1 #LyX 2.1 created this file. For more info see http://www.lyx.org/
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66 \quotes_language english
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80 [NICHOLL FELLOWSHIPS in SCREENWRITING]
84 http://www.oscars.org/academy/nichollindex.html
91 \begin_layout Plain Layout
103 \begin_layout General
104 Formatted text courtesy of Ann Garretson
107 \begin_layout General
108 http://www.halcyon.com/aga
111 \begin_layout General
112 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
115 \begin_layout General
119 \begin_layout General
123 \begin_layout General
127 \begin_layout General
128 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
131 \begin_layout General
132 - The NICHOLL FELLOWSHIPS in SCREENWRITING
135 \begin_layout General
136 - http://www.oscars.org/nicholl/index.html
139 \begin_layout General
140 - E-mail: Greg Beal, gbeal@oscars.org
143 \begin_layout General
144 File Info: April, 1998 (online)
147 \begin_layout General
148 - http://www.oscars.org/nicholl/format_a.txt
151 \begin_layout General
152 - View in a monospaced font -- preferably 12-point Courier.
155 \begin_layout General
156 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
159 \begin_layout General
163 \begin_layout General
164 Permission to use this script as a LyX example file was kindly granted by
165 Greg Beal, gbeal@oscars.org.
168 \begin_layout General
169 I added a few lines at the end of script about binding.
170 The original script ended with the words
171 \begin_inset Quotes eld
174 I'd never let you miss a meal.
175 \begin_inset Quotes erd
178 There were also references to tabs, which don't exist in LyX, so I made
179 minor changes in the text.
180 Apologies and kudos to Ann Garretson.
181 Be sure to thank her when you get your Oscar.
185 \begin_layout General
190 \begin_layout General
194 \begin_layout General
195 \begin_inset Newpage newpage
207 \begin_inset Newline newline
213 \begin_layout General
214 \begin_inset VSpace vfill
220 \begin_layout Right Address
222 \begin_inset Newline newline
227 \begin_inset Newline newline
231 \begin_inset Newline newline
237 \begin_layout General
238 \begin_inset Newpage newpage
244 \begin_layout FADE IN:
245 \begin_inset CommandInset label
252 \begin_inset CommandInset label
261 \begin_layout General
262 \begin_inset Note Note
265 \begin_layout General
269 \begin_layout General
270 Spacing Other to set the spacing between lines.
271 A value of .85 is probably the minimum.
279 \begin_layout General
280 \begin_inset Note Note
283 \begin_layout General
287 \begin_layout General
295 \begin_layout General
303 \begin_layout General
311 \begin_layout General
319 \begin_layout General
324 speakeroffset}{1.2in}
327 \begin_layout General
328 click TeX and enter new values as above.
331 \begin_layout General
332 Parenoffset is the offset to the left of parentheticals from speaker names.
335 \begin_layout General
336 Speakeroffset is the offset to the right of the dialog margin, so changing
337 dialogindent will automatically change the position of parentheticals and
344 \begin_inset Note Note
347 \begin_layout General
348 You can put your Speaker names in labels, the insert cross references to
350 The printed version will automatically be capitalized in Speaker even if
351 the label is not capped.
352 This way you can use them in dialogue also, and change all references to
353 your Speaker's names just by changing the label.
362 \begin_layout General
366 \begin_layout Plain Layout
375 \begin_layout Plain Layout
379 \begin_layout Plain Layout
394 DRISKILL HOTEL SEMINAR ROOM - DAY
397 \begin_layout Description
398 JOE and APRIL burst through the doors into a clean, well-lit seminar room
401 \begin_layout General
402 \begin_inset Note Note
405 \begin_layout General
406 Use the description after INT.
408 to keep it on the same page.
409 Narrative is the same, except that it allows a pagebreak before it.
410 Notice that I did not use the labels for Joe and April here because they
411 are upper-cased in discriptions only the first time they are used.
412 You could make extra labels, but I think it would be error-prone.
420 \begin_layout Speaker
421 \begin_inset CommandInset ref
430 \begin_layout Dialogue
434 \begin_layout Speaker
435 \begin_inset CommandInset ref
444 \begin_layout Dialogue
445 How could they start without us? We're the main attraction.
448 \begin_layout Narrative
449 \begin_inset CommandInset ref
455 catches his breath as he leans against the podium at the front of the room.
