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87 [NICHOLL FELLOWSHIPS in SCREENWRITING]
91 http://www.oscars.org/academy/nichollindex.html
98 \begin_layout Plain Layout
110 \begin_layout General
111 Formatted text courtesy of Ann Garretson
114 \begin_layout General
115 http://www.halcyon.com/aga
118 \begin_layout General
119 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
122 \begin_layout General
126 \begin_layout General
130 \begin_layout General
134 \begin_layout General
135 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
138 \begin_layout General
139 - The NICHOLL FELLOWSHIPS in SCREENWRITING
142 \begin_layout General
143 - http://www.oscars.org/nicholl/index.html
146 \begin_layout General
147 - E-mail: Greg Beal, gbeal@oscars.org
150 \begin_layout General
151 File Info: April, 1998 (online)
154 \begin_layout General
155 - http://www.oscars.org/nicholl/format_a.txt
158 \begin_layout General
159 - View in a monospaced font -- preferably 12-point Courier.
162 \begin_layout General
163 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
166 \begin_layout General
170 \begin_layout General
171 Permission to use this script as a \SpecialChar LyX
172 example file was kindly granted by Greg
173 Beal, gbeal@oscars.org.
176 \begin_layout General
177 I added a few lines at the end of script about binding.
178 The original script ended with the words
179 \begin_inset Quotes eld
182 I'd never let you miss a meal.
183 \begin_inset Quotes erd
186 There were also references to tabs, which don't exist in \SpecialChar LyX
189 Apologies and kudos to Ann Garretson.
190 Be sure to thank her when you get your Oscar.
194 \begin_layout General
199 \begin_layout General
203 \begin_layout General
204 \begin_inset Newpage newpage
216 \begin_inset Newline newline
222 \begin_layout General
223 \begin_inset VSpace vfill
229 \begin_layout Right Address
231 \begin_inset Newline newline
236 \begin_inset Newline newline
240 \begin_inset Newline newline
246 \begin_layout General
247 \begin_inset Newpage newpage
253 \begin_layout FADE IN:
254 \begin_inset CommandInset label
261 \begin_inset CommandInset label
270 \begin_layout General
271 \begin_inset Note Note
274 \begin_layout General
278 \begin_layout General
279 Spacing Other to set the spacing between lines.
280 A value of .85 is probably the minimum.
288 \begin_layout General
289 \begin_inset Note Note
292 \begin_layout General
296 \begin_layout General
304 \begin_layout General
312 \begin_layout General
320 \begin_layout General
328 \begin_layout General
333 speakeroffset}{1.2in}
336 \begin_layout General
337 click \SpecialChar TeX
338 and enter new values as above.
341 \begin_layout General
342 Parenoffset is the offset to the left of parentheticals from speaker names.
345 \begin_layout General
346 Speakeroffset is the offset to the right of the dialog margin, so changing
347 dialogindent will automatically change the position of parentheticals and
354 \begin_inset Note Note
357 \begin_layout General
358 You can put your Speaker names in labels, the insert cross references to
360 The printed version will automatically be capitalized in Speaker even if
361 the label is not capped.
362 This way you can use them in dialogue also, and change all references to
363 your Speaker's names just by changing the label.
372 \begin_layout General
376 \begin_layout Plain Layout
385 \begin_layout Plain Layout
389 \begin_layout Plain Layout
404 DRISKILL HOTEL SEMINAR ROOM - DAY
407 \begin_layout Description
408 JOE and APRIL burst through the doors into a clean, well-lit seminar room
411 \begin_layout General
412 \begin_inset Note Note
415 \begin_layout General
416 Use the description after INT.
418 to keep it on the same page.
419 Narrative is the same, except that it allows a pagebreak before it.
420 Notice that I did not use the labels for Joe and April here because they
421 are upper-cased in discriptions only the first time they are used.
422 You could make extra labels, but I think it would be error-prone.
430 \begin_layout Speaker
431 \begin_inset CommandInset ref
440 \begin_layout Dialogue
444 \begin_layout Speaker
445 \begin_inset CommandInset ref
454 \begin_layout Dialogue
455 How could they start without us? We're the main attraction.
458 \begin_layout Narrative
459 \begin_inset CommandInset ref
465 catches his breath as he leans against the podium at the front of the room.
