TeX 1995 July/TeX CD-ROM July 1995 (Disc 1)(Walnut Creek)(1995).ISO/macros/scripttex/scripttex.com

LaTeX Document | 1992-08-26 | 104KB | 2,326 lines

$! ------------------ CUT HERE -----------------------
$ v='f$verify(f$trnlnm("SHARE_VERIFY"))'
$! This archive created by VMS_SHARE Version 7.2-007  22-FEB-1990
$!   On 30-DEC-1991 13:53:55.96   By user ADRIAN
$! This VMS_SHARE Written by:
$!    Andy Harper, Kings College London UK
$! Acknowledgements to:
$!    James Gray       - Original VMS_SHARE
$!    Michael Bednarek - Original Concept and implementation
$!+ THIS PACKAGE DISTRIBUTED IN 8 PARTS, TO KEEP EACH PART
$!  BELOW 30 BLOCKS
$! TO UNPACK THIS SHARE FILE, CONCATENATE ALL PARTS IN ORDER
$! AND EXECUTE AS A COMMAND PROCEDURE  (  @name  )
$! THE FOLLOWING FILE(S) WILL BE CREATED AFTER UNPACKING:
$!       1. STDOC.TEX;2
$!       2. STDOC.BBL;4
$!       3. STDOC.IND;4
$!       4. STDOC.AUX;6
$!       5. STDOC.TOC;6
$!       6. STDEMO.TEX;2
$!       7. SCREENPLAY.TEX;2
$!       8. STAGEPLAY.TEX;2
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X% PLEASE KEEP THE VERSION NUMBER UP TO DATE.
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X% Special characters
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X\renewcommand`7B\`7D`7D`7B`7B\tt\char`60\`7D`7D`7D % a typewriter right brac
X\newcommand`7B\tie`7D`7B`7B\tt\char`60\`7E`7D`7D % a typewriter tilde
X\newcommand`7B\bs`7D`7B\char`60\\`7D       % a backslash
X\newcommand`7B\tm`7D`7B\mbox`7B$`5E`7B\rm TM`7D$`7D\null`7D  % trademark
X% Indexing
X\newcommand`7B\pindex`7D`5B1`5D`7B\protect\index`7B#1`7D`7D
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X%\typein`7BType `60\protect\makeindex' to create a new \jobname.idx file.`7D
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X% Products with special typesetting requirements
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X%  (Versions ending in x also create index entries.)
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V #1`7D`7D`7D
X\newcommand`7B\filename`7D`5B1`5D`7B`7B\tt #1`7D`7D
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X\newcommand`7B\person`7D`5B2`5D`7B\mbox`7B#1`7D #2`7D
X\newcommand`7B\personx`7D`5B2`5D`7B\mbox`7B#1`7D #2\pindex`7B#2, #1`7D`7D
X\newenvironment`7Bdigression`7D`7B\begingroup \small`7D`7B\endgroup`7D
X% Things like file names and e-mail addresses tend to be too long for good
X% line breaks.  We don't want to hyphenate them, so we use \. to allow
X% line breaks after the periods.
X\renewcommand`7B\.`7D`7B\discretionary`7B.`7D`7B`7D`7B.`7D`7D
X\hyphenation`7Bman-u-script`7D
X% Title information
X\title`7B\ST: \\ A \TeX\ Macro Package for \\ Screenplays and Scripts`7D
X\author`7B\personx`7BAdrian`7D`7BMcCarthy`7D`7D
X\date`7B\copyright October 24, 1991`7D
X\begin`7Bdocument`7D
X\sloppy % It's better than lines that are too long.
X\maketitle
X\tableofcontents
X\chapter`7BPreface`7D
XThe purpose of this document is to describe
X\version,\index`7BScriptTeX@\ST`7D\index`7BScriptTeX@\ST!version`7D a
Xpackage of \TeX\index`7BTeX@\TeX`7D macros for formatting scripts and
Xscreenplays.  The tone here is informal, but this is intended to be
Xcomplete documentation.  The first part of this document is aimed at
Xthose who wish to use the macros as they are, and the second is for
Xthose who wish to understand the details of how the macros operate.
XThe purpose of this document is `7B\em not\/`7D to be an all-encompassing
Xhow-to-write-scripts tutorial; the bibliography at the end of this document
Xshould point you in the right direction if that's what you're looking for.
V  On
Xthe other hand, this document does have some stylistic details presented as
Xjustification of why \ST\ behaves certain ways when a `60`60better'' way may
V seem
Xto exist.
X\begin`7Bdigression`7D
X\index`7Bdocument conventions`7C(`7D
X\filenamex`7BTypewriter text`7D is used to indicate file names, macro
Xnames, user-typed input, and computer output.  \filmx`7BSlanted text`7D is
Xused for the names of television series, movies, and books.  In this
Xdocument, punctuation is always placed outside quotation marks unless
Xit is to be considered part of the `60`60\idx`7Bquoted material`7D''.  My bi
Xfor the modern spellings of `7B\em dialog,\/`7D\index`7Bdialog vs`20
Xdialogue@`7B\em dialog\/`7D vs.\ `7B\em dialogue`7D`7D `7B\em
Xprolog,\/`7D\index`7Bprolog vs prologue@`7B\em prolog\/`7D vs.\ `7B\em
Xprologue`7D`7D and `7B\em epilog\/`7D\index`7Bepilog vs epilogue@`7B\em epil
Vog\/`7D
Xvs.\ `7B\em epilogue`7D`7D are evident in this document, but the macros
Xallow the traditional `7B\em -gue\/`7D`7Espellings\index`7Bgue spellings@`7B
X-gue\/`7D spellings`7D, too.
X\index`7Bdocument conventions`7C)`7D
X\end`7Bdigression`7D
X\chapter`7BOverview`7D
XI would like to begin this overview by stating the motivation and goals of t
Xpackage.  If you find yourself thinking, `60`60Why in the world did he desig
X\ST\ this way?'', please read this section again.
XIn some regards, a script is a script is a script.  All scripts have acts,
Xscenes, stage directions, and dialog.  It would be nice, therefore, to have
Xconsistent set of \TeX\ macros for scripts.  The format of a script, however
Xvaries depending upon the target media`7E--- stage, screen, published.  Yet,
V the
Xbasic elements do not change.  The first release of \ST\ supported
Xmanuscript-style screenplays; this version has support for simple stageplay
Xformat.  Support of additional formats and variations are planned for the
Xfuture.
X\index`7BScriptTex@\ST!design goals`7C(`7D
XAnd therefore my design goals for \ST\ were:
X\begin`7Bitemize`7D
X\item
XThere should be a simple set of macros which can format to the strict
Xmanuscript requirements expected by agents and producers.
X\item
XThe macros should be general enough to support other sorts script formats
Xwithout changing the source file.  Other script formats considered included:
Xshooting scripts, stageplays, and published screenplays.  I plan to follow u
Xwith macro sets to meet these needs.
X\item
XIn the same vain as \LaTeX, the macros should be geared toward describing th
Xchunks of text rather than formatting them, so \ST\ macros like \cs`7Bscene`
X\cs`7Bdialog`7D, and \cs`7Bstage`7D are roughly analogous to \LaTeX's
X\cs`7Bchapter`7D, \cs`7Bsection`7D, and \cs`7Bsubsection`7D macros.
X\end`7Bitemize`7D
XSince I am also a programmer with an interest in tools to help writers, I ad
Xthe requirement that the files should be easy to parse, so that other
Xscript-specific tools could be designed to read them.  Since, as I will expl
Xin more detail later, screenplays do not require true typesetting capabiliti
Xit is conceivable that I will also want to write a program that can format m
Xmanuscripts without \TeX\@.  The simplicity of parsing the source makes this
Xtask relatively trivial.
XWith these goals in mind, \ST\ began to take shape.  Rather than starting fr
Xscratch, \ST\ relies on several facilities of plain \TeX\@.  A later version
Xmay become a \TeX\ format in its own right.
X\index`7BScriptTeX@\ST!design goals`7C)`7D
X\chapter`7BWriting a script with \ST`7D
XThe macros for preparing a script with \TeX\ are now presented in what the
Xauthor hopes is a logical order.  To best understand these, it is recommende
Xthat you read along with a copy of the \filenamex`7Bstdemo.tex`7D source and
Xformatted copy of the \idx`7Bdemo file`7D.
XFirst of all, you need the command to include the \ST\ macro definitions.`20
XAssuming you want the standard screenplay definitions, put `60`60\csx`7Binpu
Vt`7D
X\filenamex`7Bscreenplay.tex`7D'' at the beginning of your file.\index`7Bincl
Vuding
Xmacro definitions`7D  Stageplays should begin with `60`60\csx`7Binput`7D
X\filenamex`7Bstageplay.tex`7D''.  To format your file, refer to your local s
Vystem
Xguides for how to feed your file to \TeX\@. You may have to make a local cop
Xof \filenamex`7Bscreenplay.tex`7D.
X\section`7BThe basic components`7D
XIn accordance with the stated goals, there are only a few basic control
Xsequences, and they are easy to master.
XTo begin a new act, type`7E--- you guessed it`7E---`60`60\csx`7Bact`7D''.  T
Vhis control
Xsequence does not require any parameters.  The exact action of this macro wi
Xdepend on the setting of the variations, but in general it finishes up the
Xprevious act, increments the act number, and begins the next act.  Depending
Xupon the combination of variants you may have selected, the scene counter ma
Xbe reset to zero.
XAfter starting a new act, you usually have some opening
Xtransition\index`7Btransitions!opening`7D like `60`60fade in''.  To specify
Xopening transition, use the sequence:`20
X`60`60\csx`7Bopen`7D\`7B\P`7Btransition-type`7D\`7D'', where \P`7Btransition
V-type`7D is a
Xshort phrase like `60`60`7B\tt fade in`7D''.  Similarly, closing
Xtransitions\index`7Btransitions!closing`7D are specified like
X`60`60\csx`7Bclose`7D\`7B`7B\tt fade out`7D\`7D''.  Normal transitions betwe
Xscenes\index`7Btransitions!between scenes`7D are indicated by
X`60`60\csx`7Btrans`7D\`7B\P`7Btransition-type`7D\`7D''.  Whether or not punc
Vtuation
Xbelongs at the end of the \P`7Btransition-type`7D is open for
Xdebate.\index`7Btransitions!punctuation`7D  Many authors use `60`60Fade in:'
X`60`60Cut to:'', and `60`60Final fade out.'' while others omit the punctuati
Xcompletely.  Both forms are acceptable, but be consistent throughout
Xthe script.
XFollowing the transition is the new scene, headed up by the \idx`7Bscene lin
Ve`7D.`20
XAn example should suffice:  `60`60`7B\tt \csx`7Bscene`7D\`7Bint.\bs\ subway
V train --
Xnight\`7D`7D''.  The \idx`7Bbackslash`7D after the abbreviation `60`60`7B\tt
V int.`7D''
X(\idx`7Binterior`7D) lets \TeX\ know that the period shouldn't be followed b
Vy two
Xspaces since it wasn't the end of a sentence.  If you forget it, it isn't a
V big
Xdeal.  If you remember it sometimes and not others, you may wish to use the
X\csx`7Bint`7D and \csx`7Bext`7D\index`7Bexterior`7D shortcut control sequenc
Ves listed in
XTable`7E\ref`7Bscstbl`7D.  The \idx`7Bscene number`7D will automatically be
V incremented.
XIf you're still with me, we've made it to the heart of the matter:  \idx`7Bs
Vtage
Xdirections`7D and \idx`7Bdialog`7D.  Normal paragraphs (except those marked
V with the
X\csx`7Bdialog`7D macro discussed below) are considered to be stage
Xdirections automatically.  If you wish to explicitly
Xindicate a paragraph as stage directions, you may type `60`60\csx`7Bstage`7D
V''.  (In a
Xprevious unreleased version, the \csx`7Bstage`7D macro was required.)
