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68 \quotes_language english
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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
124 \begin_layout General
128 \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 \twohyphens
161 preferably 12-point Courier.
164 \begin_layout General
165 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
168 \begin_layout General
175 \begin_layout General
176 Permission to use this script as a \SpecialCharNoPassThru LyX
177 example file was kindly granted by
178 Greg Beal, gbeal@oscars.org.
181 \begin_layout General
182 I added a few lines at the end of script about binding.
183 The original script ended with the words
184 \begin_inset Quotes eld
187 I'd never let you miss a meal.
188 \begin_inset Quotes erd
191 There were also references to tabs, which don't exist in \SpecialCharNoPassThru LyX
193 minor changes in the text.
194 Apologies and kudos to Ann Garretson.
195 Be sure to thank her when you get your Oscar.
199 \begin_layout General
204 \begin_layout General
208 \begin_layout General
209 \begin_inset Newpage newpage
221 \begin_inset Newline newline
227 \begin_layout General
228 \begin_inset VSpace vfill
234 \begin_layout Right Address
236 \begin_inset Newline newline
241 \begin_inset Newline newline
245 \begin_inset Newline newline
251 \begin_layout General
252 \begin_inset Newpage newpage
258 \begin_layout FADE IN:
259 \begin_inset CommandInset label
266 \begin_inset CommandInset label
275 \begin_layout General
276 \begin_inset Note Note
279 \begin_layout General
283 \begin_layout General
284 Spacing Other to set the spacing between lines.
285 A value of .85 is probably the minimum.
293 \begin_layout General
294 \begin_inset Note Note
297 \begin_layout General
301 \begin_layout General
309 \begin_layout General
317 \begin_layout General
325 \begin_layout General
333 \begin_layout General
338 speakeroffset}{1.2in}
341 \begin_layout General
342 click \SpecialCharNoPassThru TeX
343 and enter new values as above.
346 \begin_layout General
347 Parenoffset is the offset to the left of parentheticals from speaker names.
350 \begin_layout General
351 Speakeroffset is the offset to the right of the dialog margin, so changing
352 dialogindent will automatically change the position of parentheticals and
359 \begin_inset Note Note
362 \begin_layout General
363 You can put your Speaker names in labels, the insert cross references to
365 The printed version will automatically be capitalized in Speaker even if
366 the label is not capped.
367 This way you can use them in dialogue also, and change all references to
368 your Speaker's names just by changing the label.
377 \begin_layout General
381 \begin_layout Plain Layout
390 \begin_layout Plain Layout
394 \begin_layout Plain Layout
409 DRISKILL HOTEL SEMINAR ROOM - DAY
412 \begin_layout Description
413 JOE and APRIL burst through the doors into a clean, well-lit seminar room
416 \begin_layout General
417 \begin_inset Note Note
420 \begin_layout General
421 Use the description after INT.
423 to keep it on the same page.
424 Narrative is the same, except that it allows a pagebreak before it.
425 Notice that I did not use the labels for Joe and April here because they
426 are upper-cased in discriptions only the first time they are used.
427 You could make extra labels, but I think it would be error-prone.
435 \begin_layout Speaker
436 \begin_inset CommandInset ref
445 \begin_layout Dialogue
449 \begin_layout Speaker
450 \begin_inset CommandInset ref
459 \begin_layout Dialogue
460 How could they start without us? We're the main attraction.
463 \begin_layout Narrative
464 \begin_inset CommandInset ref
470 catches his breath as he leans against the podium at the front of the room.