468 \begin_layout Speaker
469 \begin_inset CommandInset ref
478 \begin_layout Parenthetical
479 looking about the room
482 \begin_layout Dialogue
486 \begin_layout Speaker
487 \begin_inset CommandInset ref
496 \begin_layout Dialogue
498 You know we've been invited to Austin to discuss script format.
501 \begin_layout Speaker
502 \begin_inset CommandInset ref
511 \begin_layout Dialogue
512 But why is the room empty?
515 \begin_layout Narrative
516 \begin_inset CommandInset ref
523 \begin_inset CommandInset ref
529 both look out across the room -- rows of empty chairs and nary a person
533 \begin_layout Speaker
534 \begin_inset CommandInset ref
543 \begin_layout Dialogue
544 Okay, okay, don't panic.
547 \begin_layout Narrative
548 She takes three deep breaths.
549 Then she looks at her watch and smiles.
552 \begin_layout Continuing
556 \begin_layout Dialogue
561 \begin_layout Speaker
562 \begin_inset CommandInset ref
571 \begin_layout Dialogue
576 \begin_layout Speaker
577 \begin_inset CommandInset ref
586 \begin_layout Dialogue
589 Top, 1.0 inch to the body, 0.5 inches to the number.
590 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
593 \begin_layout Speaker
594 \begin_inset CommandInset ref
603 \begin_layout Dialogue
607 \begin_layout Speaker
608 \begin_inset CommandInset ref
617 \begin_layout Dialogue
619 Rules for breaking a page.
620 Scene headers, like INT., remain attached to Description.
621 If a page breaks between a Speaker and a one sentence Dialogue, move it
623 A long Dialogue passage would be split -- but I'll get to that later.
626 \begin_layout Speaker
627 \begin_inset CommandInset ref
636 \begin_layout Dialogue
640 \begin_layout Speaker
641 \begin_inset CommandInset ref
650 \begin_layout Dialogue
651 Courier, 12 point, 10 pitch.
652 Make sure it's a non-proportional version of Courier.
655 \begin_layout Narrative
656 \begin_inset CommandInset ref
662 's grimace suggests that he's deep in thought.
665 \begin_layout Speaker
666 \begin_inset CommandInset ref
675 \begin_layout Dialogue
676 What about bold-face or italics? Or a Gothic font? I love to jazz up my
680 \begin_layout Speaker
681 \begin_inset CommandInset ref
690 \begin_layout Dialogue
691 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
693 That's the industry standard.
696 \begin_layout Speaker
697 \begin_inset CommandInset ref
706 \begin_layout Dialogue
707 Oh, we're talking about industry standards?
710 \begin_layout Narrative
712 \begin_inset CommandInset ref
718 bolts from behind the podium and runs out into:
722 DRISKILL HOTEL HALLWAY - DAY
725 \begin_layout Description
726 \begin_inset CommandInset ref
732 glances up and down the hallway, then reaches back to open the door.
735 \begin_layout Speaker
736 \begin_inset CommandInset ref
745 \begin_layout Parenthetical
749 \begin_layout Dialogue
750 \begin_inset CommandInset ref
756 -- come on! There's no one here.
759 \begin_layout Speaker
760 \begin_inset CommandInset ref
769 \begin_layout Parenthetical
770 walking through the door
773 \begin_layout Dialogue
775 Or a slug line, as I was taught in film school.
777 What happens if we \SpecialChar ldots
782 TEXAS CAPITOL BUILDING - DAY
785 \begin_layout Description
786 \begin_inset CommandInset ref
792 pinches himself as he stands with
793 \begin_inset CommandInset ref
799 before the seat of Texas politics.
802 \begin_layout Speaker
803 \begin_inset CommandInset ref
812 \begin_layout Dialogue
816 \begin_layout Speaker
817 \begin_inset CommandInset ref
826 \begin_layout Dialogue
827 There was a cut -- from the hallway to the capitol.
828 What'd you want to do -- ride in a cab?
831 \begin_layout Speaker
832 \begin_inset CommandInset ref
841 \begin_layout Dialogue
845 \begin_layout Speaker
846 \begin_inset CommandInset ref
855 \begin_layout Dialogue
858 Of course, you can cheat those a tad.
861 \begin_layout Dialogue
862 \begin_inset Note Note
865 \begin_layout General
866 These are from the paper edge, but you specify them from
869 \begin_layout General
870 the left margin using dialoglength and dialogIndent.
