2 SLUG Description or actions. CHARACTER NAME (Parenthetical action) Dialogue. TRANSITION: PAGE BREAK TITLE OVER: SLUG: CTRL + SHIFT + 1 DESCRIPTION OR ACTIONS CTRL + SHIFT + 2 CHARACTER NAME: CTRL + SHIFT + 3 PARENTHETICAL ACTIONS CTRL + SHIFT + 4 DIALOGUES CTRL + SHIFT + 5 TRANSITIONS CTRL + SHIFT + 6 PAGE BREAKS CTRL + SHIFT + 3 TITLES CTRL + SHIFT + 7 SLUG LINE (HEADER): A SCHENE HEADING THAT IS A ONE LINE DESCRIOTION OF THE LOCATION AND TIME OF DAY OF THE SCENE. INTERIOR: INT AND EXTERIOR: EXT OR BOTH: INT./EXT. EXAMPLE: EXT. WRITERS STORE - DAY REVEALS THAT THE ACTION TAKES PLACE OUTSIDE THE WRITERS STORE DURING THE DAYTIME. 2 DESCRIPTION OR ACTION: THE NARRATIVE DESCRIPTION OF THE EVENTS OF A SCENE, WRITTEN IN THE PRESENT TENSE. ONLY THINGS THAT CAN BE SEEN AND HEARD IN THIS SECTION (DIRECTION, VISUAL EXPOSITION, BLACKSTUFF, DESCRIPTION OR SCENE DIRECTION). CHARACTER: WHEN A CHARACTER IS INTRODUCED, HIS NAME SHOULD BE CAPITALIZED WITHIN THE ACTION. A CHARACTER'S NAME IS CAPPED AND ALWAYS LISTED ABOVE HIS LINES OF DIALOGUE. MINOR CHARACTERS MAY BE LISTED WITHOUT NAMES, FOR EXAMPLE "TAXI DRIVER" OR "CUSTOMER." DIALOGUE: LINES OF SPEECH FOR EACH CHARACTER. DIALOGUE FORMAT IS USED ANYTIME A CHARACTER IS HEARD SPEAKING, EVEN FOR OFF-SCREEN AND VOICE-OVERS. PARENTHETICAL: A PARENTHETICAL IS AN ACTION FOR THE CHARACTER THAT IS ACTION OR ATTITUDE ORIENTED. USULY USED RARELY UP TO ACTORS EXPRESSION. DIRECTOR DIRECTS ACTORS ON HOW TO DELIVER LINES. EXTENSION: AN ABBREVIATED NOTE PLACED AFTER THE CHARACTER'S NAME TO INDICATE HOW THE VOICE WILL BE HEARD. THEY ARE DIRECT, VOICE OVER (V.O), OR OUTSIDE SHOT (O.S). THEY ARE PLACED AFTER THE CHARACTER'S NAME, IN PARENTHESE. FOR EXAMPLE, IF THE CHARACTER IS SPEAKING AS A VOICE-OVER, IT WOULD APPEAR AS: LIAM (V.O.) TRANSITION: TRANSITIONS ARE FILM EDITING INSTRUCTIONS, AND GENERALLY ONLY APPEAR IN A SHOOTING SCRIPT. TRANSITION VERBIAGE INCLUDES: CUT TO:, DISSOLVE TO:, SMASH CUT:, QUICK CUT:, AND FADE TO:. 2 SHOT (PLACED UNDER SLUG FORMAT): A SHOT TELLS THE READER THE FOCAL POINT WITHIN A SCENE HAS CHANGED. LIKE A TRANSITION, THERE'S RARELY A TIME WHEN A SCREENWRITER SHOULD INSERT SHOT DIRECTIONS. PAGE BREAK: DIALOGEMAX I WAS WORKING IN THE LAB, LATE ONE NIGHT. (MORE) _PG BREAK_________________________________________________ MAX (CONT'D) WHEN MY EYES BEHELD AN EERIE SIGHT. ACTION PAGE BREAK- PHILLIP CLUTCHES THE KNIFE TO HIS CHEST. _PG BREAK____________________________________________ HE ADMIRES THE GIRLS THROUGH THE WINDOW AS THEY SKIP AND LAUGHT ALONG THE SIDEWALKS. AVOID BREAKING AN ACTION OR DIALOGE IN BETWEEN SENTANCES. DON’T BE AFRAID TO RETURN AND LEAVE BLANK SPACE ON A PAGE. 2 TITLE PAGE: TITLE PAGE IS FIRST WITH NO NUMBERING BUT REMAINS PAGE ONE. NUMBERING STARTS ON PAGE TWO WITH THE NUMBER TWO IN THE TOP RIGHT CORNER. TITLE, “WRITTEN BY”, AND AUTHER NAME IS CENTERED VERTICLY AND HORIZONTALY. THE TILE OF THE SCRIPT IS BOLD IF POSSIBLE EXAMPLE: THE GOOD, THE BAD, THE THIN WRITTEN BY FATTY TURNER