473 \begin_layout Speaker
474 \begin_inset CommandInset ref
483 \begin_layout Parenthetical
484 looking about the room
487 \begin_layout Dialogue
491 \begin_layout Speaker
492 \begin_inset CommandInset ref
501 \begin_layout Dialogue
503 You know we've been invited to Austin to discuss script format.
506 \begin_layout Speaker
507 \begin_inset CommandInset ref
516 \begin_layout Dialogue
517 But why is the room empty?
520 \begin_layout Narrative
521 \begin_inset CommandInset ref
528 \begin_inset CommandInset ref
534 both look out across the room \twohyphens
535 rows of empty chairs and nary a person
539 \begin_layout Speaker
540 \begin_inset CommandInset ref
549 \begin_layout Dialogue
550 Okay, okay, don't panic.
553 \begin_layout Narrative
554 She takes three deep breaths.
555 Then she looks at her watch and smiles.
558 \begin_layout Continuing
562 \begin_layout Dialogue
567 \begin_layout Speaker
568 \begin_inset CommandInset ref
577 \begin_layout Dialogue
582 \begin_layout Speaker
583 \begin_inset CommandInset ref
592 \begin_layout Dialogue
595 Top, 1.0 inch to the body, 0.5 inches to the number.
596 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
599 \begin_layout Speaker
600 \begin_inset CommandInset ref
609 \begin_layout Dialogue
613 \begin_layout Speaker
614 \begin_inset CommandInset ref
623 \begin_layout Dialogue
625 Rules for breaking a page.
626 Scene headers, like INT., remain attached to Description.
627 If a page breaks between a Speaker and a one sentence Dialogue, move it
629 A long Dialogue passage would be split \twohyphens
630 but I'll get to that later.
633 \begin_layout Speaker
634 \begin_inset CommandInset ref
643 \begin_layout Dialogue
647 \begin_layout Speaker
648 \begin_inset CommandInset ref
657 \begin_layout Dialogue
658 Courier, 12 point, 10 pitch.
659 Make sure it's a non-proportional version of Courier.
662 \begin_layout Narrative
663 \begin_inset CommandInset ref
669 's grimace suggests that he's deep in thought.
672 \begin_layout Speaker
673 \begin_inset CommandInset ref
682 \begin_layout Dialogue
683 What about bold-face or italics? Or a Gothic font? I love to jazz up my
687 \begin_layout Speaker
688 \begin_inset CommandInset ref
697 \begin_layout Dialogue
698 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
700 That's the industry standard.
703 \begin_layout Speaker
704 \begin_inset CommandInset ref
713 \begin_layout Dialogue
714 Oh, we're talking about industry standards?
717 \begin_layout Narrative
719 \begin_inset CommandInset ref
725 bolts from behind the podium and runs out into:
729 DRISKILL HOTEL HALLWAY - DAY
732 \begin_layout Description
733 \begin_inset CommandInset ref
739 glances up and down the hallway, then reaches back to open the door.
742 \begin_layout Speaker
743 \begin_inset CommandInset ref
752 \begin_layout Parenthetical
756 \begin_layout Dialogue
757 \begin_inset CommandInset ref
764 come on! There's no one here.
767 \begin_layout Speaker
768 \begin_inset CommandInset ref
777 \begin_layout Parenthetical
778 walking through the door
781 \begin_layout Dialogue
783 Or a slug line, as I was taught in film school.
785 What happens if we \SpecialChar ldots
790 TEXAS CAPITOL BUILDING - DAY
793 \begin_layout Description
794 \begin_inset CommandInset ref
800 pinches himself as he stands with
801 \begin_inset CommandInset ref
807 before the seat of Texas politics.
810 \begin_layout Speaker
811 \begin_inset CommandInset ref
820 \begin_layout Dialogue
824 \begin_layout Speaker
825 \begin_inset CommandInset ref
834 \begin_layout Dialogue
835 There was a cut \twohyphens
836 from the hallway to the capitol.
837 What'd you want to do \twohyphens
841 \begin_layout Speaker
842 \begin_inset CommandInset ref
851 \begin_layout Dialogue
855 \begin_layout Speaker
856 \begin_inset CommandInset ref
865 \begin_layout Dialogue
868 Of course, you can cheat those a tad.
871 \begin_layout Dialogue
872 \begin_inset Note Note
875 \begin_layout General
876 These are from the paper edge, but you specify them from
879 \begin_layout General
880 the left margin using dialoglength and dialogIndent.
888 \begin_layout Speaker
889 \begin_inset CommandInset ref
898 \begin_layout Dialogue
899 So, you have about 3.0 inches for each line of your dialogue?
902 \begin_layout Speaker
903 \begin_inset CommandInset ref
912 \begin_layout Dialogue
914 Though you can go out another three or four spaces to the right and no
915 one will hold it against you.