878 \begin_layout Speaker
879 \begin_inset CommandInset ref
888 \begin_layout Dialogue
889 So, you have about 3.0 inches for each line of your dialogue?
892 \begin_layout Speaker
893 \begin_inset CommandInset ref
902 \begin_layout Dialogue
904 Though you can go out another three or four spaces to the right and no
905 one will hold it against you.
908 \begin_layout Narrative
909 \begin_inset CommandInset ref
915 jots down several notes on a 3 x 5 card, studies the card for a moment,
916 then scribbles another note.
919 \begin_layout Speaker
920 \begin_inset CommandInset ref
929 \begin_layout Parenthetical
933 \begin_layout Dialogue
934 And the position of the speaker's name?
937 \begin_layout Speaker
938 \begin_inset CommandInset ref
947 \begin_layout Dialogue
948 All CAPS, and about 2.7 inches from the left margin.
949 Some writers center all the speakers' names.
952 \begin_layout General
953 \begin_inset Note Note
956 \begin_layout General
957 Use More to break up a dialogue across a page boundary.
958 It will put (MORE) at the bottom of the page, and insert the current speaker
959 name and (CONT'D) at the top of the next page.
960 You should not break mid-sentence.
972 \begin_layout Dialogue
973 Personally, I don't think it matters.
974 The look of the script pages is slightly different in either case.
977 \begin_layout Speaker
978 \begin_inset CommandInset ref
987 \begin_layout Dialogue
991 \begin_layout Speaker
992 \begin_inset CommandInset ref
1001 \begin_layout Dialogue
1002 A page break appeared in the middle of my dialogue.
1003 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1004 continues onto the next page.
1005 Then (CONT'D) next to the speaker to show that it has roots in the previous
1009 \begin_layout Speaker
1010 \begin_inset CommandInset ref
1019 \begin_layout Dialogue
1020 But not everybody uses MOREs and CONT'Ds, do they?
1024 CAPITOL BUILDING - DAY
1027 \begin_layout Description
1028 \begin_inset CommandInset ref
1034 stares up into the dome.
1036 \begin_inset CommandInset ref
1042 examines the portraits of Texas governors on the nearby walls.
1045 \begin_layout Speaker
1046 \begin_inset CommandInset ref
1055 \begin_layout Dialogue
1056 Some writers just plan their page ends so as to avoid them.
1059 \begin_layout Speaker
1060 \begin_inset CommandInset ref
1069 \begin_layout Parenthetical
1073 \begin_layout Dialogue
1074 What about parentheticals?
1077 \begin_layout Speaker
1078 \begin_inset CommandInset ref
1087 \begin_layout Dialogue
1088 Start them about a half-inch to the left of the speaker name.
1089 In our case that would be at 2.2 inches from the left margin.
1092 \begin_layout Speaker
1093 \begin_inset CommandInset ref
1102 \begin_layout Dialogue
1103 And what are they for?
1106 \begin_layout Speaker
1107 \begin_inset CommandInset ref
1116 \begin_layout Dialogue
1117 For years, parentheticals were used to express emotion, the manner in which
1118 a speaker spoke her lines.
1119 Loudly, passionately, sadly, and so on.
1120 In recent years writers have often used them for brief bits of action.
1123 \begin_layout Speaker
1124 \begin_inset CommandInset ref
1133 \begin_layout Parenthetical
1137 \begin_layout Dialogue
1138 Something like this?
1141 \begin_layout Speaker
1142 \begin_inset CommandInset ref
1151 \begin_layout Parenthetical
1155 \begin_layout Dialogue
1159 \begin_layout Speaker
1160 \begin_inset CommandInset ref
1169 \begin_layout Dialogue
1170 How wide are parentheticals?
1173 \begin_layout Speaker
1174 \begin_inset CommandInset ref
1183 \begin_layout Dialogue
1184 Not very -- about 1.5 inches.
1185 And they should wrap to the following line when they extend beyond that
1189 \begin_layout Parenthetical
1190 pointing up to the top of the page
1193 \begin_layout Dialogue
1194 If you place a parenthetical in the middle of a dialogue passage, it should
1195 remain distinct from the dialogue.
