2085 That makes for tough reading, doesn't it?
2088 \begin_layout Speaker
2091 \begin_inset LatexCommand ref
2098 \begin_layout Dialogue
2100 I know studio readers who just skip long description and read only dialogue.
2103 \begin_layout Speaker
2106 \begin_inset LatexCommand ref
2113 \begin_layout Dialogue
2115 But there are pros who write scripts with extended descriptive passages.
2118 \begin_layout Speaker
2121 \begin_inset LatexCommand ref
2128 \begin_layout Dialogue
2130 When you make a half-million or so per script, you can pretty much use any
2134 \begin_layout Narrative
2137 \begin_inset LatexCommand ref
2141 climbs atop the podium.
2144 \begin_layout Speaker
2147 \begin_inset LatexCommand ref
2154 \begin_layout Dialogue
2156 But when you're like me, you have to stick to format.
2157 Is that what you're trying to say?
2160 \begin_layout Speaker
2163 \begin_inset LatexCommand ref
2170 \begin_layout Dialogue
2175 \begin_layout Narrative
2178 \begin_inset LatexCommand ref
2182 jumps down from the podium and runs out the door just as conference ATTENDEES
2186 \begin_layout Continuing
2190 \begin_layout Dialogue
2192 By the way, the first time you introduce a speaker in description, you CAP
2194 And when you break dialogue with description, the standard is to place
2195 "continuing" within parentheses when a speaker chatters on and on.
2198 \begin_layout Narrative
2201 \begin_inset LatexCommand ref
2205 watches as a number of people sit down before her.
2208 \begin_layout Continuing
2212 \begin_layout Dialogue
2214 Of course, many writers have dropped "continuing" from their repertoire.
2215 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2219 \begin_layout Speaker
2222 \begin_inset LatexCommand ref
2229 \begin_layout Parenthetical
2231 shouting from beyond the door
2234 \begin_layout Dialogue
2237 \begin_inset LatexCommand ref
2242 There's a buffet at the hotel and a shuttle leaving in two minutes.
2245 \begin_layout Speaker
2248 \begin_inset LatexCommand ref
2255 \begin_layout Parenthetical
2260 \begin_layout Dialogue
2262 We haven't mentioned master scenes.
2265 \begin_layout Narrative
2268 \begin_inset LatexCommand ref
2272 enters, then glances about the room as he slowly approaches the podium.
2275 \begin_layout Speaker
2278 \begin_inset LatexCommand ref
2285 \begin_layout Dialogue
2288 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2289 Just scene headers, description and dialogue.
2290 And no scene numbers.
2291 Those are left to shooting scripts.
2294 \begin_layout Speaker
2297 \begin_inset LatexCommand ref
2304 \begin_layout Dialogue
2306 Don't worry, I would never let you miss a meal.
2307 Do you know how to make a script sandwich?
2310 \begin_layout Speaker
2313 \begin_inset LatexCommand ref
2320 \begin_layout Dialogue
2325 \begin_layout Speaker
2328 \begin_inset LatexCommand ref
2335 \begin_layout Dialogue
2337 You need your script, two sheets of plain manila binding stock, a three
2338 hole punch, and three 1.5 inch brass brads.
2339 No title or name on the binding stock.
2340 When you get it all assembled, you can hammer the brass brads down to make
2345 \begin_layout FADE OUT
2349 \begin_layout Speaker