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85 [NICHOLL FELLOWSHIPS in SCREENWRITING]
89 http://www.oscars.org/academy/nichollindex.html
96 \begin_layout Plain Layout
108 \begin_layout General
109 Formatted text courtesy of Ann Garretson
112 \begin_layout General
113 http://www.halcyon.com/aga
116 \begin_layout General
117 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
120 \begin_layout General
124 \begin_layout General
128 \begin_layout General
132 \begin_layout General
133 Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
136 \begin_layout General
137 - The NICHOLL FELLOWSHIPS in SCREENWRITING
140 \begin_layout General
141 - http://www.oscars.org/nicholl/index.html
144 \begin_layout General
145 - E-mail: Greg Beal, gbeal@oscars.org
148 \begin_layout General
149 File Info: April, 1998 (online)
152 \begin_layout General
153 - http://www.oscars.org/nicholl/format_a.txt
156 \begin_layout General
157 - View in a monospaced font -- preferably 12-point Courier.
160 \begin_layout General
161 Copyright 1998 by the Academy of Motion Picture Arts and Sciences
164 \begin_layout General
168 \begin_layout General
169 Permission to use this script as a \SpecialChar LyX
170 example file was kindly granted by Greg
171 Beal, gbeal@oscars.org.
174 \begin_layout General
175 I added a few lines at the end of script about binding.
176 The original script ended with the words
177 \begin_inset Quotes eld
180 I'd never let you miss a meal.
181 \begin_inset Quotes erd
184 There were also references to tabs, which don't exist in \SpecialChar LyX
187 Apologies and kudos to Ann Garretson.
188 Be sure to thank her when you get your Oscar.
192 \begin_layout General
197 \begin_layout General
201 \begin_layout General
202 \begin_inset Newpage newpage
214 \begin_inset Newline newline
220 \begin_layout General
221 \begin_inset VSpace vfill
227 \begin_layout Right Address
229 \begin_inset Newline newline
234 \begin_inset Newline newline
238 \begin_inset Newline newline
244 \begin_layout General
245 \begin_inset Newpage newpage
251 \begin_layout FADE IN:
252 \begin_inset CommandInset label
259 \begin_inset CommandInset label
268 \begin_layout General
269 \begin_inset Note Note
272 \begin_layout General
276 \begin_layout General
277 Spacing Other to set the spacing between lines.
278 A value of .85 is probably the minimum.
286 \begin_layout General
287 \begin_inset Note Note
290 \begin_layout General
294 \begin_layout General
302 \begin_layout General
310 \begin_layout General
318 \begin_layout General
326 \begin_layout General
331 speakeroffset}{1.2in}
334 \begin_layout General
335 click \SpecialChar TeX
336 and enter new values as above.
339 \begin_layout General
340 Parenoffset is the offset to the left of parentheticals from speaker names.
343 \begin_layout General
344 Speakeroffset is the offset to the right of the dialog margin, so changing
345 dialogindent will automatically change the position of parentheticals and
352 \begin_inset Note Note
355 \begin_layout General
356 You can put your Speaker names in labels, the insert cross references to
358 The printed version will automatically be capitalized in Speaker even if
359 the label is not capped.
360 This way you can use them in dialogue also, and change all references to
361 your Speaker's names just by changing the label.
370 \begin_layout General
374 \begin_layout Plain Layout
383 \begin_layout Plain Layout
387 \begin_layout Plain Layout
402 DRISKILL HOTEL SEMINAR ROOM - DAY
405 \begin_layout Description
406 JOE and APRIL burst through the doors into a clean, well-lit seminar room
409 \begin_layout General
410 \begin_inset Note Note
413 \begin_layout General
414 Use the description after INT.
416 to keep it on the same page.
417 Narrative is the same, except that it allows a pagebreak before it.
418 Notice that I did not use the labels for Joe and April here because they
419 are upper-cased in discriptions only the first time they are used.
420 You could make extra labels, but I think it would be error-prone.
428 \begin_layout Speaker
429 \begin_inset CommandInset ref
438 \begin_layout Dialogue
442 \begin_layout Speaker
443 \begin_inset CommandInset ref
452 \begin_layout Dialogue
453 How could they start without us? We're the main attraction.
456 \begin_layout Narrative
457 \begin_inset CommandInset ref
463 catches his breath as he leans against the podium at the front of the room.
