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lyx_mirror/lib/examples/script_form.lyx
Jean-Marc Lasgouttes 4a926f9785 update hollywood 
git-svn-id: svn://svn.lyx.org/lyx/lyx-devel/trunk@2739 a592a061-630c-0410-9148-cb99ea01b6c8
2001-09-12 12:22:56 +00:00

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#LyX 1.2 created this file. For more info see http://www.lyx.org/
\lyxformat 220
\textclass hollywood
\language english
\inputencoding auto
\fontscheme default
\graphics default
\paperfontsize default
\spacing other 0.90
\papersize letterpaper
\paperpackage a4
\use_geometry 1
\use_amsmath 0
\use_natbib 0
\use_numerical_citations 0
\paperorientation portrait
\leftmargin 1.5in
\topmargin 48bp
\rightmargin 1in
\bottommargin 0.5in
\headheight 12bp
\headsep 24bp
\footskip 0bp
\secnumdepth 2
\tocdepth 2
\paragraph_separation indent
\defskip smallskip
\quotes_language english
\quotes_times 2
\papercolumns 1
\papersides 1
\paperpagestyle default
\layout Title
FOR A FEW DAYS MORE
\layout Author
\added_space_bottom vfill
by
\newline
April Rider
\layout Right Address
\pagebreak_bottom
April Rider
\newline
555 George St.
NNW
\newline
Kaplan, ND 77777
\newline
999-999-9999
\layout FADE IN:
\begin_inset LatexCommand \label{Joe}
\end_inset
\begin_inset LatexCommand \label{April}
\end_inset
\layout Standard
\begin_inset Note
collapsed true
\layout Dialogue
Use Layout->Document
\layout Dialogue
Spacing Other to set the spacing between lines.
A value of .85 is probably the minimum.
\end_inset
\layout Standard
\begin_inset Note
collapsed true
\layout Dialogue
To change
\backslash
dialogindent{1in},
\backslash
parenindent{1.75in},
\backslash
dialogLength{3in},
\backslash
parenLength{1.5in},
\layout Dialogue
\backslash
speakerindent{2.25in}
\layout Dialogue
click TeX and enter new values as above.
\end_inset
\begin_inset Note
collapsed true
\layout Dialogue
You can put your Speaker names in labels, the insert cross references to
the labels.
The printed version will automatically be capitalized in Speaker even if
the label is not capped.
This way you can use them in dialogue also, and change all references to
your character's names just by changing the label.
\end_inset
\layout INT.
DRISKILL HOTEL SEMINAR ROOM DAY
\layout Description
JOE and APRIL burst through the doors into a clean, well-lit seminar room.
\layout Dialogue
\begin_inset Note
collapsed true
\layout Dialogue
Use the description after INT.
or EXT.
to keep it on the same page.
Narrative is the same, except that it allows a pagebreak before it.
\end_inset
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Are we in time?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
How could they start without us? We're the main attraction.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
catches his breath as he leans against the podium at the front of the room.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
looking about the room
\layout Dialogue
We are?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Don't be a moron.
You know we've been invited to Austin to discuss script format.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
But why is the room empty?
\layout Narrative
\begin_inset LatexCommand \ref{April}
\end_inset
and
\begin_inset LatexCommand \ref{Joe}
\end_inset
both look out across the room -- rows of empty chairs and nary a person
in sight.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Okay, okay, don't panic.
\layout Narrative
She takes three deep breaths.
Then she looks at her watch and smiles.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
continuing
\layout Dialogue
We're an hour early.
We should rehearse.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Okay, you start.
Margins?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Left, 1.5 inches.
Right, 1.0 inches.
Top, 1.0 inches to the body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Page break?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Right above me.
There are rules for breaking a page.
Scene headers remain attached to description.
A single line of dialogue is pushed to the following page.
A long dialogue passage would be split -- but I'll get to that later.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
What about fonts?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Courier, 12 point, 10 pitch.
Make sure it's a non-proportional version of Courier.
\begin_inset LatexCommand \ref{Joe}
\end_inset
's grimace suggests that he's deep in thought.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
What about bold-face or italics? Or a Gothic font? I love to jazzup my scripts.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
Stick with Courier.
That's the industry standard.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Oh, we're talking about industry standards?