1199 MISSISSIPPI RIVERBOAT - NIGHT
1202 \begin_layout Description
1203 A gambling boat rolls slowly along the mighty river.
1205 \begin_inset CommandInset ref
1212 \begin_inset CommandInset ref
1218 wander about its upper deck.
1221 \begin_layout Speaker
1222 \begin_inset CommandInset ref
1231 \begin_layout Dialogue
1232 I have to ask -- what happened to CUT TO:s between scenes.
1235 \begin_layout Speaker
1236 \begin_inset CommandInset ref
1245 \begin_layout Dialogue
1246 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1250 \begin_layout Speaker
1251 \begin_inset CommandInset ref
1260 \begin_layout Dialogue
1261 Those would introduce a new scene header?
1264 \begin_layout Speaker
1265 \begin_inset CommandInset ref
1274 \begin_layout Dialogue
1275 And typically a different time and/or place.
1276 But many writers have dispensed with such transitions, feeling that a new
1277 scene header signifies a cut without the need of any additional indicator.
1280 \begin_layout Narrative
1281 \begin_inset CommandInset ref
1287 stares out at the river.
1290 \begin_layout Speaker
1291 \begin_inset CommandInset ref
1300 \begin_layout Dialogue
1301 How did we reach the Mississippi and when did the sun set?
1304 \begin_layout Speaker
1305 \begin_inset CommandInset ref
1314 \begin_layout Dialogue
1315 If you'd like \SpecialChar ldots
1323 \begin_layout Description
1324 A jet liner cruises East across Texas.
1331 \begin_layout Description
1332 A customized interior, replete with lounge chairs and sofas.
1334 \begin_inset CommandInset ref
1341 \begin_inset CommandInset ref
1350 \begin_layout Speaker
1351 \begin_inset CommandInset ref
1360 \begin_layout Dialogue
1361 Is this a flashback?
1364 \begin_layout Speaker
1365 \begin_inset CommandInset ref
1374 \begin_layout Dialogue
1375 Or it could be tomorrow.
1379 \begin_layout TITLE OVER:
1383 \begin_layout Continuing
1387 \begin_layout General
1388 \begin_inset Note Note
1391 \begin_layout General
1393 \begin_inset Quotes eld
1397 \begin_inset Quotes erd
1400 will insert the current Speaker followed by (continuing) as a parenthetical.
1401 Don't worry, it will look right on the printed version.
1409 \begin_layout Dialogue
1410 You see, a few weeks have passed.
1413 \begin_layout Speaker
1414 \begin_inset CommandInset ref
1423 \begin_layout Dialogue
1424 Okay, I didn't notice.
1425 But I thought only DAY and NIGHT were allowed on scene headers.
1428 \begin_layout Speaker
1429 \begin_inset CommandInset ref
1438 \begin_layout Dialogue
1439 Production managers would certainly prefer it that way, but many writers
1440 use headers as a means of showing a particular time of day, especially
1444 \begin_layout Speaker
1445 \begin_inset CommandInset ref
1454 \begin_layout Dialogue
1458 \begin_layout Speaker
1459 \begin_inset CommandInset ref
1468 \begin_layout Dialogue
1469 On writer's drafts, without a doubt.
1472 \begin_layout Speaker
1473 \begin_inset CommandInset ref
1482 \begin_layout Dialogue
1486 \begin_layout Speaker
1487 \begin_inset CommandInset ref
1496 \begin_layout Dialogue
1497 Essentially, any draft that hasn't been paid for.
1498 Any draft to be sent to agents, studio execs, production companies, development
1500 Those are writer's drafts.
1501 And they all should be FIRST DRAFTs, no matter how many versions the writer
1502 has actually written.