466 \begin_layout Speaker
467 \begin_inset CommandInset ref
476 \begin_layout Parenthetical
477 looking about the room
480 \begin_layout Dialogue
484 \begin_layout Speaker
485 \begin_inset CommandInset ref
494 \begin_layout Dialogue
496 You know we've been invited to Austin to discuss script format.
499 \begin_layout Speaker
500 \begin_inset CommandInset ref
509 \begin_layout Dialogue
510 But why is the room empty?
513 \begin_layout Narrative
514 \begin_inset CommandInset ref
521 \begin_inset CommandInset ref
527 both look out across the room -- rows of empty chairs and nary a person
531 \begin_layout Speaker
532 \begin_inset CommandInset ref
541 \begin_layout Dialogue
542 Okay, okay, don't panic.
545 \begin_layout Narrative
546 She takes three deep breaths.
547 Then she looks at her watch and smiles.
550 \begin_layout Continuing
554 \begin_layout Dialogue
559 \begin_layout Speaker
560 \begin_inset CommandInset ref
569 \begin_layout Dialogue
574 \begin_layout Speaker
575 \begin_inset CommandInset ref
584 \begin_layout Dialogue
587 Top, 1.0 inch to the body, 0.5 inches to the number.
588 Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
591 \begin_layout Speaker
592 \begin_inset CommandInset ref
601 \begin_layout Dialogue
605 \begin_layout Speaker
606 \begin_inset CommandInset ref
615 \begin_layout Dialogue
617 Rules for breaking a page.
618 Scene headers, like INT., remain attached to Description.
619 If a page breaks between a Speaker and a one sentence Dialogue, move it
621 A long Dialogue passage would be split -- but I'll get to that later.
624 \begin_layout Speaker
625 \begin_inset CommandInset ref
634 \begin_layout Dialogue
638 \begin_layout Speaker
639 \begin_inset CommandInset ref
648 \begin_layout Dialogue
649 Courier, 12 point, 10 pitch.
650 Make sure it's a non-proportional version of Courier.
653 \begin_layout Narrative
654 \begin_inset CommandInset ref
660 's grimace suggests that he's deep in thought.
663 \begin_layout Speaker
664 \begin_inset CommandInset ref
673 \begin_layout Dialogue
674 What about bold-face or italics? Or a Gothic font? I love to jazz up my
678 \begin_layout Speaker
679 \begin_inset CommandInset ref
688 \begin_layout Dialogue
689 No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
691 That's the industry standard.
694 \begin_layout Speaker
695 \begin_inset CommandInset ref
704 \begin_layout Dialogue
705 Oh, we're talking about industry standards?
708 \begin_layout Narrative
710 \begin_inset CommandInset ref
716 bolts from behind the podium and runs out into:
720 DRISKILL HOTEL HALLWAY - DAY
723 \begin_layout Description
724 \begin_inset CommandInset ref
730 glances up and down the hallway, then reaches back to open the door.
733 \begin_layout Speaker
734 \begin_inset CommandInset ref
743 \begin_layout Parenthetical
747 \begin_layout Dialogue
748 \begin_inset CommandInset ref
754 -- come on! There's no one here.
757 \begin_layout Speaker
758 \begin_inset CommandInset ref
767 \begin_layout Parenthetical
768 walking through the door
771 \begin_layout Dialogue
773 Or a slug line, as I was taught in film school.
775 What happens if we \SpecialChar ldots
780 TEXAS CAPITOL BUILDING - DAY
783 \begin_layout Description
784 \begin_inset CommandInset ref
790 pinches himself as he stands with
791 \begin_inset CommandInset ref
797 before the seat of Texas politics.
800 \begin_layout Speaker
801 \begin_inset CommandInset ref
810 \begin_layout Dialogue
814 \begin_layout Speaker
815 \begin_inset CommandInset ref
824 \begin_layout Dialogue
825 There was a cut -- from the hallway to the capitol.
826 What'd you want to do -- ride in a cab?
829 \begin_layout Speaker
830 \begin_inset CommandInset ref
839 \begin_layout Dialogue
843 \begin_layout Speaker
844 \begin_inset CommandInset ref
853 \begin_layout Dialogue
856 Of course, you can cheat those a tad.
859 \begin_layout Dialogue
860 \begin_inset Note Note
863 \begin_layout General
864 These are from the paper edge, but you specify them from
867 \begin_layout General
868 the left margin using dialoglength and dialogIndent.