458 \begin_layout Speaker
459 \begin_inset CommandInset ref
468 \begin_layout Parenthetical
469 looking about the room
472 \begin_layout Dialogue
476 \begin_layout Speaker
477 \begin_inset CommandInset ref
486 \begin_layout Dialogue
488 You know we've been invited to Austin to discuss script format.
491 \begin_layout Speaker
492 \begin_inset CommandInset ref
501 \begin_layout Dialogue
502 But why is the room empty?
505 \begin_layout Narrative
506 \begin_inset CommandInset ref
513 \begin_inset CommandInset ref
519 both look out across the room -- rows of empty chairs and nary a person
523 \begin_layout Speaker
524 \begin_inset CommandInset ref
533 \begin_layout Dialogue
534 Okay, okay, don't panic.
537 \begin_layout Narrative
538 She takes three deep breaths.
539 Then she looks at her watch and smiles.
542 \begin_layout Continuing
546 \begin_layout Dialogue
551 \begin_layout Speaker
552 \begin_inset CommandInset ref
561 \begin_layout Dialogue
566 \begin_layout Speaker
567 \begin_inset CommandInset ref
576 \begin_layout Dialogue
579 Top, 1.0 inch to the body, 0.5 inches to the number.
580 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
583 \begin_layout Speaker
584 \begin_inset CommandInset ref
593 \begin_layout Dialogue
597 \begin_layout Speaker
598 \begin_inset CommandInset ref
607 \begin_layout Dialogue
609 Rules for breaking a page.
610 Scene headers, like INT., remain attached to Description.
611 If a page breaks between a Speaker and a one sentence Dialogue, move it
613 A long Dialogue passage would be split -- but I'll get to that later.
616 \begin_layout Speaker
617 \begin_inset CommandInset ref
626 \begin_layout Dialogue
630 \begin_layout Speaker
631 \begin_inset CommandInset ref
640 \begin_layout Dialogue
641 Courier, 12 point, 10 pitch.
642 Make sure it's a non-proportional version of Courier.
645 \begin_layout Narrative
646 \begin_inset CommandInset ref
652 's grimace suggests that he's deep in thought.
655 \begin_layout Speaker
656 \begin_inset CommandInset ref
665 \begin_layout Dialogue
666 What about bold-face or italics? Or a Gothic font? I love to jazz up my
670 \begin_layout Speaker
671 \begin_inset CommandInset ref
680 \begin_layout Dialogue
681 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
683 That's the industry standard.
686 \begin_layout Speaker
687 \begin_inset CommandInset ref
696 \begin_layout Dialogue
697 Oh, we're talking about industry standards?
700 \begin_layout Narrative
702 \begin_inset CommandInset ref
708 bolts from behind the podium and runs out into:
712 DRISKILL HOTEL HALLWAY - DAY
715 \begin_layout Description
716 \begin_inset CommandInset ref
722 glances up and down the hallway, then reaches back to open the door.
725 \begin_layout Speaker
726 \begin_inset CommandInset ref
735 \begin_layout Parenthetical
739 \begin_layout Dialogue
740 \begin_inset CommandInset ref
746 -- come on! There's no one here.
749 \begin_layout Speaker
750 \begin_inset CommandInset ref
759 \begin_layout Parenthetical
760 walking through the door
763 \begin_layout Dialogue
765 Or a slug line, as I was taught in film school.
767 What happens if we \SpecialChar \ldots{}
772 TEXAS CAPITOL BUILDING - DAY
775 \begin_layout Description
776 \begin_inset CommandInset ref
782 pinches himself as he stands with
783 \begin_inset CommandInset ref
789 before the seat of Texas politics.
792 \begin_layout Speaker
793 \begin_inset CommandInset ref
802 \begin_layout Dialogue
806 \begin_layout Speaker
807 \begin_inset CommandInset ref
816 \begin_layout Dialogue
817 There was a cut -- from the hallway to the capitol.
818 What'd you want to do -- ride in a cab?
821 \begin_layout Speaker
822 \begin_inset CommandInset ref
831 \begin_layout Dialogue
835 \begin_layout Speaker
836 \begin_inset CommandInset ref
845 \begin_layout Dialogue
848 Of course, you can cheat those a tad.
851 \begin_layout Dialogue
852 \begin_inset Note Note
855 \begin_layout General
856 These are from the paper edge, but you specify them from
859 \begin_layout General
860 the left margin using dialoglength and dialogIndent.