1505 \begin_layout Speaker
1506 \begin_inset CommandInset ref
1515 \begin_layout Dialogue
1516 You really think so?
1519 \begin_layout Speaker
1520 \begin_inset CommandInset ref
1529 \begin_layout Dialogue
1530 That's my recommendation.
1537 \begin_layout Description
1538 \begin_inset CommandInset ref
1544 drives along Austin's Congress Avenue as
1545 \begin_inset CommandInset ref
1554 \begin_layout Speaker
1555 \begin_inset CommandInset ref
1564 \begin_layout Dialogue
1565 You speak any foreign languages?
1568 \begin_layout Speaker
1569 \begin_inset CommandInset ref
1578 \begin_layout Parenthetical
1582 \begin_layout Dialogue
1583 Why do you ask? (Pour quoi tu demandes?)
1586 \begin_layout Speaker
1587 \begin_inset CommandInset ref
1596 \begin_layout Dialogue
1597 What about action scenes?
1600 \begin_layout Narrative
1601 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1604 \begin_inset CommandInset ref
1610 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1612 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1613 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1614 pulls into the alley, sealing it shut.
1621 \begin_layout Description
1622 \begin_inset CommandInset ref
1628 leads a dazed and confused
1629 \begin_inset CommandInset ref
1638 \begin_layout Speaker
1639 \begin_inset CommandInset ref
1648 \begin_layout Dialogue
1649 That's one way to do an action scene.
1650 It's a variation on the Bill Goldman style that's used by many writers.
1653 \begin_layout Speaker
1654 \begin_inset CommandInset ref
1663 \begin_layout Parenthetical
1667 \begin_layout Dialogue
1668 But other writers just use normal description and standard scene headers
1669 for action scenes, don't they?
1672 \begin_layout Speaker
1673 \begin_inset CommandInset ref
1682 \begin_layout Dialogue
1687 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1690 \begin_layout Description
1691 A slightly less dazed
1692 \begin_inset CommandInset ref
1698 speaks on the phone.
1701 \begin_layout Speaker
1702 \begin_inset CommandInset ref
1711 \begin_layout Dialogue
1712 I thought we were walking together.
1715 \begin_layout Speaker
1716 \begin_inset CommandInset ref
1725 \begin_layout Parenthetical
1729 \begin_layout Dialogue
1730 Well, we were, but I realized a phone call was needed.
1733 \begin_layout Speaker
1734 \begin_inset CommandInset ref
1743 \begin_layout Dialogue
1747 \begin_layout INTERCUT
1752 STATE CAPITOL PHONE BOOTH - DAY
1755 \begin_layout Description
1756 With the dome looming large behind her,
1757 \begin_inset CommandInset ref
1763 speaks into the phone.
1766 \begin_layout Speaker
1767 \begin_inset CommandInset ref
1776 \begin_layout Dialogue
1777 Only when you hear my voice over the phone.
1778 Radio voices and phone calls often are filtered, though it's a convention
1779 that isn't used by everyone anymore.
1782 \begin_layout Speaker
1783 \begin_inset CommandInset ref
1792 \begin_layout Dialogue
1793 Let's try something easy.
1794 What about page numbers?
1797 \begin_layout Speaker
1798 \begin_inset CommandInset ref
1807 \begin_layout Dialogue
1808 Number each and every page, though you can start with page two.
1809 The numbers should appear in the upper right hand corner, about 0.5 inches
1810 down and 0.75 inches from the right page edge.
1811 Those dimensions are not set in stone, but page numbers should always be
1812 placed in the upper right hand corner.
1816 DRISKILL HOTEL HALLWAY - DAY
1819 \begin_layout Description
1820 \begin_inset CommandInset ref
1826 walks slowly towards the seminar room.
1829 \begin_layout Speaker
1830 \begin_inset CommandInset ref
1839 \begin_layout Dialogue
1840 You know, that pronouncement almost seemed godlike.
1843 \begin_layout Speaker
1844 \begin_inset CommandInset ref
1853 \begin_layout Dialogue
1854 If it were, I probably would have spoken in a voice over and not on the
1858 \begin_layout Narrative
1859 \begin_inset CommandInset ref
1865 searches the ceiling, trying to decide just where this disembodied voice
1869 \begin_layout Speaker
1870 \begin_inset CommandInset ref
1879 \begin_layout Dialogue
1884 \begin_layout Speaker
1885 \begin_inset CommandInset ref
1894 \begin_layout Dialogue
1895 Oftentimes for narration, for a narrator's voice.
1896 In film noir the protagonists often filled the audience in on their thoughts
1898 Documentary films are filled with voice over.
1902 DRISKILL HOTEL SEMINAR ROOM - DAY
1905 \begin_layout Description
1906 \begin_inset CommandInset ref
1913 \begin_inset CommandInset ref
1919 to reach the podium first.