876 \begin_layout Speaker
877 \begin_inset CommandInset ref
886 \begin_layout Dialogue
887 So, you have about 3.0 inches for each line of your dialogue?
890 \begin_layout Speaker
891 \begin_inset CommandInset ref
900 \begin_layout Dialogue
902 Though you can go out another three or four spaces to the right and no
903 one will hold it against you.
906 \begin_layout Narrative
907 \begin_inset CommandInset ref
913 jots down several notes on a 3 x 5 card, studies the card for a moment,
914 then scribbles another note.
917 \begin_layout Speaker
918 \begin_inset CommandInset ref
927 \begin_layout Parenthetical
931 \begin_layout Dialogue
932 And the position of the speaker's name?
935 \begin_layout Speaker
936 \begin_inset CommandInset ref
945 \begin_layout Dialogue
946 All CAPS, and about 2.7 inches from the left margin.
947 Some writers center all the speakers' names.
950 \begin_layout General
951 \begin_inset Note Note
954 \begin_layout General
955 Use More to break up a dialogue across a page boundary.
956 It will put (MORE) at the bottom of the page, and insert the current speaker
957 name and (CONT'D) at the top of the next page.
958 You should not break mid-sentence.
970 \begin_layout Dialogue
971 Personally, I don't think it matters.
972 The look of the script pages is slightly different in either case.
975 \begin_layout Speaker
976 \begin_inset CommandInset ref
985 \begin_layout Dialogue
989 \begin_layout Speaker
990 \begin_inset CommandInset ref
999 \begin_layout Dialogue
1000 A page break appeared in the middle of my dialogue.
1001 You use (MORE) at the bottom of the page to show that the speaker's dialogue
1002 continues onto the next page.
1003 Then (CONT'D) next to the speaker to show that it has roots in the previous
1007 \begin_layout Speaker
1008 \begin_inset CommandInset ref
1017 \begin_layout Dialogue
1018 But not everybody uses MOREs and CONT'Ds, do they?
1022 CAPITOL BUILDING - DAY
1025 \begin_layout Description
1026 \begin_inset CommandInset ref
1032 stares up into the dome.
1034 \begin_inset CommandInset ref
1040 examines the portraits of Texas governors on the nearby walls.
1043 \begin_layout Speaker
1044 \begin_inset CommandInset ref
1053 \begin_layout Dialogue
1054 Some writers just plan their page ends so as to avoid them.
1057 \begin_layout Speaker
1058 \begin_inset CommandInset ref
1067 \begin_layout Parenthetical
1071 \begin_layout Dialogue
1072 What about parentheticals?
1075 \begin_layout Speaker
1076 \begin_inset CommandInset ref
1085 \begin_layout Dialogue
1086 Start them about a half-inch to the left of the speaker name.
1087 In our case that would be at 2.2 inches from the left margin.
1090 \begin_layout Speaker
1091 \begin_inset CommandInset ref
1100 \begin_layout Dialogue
1101 And what are they for?
1104 \begin_layout Speaker
1105 \begin_inset CommandInset ref
1114 \begin_layout Dialogue
1115 For years, parentheticals were used to express emotion, the manner in which
1116 a speaker spoke her lines.
1117 Loudly, passionately, sadly, and so on.
1118 In recent years writers have often used them for brief bits of action.
1121 \begin_layout Speaker
1122 \begin_inset CommandInset ref
1131 \begin_layout Parenthetical
1135 \begin_layout Dialogue
1136 Something like this?
1139 \begin_layout Speaker
1140 \begin_inset CommandInset ref
1149 \begin_layout Parenthetical
1153 \begin_layout Dialogue
1157 \begin_layout Speaker
1158 \begin_inset CommandInset ref
1167 \begin_layout Dialogue
1168 How wide are parentheticals?
1171 \begin_layout Speaker
1172 \begin_inset CommandInset ref
1181 \begin_layout Dialogue
1182 Not very -- about 1.5 inches.
1183 And they should wrap to the following line when they extend beyond that
1187 \begin_layout Parenthetical
1188 pointing up to the top of the page
1191 \begin_layout Dialogue
1192 If you place a parenthetical in the middle of a dialogue passage, it should
1193 remain distinct from the dialogue.