868 \begin_layout Speaker
869 \begin_inset CommandInset ref
878 \begin_layout Dialogue
879 So, you have about 3.0 inches for each line of your dialogue?
882 \begin_layout Speaker
883 \begin_inset CommandInset ref
892 \begin_layout Dialogue
894 Though you can go out another three or four spaces to the right and no
895 one will hold it against you.
898 \begin_layout Narrative
899 \begin_inset CommandInset ref
905 jots down several notes on a 3 x 5 card, studies the card for a moment,
906 then scribbles another note.
909 \begin_layout Speaker
910 \begin_inset CommandInset ref
919 \begin_layout Parenthetical
923 \begin_layout Dialogue
924 And the position of the speaker's name?
927 \begin_layout Speaker
928 \begin_inset CommandInset ref
937 \begin_layout Dialogue
938 All CAPS, and about 2.7 inches from the left margin.
939 Some writers center all the speakers' names.
942 \begin_layout General
943 \begin_inset Note Note
946 \begin_layout General
947 Use More to break up a dialogue across a page boundary.
948 It will put (MORE) at the bottom of the page, and insert the current speaker
949 name and (CONT'D) at the top of the next page.
950 You should not break mid-sentence.
962 \begin_layout Dialogue
963 Personally, I don't think it matters.
964 The look of the script pages is slightly different in either case.
967 \begin_layout Speaker
968 \begin_inset CommandInset ref
977 \begin_layout Dialogue
981 \begin_layout Speaker
982 \begin_inset CommandInset ref
991 \begin_layout Dialogue
992 A page break appeared in the middle of my dialogue.
993 You use (MORE) at the bottom of the page to show that the speaker's dialogue
994 continues onto the next page.
995 Then (CONT'D) next to the speaker to show that it has roots in the previous
999 \begin_layout Speaker
1000 \begin_inset CommandInset ref
1009 \begin_layout Dialogue
1010 But not everybody uses MOREs and CONT'Ds, do they?
1014 CAPITOL BUILDING - DAY
1017 \begin_layout Description
1018 \begin_inset CommandInset ref
1024 stares up into the dome.
1026 \begin_inset CommandInset ref
1032 examines the portraits of Texas governors on the nearby walls.
1035 \begin_layout Speaker
1036 \begin_inset CommandInset ref
1045 \begin_layout Dialogue
1046 Some writers just plan their page ends so as to avoid them.
1049 \begin_layout Speaker
1050 \begin_inset CommandInset ref
1059 \begin_layout Parenthetical
1063 \begin_layout Dialogue
1064 What about parentheticals?
1067 \begin_layout Speaker
1068 \begin_inset CommandInset ref
1077 \begin_layout Dialogue
1078 Start them about a half-inch to the left of the speaker name.
1079 In our case that would be at 2.2 inches from the left margin.
1082 \begin_layout Speaker
1083 \begin_inset CommandInset ref
1092 \begin_layout Dialogue
1093 And what are they for?
1096 \begin_layout Speaker
1097 \begin_inset CommandInset ref
1106 \begin_layout Dialogue
1107 For years, parentheticals were used to express emotion, the manner in which
1108 a speaker spoke her lines.
1109 Loudly, passionately, sadly, and so on.
1110 In recent years writers have often used them for brief bits of action.
1113 \begin_layout Speaker
1114 \begin_inset CommandInset ref
1123 \begin_layout Parenthetical
1127 \begin_layout Dialogue
1128 Something like this?
1131 \begin_layout Speaker
1132 \begin_inset CommandInset ref
1141 \begin_layout Parenthetical
1145 \begin_layout Dialogue
1149 \begin_layout Speaker
1150 \begin_inset CommandInset ref
1159 \begin_layout Dialogue
1160 How wide are parentheticals?
1163 \begin_layout Speaker
1164 \begin_inset CommandInset ref
1173 \begin_layout Dialogue
1174 Not very -- about 1.5 inches.
1175 And they should wrap to the following line when they extend beyond that
1179 \begin_layout Parenthetical
1180 pointing up to the top of the page
1183 \begin_layout Dialogue
1184 If you place a parenthetical in the middle of a dialogue passage, it should
1185 remain distinct from the dialogue.