\layout Narrative
Suddenly,
\begin_inset LatexCommand \ref{Joe}
\end_inset
bolts from behind the podium and runs out into:
\layout INT.
DRISKILL HOTEL HALLWAY DAY
\layout Description
\begin_inset LatexCommand \ref{Joe}
\end_inset
glances up and down the hallway, then reaches back to open the door.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
calling
\layout Dialogue
\begin_inset LatexCommand \ref{April}
\end_inset
-- come on! There's no one here.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
walking through the door
\layout Dialogue
Ah, a scene heading.
Or a slug line, as I was taught in film school.
Always CAPPED.
What happens if we \SpecialChar \ldots{}
\layout EXT.
TEXAS CAPITOL BUILDING DAY
\layout Description
\begin_inset LatexCommand \ref{Joe}
\end_inset
pinches himself as he stands with
\begin_inset LatexCommand \ref{April}
\end_inset
before the seat of Texas politics.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
How'd you do that?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
There was a cut -- from the hallway to the capitol.
What'd you want to do -- ride in a cab?
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Dialogue margins.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Left, 3.0 inches.
Right, 2.5 inches.
Of course, you can cheat those a tad.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
So, you have about 3.0 inches for each line of your dialogue?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
You've got it.
Though you can go out another three or four spaces to the right and no
one will hold it against you.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
jots down several notes on a 3 x 5 card, studies the card for a moment,
then scribbles another note.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
looking up
\layout Dialogue
And the position of the character's name?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
All CAPS, and tabbed to about 4.2 inches.
Some writers center all the characters' names.
\begin_inset Note
collapsed true
\layout Dialogue
Use More to break up a dialogue across a page boundary.
It will put (MORE) at the bottom of the page, and insert the current speaker
name and (CONT'D) at the top of the next page.
You should not break mid-sentence.
\end_inset
\layout More
\layout Dialogue
Personally, I don't think it matters.
The look of the script pages is slightly different in either case.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Hey, what happened?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
A page break appeared in the middle of my dialogue.
You use MORE at the bottom of the page to show that the character's dialogue
continues onto the next page.
Then CONT'D next to the character to show that it has roots in the previous
page.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
But not everybody uses MOREs and CONT'Ds, do they?
\layout INT.
CAPITOL BUILDING DAY
\layout Description
\begin_inset LatexCommand \ref{Joe}
\end_inset
stares up into the dome.
\begin_inset LatexCommand \ref{April}
\end_inset
examines the portraits of Texas governors on the nearby walls.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Some writers just plan their page ends so as to avoid them.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
considering
\layout Dialogue
What about parentheticals?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Start them about 0.5 inches to the left of the character name tab mark.
In our case that would be at 3.7 inches.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
And what are they for?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
For years, parentheticals were used to express emotion, the manner in which
a character spoke her lines.
Loudly, passionately, sadly, and so on.
In recent years writers have often used them for brief bits of action.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
going up a stairway
\layout Dialogue
Something like this?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
following him
\layout Dialogue
Exactly.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
How wide are parentheticals?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Not very -- about 1.5 inches.
And they should wrap to the following line when they extend beyond that
point.
\layout Parenthetical
pointing up to the top of the page
\layout Dialogue
If you place a parenthetical in the middle of a dialogue passage, it should
remain distinct from the dialogue.
\layout EXT.
MISSISSIPPI RIVERBOAT NIGHT
\layout Description
A gambling boat rolls slowly along the mighty river.
\begin_inset LatexCommand \ref{April}
\end_inset
and
\begin_inset LatexCommand \ref{Joe}
\end_inset
wander about its upper deck.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
I have to ask -- what happened to CUT TO:s between scenes.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
scenes.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Those would introduce a new scene header?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
And typically a different time and/or place.
But many writers have dispensed with such transitions, feeling that a new
scene header signifies a cut without the need of any additional indicator.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
stares out at the river.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
How did we reach the Mississippi and when did the sun set?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
If you'd like \SpecialChar \ldots{}
\layout EXT.
AIRPLANE SUNSET
\layout Description
A jet liner cruises East across Texas.
\layout INT.
AIRPLANE SUNSET
\layout Description
A customized interior, replete with lounge chairs and sofas.
\begin_inset LatexCommand \ref{Joe}
\end_inset
and
\begin_inset LatexCommand \ref{April}
\end_inset
sip margaritas.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Is this a flashback?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Or it could be tomorrow.