1197 MISSISSIPPI RIVERBOAT - NIGHT
1200 \begin_layout Description
1201 A gambling boat rolls slowly along the mighty river.
1203 \begin_inset CommandInset ref
1210 \begin_inset CommandInset ref
1216 wander about its upper deck.
1219 \begin_layout Speaker
1220 \begin_inset CommandInset ref
1229 \begin_layout Dialogue
1230 I have to ask -- what happened to CUT TO:s between scenes.
1233 \begin_layout Speaker
1234 \begin_inset CommandInset ref
1243 \begin_layout Dialogue
1244 Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
1248 \begin_layout Speaker
1249 \begin_inset CommandInset ref
1258 \begin_layout Dialogue
1259 Those would introduce a new scene header?
1262 \begin_layout Speaker
1263 \begin_inset CommandInset ref
1272 \begin_layout Dialogue
1273 And typically a different time and/or place.
1274 But many writers have dispensed with such transitions, feeling that a new
1275 scene header signifies a cut without the need of any additional indicator.
1278 \begin_layout Narrative
1279 \begin_inset CommandInset ref
1285 stares out at the river.
1288 \begin_layout Speaker
1289 \begin_inset CommandInset ref
1298 \begin_layout Dialogue
1299 How did we reach the Mississippi and when did the sun set?
1302 \begin_layout Speaker
1303 \begin_inset CommandInset ref
1312 \begin_layout Dialogue
1313 If you'd like \SpecialChar ldots
1321 \begin_layout Description
1322 A jet liner cruises East across Texas.
1329 \begin_layout Description
1330 A customized interior, replete with lounge chairs and sofas.
1332 \begin_inset CommandInset ref
1339 \begin_inset CommandInset ref
1348 \begin_layout Speaker
1349 \begin_inset CommandInset ref
1358 \begin_layout Dialogue
1359 Is this a flashback?
1362 \begin_layout Speaker
1363 \begin_inset CommandInset ref
1372 \begin_layout Dialogue
1373 Or it could be tomorrow.
1377 \begin_layout TITLE OVER:
1381 \begin_layout Continuing
1385 \begin_layout General
1386 \begin_inset Note Note
1389 \begin_layout General
1391 \begin_inset Quotes eld
1395 \begin_inset Quotes erd
1398 will insert the current Speaker followed by (continuing) as a parenthetical.
1399 Don't worry, it will look right on the printed version.
1407 \begin_layout Dialogue
1408 You see, a few weeks have passed.
1411 \begin_layout Speaker
1412 \begin_inset CommandInset ref
1421 \begin_layout Dialogue
1422 Okay, I didn't notice.
1423 But I thought only DAY and NIGHT were allowed on scene headers.
1426 \begin_layout Speaker
1427 \begin_inset CommandInset ref
1436 \begin_layout Dialogue
1437 Production managers would certainly prefer it that way, but many writers
1438 use headers as a means of showing a particular time of day, especially
1442 \begin_layout Speaker
1443 \begin_inset CommandInset ref
1452 \begin_layout Dialogue
1456 \begin_layout Speaker
1457 \begin_inset CommandInset ref
1466 \begin_layout Dialogue
1467 On writer's drafts, without a doubt.
1470 \begin_layout Speaker
1471 \begin_inset CommandInset ref
1480 \begin_layout Dialogue
1484 \begin_layout Speaker
1485 \begin_inset CommandInset ref
1494 \begin_layout Dialogue
1495 Essentially, any draft that hasn't been paid for.
1496 Any draft to be sent to agents, studio execs, production companies, development
1498 Those are writer's drafts.
1499 And they all should be FIRST DRAFTs, no matter how many versions the writer
1500 has actually written.
1503 \begin_layout Speaker
1504 \begin_inset CommandInset ref
1513 \begin_layout Dialogue
1514 You really think so?
1517 \begin_layout Speaker
1518 \begin_inset CommandInset ref
1527 \begin_layout Dialogue
1528 That's my recommendation.
1535 \begin_layout Description
1536 \begin_inset CommandInset ref
1542 drives along Austin's Congress Avenue as
1543 \begin_inset CommandInset ref
1552 \begin_layout Speaker
1553 \begin_inset CommandInset ref
1562 \begin_layout Dialogue
1563 You speak any foreign languages?
1566 \begin_layout Speaker
1567 \begin_inset CommandInset ref
1576 \begin_layout Parenthetical
1580 \begin_layout Dialogue
1581 Why do you ask? (Pour quoi tu demandes?)
1584 \begin_layout Speaker
1585 \begin_inset CommandInset ref
1594 \begin_layout Dialogue
1595 What about action scenes?
1598 \begin_layout Narrative
1599 SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
1602 \begin_inset CommandInset ref
1608 punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
1610 The Camaro takes a left, then a quick right to accelerate into -- A DARK
1611 ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
1612 pulls into the alley, sealing it shut.