XDialog\index`7Bdialog`7D begins with \csx`7Bdialog`7D\`7B\P`7Bcharacter`7D\`
V7D, where
X\P`7Bcharacter`7D is the person speaking.  Subsequent text is then treated a
Xdialog until the next paragraph (indicated by a \csx`7Bpar`7D, \cs`7Bstage`7
VD, another
X\cs`7Bdialog`7D, or a blank line in the input file).
XWith a few more minor macros, you should be off and running.
XWithin stage directions, you should use:  \csx`7Bsound`7D\`7B\P`7Beffect`7D\
V`7D to indicate
Xsound effects; \csx`7Bintroduce`7D\`7B\P`7Bcharacter`7D\`7D to mark the firs
Vt time a
Xspeaking character appears; and \csx`7Bextra`7D\`7B\P`7Bperson`7D\`7D to mar
Vk the first
Xappearance of a non-speaking character (i.e., an extra).  Some combinations
Xscript type and variation in use will cause these special pieces of text to
Xemphasized.
XIn dialog, you may occasionally need to use \idx`7Bparenthetical directions`
Xthose little clues to the performers as to the emotion and gestures which
Xshould accompany their \idx`7Bdialog`7D.  The syntax is:  \csx`7Bparen`7D\`7
VB\P`7Bclue`7D\`7D.`20
XOnly use this macro in the main text of a dialog block; do not use it as par
Xof the text of the \P`7Bcharacter`7D parameter to the \csx`7Bdialog`7D macro
Xanywhere else.
XIn dialog and stage directions, you may need to use \idx`7Bemphasis`7D.
XThe syntax is:  \csx`7Bem`7D\`7B\P`7Bwords`7D\`7D, and it may be used anywhe
Xnormal text is expected.  Note that this is not identical to the
X\LaTeX\index`7BLaTeX@\LaTeX`7D syntax for emphasizing text.  In the
Xtypewritten manuscript, emphasis is shown by underlining the text.  In types
Xdocuments, emphasis is indicated by a change in font.
XThere is one more macro you'll need to know.  Put `60`60\csx`7Bbye`7D''
Xat the \idx`7Bend of the source file`7D.  This will make sure the final page
Xejected.
X\section`7BSlightly advanced components`7D
XThere are a few peculiar situations, which, although they occur rarely,
Xrequire special attention.
X\index`7Bellipses`7C(`7D
XFor better or for worse, ellipses are used often in dialog.  Experienced
Xusers of \TeX\index`7BTeX@\TeX`7D and \LaTeX\index`7BLaTeX@\LaTeX`7D know th
Vat ellipses
Xrequire special spacing to look right. \ST\ provides \csx`7Bldots`7D as an
Xabbreviation for a properly spaced three-dot ellipsis.  Four dot ellipses do
Xseem to be used in screenplays, despite what your English teachers may say.
V  In
Xthe typewriter style of a screenplay manuscript, you can get away with just
Xtyping `60`60`7B\tt ...`7D'', but it isn't recommended.  If you ever do othe
Vr sorts of
Xscripts with \ST\ or other sorts of writing with \LaTeX, the \csx`7Bldots`7D
V habit
Xis a good one to have.
XEllipses present another minor problem:  poor \idx`7Bline breaks`7D.  If a
Xcharacter's words trail off into an ellipsis, it's generally a good
Xidea to use a tie\index`7Btie@tie (\protect\tie)`7D between his/her last utt
Verance
Xand the dots of doom.  (For those of you new to this, a tie is treated
Xjust like a space, except \TeX\ won't break a line there.  To type a
Xtie, use the tilde\index`7Btilde@tilde (\protect\tie)`7Csee`7Btie`7D`7D char
Vacter like
Xthis:  `60`60`7B\tt I'll be back\tie\csx`7Bldots`7D`7D''.)  As with using
X\csx`7Bldots`7D, you can probably get away without following any of these
Xellipsis rules, especially in a typewriter-style manuscript, but it's
Xa nice touch.
XIn screenplays, when one character jumps in and finishes a line for
Xanother character (think of Dave and Maddie in \filmx`7BMoonlighting`7D),
Xellipses are used.  You may have a strong temptation to use
Xdashes,\index`7Bdash!misuse of`7D but the authorities say that
X\idx`7Bellipses`7D are the appropriate tool.  If you have such a
Xsituation, use  `60`60\csx`7Bleadin`7D\`7B\P`7Blast-words`7D\`7D'' around th
Ve first
Xcharacter's last few words and \csx`7Bpickup`7D before the second
Xcharacter's first words.  See the example file.
X\index`7Bellipses`7C)`7D
XAdmittedly, the \csx`7Bleadin`7D and \csx`7Bpickup`7D macros are pretty bori
Vng in
Xscreenplays.  In a stageplay format, the effect is typographically more
Xinteresting (although it could still use work), thus this pair of macros is
Xprovided to help you when its time to adapt\index`7Badaptation`7D your Tony
XAward-winning stageplay to film.
X\section`7BVariants`7D
X\index`7Bvariants`7C(`7D
XWithin the general category of screenplays, there are a few variations which
Xare appropriate to specific types of scripts.
XTeleplays generally show the act breaks and numbers since that's where they
Xslip the \idx`7Bcommercials`7D in.  Although motion picture scripts are buil
Xaround acts too, the act breaks are not explicitly shown.  \ST\ provides the
Xvariations \csx`7BTV`7D\index`7Bvariant!TV`7D and \csx`7Bmovie`7D\index`7Bva
Vriant!movie`7D
Xwhich can be placed at the top of the source file.  Besides suppressing the
V act
Xbreaks, \csx`7Bmovie`7D also prevents the \idx`7Bscene number`7D from
Xbeing reset at the beginning of each act.  In either case, it is recommended
Xthat you use the \csx`7Bact`7D macro (and its cousins which are described la
Vter in
Xthis section).
XAs previously stated, situation comedies\index`7Bsituation comedy`7D are
Xdouble-spaced.  If your script is a situation comedy put
X`60`60\csx`7Bsitcom`7D''\index`7Bvariant!situation comedy`7D near the top of
V your
Xfile.  This macro also implies \csx`7BTV`7D.
XA script may also be printed various ways depending upon its progress
Xthrough the life-cycle of a production.  If you want to print a copy
Xjust for \idx`7Bproof-reading`7D, use \csx`7Bproof`7D.\index`7Bvariant!proof
V`7D`20
XThis macro will put the \idx`7Bdate`7D, \idx`7Bdraft`7D, and \idx`7Btitle`7D
V on a
X\idx`7Bfootline`7D on each page.  On the other hand, if this is the copy
Xyou plan to send out into the real world, use
X\csx`7Bmanuscript`7D\index`7Bvariant!manuscript`7D which turns off the
Xfootlines and \idx`7Bscene number`7Ds.  If you're fortunate enough to have
Xyour screenplay produced `7B\em and\/`7D you get to maintain control of
Xthe \idx`7Bshooting script`7D, use \csx`7Bshoot`7D\index`7Bvariant!shooting
Xscript`7D which turns on the display of \idx`7Bscene number`7Ds.
X\index`7Bmargins`7C(`7D
XManuscripts are generally typed only on one side of the page and are
Xbound\index`7Bbinding manuscripts`7D with one or two brass brads through
Xholes punched in the paper. \ST\ makes the left margin wider to
Xaccommodate the holes and brads.  If, however, you are printing your
Xdraft copies on both sides of the paper, use
X\csx`7Btwoside`7D\index`7Bvariant!two-sided`7D, and \ST\ will alternate whic
Xmargin is widened.
X\index`7Bmargins`7C)`7D
XOne final variant that effects the overall output is the previously mentione
X\csx`7Bjlbrooks`7D\index`7Bvariant!J.L. Brooks`7D macro which causes \ST\ to
V perform
X`60`60creative margin release''.  It is not recommended for use on submitted
Xmanuscripts, but if you want to save a few sheets when printing drafts, this
Xmight help.
XBy the way, the default\index`7Bdefaults`7D for the variants\index`7Bvariant
V!default`7D
Xabove are \csx`7BTV`7D and \csx`7Bproof`7D.
X\index`7Bvariants`7C)`7D
X\section`7BMutant cousins`7D
X\index`7Bmutant cousins`7C(`7D
XA few of the basic controls discussed in a previous section have mutant cous
Xwith specific applications.
XTelevision shows often begin with a mini act called a \idx`7Bteaser`7D, a th
Vree- or
Xfour-minute audience grabber shown before the first
Xcommercial.\index`7Bcommercials`7D  Similarly, some shows have a couple page
Vs after
Xthe last act called a \idx`7Btag`7D where everything is neatly wrapped up or
V the
Xepisode's running gag is finally put to death.  These constructs are identic
Xto acts except for the name.  \ST\ provides \csx`7Bteaser`7D\index`7Bmutant
Xcousins!teaser`7D and \csx`7Btag`7D\index`7Bmutant cousins!tag`7D which can
Xused for these situations in place of \csx`7Bact`7D.
X\ST\ also provides \csx`7Bprolog`7D\index`7Bmutant cousins!prolog`7D and
X\csx`7Bepilog`7D\index`7Bmutant cousins!epilog`7D which might be more
Xappropriate for a miniseries.  These two also make the transition between
Xstageplays and screenplays require less thought.\index`7Badaptation`7D
XYou might want to consider \csx`7Bopen`7D\index`7Bmutant cousins!opening`7D
V and
X\csx`7Bclose`7D\index`7Bmutant cousins!closing`7D to be mutant cousins of \c
Vsx`7Btrans`7D;
Xyou wouldn't be the only one.
X\begin`7Bdigression`7D
XIf you absolutely have to have your acts named\index`7Bact names`7D
Xdifferently than the automatic names like `60`60Act One'', `60`60Teaser'', a
Vnd `60`60Tag'',
Xthen you can call \csx`7Bacthead`7D\`7B\P`7Byour-title`7D\`7D.  Be aware tha
Vt this routine
Xwill increment the internal \idx`7Bact counter`7D.
X\end`7Bdigression`7D
XIf after the last act, you would prefer to the line `60`60\idx`7BThe End`7D'
V' to the
Xstandard `60`60End of Act \P`7Bn`7D'', you can use \csx`7Btheend`7D\index`7B
Vmutant
Xcousins!ending`7D before the \csx`7Bbye`7D.
X\index`7Bmutant cousins`7C)`7D
X\section`7BShortcuts and synonyms`7D
X\index`7Bshortcuts`7C(`7D
X\index`7Bsynonyms`7C(`7D
XThe macros presented to this point are general enough to handle almost any
Xscreenplay manuscript.  As a result, certain sequences are so common that it
Xwould be convenient to have abbreviations.  The source file may also be
Xrendered more readable by the appropriate use of synonyms.  These shortcuts
V and
Xsynonyms don't really require any sort of explanation, so I'll just list the
Xin Table`7E\ref`7Bscstbl`7D.
X\begin`7Btable`7D
X\begin`7Bcenter`7D
X\begin`7Btabular`7D`7Bll`7D
X\hline
X\csx`7Bbeat`7D                      & \csx`7Bparen`7D\`7B`7B\tt beat`7D\`7D
X\csx`7Bcut`7D                       & \csx`7Btrans`7D\`7B`7B\tt cut to`7D\`7
VD \\
X\csx`7Bdialogue`7D\`7B\P`7Bcharacter`7D\`7D & \csx`7Bdialog`7D\`7B\P`7Bchara
Vcter`7D\`7D \\
X\csx`7Bdissolve`7D                  & \csx`7Btrans`7D\`7B`7B\tt dissolve to`
V7D\`7D \\
X\csx`7Bepilogue`7D                  & \csx`7Bepilog`7D$`5E*$ \\
X\csx`7Bext`7D\`7B\P`7Bscene`7D\`7D          & \csx`7Bscene`7D\`7B`7B\tt ext.
