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Nicholl Fellowship sample Final Draft export from Fountain Mode
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| <?xml version="1.0" encoding="UTF-8" standalone="no" ?> | |
| <FinalDraft DocumentType="Script" Template="No" Version="1"> | |
| <Content> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>FADE IN:</Text> | |
| </Paragraph> | |
| <Paragraph Number="1" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. DRISKILL HOTEL SEMINAR ROOM - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>JOE and APRIL burst through the doors into a clean, well-lit seminar room.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Are we in time?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>How could they start without us? We're the main attraction.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe catches his breath as he leans against the podium at the front of the room.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(looking about the room)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>We are?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Don't be an idiot. You know we've been invited to Austin to discuss script format.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>But why is the room empty?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>April and Joe look out across the room - rows of empty chairs and nary a person in sight.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Okay, okay. Don't panic.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>She takes three deep breaths. Then April looks at her watch and smiles.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (CONT'D)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>We're an hour early... We should rehearse.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Okay, you start. Margins?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>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 upon where the page break comes.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Page break?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Right above you. 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.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>What about fonts?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Courier, 12-point, 10-pitch. Make sure it's a non-proportional version of Courier and avoid Courier New unless you want your script to be about 10% longer.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>What about bold-face or italics? Or a cool font like Garamond? I love to jazz up my scripts.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Mostly, you should steer clear of bold and italics. Definitely no Garamond, no Helvetica, no Times Roman. Stick with Courier. That's the industry standard.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Ah ... we're talking about industry standards.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Suddenly, Joe bolts from behind the podium and runs out into:</Text> | |
| </Paragraph> | |
| <Paragraph Number="2" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. DRISKILL HOTEL HALLWAY - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe glances up and down the hallway, then reaches back to open the door.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(calling)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>April - come on! There's no one here.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(walking through the door)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>A scene heading. Or a slug line, as I was taught in film school. Always CAPPED. Usually begins with INT. or EXT. What happens if we --</Text> | |
| </Paragraph> | |
| <Paragraph Number="3" Type="Scene Heading" StartsNewPage=""> | |
| <Text>EXT. TEXAS CAPITOL BUILDING - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe looks startled as he stands with April before the seat of Texas politics.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>How'd you do that?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>There was a cut - from the hallway to the capitol. What'd you want to do - ride in a cab?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Dialogue margins.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Left, 2.5 inches. Right, 2.5 inches. Of course, you those a tad.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>So, you have about 3.5 each line of dialogue?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You've got it. And you can cheat inches for can sneak out another character or two to the right and no one will hold it against you.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe jots down notes on a 3 x 5 card, studies the card for a moment, then scribbles another note.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(looking up)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>And the position of the character's name?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>ALL CAPS, and tabbed to about 4.0 to 4.2 inches, depending upon the look you like. Some writers center all characters' names in dialogue. Personally, I don't think it matters too much. The appearance of the script pages is slightly different in each case, but all are within the norm.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Hey! What happened?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>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 add (CONT'D) after the character's name to show that the lines have roots in the previous page.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>But not everyone uses MOREs and CONT'Ds, do they?</Text> | |
| </Paragraph> | |
| <Paragraph Number="4" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. CAPITOL BUILDING - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe stares up into the dome. April examines the portraits of Texas governors on the nearby walls.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Some writers just plan their page breaks so as to avoid them.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(considering)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>What about parentheticals?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Start them about 0.5 inches to the left of the character name tab mark. In our case, that would be at 3.0 inches.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>And what are they for?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>For years, parentheticals were used to express emotion, the manner in which a character spoke her lines. Loudly, passionately, sadly, and so on. That's frowned upon these days, but some writers still use them for bits of action.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(going up a stairway)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Something like this?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(following him)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Exactly.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>How wide are parentheticals?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Not very - about 1.5 inches. And they should wrap to the following line when they extend beyond that point.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(pointing to the top of the page)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>If you place a parenthetical in the middle of a dialogue passage, it should remain distinct from the dialogue.</Text> | |