1619 \begin_layout Description
1620 \begin_inset CommandInset ref
1626 leads a dazed and confused
1627 \begin_inset CommandInset ref
1636 \begin_layout Speaker
1637 \begin_inset CommandInset ref
1646 \begin_layout Dialogue
1647 That's one way to do an action scene.
1648 It's a variation on the Bill Goldman style that's used by many writers.
1651 \begin_layout Speaker
1652 \begin_inset CommandInset ref
1661 \begin_layout Parenthetical
1665 \begin_layout Dialogue
1666 But other writers just use normal description and standard scene headers
1667 for action scenes, don't they?
1670 \begin_layout Speaker
1671 \begin_inset CommandInset ref
1680 \begin_layout Dialogue
1685 DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
1688 \begin_layout Description
1689 A slightly less dazed
1690 \begin_inset CommandInset ref
1696 speaks on the phone.
1699 \begin_layout Speaker
1700 \begin_inset CommandInset ref
1709 \begin_layout Dialogue
1710 I thought we were walking together.
1713 \begin_layout Speaker
1714 \begin_inset CommandInset ref
1723 \begin_layout Parenthetical
1727 \begin_layout Dialogue
1728 Well, we were, but I realized a phone call was needed.
1731 \begin_layout Speaker
1732 \begin_inset CommandInset ref
1741 \begin_layout Dialogue
1745 \begin_layout INTERCUT
1750 STATE CAPITOL PHONE BOOTH - DAY
1753 \begin_layout Description
1754 With the dome looming large behind her,
1755 \begin_inset CommandInset ref
1761 speaks into the phone.
1764 \begin_layout Speaker
1765 \begin_inset CommandInset ref
1774 \begin_layout Dialogue
1775 Only when you hear my voice over the phone.
1776 Radio voices and phone calls often are filtered, though it's a convention
1777 that isn't used by everyone anymore.
1780 \begin_layout Speaker
1781 \begin_inset CommandInset ref
1790 \begin_layout Dialogue
1791 Let's try something easy.
1792 What about page numbers?
1795 \begin_layout Speaker
1796 \begin_inset CommandInset ref
1805 \begin_layout Dialogue
1806 Number each and every page, though you can start with page two.
1807 The numbers should appear in the upper right hand corner, about 0.5 inches
1808 down and 0.75 inches from the right page edge.
1809 Those dimensions are not set in stone, but page numbers should always be
1810 placed in the upper right hand corner.
1814 DRISKILL HOTEL HALLWAY - DAY
1817 \begin_layout Description
1818 \begin_inset CommandInset ref
1824 walks slowly towards the seminar room.
1827 \begin_layout Speaker
1828 \begin_inset CommandInset ref
1837 \begin_layout Dialogue
1838 You know, that pronouncement almost seemed godlike.
1841 \begin_layout Speaker
1842 \begin_inset CommandInset ref
1851 \begin_layout Dialogue
1852 If it were, I probably would have spoken in a voice over and not on the
1856 \begin_layout Narrative
1857 \begin_inset CommandInset ref
1863 searches the ceiling, trying to decide just where this disembodied voice
1867 \begin_layout Speaker
1868 \begin_inset CommandInset ref
1877 \begin_layout Dialogue
1882 \begin_layout Speaker
1883 \begin_inset CommandInset ref
1892 \begin_layout Dialogue
1893 Oftentimes for narration, for a narrator's voice.
1894 In film noir the protagonists often filled the audience in on their thoughts
1896 Documentary films are filled with voice over.
1900 DRISKILL HOTEL SEMINAR ROOM - DAY
1903 \begin_layout Description
1904 \begin_inset CommandInset ref
1911 \begin_inset CommandInset ref
1917 to reach the podium first.