V\bs\ `7D\P`7Bscene`7D\`7D \\
X\csx`7Bfadein`7D                    & \csx`7Bopen`7D\`7B`7B\tt fade in`7D\`7
VD \\
X\csx`7Bfadeout`7D                   & \csx`7Bopen`7D\`7B`7B\tt fade out`7D\`
V7D \\
X\csx`7Bint`7D\`7B\P`7Bscene`7D\`7D          & \csx`7Bscene`7D\`7B`7B\tt int.
V\bs\ `7D\P`7Bscene`7D\`7D \\
X\csx`7Bos`7D                        & \csx`7Bparen`7D\`7Boff screen\`7D$`5E\
Vdagger$ \\
X\csx`7Bprologue`7D                  & \csx`7Bprolog`7D$`5E*$ \\
X\csx`7Bshot`7D\`7B\P`7Bsubject`7D\`7D       & \csx`7Bscene`7D\`7B\P`7Bsubjec
Vt`7D\`7D \\
X\csx`7Btv`7D                        & \csx`7BTV`7D \\
X\csx`7Bvo`7D                        & \csx`7Bparen`7D\`7B`7B\tt voice over\`
V7D`7D \\
X\hline
X\multicolumn`7B2`7D`7Bl`7D`7B$`5E*$`7EThese use the `7B\em -gue\/`7D spellin
Vg in the act name.
X  \pindex`7Bgue spellings@`7B\em -gue\/`7D spellings`7D`7D\\
X\multicolumn`7B2`7D`7Bl`7D`7B$`5E\dagger$`7EActually becomes \csx`7Bparen`7D
V\`7B`7B\tt off stage`7D\`7D
Xin stageplay formats.`7D\\
X\end`7Btabular`7D
X\end`7Bcenter`7D
X\caption`7BPredefined shortcuts and synonyms.`7D
X\label`7Bscstbl`7D
X\end`7Btable`7D
X\index`7Bshortcuts`7C)`7D
X\index`7Bsynonyms`7C)`7D
X\section`7BTitle pages\index`7Btitle page`7D`7D
X\ST\ can also produce pretty title pages, just tell \ST\ the basic informati
Von:`20
Xyour script's title and your name. Put `60`60\csx`7Btitle`7D\`7B\P`7Bscript-
Vtitle`7D\`7D'' and
X`60`60\csx`7Bauthor`7D\`7B\P`7Bauthor's-name`7D\`7D'' at the top of your sou
Vrce file.  The
Xmacro \csx`7Bmaketitle`7D will then produce a title page.
XThere is a little more to the title page story, however.  If you are writing
Xspec script\index`7Bspec(ulation) script`7D or an episode of a \idx`7Btelevi
Vsion
Xseries`7D, you should also indicate the name of the series with the
X\csx`7Bseries`7D\`7B\P`7Bseries-name`7D\`7D construct.
XTo show a copyright notice on the titlepage, specify
X\csx`7Bshowcopyright`7D\`7B\P`7Byear`7D\`7D before the \cs`7Bmaketitle`7D ma
Vcro.  To keep your
Xold scripts looking up to date, you might want to use \cs`7Bnumber`7D\cs`7By
Vear`7D for
Xthe \P`7Byear`7D parameter.
XYour address and/or phone number (or that of your agent) can be included by
Xusing \csx`7Baddress`7D\`7B\P`7Baddress`7D\`7D.  Separate the lines of the \
VP`7Baddress`7D
Xwith double backslashes (\bs\bs).
XDespite what agents want to see, I like to have \idx`7Bdraft`7D numbers and
X\idx`7Bdate`7Ds on my drafts.  You can include this information by using
X`60`60\csx`7Bdraft`7D\`7B\P`7Bdraft-number`7D\`7D'' and `60`60\csx`7Bdate`7D
V\`7B\P`7Bdraft-date`7D\`7D'' before
Xthe \csx`7Bmaketitle`7D command.  If the selected variant is
X\csx`7Bproof`7D,\index`7Bvariant!proof`7D the draft and date information wil
Vl be
Xprinted.  If, however, the \csx`7Bmanuscript`7D variant\index`7Bvariant!manu
Vscript`7D
Xis in force, the draft and date information is ignored.  If you don't supply
Xthe date, \ST\ will assume \csx`7Btoday`7D which expands to the date that yo
Vu are
Xrunning \TeX\@.
X\chapter`7BBreakdowns`7D
X\index`7Bbreakdowns`7C(`7D
XThe original release of \ST\ included the ability to produce cast lists and
Xscene breakdowns.  They looked terrible, weren't useful, and generally cause
Xall sorts of problems.  Therefore, the breakdown features have been removed
V from
X\ST\ and will probably not return.
XI apologize if you came to rely on the breakdown features.  The user-level
Xmacros supporting the breakdowns will now cause a warning message to be
Xdisplayed, but should not otherwise hinder the formatting of your scripts.
X\index`7Bbreakdowns`7C)`7D
X\chapter`7BHints`7D
XIf you are having problems with \ST, these \idx`7Bhints`7D might be helpful.
XMany of \ST\ macros only work properly when used in the right context.  Stra
Xoutput is often due to using a macro in weird place.  If you are familiar wi
X\LaTeX, it may be sufficient to say that variants, revision information, and
Xthe \cs`7Bmake`7D\ldots macros are analogous to \LaTeX's preamble except tha
Vt \ST\
Xdoesn't make the distinction between the preamble and the body explicit.  He
Xare the rules of what can go where:
X\begin`7Bquote`7D
X\begin`7Bitemize`7D
X\item You must use `60`60\csx`7Binput`7D \filenamex`7Bscreenplay.tex`7D''\in
Vdex`7Bincluding
Xmacro definitions`7D or `60`60\csx`7Binput`7D \filenamex`7Bstageplay.tex`7D'
V'\index`7Bincluding
Xmacro definitions`7D before any \ST\ macros.
X\item If \TeX\ complains that the font \idx`7Bcmpica`7D or \idx`7Bcmpicai`7D
V cannot be
Xfound, you will need to edit \filename`7Bscreenplay.tex`7D to change the
Xdefinitions of `7B\tt mainfont`7D and `7B\tt emfont`7D to `7B\tt cmtt`7D.\in
Vdex`7Bcmtt`7D
X\item Variants\index`7Bvariants!position of`7D (such as \csx`7Btwoside`7D, \
Vcsx`7Bproof`7D,
Xand \csx`7BTV`7D) should come next.
X\item Revision information\index`7Bdraft`7D\index`7Bdate`7D\index`7Btitle`7D
V\index`7Bauthor`7D
Xmust come before \csx`7Bmaketitle`7D.
X\item Finally comes the main body of the script formed with the basic
Xcomponents.
X\item Use \csx`7Bparen`7D `7B\em only\/`7D in dialog.
X\item The macro \csx`7Bcleanup`7D should only come after all of the body of
V the
Xscript.  \csx`7Bcleanup`7D is optional since \csx`7Bbye`7D will take care of
V it.
X\item Nothing should come after \csx`7Bbye`7D.
X\end`7Bitemize`7D
X\end`7Bquote`7D
X\chapter`7BHow the macros work`7D
XAt least some of the techniques used in \ST\ should be documented beyond the
Xfew cryptic sentences in the source.  (In fact, once it is well-documented
Xhere, the source should probably be stripped of comments to speed up the
X\csx`7Binput`7D process.)  These sections assume a good familiarity with \Te
VX\@.
X\section`7BEmulating a typist`7D
XOne of the trickiest things I've had to do with \TeX\ is make it emulate a
Xtypewriter.  Here are the techniques used to do this in \ST.
XPrevious versions of \ST\ used \idx`7BComputer Modern Typewriter Type`7D
X(\idx`7Bcmtt`7D)\index`7Btypewriter text`7D by default for typed screenplay
V formats.
XThis version, however, uses a pica font called \idx`7Bcmpica`7D and an under
Vlined
Xcousin called \idx`7Bcmpicai`7D created by \personx`7BDon`7D`7BHosek`7D.  Th
Ve advantages
Xthese fonts is that they automatically transform \TeX\ typing conventions
Xlike `60`60`7B\tt `60`60---''`7D'' into `60`60`7B\tt "--"`7D'' and they prov
Vide better underlining.
X\begin`7Bdigression`7D
XIf you do not have these fonts available at your site, you can edit
X\filename`7Bscreenplay.tex`7D to change the definition of `7B\tt mainfont`7D
V and `7B\tt
Xemfont`7D to cmtt, but I encourage you to try to get Don Hosek's fonts.  The
Xare available from `7B\tt ymir\.claremont\.edu`7D via anonymous ftp.
X\end`7Bdigression`7D
XThe typewriter fonts are fixed pitch, and the inter-word spaces can't stretc
Xor shrink.  In case the user changes to a different font, \ST\ uses
X\csx`7Bspaceskip`7D and \csx`7Bxspaceskip`7D to make sure that the spaces ar
Ve fixed
Xwidth.  Everything is scaled in terms of lines and columns by defining
X\csx`7Blineskip`7D and \csx`7Bcharwid`7D once the font is selected.  \csx`7B
Vlineskip`7D is
Xset to 12 big points to make sure that there are 6 \idx`7Blines per inch`7D.
XThe changing margins of screenplay format are achieved by adjusting
X\csx`7Bleftskip`7D and \csx`7Brightskip`7D appropriately.  \csx`7Brightskip`
V7D also takes
Xinto account the ragged right margin by having a stretchability of 8 charact
Xwidths.  (The `60`60hot zone'' on a typewriter is generally 8 characters wid
Ve, so
Xlines are usually broken between the margin bell, which signifies the beginn
Xof the hot zone, and the actual right margin.)  To emulate a typist even mor
Xexactly, setting \csx`7Bhfuzz`7D to some slightly positive multiple of chara
Vcter
Xwidths might be appropriate.  To stretch things out when the \csx`7Bjlbrooks
Xvariant is in effect, \ST\ does increase \csx`7Bhfuzz`7D (as well as stretch
V all of
Xthe line lengths).
XHyphenation\index`7Bhyphenation`7D is a fact of life in the realm of
Xscreenplay manuscripts, as are `60`60club\index`7Bclub line`7D'' and
X`60`60widow\index`7Bwidow line`7D'' lines.  Additionally, we want \TeX\ to
Xjust fill each line as much as possible without worrying too much
Xabout the aesthetic look of the entire paragraph.  To achieve this,
X\ST\ sets \TeX's battery of penalty and demerit factors to zero and
Xincreases \csx`7Bpretolerance`7D so that we're more likely to hyphenate
Xthan have a really short line.
XThe result is pretty good (apologies to Knuth).  Anyone but a typist who was
Xlooking for something wrong would not be able to detect weirdness, and the
Xaforementioned typist would probably remark that the output is too consisten
Vt.`20
X\section`7BMark madness`7D
X\index`7Bmarks`7C(`7D
XMarks are the biggest nightmare in \ST.  Each mark has seven parts used
Xand an eighth part which is reserved for a feature whose implementation is
Xstill being worked out.  Each part of the mark is a token list of stuff that
Xneeds to be done in certain situations.  The parts are separated by \csx`7Bo
Vr`7Ds so
Xthat the $n\/$th part can be selected with \csx`7Bifcase`7D$n$.  The parts a
X\begin`7Bquote`7D
X\begin`7Bitemize`7D
X\item`5B0.`5D  The text to generate the act/scene header.  In the
X\filenamex`7Bscreenplay.tex`7D format, it is the hanging \idx`7Bscene number
Xfollowed by a period and a space.  (Some variants don't use this part at all
X\item`5B1.`5D  The text `60`60(CONTINUED)\index`7Bcontinued@(CONTINUED)`7D''
V if this scene
Xis continued from the previous page.