| </Paragraph> | |
| <Paragraph Number="5" Type="Scene Heading" StartsNewPage=""> | |
| <Text>EXT. MISSISSIPPI RIVERBOAT - NIGHT</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>A gambling boat is docked along the riverfront. April and Joe wander about its upper deck.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>I have to ask. What happened to CUT TO:s between scenes.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Some writers still use transitions such as CUT TO: and DISSOLVE TO: between scenes.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Those would introduce a new scene header?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>And typically a different place and/or time. But many writers have dispensed with such transitions, feeling that a new scene header clearly signifies a cut without the need of any additional indicator.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe gazes out at the river.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>How did we reach the Mississippi and when did the sun set?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>If you'd rather...</Text> | |
| </Paragraph> | |
| <Paragraph Number="6" Type="Scene Heading" StartsNewPage=""> | |
| <Text>EXT. AIRPLANE - SUNSET</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>A jet liner cruises across Texas towards the setting sun.</Text> | |
| </Paragraph> | |
| <Paragraph Number="7" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. AIRPLANE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>A customized interior, outfitted with leather chairs and sofas. April and Joe sip salt-encrusted margaritas.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>TITLE OVER:</Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center" Type="Action" StartsNewPage=""> | |
| <Text>October 25, 2014</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Is this a flashback?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Or it could be tomorrow or next month? You see, a whole year has passed.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Okay, I didn't notice. But I thought only DAY and NIGHT were allowed in scene headers.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Production managers might prefer it that way, but many writers use headers as a means of depicting a particular time of day. For instance, SUNRISE, DAWN, LATE AFTERNOON and SUNSET.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>That's allowed?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>On a writer's draft, without a doubt.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>A writer's draft?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Essentially, any draft that hasn't been paid for. A draft to be submitted to agents, managers, producers, development execs. Or even to a screenplay competition. Those are writer's drafts. And they should all be FIRST DRAFTs, no matter how many versions the writer has actually written.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You really think so?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>That's my recommendation.</Text> | |
| </Paragraph> | |
| <Paragraph Number="8" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. BLUE CAMARO - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>April drives along Austin's Congress Avenue as Joe rides shotgun.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You speak any foreign languages?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(in French)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Of course, I do. Why do you ask?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>What about action sequences?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>SUDDENLY, A BLACK MUSTANG</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Whips around a corner, racing quickly towards them.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Punches the accelerator and --</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>THE BLUE CAMARO</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Leaps forward, laying a trail of rubber. The Camaro takes a screeching left, then a quick right to accelerate into --</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>AN ALLEY BURIED IN DEEP SHADOWS</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Where the Camaro all too quickly runs into a dead end, just as --</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>THE BLACK MUSTANG</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Roars into the alley, sealing it shut.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Looks to Joe, fear filling his eyes.</Text> | |
| </Paragraph> | |
| <Paragraph Number="9" Type="Scene Heading" StartsNewPage=""> | |
| <Text>EXT. DRISKILL HOTEL PORTICO - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>April guides a dazed and confused Joe from the Camaro towards the front doors held open by a smiling VALET.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>That's one way to write an action scene. It's a variation on the Bill Goldman style used by many pros.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(coming to)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>But other writers just use standard scene headers and description for action scenes, don't they?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Many do.</Text> | |
| </Paragraph> | |
| <Paragraph Number="10" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. DRISKILL HOTEL LOBBY - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>A confused Joe speaks into a house phone.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>I thought we were walking together.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (O.S.)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(filtered)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Well, we were, but I realized a phone call was needed.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You're filtered?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Transition" StartsNewPage=""> | |
| <Text>INTERCUT WITH:</Text> | |
| </Paragraph> | |