1189 MISSISSIPPI RIVERBOAT - NIGHT
1192 \begin_layout Description
1193 A gambling boat rolls slowly along the mighty river.
1195 \begin_inset CommandInset ref
1202 \begin_inset CommandInset ref
1208 wander about its upper deck.
1211 \begin_layout Speaker
1212 \begin_inset CommandInset ref
1221 \begin_layout Dialogue
1222 I have to ask -- what happened to CUT TO:s between scenes.
1225 \begin_layout Speaker
1226 \begin_inset CommandInset ref
1235 \begin_layout Dialogue
1236 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1240 \begin_layout Speaker
1241 \begin_inset CommandInset ref
1250 \begin_layout Dialogue
1251 Those would introduce a new scene header?
1254 \begin_layout Speaker
1255 \begin_inset CommandInset ref
1264 \begin_layout Dialogue
1265 And typically a different time and/or place.
1266 But many writers have dispensed with such transitions, feeling that a new
1267 scene header signifies a cut without the need of any additional indicator.
1270 \begin_layout Narrative
1271 \begin_inset CommandInset ref
1277 stares out at the river.
1280 \begin_layout Speaker
1281 \begin_inset CommandInset ref
1290 \begin_layout Dialogue
1291 How did we reach the Mississippi and when did the sun set?
1294 \begin_layout Speaker
1295 \begin_inset CommandInset ref
1304 \begin_layout Dialogue
1305 If you'd like \SpecialChar \ldots{}
1313 \begin_layout Description
1314 A jet liner cruises East across Texas.
1321 \begin_layout Description
1322 A customized interior, replete with lounge chairs and sofas.
1324 \begin_inset CommandInset ref
1331 \begin_inset CommandInset ref
1340 \begin_layout Speaker
1341 \begin_inset CommandInset ref
1350 \begin_layout Dialogue
1351 Is this a flashback?
1354 \begin_layout Speaker
1355 \begin_inset CommandInset ref
1364 \begin_layout Dialogue
1365 Or it could be tomorrow.
1369 \begin_layout TITLE OVER:
1373 \begin_layout Continuing
1377 \begin_layout General
1378 \begin_inset Note Note
1381 \begin_layout General
1383 \begin_inset Quotes eld
1387 \begin_inset Quotes erd
1390 will insert the current Speaker followed by (continuing) as a parenthetical.
1391 Don't worry, it will look right on the printed version.
1399 \begin_layout Dialogue
1400 You see, a few weeks have passed.
1403 \begin_layout Speaker
1404 \begin_inset CommandInset ref
1413 \begin_layout Dialogue
1414 Okay, I didn't notice.
1415 But I thought only DAY and NIGHT were allowed on scene headers.
1418 \begin_layout Speaker
1419 \begin_inset CommandInset ref
1428 \begin_layout Dialogue
1429 Production managers would certainly prefer it that way, but many writers
1430 use headers as a means of showing a particular time of day, especially
1434 \begin_layout Speaker
1435 \begin_inset CommandInset ref
1444 \begin_layout Dialogue
1448 \begin_layout Speaker
1449 \begin_inset CommandInset ref
1458 \begin_layout Dialogue
1459 On writer's drafts, without a doubt.
1462 \begin_layout Speaker
1463 \begin_inset CommandInset ref
1472 \begin_layout Dialogue
1476 \begin_layout Speaker
1477 \begin_inset CommandInset ref
1486 \begin_layout Dialogue
1487 Essentially, any draft that hasn't been paid for.
1488 Any draft to be sent to agents, studio execs, production companies, development
1490 Those are writer's drafts.
1491 And they all should be FIRST DRAFTs, no matter how many versions the writer
1492 has actually written.