X\item`5B2.`5D  The text `60`60\P`7Bcharacter`7D (CONT'D)\index`7Bcontd@(CONT
V'D)`7D'' if the
Xcurrent dialog by \P`7Bcharacter`7D may be continued onto the next page.
X\item`5B3.`5D  A call of \csx`7Bnukeline`7D to make room for the
X`60`60(MORE)\index`7Bmore@(MORE)`7D'' text which is used if dialog is split.
X\item`5B4.`5D  The text `60`60(MORE)\index`7Bmore@(MORE)`7D'' if the current
V dialog
Xcontinues onto the next page.
X\item`5B5.`5D  A pair of \csx`7Bnukeline`7Ds to make room for the `60`60\idx
V`7BCONTINUED`7D''
Xtext at the bottom of the page if the current scene continues onto the next
Xpage.
X\item`5B6.`5D  The `60`60\idx`7BCONTINUED`7D'' text for the bottom of the pa
Vge if the
Xcurrent scene continues onto the next page.
X\item`5B7.`5D  Reserved for the up-coming \idx`7Brevision page`7D feature.
X\end`7Bitemize`7D
X\end`7Bquote`7D
X\noindent It is easier to understand this list if you look at a formatted
Xscreenplay to see how the scene and dialog splits are handled from page to
Xpage.  Putting the \csx`7Bnukeline`7Ds into separate parts of the mark is ne
Vcessary
Xbecause they must be done before the body of the page, but the text doesn't
Xcome until afterwards.  In retrospect, it might be possible to combine items
V`7E1
Xand`7E6, but that would come at the cost of generality and clarity.
XThe \csx`7Boutput`7D routine\index`7Boutput routine`7D actually uses the \id
Vx`7Bmarks`7D.`20
XAt first blush this may not seem too tricky, but there is an important
Xsubtlety.  The `60`60(MORE)\index`7Bmore@(MORE)`7D'' and `60`60\idx`7BCONTIN
VUED`7D'' lines at
Xthe bottom of the page actually encroach into the space intended for the bot
Xof the page.  The \csx`7Bnukeline`7Ds help keep track of how much extra spac
Ve we
Xneed at the bottom.  When the time comes, the box \TeX\ has handed the
X\csx`7Boutput`7D routine must be \csx`7Bvsplit`7D, so that a few lines at th
Ve bottom are
Xusually deferred to a later page.  The local setting of \csx`7Bvbadness`7D t
X`60`60infinity'' suppresses the `60`60underfull vbox'' messages that come fr
Vom the
Xsplit.  \csx`7Bvbadness`7D is restored (implicitly by \TeX's grouping rules)
V before
Xthe \csx`7Bshipout`7D occurs.
XThe splitting of the box further complicates keeping track of the mark.  No
Xlonger is \csx`7Btopmark`7D valid, since it might have come from lines that
V were put
Xback when the previous page was output.  It is not a mistake that
X\csx`7Bsplitbotmark`7D is used when \csx`7Btopmark`7D seems to be the logica
Vl intent.`20
X\TeX\ assures us the \csx`7Bsplitbotmark`7D is null if no \csx`7Bvsplit`7D h
Vas yet
Xoccurred, so there is no special case for the first page.
XThe macros for the basic components may seem to use penalties in odd ways.`2
XThis is to assure that a split doesn't occur between a mark and the relevant
Xblock.  In some cases, they may be redundant, but the intent was to guarante
Xproper operation in this early release and then to optimize later.
XThe current value of each part of the last mark is carried around in a set o
Xseven macros.  This is necessary since certain basic components don't know h
Xto set all of the components of the mark.  Close inspection will probably
Xreveal possible optimizations in this regard, but again the intent was to ke
Xit general for the first release.
X\index`7Bmarks`7C)`7D
X\chapter`7BDistribution and local changes`7D
X\index`7BScriptTex@\ST!distribution`7C(`7D
XThis document, the \ST\ macro files, and the demonstration document are
Xcopyrighted by the author.  You may make and distribute copies as well as
Xprepare derivative works for non-commercial purposes.  All other rights are
Xreserved by the author.
XFeel free to re-distribute this document as well as the files described here
Vin.`20
XI request, however, that you try to keep the files together (i.e., don't bre
Xup the package).  This package is available via \idx`7Banonymous ftp`7D and
X\idx`7BMAILSERV`7D from `7B\tt ymir\.claremont\.edu`7D in the directory
X\filename`7B`5Banonymous\.TeX\.inputs\.ScriptTeX`5D`7D.  Thanks to the appro
Vpriate
Xfolks (Don)\index`7BHosek, Don`7D in \idx`7BClaremont, CA`7D.
XIf you make local hacks, please change the
Xversion\index`7BScriptTeX@\ST!version`7D number by appending a
Xletter to it, e.g., `60`60\vernum-A''.  Be aware that `60`60\vernum-A'' at o
Vne site
Xwill quite possibly be different than `60`60\vernum-A'' at another.  I would
V like,
Xhowever, users to feel confident that `60`60\vernum'' is `60`60\vernum'' is
V `60`60\vernum''
Xeverywhere. I also prefer local hacks don't propagate too far.  If you have
Xchange that is generally useful, I would love to hear about it and integrate
Xinto the `60`60official'' package.
XThis document is written with \LaTeX\@.  There is a companion example file
Xcalled \filenamex`7Bstdemo.tex`7D which demonstrates the use of this macro p
Vackage.`20
XThese files, the source for this documentation, and the macro files themselv
Xare controlled with DEC\tm's Code Management System (CMS) by the author.`20
XTable`7E\ref`7Bfiletbl`7D lists the files which constitute \ST.
X\begin`7Btable`7D
X\begin`7Bcenter`7D
X\begin`7Btabular`7D`7Bll`7D
X\hline
X\filenamex`7Bscreenplay.tex`7D & macro definitions for screenplay manuscript
Vs \\
X\filenamex`7Bscreenwriting.bib`7D & \BibTeX\index`7BBibTeX@\BibTeX`7D source
V for this
X                                documentation \\
X\filenamex`7Bstageplay.tex`7D  & macro definitions for stageplays \\
X\filenamex`7Bstdemo.tex`7D     & \ST\ demonstration file \\
X\filenamex`7Bstdoc.tex`7D      & \LaTeX\ source for this documentation \\
X\hline
X\end`7Btabular`7D
X\end`7Bcenter`7D
X\caption`7BThe components of`7E\version.`7D
X\label`7Bfiletbl`7D
X\end`7Btable`7D
X\index`7BScriptTex@\ST!distribution`7C)`7D
X\appendix
X\chapter`7B\idx`7BScript formats`7D`7D
XThis appendix describes the formats for the various types of scripts current
Xsupported by \ST.
X\section`7B\idx`7BScreenplay manuscript format`7D`7D
XScreenplay manuscripts are typed, not typeset.  With computers becoming even
Xmore ubiquitous, aspiring scriptwriters are more likely to be submitting
Xnice-looking documents formatted with Macintoshes\tm\ and PC's and the like.
XFor better or worse, agents take typewritten manuscripts more seriously,
Xaccording to \personx`7BRichard`7D`7BWalter`7D in \book`7BScreenwriting:  Th
Ve Art, Craft
Xand Business of Film and Television Writing`7D`7E\cite`7Brw:sacb`7D.  Theref
Vore, \ST's
Xscreenplay manuscript format looks typewritten.
XThe layout of a typewritten manuscript has few variations.  The \ST\ macros
Xhave been designed to emulate those conventions that seem to be most univers
Val.`20
XDetails like lines per page, \idx`7Bpage number`7D, \idx`7Bscene number`7Ds,
V and
Xmargins have all been based on half a dozen screenwriting books and a few
Xactual screenplays.  Whenever there was an inconsistency, I went with the
Xmajority.
XThe screenplay format is so evolved that`7E--- averaged out over a half-hour
Xshow, a two-hour movie, or a four-night miniseries`7E--- one page is one min
Xof screen time.  This may sound absurdly arbitrary, but it seems to hold tru
Ve.`20
XOne page averages to one minute.  Agents and producers realize that this is
Xonly a rule-of-thumb, but this rule does drive decisions.  Production costs
V are
Xoften estimated from the page-count, so it is important that the conventions
Xare followed.
XThere is an exception to the page-a-minute rule:  situation
Xcomedies\index`7Bsituation comedy`7D. Sitcoms are typed double-spaced, so
Xone sitcom page is 30`7Eseconds.  In all other aspects, though, sitcoms
Xare formatted just like other teleplays.
X\begin`7Bdigression`7D
XAs an amusing aside, \personx`7BJames L.`7D`7BBrooks`7D, in his foreword
Xto the published screenplay of \filmx`7BBroadcast News`7D`7E\cite`7Bjlb:bn`7
VD, explains
Xthat he often bribed studio typists to shrink the margins to make his too-lo
Xscripts come closer to `60`60acceptable'' page-counts.  This anecdote is the
Xinspiration of the \csx`7Bjlbrooks`7D macro in \ST.
X\end`7Bdigression`7D
XIf you are serious about submitting your work to agents, you are
Xbetter off knocking their socks off with a good story than your own
Xinterpretation of manuscript format.
XThe basic layout is simple.  A scene begins with a line,\index`7Bscene line`
V7D in
Xall caps, which indicates the location and usually the time of day.  (In a
X\idx`7Bshooting script`7D, each new camera angle is considered a scene, so t
Xscene lines in the middle of a sequence often simply indicate the main subje
Xof the shot, such as a particular character.)  Stage directions\index`7Bstag
Xdirections`7D and descriptions are typed like normal paragraphs without
Xindentation.
XDialog\index`7Bdialog`7D begins with the character's name, all in caps, roug
Xcentered on a line by itself (no colons or other punctuation).  The characte
Xwords are set as narrow paragraphs, again without indentation. Parenthetical
Xdirections\index`7Bparenthetical directions`7D which indicate the mood or
Xmannerisms of the character as he/she speaks are set even narrower and insid
Xparentheses.
XTransitions\index`7Btransitions`7D like `60`60dissolve to'' and `60`60cut to
V'' are done in
Xcaps near the right margin.  Opening and closing transitions such as `60`60f
Xin'' and `60`60fade out'' are placed at the left margin.
XNote, overuse of \index`7Btransitions`7D and \index`7Bparenthetical directio
Vns`7D is
Xusually considered bad form.  A simple `60`60cut to'' is redundant, since th
Vat can
Xbe inferred from the beginning of the new scene.  Occasionally, it is
Xappropriate to use a `60`60dissolve to'' to signal a `7B\em long\/`7D passag
Ve of time
Xor to introduce a flashback.  Parenthetical directions alsost always amount
Xdirecting on paper, which is another no-no.  When a character speaks to a
Xspecific person in a group, a parenthetical direction may be used to avoid
Xambiguity. If you want to sell your script, don't give into the temptation o
Xpadding your script with zillions of useless transitions and parenthetical
Xdirections.