918 \begin_layout Narrative
919 \begin_inset CommandInset ref
925 jots down several notes on a 3 x 5 card, studies the card for a moment,
926 then scribbles another note.
929 \begin_layout Speaker
930 \begin_inset CommandInset ref
939 \begin_layout Parenthetical
943 \begin_layout Dialogue
944 And the position of the speaker's name?
947 \begin_layout Speaker
948 \begin_inset CommandInset ref
957 \begin_layout Dialogue
958 All CAPS, and about 2.7 inches from the left margin.
959 Some writers center all the speakers' names.
962 \begin_layout General
963 \begin_inset Note Note
966 \begin_layout General
967 Use More to break up a dialogue across a page boundary.
968 It will put (MORE) at the bottom of the page, and insert the current speaker
969 name and (CONT'D) at the top of the next page.
970 You should not break mid-sentence.
982 \begin_layout Dialogue
983 Personally, I don't think it matters.
984 The look of the script pages is slightly different in either case.
987 \begin_layout Speaker
988 \begin_inset CommandInset ref
997 \begin_layout Dialogue
1001 \begin_layout Speaker
1002 \begin_inset CommandInset ref
1011 \begin_layout Dialogue
1012 A page break appeared in the middle of my dialogue.
1013 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1014 continues onto the next page.
1015 Then (CONT'D) next to the speaker to show that it has roots in the previous
1019 \begin_layout Speaker
1020 \begin_inset CommandInset ref
1029 \begin_layout Dialogue
1030 But not everybody uses MOREs and CONT'Ds, do they?
1034 CAPITOL BUILDING - DAY
1037 \begin_layout Description
1038 \begin_inset CommandInset ref
1044 stares up into the dome.
1046 \begin_inset CommandInset ref
1052 examines the portraits of Texas governors on the nearby walls.
1055 \begin_layout Speaker
1056 \begin_inset CommandInset ref
1065 \begin_layout Dialogue
1066 Some writers just plan their page ends so as to avoid them.
1069 \begin_layout Speaker
1070 \begin_inset CommandInset ref
1079 \begin_layout Parenthetical
1083 \begin_layout Dialogue
1084 What about parentheticals?
1087 \begin_layout Speaker
1088 \begin_inset CommandInset ref
1097 \begin_layout Dialogue
1098 Start them about a half-inch to the left of the speaker name.
1099 In our case that would be at 2.2 inches from the left margin.
1102 \begin_layout Speaker
1103 \begin_inset CommandInset ref
1112 \begin_layout Dialogue
1113 And what are they for?
1116 \begin_layout Speaker
1117 \begin_inset CommandInset ref
1126 \begin_layout Dialogue
1127 For years, parentheticals were used to express emotion, the manner in which
1128 a speaker spoke her lines.
1129 Loudly, passionately, sadly, and so on.
1130 In recent years writers have often used them for brief bits of action.
1133 \begin_layout Speaker
1134 \begin_inset CommandInset ref
1143 \begin_layout Parenthetical
1147 \begin_layout Dialogue
1148 Something like this?
1151 \begin_layout Speaker
1152 \begin_inset CommandInset ref
1161 \begin_layout Parenthetical
1165 \begin_layout Dialogue
1169 \begin_layout Speaker
1170 \begin_inset CommandInset ref
1179 \begin_layout Dialogue
1180 How wide are parentheticals?
1183 \begin_layout Speaker
1184 \begin_inset CommandInset ref
1193 \begin_layout Dialogue
1194 Not very \twohyphens
1196 And they should wrap to the following line when they extend beyond that
1200 \begin_layout Parenthetical
1201 pointing up to the top of the page
1204 \begin_layout Dialogue
1205 If you place a parenthetical in the middle of a dialogue passage, it should
1206 remain distinct from the dialogue.
1210 MISSISSIPPI RIVERBOAT - NIGHT
1213 \begin_layout Description
1214 A gambling boat rolls slowly along the mighty river.
1216 \begin_inset CommandInset ref
1223 \begin_inset CommandInset ref
1229 wander about its upper deck.
1232 \begin_layout Speaker
1233 \begin_inset CommandInset ref
1242 \begin_layout Dialogue
1243 I have to ask \twohyphens
1244 what happened to CUT TO:s between scenes.