1495 \begin_layout Speaker
1496 \begin_inset CommandInset ref
1505 \begin_layout Dialogue
1506 You really think so?
1509 \begin_layout Speaker
1510 \begin_inset CommandInset ref
1519 \begin_layout Dialogue
1520 That's my recommendation.
1527 \begin_layout Description
1528 \begin_inset CommandInset ref
1534 drives along Austin's Congress Avenue as
1535 \begin_inset CommandInset ref
1544 \begin_layout Speaker
1545 \begin_inset CommandInset ref
1554 \begin_layout Dialogue
1555 You speak any foreign languages?
1558 \begin_layout Speaker
1559 \begin_inset CommandInset ref
1568 \begin_layout Parenthetical
1572 \begin_layout Dialogue
1573 Why do you ask? (Pour quoi tu demandes?)
1576 \begin_layout Speaker
1577 \begin_inset CommandInset ref
1586 \begin_layout Dialogue
1587 What about action scenes?
1590 \begin_layout Narrative
1591 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1594 \begin_inset CommandInset ref
1600 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1602 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1603 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1604 pulls into the alley, sealing it shut.
1611 \begin_layout Description
1612 \begin_inset CommandInset ref
1618 leads a dazed and confused
1619 \begin_inset CommandInset ref
1628 \begin_layout Speaker
1629 \begin_inset CommandInset ref
1638 \begin_layout Dialogue
1639 That's one way to do an action scene.
1640 It's a variation on the Bill Goldman style that's used by many writers.
1643 \begin_layout Speaker
1644 \begin_inset CommandInset ref
1653 \begin_layout Parenthetical
1657 \begin_layout Dialogue
1658 But other writers just use normal description and standard scene headers
1659 for action scenes, don't they?
1662 \begin_layout Speaker
1663 \begin_inset CommandInset ref
1672 \begin_layout Dialogue
1677 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1680 \begin_layout Description
1681 A slightly less dazed
1682 \begin_inset CommandInset ref
1688 speaks on the phone.
1691 \begin_layout Speaker
1692 \begin_inset CommandInset ref
1701 \begin_layout Dialogue
1702 I thought we were walking together.
1705 \begin_layout Speaker
1706 \begin_inset CommandInset ref
1715 \begin_layout Parenthetical
1719 \begin_layout Dialogue
1720 Well, we were, but I realized a phone call was needed.
1723 \begin_layout Speaker
1724 \begin_inset CommandInset ref
1733 \begin_layout Dialogue
1737 \begin_layout INTERCUT
1742 STATE CAPITOL PHONE BOOTH - DAY
1745 \begin_layout Description
1746 With the dome looming large behind her,
1747 \begin_inset CommandInset ref
1753 speaks into the phone.
1756 \begin_layout Speaker
1757 \begin_inset CommandInset ref
1766 \begin_layout Dialogue
1767 Only when you hear my voice over the phone.
1768 Radio voices and phone calls often are filtered, though it's a convention
1769 that isn't used by everyone anymore.
1772 \begin_layout Speaker
1773 \begin_inset CommandInset ref
1782 \begin_layout Dialogue
1783 Let's try something easy.
1784 What about page numbers?
1787 \begin_layout Speaker
1788 \begin_inset CommandInset ref
1797 \begin_layout Dialogue
1798 Number each and every page, though you can start with page two.
1799 The numbers should appear in the upper right hand corner, about 0.5 inches
1800 down and 0.75 inches from the right page edge.
1801 Those dimensions are not set in stone, but page numbers should always be
1802 placed in the upper right hand corner.
1806 DRISKILL HOTEL HALLWAY - DAY
1809 \begin_layout Description
1810 \begin_inset CommandInset ref
1816 walks slowly towards the seminar room.
1819 \begin_layout Speaker
1820 \begin_inset CommandInset ref
1829 \begin_layout Dialogue
1830 You know, that pronouncement almost seemed godlike.
1833 \begin_layout Speaker
1834 \begin_inset CommandInset ref
1843 \begin_layout Dialogue
1844 If it were, I probably would have spoken in a voice over and not on the
1848 \begin_layout Narrative
1849 \begin_inset CommandInset ref
1855 searches the ceiling, trying to decide just where this disembodied voice
1859 \begin_layout Speaker
1860 \begin_inset CommandInset ref
1869 \begin_layout Dialogue
1874 \begin_layout Speaker
1875 \begin_inset CommandInset ref
1884 \begin_layout Dialogue
1885 Oftentimes for narration, for a narrator's voice.
1886 In film noir the protagonists often filled the audience in on their thoughts
1888 Documentary films are filled with voice over.
1892 DRISKILL HOTEL SEMINAR ROOM - DAY
1895 \begin_layout Description
1896 \begin_inset CommandInset ref
1903 \begin_inset CommandInset ref
1909 to reach the podium first.