XBlank lines\index`7Bblank lines`7D separate almost everything.  Pages are
Xnumbered\index`7Bpage number`7Ds in the upper-right corner of the page.`20
XIf a scene crosses \idx`7Bpage break`7D, as they often do,
X`60`60\idx`7BCONTINUED`7D'' should be placed at the bottom of the page, in t
Xsame style as a transition, and the page-number line of the following
Xpage should be marked `60`60CONTINUED'' at the left.  If \idx`7Bscene
Xnumber`7Ds are used (rare in manuscripts), then they are set hanging in
Xthe left margin next to the scene lines and the top `60`60CONTINUED''
Xdesignations.  If a character's dialog spans a page break, the first
Xpart is labeled `60`60(MORE)\index`7Bmore@(MORE)`7D'' in the same style of
Xparenthetical directions, and the following page repeats the
Xcharacters name with the designation
X`60`60(CONT'D)\index`7Bcontd@(CONT'D)`7D''.
XText marked with the \csx`7Bsound`7D, \csx`7Bintroduce`7D, and \csx`7Bextra`
V7D macros will
Xbe set in all-caps in shooting scripts.  In all other formats, \csx`7Bsound`
V7D is a
Xno-op.
XThis has been a loose description of the format, with which one should be ab
Xto read a screenplay.  The actual placement of these blocks is strictly
Xprescribed in terms of lines and columns.  Some books even list different ta
Xsettings for pica and elite typewriters.  Since the \idx`7BComputer Modern
XTypewriter Type`7D, `60`60\idx`7Bcmtt`7D'', isn't really pica or elite, I ha
Vve scaled
Xthings in terms of character widths, which will cause nearly identical line
Xbreaks as someone following the standard conventions with a standard size
Xtype.\index`7Btypewriter text`7D  Baselines\index`7Bbaselines`7D have been s
Vet to
X12`7Ebig points rather than 12`7Epoints in order to get a true 66`7E\idx`7Bl
Vines per
Xpage`7D.  I shall put off other such details to the description of the worki
Xof the macros.
XAnother set of cold rules for screenplay manuscripts is those that apply to
V the
Xtitle page.  Most of these rules are of the `60`60do not'' variety.  The `60
V`60do''
Xrules are easier to enumerate:  (1) put the name of the script in all caps
Xcentered on the page; (2) put the name of the author a few lines below the
X\idx`7Btitle`7D.  The `60`60do not'' rules essentially say, `60`60Don't put
V anything on the
Xtitle page other than the title and the author's name''.  If you disagree wi
Xthese rules, see the \personx`7BRichard`7D`7BWalter`7D book listed in the bi
Vbliography;
Xhe explains why you shouldn't have the date or draft information, the author
Xaddress and telephone number, or even the words `60`60written by'' before th
Xauthor's name.  Except for the draft and date fields, \ST\ will place the ot
Xpieces of information on your title page if you have defined them.  Draft an
Xdate will also appear if the \csx`7Bproof`7D variant is in force.`20
X\personx`7BMichael`7D`7BHauge`7D recommends that you include a copyright not
Vice on the
Xtitle page, but always use the current year to keep your old scripts looking
Xfresh.
X\section`7BStageplay format`7D
XThe layout of the stageplay format was fairly arbitrary.  Published formats
V for
Xstageplays seems to exhibit more flexibility than the screenplay manuscript
Xformat.
XAct and scene designations are always shown.  Acts and scenes are counted in
XRoman numerals:  uppercase for acts, lowercase for scenes.  Acts always begi
Xon a new page.  The heading line on each page contains the title and the act
Xand scene number.
XScene lines and stage directions are typeset in an italic font.  Dialog uses
Xthe same margins as the rest of the text.  The speaking character is set in
Xsmall caps with hanging indentation.  The dialog itself in roman type, and
Xparenthetical directions are italicized like stage directions.
XThe transition macros \csx`7Bopen`7D, \csx`7Bclose`7D, and \csx`7Btrans`7D s
Vhould
Xbe used to indicate key curtain and lighting changes, such as
X`60`60\csx`7Bopen`7D\`7B`7B\tt curtain up`7D\`7D'' and `60`60\csx`7Bclose`7D
V\`7B`7B\tt
Xblackout`7D\`7D''.
XThe \csx`7Bleadin`7D and \csx`7Bpickup`7D macros measure and stagger the tex
Vt to
Xemphasize the flow of the dialog from one character to the next.
X\chapter`7BKnown problems and limitations`7D
X\index`7Bbugs`7C(`7D
XMost of these problems are minor annoyances.
X\begin`7Bitemize`7D
X\item  Using certain macros in the wrong context, such as a \csx`7Bparen`7D
Xstage directions or a variation switch too far down from the top can cause a
Xsorts of weird things to happen.  (`60`60Doctor, it hurts when I do this!''
X`60`60Don't do that.'')
X\item  If your script has an inordinate number of acts, the \idx`7Bact numbe
Vr`7D
Xwill shift from being spelled out (`60`60Act Nine'') to uppercase Roman nume
Vrals
X(`60`60Act XXIV'').  This threshold, however, should be high-enough to handl
Ve even
Xweek-long \idx`7Bminiseries`7D without enter the Roman numeral phase.
X\item  The \csx`7Bleadin`7D and \csx`7Bpickup`7D macros don't work quite rig
Xin stageplay format.  A future release will provide better support.
X\end`7Bitemize`7D
X\index`7Bbugs`7C)`7D
X\chapter`7BGlossary`7D
X\begin`7Bdescription`7D
X\item`5B`60`60\idx`7BA-pages`7D''`5D Pages in a screenplay (usually a shooti
Vng script)
Xwhich have been inserted during the course of a revision.\index`7Brevision p
Vage`7Ds`20
XTo avoid renumbering the entire script, additional pages are numbered with t
Xnumber of the previous page and a letter.  For example, if page 92 has grown
Xinto three pages, the page sequence would be:  \ldots\,,`7E91, 92, 92-A, 92-
X93,`7E\ldots\,.
X\item`5B\idx`7Bclub lines`7D`5D If a paragraph is split across pages between
V the first
Xand second line, the first line is a club line.
X\item`5B\idx`7Bdialog block`7D`5D A screenplay format construct consisting o
Vf the
Xcharacter's  name and his/her words along with the associated parenthetical
Xdirection.
X\item`5B\idx`7Bextra`7D`5D A character in a script who has no dialog.
X\item`5B\idx`7Bkoala`7D`5D An Australian marsupial that eats bushes, shoots,
V and leaves.
X\item`5B\idx`7Bmanuscript`7D`5D `5Bin the context of this document:`5D A typ
Ved script of
Xthe form submitted to an agent or producer.
X\item`5B\idx`7Bmaster scene`7D`5D  A scene in a script that is written in te
Vrms of all
Xof the action that takes place in the given locale at a particular time rath
Xthan a shot-by-shot description of the same events.  Manuscripts are general
Xwritten as master scenes which, if the script is produced, later broken down
Xshot-by-shot into the \idx`7Bshooting script`7D.
X\item`5B\idx`7Bparenthetical direction`7D`5D Parenthesized items embedded in
Vto a
Xcharacter's dialog which indicate the mode, timing, and gestures for that
Xspeech.
X\item`5B\idx`7Bscene line`7D`5D The line in all caps at the beginning of a s
Vcene which
Xidentifies the location and time of the scene.  In a \idx`7Bshooting script`
V7D, the
Xscene line often indicates the primary subject of the shot.
X\item`5B\idx`7Bscreenplay`7D`5D A script for a television show or motion pic
Vture
Xproduction.
X\item`5B\idx`7Bshooting script`7D`5D A script that has been prepared for pro
Vduction by
Xbreaking each sequence down shot-by-shot.  A shooting script is generally
Xprepared by the director (sometimes in association with the author) from the
Xauthor's original manuscript.
X\item`5B\idx`7Bspec(ulation) script`7D`5D A script written on speculation fo
Vr an
Xexisting television series.  Spec scripts are rarely sold, but they may lead
Xa regular staff-position for that series.
X\item`5B\idx`7Bstage directions`7D`5D Blocks of text which describe scenes a
Xcharacters and there actions.  Stage directions also indicate sound\index`7B
Vsound
Xeffect`7D and \idx`7Bspecial effect`7Ds.
X\item`5B\idx`7Bstageplay`7D`5D A script for a theatrical production.
X\item`5B\idx`7Bteleplay`7D`5D A script specifically for a television show or
V made-for-TV
Xmovie.
X\item`5B\idx`7Bwidow line`7D`5D  If a paragraph is split across pages betwee
Vn its
Xpenultimate and last lines, the last line is a widow line.
X\end`7Bdescription`7D
X\chapter`7BMacro summary`7D
XThis summary lists the \ST\ macros which are intended for authors to use.
X\section`7BBasic components`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Bact`7D`5D Begins a new act.
X\item`5B\csx`7Bbye`7D`5D Ejects the last page, closes the auxiliary files, a
Vnd performs
Xother housekeeping duties.
X\item`5B\csx`7Bcleanup`7D`5D Ejects the last page and closes the auxiliary f
Viles.  After
X\csx`7Bcleanup`7D you may safely use the \csx`7Bmakecastlist`7D and \csx`7Bm
Vakescenelist`7D
Xmacros.
X\item`5B\csx`7Bclose`7D\`7B\P`7Btransition-type`7D\`7D`5D Outputs a closing
V transition
Xlike `60`60FADE OUT'' for use at the end of an act.
X\item`5B\csx`7Bcut`7D`5D  Shortcut for `60`60\csx`7Btrans`7D\`7B`7B\tt cut
Xto`7D\`7D''.\index`7Bshortcuts!cut`7D
X\item`5B\csx`7Bdialog`7D\`7B\P`7Bcharacter`7D\`7D \P`7Bspeech`7D`5D Begins a
V new dialog
Xblock for the specified \P`7Bcharacter`7D.  His/her words and parenthetical
Xdirections (\P`7Bspeech`7D) should follow.  The dialog block ends at the nex
Xparagraph break.
X\item`5B\csx`7Bdissolve`7D`5D  Shortcut for `60`60\csx`7Btrans`7D\`7B`7B\tt
V dissolve
Xto`7D\`7D''.\index`7Bshortcuts!dissolve`7D
X\item`5B\csx`7Bem`7D\`7B\P`7Bwords`7D\`7D`5D Emphasizes the \P`7Bwords`7D (b
Vy underlining
Xthem in manuscript format).
X\item`5B\csx`7Bextra`7D\`7B\P`7Bperson`7D\`7D`5D Used to indicate the first
V appearance of a
Xparticular non-speaking character.
X\item`5B\csx`7Bintroduce`7D\`7B\P`7Bcharacter`7D\`7D`5D Used to indicate the
V first appearance of
Xa speaking character.
X\item`5B\csx`7Bopen`7D\`7B\P`7Btransition-type`7D\`7D`5D Outputs an opening
V transition
Xlike `60`60FADE IN'' for use at the beginning of an act.
X\item`5B\csx`7Bparen`7D\`7B\P`7Bclue`7D\`7D`5D Places a parenthetical direct
Vion inside a
Xdialog block.  Never use this macro outside the context of the \P`7Bspeech`7
Xparameter in a dialog.
X\item`5B\csx`7Bscene`7D\`7B\P`7Bscene-line`7D\`7D`5D Begins a new scene.
X\item`5B\csx`7Bsound`7D\`7B\P`7Beffect`7D\`7D`5D Indicates that \P`7Beffect`
V7D is a \idx`7Bsound
Xeffect`7D.  Never use this macro outside the context of stage directions.
X\item`5B\csx`7Bstage`7D`5D  (optional) Begins a block of \idx`7Bstage direct
Vions`7D.