1247 \begin_layout Speaker
1248 \begin_inset CommandInset ref
1257 \begin_layout Dialogue
1258 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1262 \begin_layout Speaker
1263 \begin_inset CommandInset ref
1272 \begin_layout Dialogue
1273 Those would introduce a new scene header?
1276 \begin_layout Speaker
1277 \begin_inset CommandInset ref
1286 \begin_layout Dialogue
1287 And typically a different time and/or place.
1288 But many writers have dispensed with such transitions, feeling that a new
1289 scene header signifies a cut without the need of any additional indicator.
1292 \begin_layout Narrative
1293 \begin_inset CommandInset ref
1299 stares out at the river.
1302 \begin_layout Speaker
1303 \begin_inset CommandInset ref
1312 \begin_layout Dialogue
1313 How did we reach the Mississippi and when did the sun set?
1316 \begin_layout Speaker
1317 \begin_inset CommandInset ref
1326 \begin_layout Dialogue
1327 If you'd like \SpecialChar ldots
1335 \begin_layout Description
1336 A jet liner cruises East across Texas.
1343 \begin_layout Description
1344 A customized interior, replete with lounge chairs and sofas.
1346 \begin_inset CommandInset ref
1353 \begin_inset CommandInset ref
1362 \begin_layout Speaker
1363 \begin_inset CommandInset ref
1372 \begin_layout Dialogue
1373 Is this a flashback?
1376 \begin_layout Speaker
1377 \begin_inset CommandInset ref
1386 \begin_layout Dialogue
1387 Or it could be tomorrow.
1391 \begin_layout TITLE OVER:
1395 \begin_layout Continuing
1399 \begin_layout General
1400 \begin_inset Note Note
1403 \begin_layout General
1405 \begin_inset Quotes eld
1409 \begin_inset Quotes erd
1412 will insert the current Speaker followed by (continuing) as a parenthetical.
1413 Don't worry, it will look right on the printed version.
1421 \begin_layout Dialogue
1422 You see, a few weeks have passed.
1425 \begin_layout Speaker
1426 \begin_inset CommandInset ref
1435 \begin_layout Dialogue
1436 Okay, I didn't notice.
1437 But I thought only DAY and NIGHT were allowed on scene headers.
1440 \begin_layout Speaker
1441 \begin_inset CommandInset ref
1450 \begin_layout Dialogue
1451 Production managers would certainly prefer it that way, but many writers
1452 use headers as a means of showing a particular time of day, especially
1456 \begin_layout Speaker
1457 \begin_inset CommandInset ref
1466 \begin_layout Dialogue
1470 \begin_layout Speaker
1471 \begin_inset CommandInset ref
1480 \begin_layout Dialogue
1481 On writer's drafts, without a doubt.
1484 \begin_layout Speaker
1485 \begin_inset CommandInset ref
1494 \begin_layout Dialogue
1498 \begin_layout Speaker
1499 \begin_inset CommandInset ref
1508 \begin_layout Dialogue
1509 Essentially, any draft that hasn't been paid for.
1510 Any draft to be sent to agents, studio execs, production companies, development
1512 Those are writer's drafts.
1513 And they all should be FIRST DRAFTs, no matter how many versions the writer
1514 has actually written.
1517 \begin_layout Speaker
1518 \begin_inset CommandInset ref
1527 \begin_layout Dialogue
1528 You really think so?
1531 \begin_layout Speaker
1532 \begin_inset CommandInset ref
1541 \begin_layout Dialogue
1542 That's my recommendation.
1549 \begin_layout Description
1550 \begin_inset CommandInset ref
1556 drives along Austin's Congress Avenue as
1557 \begin_inset CommandInset ref
1566 \begin_layout Speaker
1567 \begin_inset CommandInset ref
1576 \begin_layout Dialogue
1577 You speak any foreign languages?
1580 \begin_layout Speaker
1581 \begin_inset CommandInset ref
1590 \begin_layout Parenthetical
1594 \begin_layout Dialogue
1595 Why do you ask? (Pour quoi tu demandes?)
1598 \begin_layout Speaker
1599 \begin_inset CommandInset ref
1608 \begin_layout Dialogue
1609 What about action scenes?
1612 \begin_layout Narrative
1613 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1616 \begin_inset CommandInset ref
1622 punches the accelerator and \twohyphens
1623 THE BLUE CAMARO leaps forward, leaving a
1625 The Camaro takes a left, then a quick right to accelerate into \twohyphens
1627 ALLEY The Camaro quickly reaches a dead end, just as \twohyphens
1629 pulls into the alley, sealing it shut.