1919 \begin_inset CommandInset ref
1925 walks slowly past the still-empty chairs.
1929 \begin_layout Description
1931 \begin_inset CommandInset ref
1937 gestures with his hands as if he were making a major political speech.
1940 \begin_layout Description
1941 \begin_inset CommandInset ref
1947 sneaks up behind him and mimics his movements -- until he notices.
1949 \begin_inset CommandInset ref
1955 spins to confront her.
1958 \begin_layout Speaker
1959 \begin_inset CommandInset ref
1968 \begin_layout Dialogue
1969 Why I ought'a \SpecialChar ldots
1973 \begin_layout Speaker
1974 \begin_inset CommandInset ref
1983 \begin_layout Dialogue
1984 I was just demonstrating the way many writers break description into shorter
1986 I've seen blocks of description covering an entire page.
1989 \begin_layout Speaker
1990 \begin_inset CommandInset ref
1999 \begin_layout Dialogue
2000 That makes for tough reading, doesn't it?
2003 \begin_layout Speaker
2004 \begin_inset CommandInset ref
2013 \begin_layout Dialogue
2014 I know studio readers who just skip long description and read only dialogue.
2017 \begin_layout Speaker
2018 \begin_inset CommandInset ref
2027 \begin_layout Dialogue
2028 But there are pros who write scripts with extended descriptive passages.
2031 \begin_layout Speaker
2032 \begin_inset CommandInset ref
2041 \begin_layout Dialogue
2042 When you make a half-million or so per script, you can pretty much use any
2046 \begin_layout Narrative
2047 \begin_inset CommandInset ref
2053 climbs atop the podium.
2056 \begin_layout Speaker
2057 \begin_inset CommandInset ref
2066 \begin_layout Dialogue
2067 But when you're like me, you have to stick to format.
2068 Is that what you're trying to say?
2071 \begin_layout Speaker
2072 \begin_inset CommandInset ref
2081 \begin_layout Dialogue
2085 \begin_layout Narrative
2086 \begin_inset CommandInset ref
2092 jumps down from the podium and runs out the door just as conference ATTENDEES
2096 \begin_layout Continuing
2100 \begin_layout Dialogue
2101 By the way, the first time you introduce a speaker in description, you CAP
2103 And when you break dialogue with description, the standard is to place
2104 "continuing" within parentheses when a speaker chatters on and on.
2107 \begin_layout Narrative
2108 \begin_inset CommandInset ref
2114 watches as a number of people sit down before her.
2117 \begin_layout Continuing
2121 \begin_layout Dialogue
2122 Of course, many writers have dropped "continuing" from their repertoire.
2123 I mean, it's obvious that I'm still speaking, isn't it? And that I never
2127 \begin_layout Speaker
2128 \begin_inset CommandInset ref
2137 \begin_layout Parenthetical
2138 shouting from beyond the door
2141 \begin_layout Dialogue
2143 \begin_inset CommandInset ref
2150 There's a buffet at the hotel and a shuttle leaving in two minutes.
2153 \begin_layout Speaker
2154 \begin_inset CommandInset ref
2163 \begin_layout Parenthetical
2167 \begin_layout Dialogue
2168 We haven't mentioned master scenes.
2171 \begin_layout Narrative
2173 \begin_inset CommandInset ref
2179 enters, then glances about the room as he slowly approaches the podium.
2182 \begin_layout Speaker
2183 \begin_inset CommandInset ref
2192 \begin_layout Dialogue
2194 No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
2195 Just scene headers, description and dialogue.
2196 And no scene numbers.
2197 Those are left to shooting scripts.
2200 \begin_layout Speaker
2201 \begin_inset CommandInset ref
2210 \begin_layout Dialogue
2211 Don't worry, I would never let you miss a meal.
2212 Do you know how to make a script sandwich?
2215 \begin_layout Speaker
2216 \begin_inset CommandInset ref
2225 \begin_layout Dialogue
2229 \begin_layout Speaker
2230 \begin_inset CommandInset ref
2239 \begin_layout Dialogue
2240 You need your script, two sheets of plain manila binding stock, a three
2241 hole punch, and three 1.5 inch brass brads.
2242 No title or name on the binding stock.
2243 When you get it all assembled, you can hammer the brass brads down to make
2248 \begin_layout FADE OUT
2252 \begin_layout Speaker