X\item`5B\csx`7Btrans`7D\`7B\P`7Btransition-type`7D\`7D`5D  Indicates the typ
Ve of
Xtransition between scenes.\index`7Btransitions`7D
X\end`7Bdescription`7D
X\section`7BSlightly advanced components`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Bacthead`7D\`7B\P`7Bact-name`7D\`7D`5D Begins a new act named
V \P`7Bact-name`7D.  This
Xmacro is used in the guts of \csx`7Bact`7D and its mutant cousins.  In gener
Val, using
Xthis routine directly is not recommended unless you know what you are doing.
X\item`5B\csx`7Bldots`7D`5D Expands to a three-dot ellipsis.\index`7Bellipses
X\item`5B\csx`7Bleadin`7D\`7B\P`7Blast-words`7D\`7D`5D  Prepares the dialog t
Vo be
Xinterrupted by the next character.  See \csx`7Bpickup`7D.
X\item`5B\csx`7Bpickup`7D`5D Use at the beginning of a character's dialog whe
Vn he/she
Xis interrupting the previous character.  See \csx`7Bleadin`7D.
X\item`5B\csx`7Btheend`7D`5D  Causes the final `60`60End of Act $n$'' line to
V be replaced by
X`60`60The End''.  Use immediately before \csx`7Bbye`7D.\index`7Bmutant cousi
Vns!ending`7D
X\item`5B\csx`7Btoday`7D`5D  Expands to the current \idx`7Bdate`7D in the for
X\P`7Bdd-MMM-yyyy`7D.
X\end`7Bdescription`7D
X\section`7BVariants`7D
X\index`7Bvariants`7C(`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Bjlbrooks`7D`5D  Invokes the \personx`7BJames L.`7D`7BBrooks`7
VD variant, causing
X\ST\ to squeeze a little more script onto every
Xpage.\index`7Bvariant!J.L. Brooks`7D
X\item`5B\csx`7Bmanuscript`7D`5D  Invokes the manuscript
Xvariant\index`7Bvariant!manuscript`7D for ready-to-submit output.
X\item`5B\csx`7Bmovie`7D`5D Invokes the motion picture variant\index`7Bvarian
Vt!movie`7D.
X\item`5B\csx`7Bproof`7D`5D Invokes the proof-reading variant.  Use on prelim
Vinary
Xdrafts to include \idx`7Bdate`7D and \idx`7Bdraft`7D information on each pag
X\item`5B\csx`7Bshoot`7D`5D  Invokes the \idx`7Bshooting script`7D
Xvariant.\index`7Bvariant!shooting script`7D  Use if you're making a
Xshot-by-shot breakdown.\index`7Bscene breakdown`7D
X\item`5B\csx`7Bsitcom`7D`5D Invokes the \idx`7Bsituation comedy`7D
Xvariant,\index`7Bvariant!situation comedy`7D i.e., it double-spaces the scri
Vpt and
Ximplies the \csx`7BTV`7D variant.\index`7Bvariant!TV`7D
X\item`5B\csx`7BTV`7D`5D Invokes the teleplay variant.\index`7Bvariant!TV`7D
X\item`5B\csx`7Btwoside`7D`5D Variant which causes the left margin to shift o
Vn alternate
Xpages, so drafts printed on both sides of a sheet will be easier to read whe
Xbound.\index`7Bvariant!two-sided`7D
X\end`7Bdescription`7D
X\index`7Bvariants`7C)`7D
X\section`7BMutant cousins`7D
X\index`7Bmutant cousins`7C(`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Bepilog`7D`5D  Mutant cousin of \csx`7Bact`7D\index`7Bmutant c
Vousins!epilog`7D for
Xuse at the end of a \idx`7Bminiseries`7D.
X\item`5B\csx`7Bprolog`7D`5D  Mutant cousin of \csx`7Bact`7D for use at the b
Veginning of
Xa miniseries.\index`7Bmutant cousins!prolog`7D
X\item`5B\csx`7Btag`7D`5D  Mutant cousin of \csx`7Bact`7D for use at the end
V of a
Xtelevision show.\index`7Bmutant cousins!tag`7D
X\item`5B\csx`7Bteaser`7D`5D  Mutant cousin of \csx`7Bact`7D for use at the b
Veginning of
Xa television show.\index`7Bmutant cousins!teaser`7D
X\end`7Bdescription`7D
X\index`7Bmutant cousins`7C)`7D
X\section`7BShortcuts and synonyms`7D
X\index`7Bshortcuts`7C(`7D
X\index`7Bsynonyms`7C(`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Bbeat`7D`5D Shortcut for `60`60\csx`7Bparen`7D\`7B`7B\tt beat`
V7D\`7D''.
X\item`5B\csx`7Bdialogue`7D`5D  Synonym for \csx`7Bdialog`7D.\index`7Bsynonym
Vs!dialog`7D
X\item`5B\csx`7Bepilogue`7D`5D  Synonym for \csx`7Bepilog`7D, except that it
V causes the act
Xname to be `60`60Epilogue''.\index`7Bsynonyms!epilogue`7D
X\item`5B\csx`7Bext`7D\`7B\P`7Bscene`7D\`7D`5D  Shortcut for `60`60\csx`7Bsce
Vne`7D\`7B`7B\tt ext.\bs\`20
X`7D\P`7Bscene`7D\`7D''.\index`7Bshortcuts!exterior`7D
X\item`5B\csx`7Bfadein`7D`5D  Shortcut for `60`60\csx`7Bopen`7D\`7B`7B\tt fad
Xin`7D\`7D''.\index`7Bshortcuts!fade in`7D
X\item`5B\csx`7Bfadeout`7D`5D  Shortcut for `60`60\csx`7Bopen`7D\`7B`7B\tt fa
Xout`7D\`7D''.\index`7Bshortcuts!fade out`7D
X\item`5B\csx`7Bint`7D\`7B\P`7Bscene`7D\`7D`5D  Shortcut for `60`60\csx`7Bsce
Vne`7D\`7B`7B\tt int.\bs\`20
X`7D\P`7Bscene`7D\`7D''.\idx`7Bshortcuts!interior`7D
X\item`5B\csx`7Bos`7D`5D  Shortcut for `60`60\csx`7Bparen`7D\`7B\tt off
Xscreen\`7D''.\index`7Bshortcuts!off screen`7D
X\item`5B\csx`7Bprologue`7D`5D  Synonym of \csx`7Bprolog`7D, except that it c
Vauses the act
Xname to be `60`60Prologue''.\index`7Bsynonyms!prologue`7D
X\item`5B\csx`7Bshot`7D\`7B\P`7Bsubject`7D\`7D`5D  Shortcut for
X`60`60\csx`7Bscene`7D\`7B\P`7Bsubject`7D\`7D''.\index`7Bshortcuts!shot`7D
X\item`5B\csx`7Btv`7D`5D  Synonym for \csx`7BTV`7D.\index`7Bsynonyms!TV`7D
X\item`5B\csx`7Bvo`7D`5D  Shortcut for `60`60\csx`7Bparen`7D\`7B`7B\tt voice
Xover`7D\`7D''.\index`7Bshortcuts!voice over`7D
X\end`7Bdescription`7D
X\index`7Bshortcuts`7C)`7D
X\index`7Bsynonyms`7C)`7D
X\section`7BTitle page information`7D
X\begin`7Bdescription`7D
X\item`5B\csx`7Baddress`7D\`7B\P`7Baddress`7D\`7D`5D  Specifies the address a
Vnd/or phone number
Xof the author or agent which will then be printed on the title page.
X\item`5B\csx`7Bauthor`7D\`7B\P`7Bname`7D\`7D`5D  Defines \P`7Bname`7D for us
Ve as the author's name
Xon the title page.
X\item`5B\csx`7Bbasedon`7D\`7B\P`7Bstring`7D\`7D`5D  \P`7Bstring`7D will be p
Vrinted below the
Xauthor's name to allow for comments like `60`60Based on a novel by John Doe'
X\item`5B\csx`7Bdate`7D\`7B\P`7Bstring`7D\`7D`5D  Uses \P`7Bstring`7D whereve
Vr the draft \idx`7Bdate`7D
Xshould be printed (if appropriate to the selected variant).
X\item`5B\csx`7Bdraft`7D\`7B\P`7Bdraft-name`7D\`7D`5D  Makes \P`7Bdraft-name`
V7D the text used on the
Xtitle page and in the footline (if appropriate to the selected
Xvariant).\index`7Bdraft`7D
X\item`5B\csx`7Bmaketitle`7D`5D  Uses the information in specified in \csx`7B
Vseries`7D,
X\csx`7Btitle`7D, \csx`7Bauthor`7D, \csx`7Bdraft`7D, and \csx`7Bdate`7D comma
Vnds to create a
Xtitle page.
X\item`5B\csx`7Bshowcopyright`7D\`7B\P`7Byear`7D\`7D`5D  Specifies that a cop
Vyright symbol and
Xthe \P`7Byear`7D should appear on the title page.  It is sometime recommende
Vd to
Xuse \csx`7Bnumber`7D\csx`7Byear`7D to always keep your script looking up-to-
Vdate.
X\item`5B\csx`7Bseries`7D\`7B\P`7Bseries-name`7D\`7D`5D  Indicates that \P`7B
Vseries-name`7D should be
Xused as the name of the series on the title page and footlines.
X\item`5B\csx`7Btitle`7D\`7B\P`7Bname`7D\`7D`5D  Defines \P`7Bname`7D to be u
Vsed as the title of the
Xscript on the title page and footlines (if appropriate to the selected
Xvariant).
X\end`7Bdescription`7D
X% Bibliography
X\addcontentsline`7Btoc`7D`7Bchapter`7D`7BBibliography`7D
X\bibliographystyle`7Balpha`7D
X\bibliography`7Bscreenwriting`7D
X% Index
X\addcontentsline`7Btoc`7D`7Bchapter`7D`7BIndex`7D
X\input stdoc.ind
X% Some random cross references
X\index`7Bcmtt`7Csee Computer Modern Typewriter Type`7D
X\index`7Bsitcom`7Csee`7Bsituation comedy`7D`7D
X\end`7Bdocument`7D
$ CALL UNPACK STDOC.TEX;2 319124059
$ create 'f'
X\begin`7Bthebibliography`7D`7BWal88`7D
X\bibitem`5BBro88`5D`7Bjlb:bn`7D
XJames`7EL. Brooks.
X\newblock `7B\em Broadcast News`7D.
X\newblock Vintage Books, New York, 1988.
X\bibitem`5BWal88`5D`7Brw:sacb`7D
XRichard Walter.
X\newblock `7B\em Screenwriting: `7BT`7Dhe Art, Craft and Business of Film an
X  Television Writing`7D.
X\newblock Plume, New York, 1988.