1636 \begin_layout Description
1637 \begin_inset CommandInset ref
1643 leads a dazed and confused
1644 \begin_inset CommandInset ref
1653 \begin_layout Speaker
1654 \begin_inset CommandInset ref
1663 \begin_layout Dialogue
1664 That's one way to do an action scene.
1665 It's a variation on the Bill Goldman style that's used by many writers.
1668 \begin_layout Speaker
1669 \begin_inset CommandInset ref
1678 \begin_layout Parenthetical
1682 \begin_layout Dialogue
1683 But other writers just use normal description and standard scene headers
1684 for action scenes, don't they?
1687 \begin_layout Speaker
1688 \begin_inset CommandInset ref
1697 \begin_layout Dialogue
1702 DRISKILL HOTEL ENTRANCE HALL \twohyphens
1706 \begin_layout Description
1707 A slightly less dazed
1708 \begin_inset CommandInset ref
1714 speaks on the phone.
1717 \begin_layout Speaker
1718 \begin_inset CommandInset ref
1727 \begin_layout Dialogue
1728 I thought we were walking together.
1731 \begin_layout Speaker
1732 \begin_inset CommandInset ref
1741 \begin_layout Parenthetical
1745 \begin_layout Dialogue
1746 Well, we were, but I realized a phone call was needed.
1749 \begin_layout Speaker
1750 \begin_inset CommandInset ref
1759 \begin_layout Dialogue
1763 \begin_layout INTERCUT
1768 STATE CAPITOL PHONE BOOTH - DAY
1771 \begin_layout Description
1772 With the dome looming large behind her,
1773 \begin_inset CommandInset ref
1779 speaks into the phone.
1782 \begin_layout Speaker
1783 \begin_inset CommandInset ref
1792 \begin_layout Dialogue
1793 Only when you hear my voice over the phone.
1794 Radio voices and phone calls often are filtered, though it's a convention
1795 that isn't used by everyone anymore.
1798 \begin_layout Speaker
1799 \begin_inset CommandInset ref
1808 \begin_layout Dialogue
1809 Let's try something easy.
1810 What about page numbers?
1813 \begin_layout Speaker
1814 \begin_inset CommandInset ref
1823 \begin_layout Dialogue
1824 Number each and every page, though you can start with page two.
1825 The numbers should appear in the upper right hand corner, about 0.5 inches
1826 down and 0.75 inches from the right page edge.
1827 Those dimensions are not set in stone, but page numbers should always be
1828 placed in the upper right hand corner.
1832 DRISKILL HOTEL HALLWAY - DAY
1835 \begin_layout Description
1836 \begin_inset CommandInset ref
1842 walks slowly towards the seminar room.
1845 \begin_layout Speaker
1846 \begin_inset CommandInset ref
1855 \begin_layout Dialogue
1856 You know, that pronouncement almost seemed godlike.
1859 \begin_layout Speaker
1860 \begin_inset CommandInset ref
1869 \begin_layout Dialogue
1870 If it were, I probably would have spoken in a voice over and not on the
1874 \begin_layout Narrative
1875 \begin_inset CommandInset ref
1881 searches the ceiling, trying to decide just where this disembodied voice
1885 \begin_layout Speaker
1886 \begin_inset CommandInset ref
1895 \begin_layout Dialogue
1900 \begin_layout Speaker
1901 \begin_inset CommandInset ref
1910 \begin_layout Dialogue
1911 Oftentimes for narration, for a narrator's voice.
1912 In film noir the protagonists often filled the audience in on their thoughts
1914 Documentary films are filled with voice over.
1918 DRISKILL HOTEL SEMINAR ROOM - DAY
1921 \begin_layout Description
1922 \begin_inset CommandInset ref
1929 \begin_inset CommandInset ref
1935 to reach the podium first.
1937 \begin_inset CommandInset ref
1943 walks slowly past the still-empty chairs.