Or next week.
\layout TITLE OVER:
October 19, 1997
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
continuing
\layout Dialogue
You see, a few weeks have passed.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Okay, I didn't notice.
But I thought only DAY and NIGHT were allowed on scene headers.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Production managers would certainly prefer it that way, but many writers
use headers as a means of showing a particular time of day, especially
SUNRISE and SUNSET.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
So that's allowed?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
On writer's drafts, without a doubt.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
A writer's draft?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Essentially, any draft that hasn't been paid for.
Any draft to be sent to agents, studio execs, production companies, development
people.
Those are writer's drafts.
And they all should be FIRST DRAFTs, no matter how many versions the writer
has actually written.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
You really think so?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
That's my recommendation.
\layout INT.
BLUE CAMARO DAY
\layout Description
\begin_inset LatexCommand \ref{April}
\end_inset
drives along Austin's Congress Avenue as
\begin_inset LatexCommand \ref{Joe}
\end_inset
rides shotgun.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
You speak any foreign languages?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
in French
\layout Dialogue
Why do you ask? (Pour quoi tu demandes?)
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
What about action scenes?
\layout Narrative
SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
them.
\begin_inset LatexCommand \ref{April}
\end_inset
punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
trail of rubber.
The Camaro takes a left, then a quick right to accelerate into -- A DARK
ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
pulls into the alley, sealing it shut.
\layout EXT.
DRISKILL HOTEL DAY
\layout Description
\begin_inset LatexCommand \ref{April}
\end_inset
leads a dazed and confused
\begin_inset LatexCommand \ref{Joe}
\end_inset
to the front door.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
That's one way to do an action scene.
It's a variation on the Bill Goldman style that's used by many writers.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Parenthetical
coming to
\layout Dialogue
But other writers just use normal description and standard scene headers
for action scenes, don't they?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Many do.
\layout INT.
DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH DAY
\layout Description
A slightly less dazed
\begin_inset LatexCommand \ref{Joe}
\end_inset
speaks on the phone.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
I thought we were walking together.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
(O.S.)
\layout Parenthetical
filtered
\layout Dialogue
Well, we were, but I realized a phone call was needed.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
You're filtered?
\layout INTERCUT
\layout EXT.
STATE CAPITOL PHONE BOOTH DAY
\layout Description
With the dome looming large behind her,
\begin_inset LatexCommand \ref{April}
\end_inset
speaks into the phone.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Only when you hear my voice over the phone.
Radio voices and phone calls often are filtered, though it's a convention
that isn't used by everyone anymore.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Let's try something easy.
What about page numbers?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Number each and every page, though you can start with page two.
The numbers should appear in the upper right hand corner, about 0.5 inches
down and 0.75 inches from the right page edge.
Those dimensions are not set in stone, but the numbers should always be
placed in the upper right hand corner.
\layout INT.
DRISKILL HOTEL HALLWAY DAY
\layout Description
\begin_inset LatexCommand \ref{Joe}
\end_inset
walks slowly towards the seminar room.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
You know, that pronouncement almost seemed godlike.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
(V.O.)
\layout Dialogue
If it were, I probably would have spoken in a voice over and not on the
phone.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
searches the ceiling, trying to decide just where this disembodied voice
is emanating from.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
What's a V.O.
used for?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
(V.O.)
\layout Dialogue
Oftentimes for narration, for a narrator's voice.
In film noir the protagonists often filled the audience in on their thoughts
or story details.
Documentary films are filled with voice over.
\layout INT.
DRISKILL HOTEL SEMINAR ROOM DAY
\layout Description
\begin_inset LatexCommand \ref{Joe}
\end_inset
races past
\begin_inset LatexCommand \ref{April}
\end_inset
to reach the podium first.
\begin_inset LatexCommand \ref{April}
\end_inset
walks slowly past the still-empty chairs.
\layout Description
At the podium
\begin_inset LatexCommand \ref{Joe}
\end_inset
gestures with his hands as if he were making a major political speech.
\layout Description
\begin_inset LatexCommand \ref{April}
\end_inset
sneaks up behind him and mimics his movements -- until he notices.