X\end`7Bthebibliography`7D
$ CALL UNPACK STDOC.BBL;4 256851047
$ create 'f'
X\begin`7Btheindex`7D
X  \item A-pages, 23
X  \item `7B\ptt \bs act`7D, 6, 8, 9, 25--27
X  \item act counter, 9
X  \item act names, 9
X  \item act number, 22
X  \item `7B\ptt \bs acthead`7D, 9, 26
X  \item adaptation, 8, 9
X  \item `7B\ptt \bs address`7D, 10, 28
X  \item anonymous ftp, 17
X  \item author, 13
X  \item `7B\ptt \bs author`7D, 10, 28
X  \indexspace
X  \item backslash, 7
X  \item `7B\ptt \bs basedon`7D, 28
X  \item baselines, 21
X  \item `7B\ptt \bs beat`7D, 10, 27
X  \item \BibTeX, 18
X  \item binding manuscripts, 9
X  \item blank lines, 20
X  \item breakdowns, 12
X  \item `7B\psl Broadcast News`7D, 20
X  \item Brooks, James L., 19, 26
X  \item bugs, 22
X  \item `7B\ptt \bs bye`7D, 7, 9, 13, 25--26
X  \indexspace
X  \item `7B\ptt \bs charwid`7D, 14
X  \item Claremont, CA, 17
X  \item `7B\ptt \bs cleanup`7D, 13, 25
X  \item `7B\ptt \bs close`7D, 6, 9, 21, 25
X  \item club line, 15
X  \item club lines, 23
X  \item cmpica, 13, 14
X  \item cmpicai, 13, 14
X  \item cmtt, 13, 14, 21, \see Computer Modern Typewriter Type`7B29`7D
X  \item commercials, 8, 9
X  \item Computer Modern Typewriter Type, 14, 21
X  \item (CONT'D), 15, 20
X  \item CONTINUED, 15, 16, 20
X  \item (CONTINUED), 15
X  \item `7B\ptt \bs cut`7D, 10, 25
X  \indexspace
X  \item dash
X    \subitem misuse of, 8
X  \item date, 8, 10, 13, 26, 28
X  \item `7B\ptt \bs date`7D, 10, 28
X  \item defaults, 9
X  \item demo file, 6
X  \item dialog, 7, 20
X  \item `7B\ptt \bs dialog`7D, 7, 10, 25, 27
X  \item dialog block, 23
X  \item `7B\em dialog\/`7D vs.\ `7B\em dialogue`7D, 3
X  \item `7B\ptt \bs dialogue`7D, 10, 27
X  \item `7B\ptt \bs dissolve`7D, 10, 25
X  \item document conventions, 3
X  \item draft, 8, 10, 13, 26, 28
X  \item `7B\ptt \bs draft`7D, 10, 28
X  \indexspace
X  \item ellipses, 7--8, 26
X  \item `7B\ptt \bs em`7D, 7, 25
X  \item emphasis, 7
X  \item end of the source file, 7
X  \item `7B\ptt \bs epilog`7D, 9, 10, 27
X  \item `7B\em epilog\/`7D vs.\ `7B\em epilogue`7D, 3
X  \item `7B\ptt \bs epilogue`7D, 10, 27
X  \item `7B\ptt \bs ext`7D, 7, 10, 27
X  \item exterior, 7
X  \item extra, 23
X  \item `7B\ptt \bs extra`7D, 7, 20, 25
X  \indexspace
X  \item `7B\ptt \bs fadein`7D, 10, 27
X  \item `7B\ptt \bs fadeout`7D, 10, 27
X  \item footline, 9
X  \indexspace
X  \item `7B\em -gue\/`7D spellings, 3
X  \item `7B\pem -gue\/`7D spellings, 10
X  \indexspace
X  \item Hauge, Michael, 21
X  \item `7B\ptt \bs hfuzz`7D, 15
X  \item hints, 13
X  \item Hosek, Don, 14, 17
X  \item hyphenation, 15
X  \indexspace
X  \item `7B\ptt \bs ifcase`7D, 15
X  \item including macro definitions, 6, 13
X  \item `7B\ptt \bs input`7D, 6, 13, 14
X  \item `7B\ptt \bs int`7D, 7, 10, 27
X  \item interior, 7
X  \item `7B\ptt \bs introduce`7D, 7, 20, 25
X  \indexspace
X  \item `7B\ptt \bs jlbrooks`7D, 9, 15, 20, 26
X  \indexspace
X  \item koala, 23
X  \indexspace
X  \item \LaTeX, 7, 8
X  \item `7B\ptt \bs ldots`7D, 8, 26
X  \item `7B\ptt \bs leadin`7D, 8, 21, 22, 26
X  \item `7B\ptt \bs leftskip`7D, 14
X  \item line breaks, 8
X  \item lines per inch, 14
X  \item lines per page, 21
X  \item `7B\ptt \bs lineskip`7D, 14
X  \indexspace
X  \item MAILSERV, 17
X  \item `7B\ptt \bs makecastlist`7D, 25
X  \item `7B\ptt \bs makescenelist`7D, 25
X  \item `7B\ptt \bs maketitle`7D, 10, 13, 28
X  \item manuscript, 23
X  \item `7B\ptt \bs manuscript`7D, 9, 11, 26
X  \item margins, 9
X  \item marks, 15--16
X  \item master scene, 23
X  \item McCarthy, Adrian, 0
X  \item miniseries, 22, 27
X  \item `7B\psl Moonlighting`7D, 8
X  \item (MORE), 15, 16, 20
X  \item `7B\ptt \bs movie`7D, 8, 26
X  \item mutant cousins, 9, 27
X    \subitem closing, 9
X    \subitem ending, 9, 26
X    \subitem epilog, 9, 27
X    \subitem opening, 9
X    \subitem prolog, 9, 27
X    \subitem tag, 9, 27
X    \subitem teaser, 9, 27
X  \indexspace
X  \item `7B\ptt \bs nukeline`7D, 15--16
X  \item `7B\ptt \bs number`7D, 28
X  \indexspace
X  \item `7B\ptt \bs open`7D, 6, 9, 10, 21, 26, 27
X  \item `7B\ptt \bs or`7D, 15
X  \item `7B\ptt \bs os`7D, 10, 27
X  \item `7B\ptt \bs output`7D, 16
X  \item output routine, 16
X  \indexspace
X  \item page break, 20
X  \item page number, 19, 20
X  \item `7B\ptt \bs par`7D, 7
X  \item `7B\ptt \bs paren`7D, 7, 10, 13, 22, 26, 27
X  \item parenthetical direction, 23
X  \item parenthetical directions, 7, 20
X  \item `7B\ptt \bs pickup`7D, 8, 21, 22, 26
X  \item `7B\ptt \bs pretolerance`7D, 15
X  \item `7B\ptt \bs prolog`7D, 9, 10, 27
X  \item `7B\em prolog\/`7D vs.\ `7B\em prologue`7D, 3
X  \item `7B\ptt \bs prologue`7D, 10, 27
X  \item `7B\ptt \bs proof`7D, 8--10, 13, 21, 26
X  \item proof-reading, 8
X  \indexspace
X  \item quoted material, 3
X  \indexspace
X  \item revision page, 16, 23
X  \item `7B\ptt \bs rightskip`7D, 14
X  \indexspace
X  \item `7B\ptt \bs scene`7D, 7, 10, 26, 27
X  \item scene breakdown, 26
X  \item scene line, 7, 20, 23
X  \item scene number, 7--9, 15, 19, 20
X  \item screenplay, 24
X  \item Screenplay manuscript format, 1, 19
X  \item `7B\ptt screenplay.tex`7D, 6, 13, 15, 18
X  \item `7B\ptt screenwriting.bib`7D, 18
X  \item Script formats, 1, 19
X  \item \ST, 3
X    \subitem design goals, 5
X    \subitem version, 3, 17
X  \item \ST
X    \subitem design goals, 4
X    \subitem distribution, 17
X  \item `7B\ptt \bs series`7D, 10, 28
X  \item `7B\ptt \bs shipout`7D, 16
X  \item `7B\ptt \bs shoot`7D, 9, 26
X  \item shooting script, 9, 20, 23, 24, 26
X  \item shortcuts, 9--10, 27
X    \subitem cut, 25
X    \subitem dissolve, 25
X    \subitem exterior, 27
X    \subitem fade in, 27
X    \subitem fade out, 27
X    \subitem interior, 27
X    \subitem off screen, 27
X    \subitem shot, 27
X    \subitem voice over, 27
X  \item `7B\ptt \bs shot`7D, 10, 27
X  \item `7B\ptt \bs showcopyright`7D, 10, 28
X  \item sitcom, \see`7Bsituation comedy`7D`7B29`7D
X  \item `7B\ptt \bs sitcom`7D, 8, 27
X  \item situation comedy, 8, 19, 27
X  \item `7B\psl Slanted text`7D, 3
X  \item `7B\ptt \bs sound`7D, 7, 20, 26
X  \item sound effect, 24, 26
X  \item `7B\ptt \bs spaceskip`7D, 14
X  \item spec(ulation) script, 10, 24
X  \item special effect, 24
X  \item `7B\ptt \bs splitbotmark`7D, 16
X  \item `7B\ptt \bs stage`7D, 7, 26
X  \item stage directions, 7, 20, 24, 26
X  \item stageplay, 24
X  \item `7B\ptt stageplay.tex`7D, 6, 13, 18
X  \item `7B\ptt stdemo.tex`7D, 6, 17--18
X  \item `7B\ptt stdoc.tex`7D, 18
X  \item synonyms, 9--10, 27
X    \subitem dialog, 27
X    \subitem epilogue, 27
X    \subitem prologue, 27
X    \subitem TV, 27
X  \indexspace
X  \item tag, 9
X  \item `7B\ptt \bs tag`7D, 9, 27
X  \item teaser, 9
X  \item `7B\ptt \bs teaser`7D, 9, 27
X  \item teleplay, 24
X  \item television series, 10
X  \item \TeX, 3, 8
X  \item The End, 9
X  \item `7B\ptt \bs theend`7D, 9, 26
X  \item tie (\protect\tie), 8
X  \item tilde (\protect\tie), \see`7Btie`7D`7B8`7D
X  \item title, 8, 13, 21
X  \item `7B\ptt \bs title`7D, 10, 28
X  \item title page, 10
X  \item `7B\ptt \bs today`7D, 11, 26
X  \item `7B\ptt \bs topmark`7D, 16
X  \item `7B\ptt \bs trans`7D, 6, 9--10, 21, 25, 26
X  \item transitions, 20, 26
X    \subitem between scenes, 6
X    \subitem closing, 6
X    \subitem opening, 6
X    \subitem punctuation, 7
X  \item `7B\ptt \bs TV`7D, 8--10, 13, 27
X  \item `7B\ptt \bs tv`7D, 10, 27
X  \item `7B\ptt \bs twoside`7D, 9, 13, 27
X  \item `7B\ptt Typewriter text`7D, 3
X  \item typewriter text, 14, 21
X  \indexspace
X  \item variant
X    \subitem default, 9
X    \subitem J.L. Brooks, 9, 26
X    \subitem manuscript, 9, 11, 26
X    \subitem movie, 8, 26
X    \subitem proof, 8, 10
X    \subitem shooting script, 9, 26
X    \subitem situation comedy, 8, 27
X    \subitem TV, 8, 27
X    \subitem two-sided, 9, 27
X  \item variants, 8--9, 26--27
X    \subitem position of, 13
X  \item `7B\ptt \bs vbadness`7D, 16
X  \item `7B\ptt \bs vo`7D, 10, 27
X  \item `7B\ptt \bs vsplit`7D, 16
X  \indexspace
X  \item Walter, Richard, 19, 21
X  \item widow line, 15, 24
X  \indexspace
X  \item `7B\ptt \bs xspaceskip`7D, 14
X  \indexspace
X  \item `7B\ptt \bs year`7D, 28
X\end`7Btheindex`7D
$ CALL UNPACK STDOC.IND;4 1900558741
$ create 'f'
X\relax`20
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B1`7DPreface`7D`7B3`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B2`7DOverview`7D`7B4`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B3`7DWriting a script with `7B\string\ptt\space Script`7D\d
Viscretionary `7B-`7D`7B`7D`7B`7DT\kern -.1667em\lower .5ex\hbox `7BE`7D\kern
V -.125emX\hbox `7B`7D`7D`7B6`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.1`7DThe basic components`7D`7B6`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.2`7DSlightly advanced components`7D`7B7`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.3`7DVariants`7D`7B8`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.4`7DMutant cousins`7D`7B9`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.5`7DShortcuts and synonyms`7D`7B9`7D`7D
X\@writefile`7Blot`7D`7B\string\contentsline\space `7Btable`7D`7B\string\numb
Verline\space `7B3.1`7D`7B\ignorespaces Predefined shortcuts and synonyms.`7D
V`7D`7B10`7D`7D
X\newlabel`7Bscstbl`7D`7B`7B3.1`7D`7B10`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B3.6`7DTitle pages`7D`7B10`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B4`7DBreakdowns`7D`7B12`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B5`7DHints`7D`7B13`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B6`7DHow the macros work`7D`7B14`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B6.1`7DEmulating a typist`7D`7B14`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7B6.2`7DMark madness`7D`7B15`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7B7`7DDistribution and local changes`7D`7B17`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\contentsline\space `7Btable`7D`7B\string\numb