1947 \begin_layout Description
1949 \begin_inset CommandInset ref
1955 gestures with his hands as if he were making a major political speech.
1958 \begin_layout Description
1959 \begin_inset CommandInset ref
1965 sneaks up behind him and mimics his movements \twohyphens
1968 \begin_inset CommandInset ref
1974 spins to confront her.
1977 \begin_layout Speaker
1978 \begin_inset CommandInset ref
1987 \begin_layout Dialogue
1988 Why I ought'a \SpecialChar ldots
1992 \begin_layout Speaker
1993 \begin_inset CommandInset ref
2002 \begin_layout Dialogue
2003 I was just demonstrating the way many writers break description into shorter
2005 I've seen blocks of description covering an entire page.
2008 \begin_layout Speaker
2009 \begin_inset CommandInset ref
2018 \begin_layout Dialogue
2019 That makes for tough reading, doesn't it?
2022 \begin_layout Speaker
2023 \begin_inset CommandInset ref
2032 \begin_layout Dialogue
2033 I know studio readers who just skip long description and read only dialogue.
2036 \begin_layout Speaker
2037 \begin_inset CommandInset ref
2046 \begin_layout Dialogue
2047 But there are pros who write scripts with extended descriptive passages.
2050 \begin_layout Speaker
2051 \begin_inset CommandInset ref
2060 \begin_layout Dialogue
2061 When you make a half-million or so per script, you can pretty much use any
2065 \begin_layout Narrative
2066 \begin_inset CommandInset ref
2072 climbs atop the podium.
2075 \begin_layout Speaker
2076 \begin_inset CommandInset ref
2085 \begin_layout Dialogue
2086 But when you're like me, you have to stick to format.
2087 Is that what you're trying to say?
2090 \begin_layout Speaker
2091 \begin_inset CommandInset ref
2100 \begin_layout Dialogue
2104 \begin_layout Narrative
2105 \begin_inset CommandInset ref
2111 jumps down from the podium and runs out the door just as conference ATTENDEES
2115 \begin_layout Continuing
2119 \begin_layout Dialogue
2120 By the way, the first time you introduce a speaker in description, you CAP
2122 And when you break dialogue with description, the standard is to place
2123 "continuing" within parentheses when a speaker chatters on and on.
2126 \begin_layout Narrative
2127 \begin_inset CommandInset ref
2133 watches as a number of people sit down before her.
2136 \begin_layout Continuing
2140 \begin_layout Dialogue
2141 Of course, many writers have dropped "continuing" from their repertoire.
2142 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2146 \begin_layout Speaker
2147 \begin_inset CommandInset ref
2156 \begin_layout Parenthetical
2157 shouting from beyond the door
2160 \begin_layout Dialogue
2162 \begin_inset CommandInset ref
2169 There's a buffet at the hotel and a shuttle leaving in two minutes.
2172 \begin_layout Speaker
2173 \begin_inset CommandInset ref
2182 \begin_layout Parenthetical
2186 \begin_layout Dialogue
2187 We haven't mentioned master scenes.
2190 \begin_layout Narrative
2192 \begin_inset CommandInset ref
2198 enters, then glances about the room as he slowly approaches the podium.
2201 \begin_layout Speaker
2202 \begin_inset CommandInset ref
2211 \begin_layout Dialogue
2213 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2214 Just scene headers, description and dialogue.
2215 And no scene numbers.
2216 Those are left to shooting scripts.
2219 \begin_layout Speaker
2220 \begin_inset CommandInset ref
2229 \begin_layout Dialogue
2230 Don't worry, I would never let you miss a meal.
2231 Do you know how to make a script sandwich?
2234 \begin_layout Speaker
2235 \begin_inset CommandInset ref
2244 \begin_layout Dialogue
2248 \begin_layout Speaker
2249 \begin_inset CommandInset ref
2258 \begin_layout Dialogue
2259 You need your script, two sheets of plain manila binding stock, a three
2260 hole punch, and three 1.5 inch brass brads.
2261 No title or name on the binding stock.
2262 When you get it all assembled, you can hammer the brass brads down to make
2267 \begin_layout FADE OUT
2271 \begin_layout Speaker