| <Paragraph Number="11" Type="Scene Heading" StartsNewPage=""> | |
| <Text>EXT. STATE CAPITOL - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>With the capitol dome looming large behind her, April speaks on her mobile phone.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Only when you hear my voice over the phone. Radio voices and phone calls can be filtered, though it's a convention that isn't used as much these days.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Let's try something easy. What about page numbers?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>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 page numbers should always be placed in the upper right-hand corner.</Text> | |
| </Paragraph> | |
| <Paragraph Number="12" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. DRISKILL HOTEL HALLWAY - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe strolls slowly towards the seminar room.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You know, that pronouncement almost seemed godlike.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (V.O.)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>If it were, I probably would have spoken in a voice-over and not on the phone.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe searches the hallway, trying to decide just where this disembodied voice is emanating from.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>What's a V.O. used for?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (V.O.)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Often for narration, for a narrator's voice. In film noir, the protagonists often filled the audience in on their thoughts or story details. Scorsese films are often filled with voice-over, as are many documentaries.</Text> | |
| </Paragraph> | |
| <Paragraph Number="13" Type="Scene Heading" StartsNewPage=""> | |
| <Text>INT. DRISKILL HOTEL SEMINAR ROOM - DAY</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe races past April to reach the podium first. April walks casually past the still-empty chairs. | |
| At the podium Joe gestures with his hands as if he were delivering a major political speech.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>April sneaks up behind him and mimics his gestures - until he notices. Joe spins to confront her.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Why I ought'a ...</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>I was simply demonstrating the way many writers break descriptions into shorter paragraphs. As opposed to allowing description to fill dense blocks running on for lines.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>That makes for tougher reading, doesn't it?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>I know studio readers who claim they skip long description passages and only read dialogue.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>But there are pros who write scripts with extended description.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>They do - but that doesn't mean you should too. When you're paid to write a screenplay, you just have to satisfy the people writing your checks.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe balances on one leg atop the podium.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>But when you're like me, you should stick to format. Is that what you're trying to say?</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>You just want to make your script as easy a read as possible.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>Joe jumps down from the podium and hustles out the door just as conference ATTENDEES begin to enter.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (CONT'D)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>By the way, the first time you introduce a character in description, you CAP his name. And when you break a dialogue passage with description, the standard is to place (CONT'D) next to the speaking character's name.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>April watches as a number of people find chairs in front of her.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL (CONT'D)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Of course, many writers have dropped from their repertoire. I mean, it's obvious that I'm still speaking, isn't it? And that I never stopped speaking.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE (O.S.)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(shouting from beyond the door)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Hey, April! C'mon! There's a barbeque at the Governor's Mansion and a shuttle leaving in two minutes.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Parenthetical" StartsNewPage=""> | |
| <Text>(shouting)</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>We haven't mentioned master scenes.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Action" StartsNewPage=""> | |
| <Text>A sheepish Joe slides back into the seminar room, slowly walking to the podium.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>That one I know. No CLOSE UPs, no WIDE SHOTs, mostly no shots of any kind. Just scene headers, description and dialogue. And no scene numbers. Those only belong on shooting scripts.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>It's okay to sneak in a shot here and there when it's necessary to highlight a moment or move the action along.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>JOE</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>Okay. I can get behind that.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Character" StartsNewPage=""> | |
| <Text>APRIL</Text> | |
| </Paragraph> | |
| <Paragraph Type="Dialogue" StartsNewPage=""> | |
| <Text>And don't worry. I would never let you miss a meal.</Text> | |
| </Paragraph> | |
| <Paragraph Type="Transition" StartsNewPage=""> | |
| <Text>FADE OUT.</Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center" Type="Action" StartsNewPage=""> | |
| <Text>THE END</Text> | |
| </Paragraph> | |
| </Content> | |
| <TitlePage> | |
| <Content> | |
| <Paragraph Alignment="Center"> | |
| <Text>For A Few Days More</Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center"> | |
| <Text></Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center"> | |
| <Text>written by</Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center"> | |
| <Text></Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Center"> | |
| <Text>April Rider</Text> | |
| </Paragraph> | |
| <Paragraph Alignment="Left"> | |
| <Text>April Rider | |
| 999 George Kaplan St NNW | |
| Hitchcock, SD 57000 | |
| 605-555-5555 | |
| april@nowhere.com</Text> | |
| </Paragraph> | |
| </Content> | |
| </TitlePage> | |
| </FinalDraft> |
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