1921 \begin_inset CommandInset ref
1927 walks slowly past the still-empty chairs.
1931 \begin_layout Description
1933 \begin_inset CommandInset ref
1939 gestures with his hands as if he were making a major political speech.
1942 \begin_layout Description
1943 \begin_inset CommandInset ref
1949 sneaks up behind him and mimics his movements -- until he notices.
1951 \begin_inset CommandInset ref
1957 spins to confront her.
1960 \begin_layout Speaker
1961 \begin_inset CommandInset ref
1970 \begin_layout Dialogue
1971 Why I ought'a \SpecialChar ldots
1975 \begin_layout Speaker
1976 \begin_inset CommandInset ref
1985 \begin_layout Dialogue
1986 I was just demonstrating the way many writers break description into shorter
1988 I've seen blocks of description covering an entire page.
1991 \begin_layout Speaker
1992 \begin_inset CommandInset ref
2001 \begin_layout Dialogue
2002 That makes for tough reading, doesn't it?
2005 \begin_layout Speaker
2006 \begin_inset CommandInset ref
2015 \begin_layout Dialogue
2016 I know studio readers who just skip long description and read only dialogue.
2019 \begin_layout Speaker
2020 \begin_inset CommandInset ref
2029 \begin_layout Dialogue
2030 But there are pros who write scripts with extended descriptive passages.
2033 \begin_layout Speaker
2034 \begin_inset CommandInset ref
2043 \begin_layout Dialogue
2044 When you make a half-million or so per script, you can pretty much use any
2048 \begin_layout Narrative
2049 \begin_inset CommandInset ref
2055 climbs atop the podium.
2058 \begin_layout Speaker
2059 \begin_inset CommandInset ref
2068 \begin_layout Dialogue
2069 But when you're like me, you have to stick to format.
2070 Is that what you're trying to say?
2073 \begin_layout Speaker
2074 \begin_inset CommandInset ref
2083 \begin_layout Dialogue
2087 \begin_layout Narrative
2088 \begin_inset CommandInset ref
2094 jumps down from the podium and runs out the door just as conference ATTENDEES
2098 \begin_layout Continuing
2102 \begin_layout Dialogue
2103 By the way, the first time you introduce a speaker in description, you CAP
2105 And when you break dialogue with description, the standard is to place
2106 "continuing" within parentheses when a speaker chatters on and on.
2109 \begin_layout Narrative
2110 \begin_inset CommandInset ref
2116 watches as a number of people sit down before her.
2119 \begin_layout Continuing
2123 \begin_layout Dialogue
2124 Of course, many writers have dropped "continuing" from their repertoire.
2125 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2129 \begin_layout Speaker
2130 \begin_inset CommandInset ref
2139 \begin_layout Parenthetical
2140 shouting from beyond the door
2143 \begin_layout Dialogue
2145 \begin_inset CommandInset ref
2152 There's a buffet at the hotel and a shuttle leaving in two minutes.
2155 \begin_layout Speaker
2156 \begin_inset CommandInset ref
2165 \begin_layout Parenthetical
2169 \begin_layout Dialogue
2170 We haven't mentioned master scenes.
2173 \begin_layout Narrative
2175 \begin_inset CommandInset ref
2181 enters, then glances about the room as he slowly approaches the podium.
2184 \begin_layout Speaker
2185 \begin_inset CommandInset ref
2194 \begin_layout Dialogue
2196 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2197 Just scene headers, description and dialogue.
2198 And no scene numbers.
2199 Those are left to shooting scripts.
2202 \begin_layout Speaker
2203 \begin_inset CommandInset ref
2212 \begin_layout Dialogue
2213 Don't worry, I would never let you miss a meal.
2214 Do you know how to make a script sandwich?
2217 \begin_layout Speaker
2218 \begin_inset CommandInset ref
2227 \begin_layout Dialogue
2231 \begin_layout Speaker
2232 \begin_inset CommandInset ref
2241 \begin_layout Dialogue
2242 You need your script, two sheets of plain manila binding stock, a three
2243 hole punch, and three 1.5 inch brass brads.
2244 No title or name on the binding stock.
2245 When you get it all assembled, you can hammer the brass brads down to make
2250 \begin_layout FADE OUT
2254 \begin_layout Speaker