1911 \begin_inset CommandInset ref
1917 walks slowly past the still-empty chairs.
1921 \begin_layout Description
1923 \begin_inset CommandInset ref
1929 gestures with his hands as if he were making a major political speech.
1932 \begin_layout Description
1933 \begin_inset CommandInset ref
1939 sneaks up behind him and mimics his movements -- until he notices.
1941 \begin_inset CommandInset ref
1947 spins to confront her.
1950 \begin_layout Speaker
1951 \begin_inset CommandInset ref
1960 \begin_layout Dialogue
1961 Why I ought'a \SpecialChar \ldots{}
1965 \begin_layout Speaker
1966 \begin_inset CommandInset ref
1975 \begin_layout Dialogue
1976 I was just demonstrating the way many writers break description into shorter
1978 I've seen blocks of description covering an entire page.
1981 \begin_layout Speaker
1982 \begin_inset CommandInset ref
1991 \begin_layout Dialogue
1992 That makes for tough reading, doesn't it?
1995 \begin_layout Speaker
1996 \begin_inset CommandInset ref
2005 \begin_layout Dialogue
2006 I know studio readers who just skip long description and read only dialogue.
2009 \begin_layout Speaker
2010 \begin_inset CommandInset ref
2019 \begin_layout Dialogue
2020 But there are pros who write scripts with extended descriptive passages.
2023 \begin_layout Speaker
2024 \begin_inset CommandInset ref
2033 \begin_layout Dialogue
2034 When you make a half-million or so per script, you can pretty much use any
2038 \begin_layout Narrative
2039 \begin_inset CommandInset ref
2045 climbs atop the podium.
2048 \begin_layout Speaker
2049 \begin_inset CommandInset ref
2058 \begin_layout Dialogue
2059 But when you're like me, you have to stick to format.
2060 Is that what you're trying to say?
2063 \begin_layout Speaker
2064 \begin_inset CommandInset ref
2073 \begin_layout Dialogue
2077 \begin_layout Narrative
2078 \begin_inset CommandInset ref
2084 jumps down from the podium and runs out the door just as conference ATTENDEES
2088 \begin_layout Continuing
2092 \begin_layout Dialogue
2093 By the way, the first time you introduce a speaker in description, you CAP
2095 And when you break dialogue with description, the standard is to place
2096 "continuing" within parentheses when a speaker chatters on and on.
2099 \begin_layout Narrative
2100 \begin_inset CommandInset ref
2106 watches as a number of people sit down before her.
2109 \begin_layout Continuing
2113 \begin_layout Dialogue
2114 Of course, many writers have dropped "continuing" from their repertoire.
2115 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2119 \begin_layout Speaker
2120 \begin_inset CommandInset ref
2129 \begin_layout Parenthetical
2130 shouting from beyond the door
2133 \begin_layout Dialogue
2135 \begin_inset CommandInset ref
2142 There's a buffet at the hotel and a shuttle leaving in two minutes.
2145 \begin_layout Speaker
2146 \begin_inset CommandInset ref
2155 \begin_layout Parenthetical
2159 \begin_layout Dialogue
2160 We haven't mentioned master scenes.
2163 \begin_layout Narrative
2165 \begin_inset CommandInset ref
2171 enters, then glances about the room as he slowly approaches the podium.
2174 \begin_layout Speaker
2175 \begin_inset CommandInset ref
2184 \begin_layout Dialogue
2186 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2187 Just scene headers, description and dialogue.
2188 And no scene numbers.
2189 Those are left to shooting scripts.
2192 \begin_layout Speaker
2193 \begin_inset CommandInset ref
2202 \begin_layout Dialogue
2203 Don't worry, I would never let you miss a meal.
2204 Do you know how to make a script sandwich?
2207 \begin_layout Speaker
2208 \begin_inset CommandInset ref
2217 \begin_layout Dialogue
2221 \begin_layout Speaker
2222 \begin_inset CommandInset ref
2231 \begin_layout Dialogue
2232 You need your script, two sheets of plain manila binding stock, a three
2233 hole punch, and three 1.5 inch brass brads.
2234 No title or name on the binding stock.
2235 When you get it all assembled, you can hammer the brass brads down to make
2240 \begin_layout FADE OUT
2244 \begin_layout Speaker