\begin_inset LatexCommand \ref{Joe}
\end_inset
spins to confront her.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
Why I ought'a \SpecialChar \ldots{}
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
I was just demonstrating the way many writers break description into shorter
paragraphs.
I've seen blocks of description covering an entire page.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
That makes for tough reading, doesn't it?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
I know studio readers who just skip long description and read only dialogue.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
But there are pros who write scripts with extended descriptive passages.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
When you make a half-million or so per script, you can pretty much use any
format you want.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
climbs atop the podium.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
But when you're like me, you have to stick to format.
Is that what you're trying to say?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
That's the story.
\layout Narrative
\begin_inset LatexCommand \ref{Joe}
\end_inset
jumps down from the podium and runs out the door just as conference ATTENDEES
begin to enter.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
continuing
\layout Dialogue
By the way, the first time you introduce a character in description, you
CAP his name.
And when you break dialogue with description, the standard is to place
"continuing" within parentheses when a character chatters on and on.
\layout Narrative
\begin_inset LatexCommand \ref{April}
\end_inset
watches as a number of people sit down before her.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
continuing
\layout Dialogue
Of course, many writers have dropped "continuing" from their repetoire.
I mean, it's obvious that I'm still speaking, isn't it? And that I never
stopped speaking.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
(O.S.)
\layout Parenthetical
shouting from beyond the door
\layout Dialogue
Hey,
\begin_inset LatexCommand \ref{April}
\end_inset
, c'mon.
There's a buffet at the hotel and a shuttle leaving in two minutes.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Parenthetical
shouting
\layout Dialogue
We haven't mentioned master scenes.
\layout Narrative
A sheepish
\begin_inset LatexCommand \ref{Joe}
\end_inset
enters, then glances about the room as he slowly approaches the podium.
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
That one I know.
No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
Just scene headers, description and dialogue.
And no scene numbers.
Those are left to shooting scripts.
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
Don't worry, I would never let you miss a meal.
Do you know how to make a script sandwich?
\layout Speaker
\begin_inset LatexCommand \ref{Joe}
\end_inset
\layout Dialogue
A script sandwich?
\layout Speaker
\begin_inset LatexCommand \ref{April}
\end_inset
\layout Dialogue
You need your script, two sheets of plain manila binding stock, a three
hole punch, and three one inch brass brads.
No title or name on the binding stock.
When you get it all assembled, you can hammer the brass brads down to make
it good and tight.
Now lets go eat.
\layout FADE OUT
\begin_inset Note
collapsed true
\layout Dialogue
FADE OUT used to be FADE OUT:
\layout Dialogue
This will cause minor breakage in old scripts.
\end_inset
\layout Speaker
\pagebreak_bottom
THE END
\layout Standard
<-------------------- FORMAT GUIDE STOPS HERE ------------------->
\layout Standard
[NICHOLL FELLOWSHIPS in SCREENWRITING]
\layout Standard
http://www.oscars.org/academy/nichollindex.html
\layout Standard
Formatted text courtesy of Ann Garretson
\layout Standard
http://www.halcyon.com/aga
\layout Standard
Copyright 1998 by the Academy of Motion Picture Arts and Sciences
\layout Standard
###
\layout Standard
----------
\layout Standard
FILE NOTES
\layout Standard
----------
\layout Standard
Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
\layout Standard
- The NICHOLL FELLOWSHIPS in SCREENWRITING
\layout Standard
- http://www.oscars.org/nicholl/index.html
\layout Standard
- E-mail: Greg Beal, gbeal@oscars.org
\layout Standard
File Info: April, 1998 (online)
\layout Standard
- http://www.oscars.org/nicholl/format_a.txt
\layout Standard
- View in a monospaced font -- preferably 12-point Courier.
\layout Standard
Copyright 1998 by the Academy of Motion Picture Arts and Sciences
\layout Standard
----------
\layout Standard
Permission to use this script as a LyX example file was kindly granted by
Greg Beal, gbeal@oscars.org.
\layout Standard
I added a few lines at the end of script about binding.
The original script ended with the words
\begin_inset Quotes eld
\end_inset
I'd never let you miss a meal.
\begin_inset Quotes erd
\end_inset
Apologies and kudos to Ann Garretson.
Be sure to thank her when you get your Oscar.
\layout Dialogue
Garst R.
Reese
\layout Dialogue
reese@isn.net
\the_end
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