Verline\space `7B7.1`7D`7B\ignorespaces The components of\penalty \@M \ `7B\s
Vtring\ptt\space Script`7D\discretionary `7B-`7D`7B`7D`7B`7DT\kern -.1667em\l
Vower .5ex\hbox `7BE`7D\kern -.125emX\hbox `7B`7D\penalty \@M \ 1.03.`7D`7D`7
VB18`7D`7D
X\newlabel`7Bfiletbl`7D`7B`7B7.1`7D`7B18`7D`7D
X\citation`7Brw:sacb`7D
X\citation`7Bjlb:bn`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7BA`7DScript formats\string\index\space `7BScript formats`7D
V`7D`7B19`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BA.1`7DScreenplay manuscript format\string\index\space `7BS
Vcreenplay manuscript format`7D`7D`7B19`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BA.2`7DStageplay format`7D`7B21`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7BB`7DKnown problems and limitations`7D`7B22`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7BC`7DGlossary`7D`7B23`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7B\string\nu
Vmberline\space `7BD`7DMacro summary`7D`7B25`7D`7D
X\@writefile`7Blof`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Blot`7D`7B\string\addvspace\space `7B10pt`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.1`7DBasic components`7D`7B25`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.2`7DSlightly advanced components`7D`7B26`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.3`7DVariants`7D`7B26`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.4`7DMutant cousins`7D`7B27`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.5`7DShortcuts and synonyms`7D`7B27`7D`7D
X\bibstyle`7Balpha`7D
X\bibdata`7Bscreenwriting`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bsection`7D`7B\string\nu
Vmberline\space `7BD.6`7DTitle page information`7D`7B28`7D`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7BBibliograp
Vhy`7D`7B28`7D`7D
X\bibcite`7Bjlb:bn`7D`7BBro88`7D
X\bibcite`7Brw:sacb`7D`7BWal88`7D
X\@writefile`7Btoc`7D`7B\string\contentsline\space `7Bchapter`7D`7BIndex`7D`7
VB29`7D`7D
$ CALL UNPACK STDOC.AUX;6 251661384
$ create 'f'
X\contentsline `7Bchapter`7D`7B\numberline `7B1`7DPreface`7D`7B3`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B2`7DOverview`7D`7B4`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B3`7DWriting a script with `7B\p
Vtt Script`7D\discretionary `7B-`7D`7B`7D`7B`7DT\kern -.1667em\lower .5ex\hbo
Vx `7BE`7D\kern -.125emX\hbox `7B`7D`7D`7B6`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.1`7DThe basic components`7D`7
VB6`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.2`7DSlightly advanced compone
Vnts`7D`7B7`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.3`7DVariants`7D`7B8`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.4`7DMutant cousins`7D`7B9`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.5`7DShortcuts and synonyms`7D
V`7B9`7D
X\contentsline `7Bsection`7D`7B\numberline `7B3.6`7DTitle pages`7D`7B10`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B4`7DBreakdowns`7D`7B12`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B5`7DHints`7D`7B13`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B6`7DHow the macros work`7D`7B14
X\contentsline `7Bsection`7D`7B\numberline `7B6.1`7DEmulating a typist`7D`7B1
V4`7D
X\contentsline `7Bsection`7D`7B\numberline `7B6.2`7DMark madness`7D`7B15`7D
X\contentsline `7Bchapter`7D`7B\numberline `7B7`7DDistribution and local chan
Vges`7D`7B17`7D
X\contentsline `7Bchapter`7D`7B\numberline `7BA`7DScript formats\index `7BScr
Vipt formats`7D`7D`7B19`7D
X\contentsline `7Bsection`7D`7B\numberline `7BA.1`7DScreenplay manuscript for
Vmat\index `7BScreenplay manuscript format`7D`7D`7B19`7D
X\contentsline `7Bsection`7D`7B\numberline `7BA.2`7DStageplay format`7D`7B21`
X\contentsline `7Bchapter`7D`7B\numberline `7BB`7DKnown problems and limitati
Vons`7D`7B22`7D
X\contentsline `7Bchapter`7D`7B\numberline `7BC`7DGlossary`7D`7B23`7D
X\contentsline `7Bchapter`7D`7B\numberline `7BD`7DMacro summary`7D`7B25`7D
X\contentsline `7Bsection`7D`7B\numberline `7BD.1`7DBasic components`7D`7B25`
X\contentsline `7Bsection`7D`7B\numberline `7BD.2`7DSlightly advanced compone
Vnts`7D`7B26`7D
X\contentsline `7Bsection`7D`7B\numberline `7BD.3`7DVariants`7D`7B26`7D
X\contentsline `7Bsection`7D`7B\numberline `7BD.4`7DMutant cousins`7D`7B27`7D
X\contentsline `7Bsection`7D`7B\numberline `7BD.5`7DShortcuts and synonyms`7D
V`7B27`7D
X\contentsline `7Bsection`7D`7B\numberline `7BD.6`7DTitle page information`7D
V`7B28`7D
X\contentsline `7Bchapter`7D`7BBibliography`7D`7B28`7D
X\contentsline `7Bchapter`7D`7BIndex`7D`7B29`7D
$ CALL UNPACK STDOC.TOC;6 1497202127
$ create 'f'
X% Demo file for using ScriptTex 1.03%version
X% This isn't a particularly exciting script, but it is demonstrative of what
X% you can do with ScriptTex.
X\input screenplay.tex
X% optional \twoside
X% optional \jlbrooks
X\TV % or \movie (\TV is default)
X\proof % or \manuscript or \shoot  (\proof is default)
X\series`7B`7D  % Optional
X\title`7BDemonstration Title`7D % used on title page and in \proof footlines
X\author`7BAdrian C. McCarthy`7D % used on title page and in \proof footlines
X\basedon`7BAdapted from the novel \em`7BFor Example`7D`7D
X\draft`7BFirst draft`7D % used only if \proof is in force
X\date`7B25-OCT-1991`7D  % defaults to \today
X\showcopyright`7B\number\year`7D
X\address`7B1234 Main Street \\
X         Anytown, MO 54321 \\
X         [phone]`7D
X\maketitle % creates a title page
X%%%%
X%%%% Main script begins here.
X%%%% For the first part of this script, I won't take advantage of any synony
X%%%% or shortcuts.
X%%%%
X\teaser % begins a teaser act
X\open`7Bfade in`7D
X\scene`7Bext.\ forest`7E--- morning`7D
X\stage The sun is just barely climbing over the tops of the pine trees.
XWe hear the \sound`7Broar`7D of a chainsaw.
X\dialog`7BLumberjack`7D
X\paren`7Boff screen`7D
XTimber!
X\stage One of the tall pines begins to give, and then, with a loud
X\sound`7Bcrash`7D, it falls.
X\trans`7Bcut to`7D
X\scene`7Bext.\ road nearby`7D
X\stage A stationwagon approaches, parks, and \introduce`7BBob Bush`7D climbs
V out.`20
XHe's wearing boots, a brown suit, and a hardhat.  A \extra`7BForeman`7D talk
Vs with
Xhim momentarily.
X\introduce`7BSam Savvy`7D approaches, and the foreman walks away in disgust.
X\dialog`7BSam`7D \paren`7Bto Bob`7D What's his problem?
X\dialog`7BBob`7D Don't pay any attention to him.
X%%%% A weak example of \leadin and \pickup:
X\dialog`7BSam`7D \leadin`7BYou're gonna have to cut back`7D
X\dialog`7BBob`7D \pickup cut back on our quotas?
X\dialog`7BSam`7D We're under a lot of pressure from the lobbyists.
X\dialog`7BBob`7D You EPA guys have no backbone.
X%%%% Let's make this long enough to demonstrate the page break handling of
X%%%% ScriptTex.
X\dialog`7BSam`7D No backbone?  No backbone! \paren`7Bfuming`7D Well you've g
Vot some
Xnerve.  Every year you cut down thousands of trees that take hundreds of yea
Xto grow.  Sure, for each you kill, you plant a new one, but at the current
Xrate, there will be a shortage of trees while we wait for these saplings to
Xgrow.  On top of that, many of these great trees are wasted on low-grade pul
Xfor cardboard and paper products.  If you would supply all of the necessary
Xpulp from the low quality trees, that would greatly reduce the problem.  Now
Xyou say that we EPA-types have no backbone!  We've got the coconuts to stand
Xand say, `60`60Wait a minute; we're destroying the planet.  Let's stop and f
Vind a
Xbetter way.''  You don't have the guts to try something new, something that
V may
Xeven make you more money in the long run than cowering away from your social
Xresponsibilities.
X\close`7Bfade out`7D
X%%%%
X%%%% The next chunk will show off some of the synonyms and shortcuts.
X%%%%
X\act % ends the teaser and starts the first act.
X\fadein
X\scene`7BBob's breakfast nook`7E--- Sunday morning`7D
XThe sports page is open and on the card table; the rest of the paper is
Xstacked off to the side, unread.  Bob's in some grungy old sweats, playing
Xsolitaire as he reads.
XThe phone \sound`7Brings`7D.
XBob answers.
X\def\Bob`7B\dialog`7BBob`7D`7D
X\Bob Hello? \beat Yeah.  OK, I'm on my way.
XHe hangs up, and drops the rest of the cards onto the table.  He slips off t
Xsweats, and he's wearing his brown suit underneath.  He checks his reflectio
Xin the side of the toaster, then heads out the door.
X\dissolve
X\scene`7BBob's car`7D
XBob is driving way too fast.  To keep from mumbling to himself, he
Xturns on the radio.
X\dialog`7BAnnouncer`7D \vo There's a tie-up on the Logjam ramp near the inte
Vrstate.
X\Bob Damn!
X\fadeout
X\theend
X%%%% Always end with \bye.
X\bye % cleans up and exits
$ CALL UNPACK STDEMO.TEX;2 761202401
$ create 'f'
X% ScriptTeX screenplay macros -- typed manuscript version
X% Copyright 1991 Adrian McCarthy.  See documentation for re-distribution inf
X\def\banner`7BScriptTeX 1.03, 24-OCT-91, typed screenplay format`7D%version
X\immediate\write16`7B\banner`7D
X% These macros will produce a manuscript that looks as though it were typed.
X% With the fixed pitch font and narrow dialog paragraphs, I've set the
X% penalties and such to be extremely tolerant of TeX's concept of badness.
X% These are probably more extreme than they have to be, but they can be
X% tuned later.
X\font\mainfont=cmpica % Don Hosek's pica fonts.  Use cmtt12 if not available
X\font\emfont=cmpicati % Change to underlined \mainfont if not available.
X\mainfont
X\pretolerance=500 % acceptable "badness" before trying to hyphenate
X\tolerance=10000  % acceptable "badness" of a line
X\linepenalty=0    % penalty for each line in a paragraph
X\adjdemerits=0    % demerits for adjacent tight and loose line juxtaposition
X\finalhyphendemerits=0 % demerits for hyphenating the penultimate line
X\doublehyphendemerits=0 % demerits for hyphenating consecutive lines
X\hbadness=10000   % avoid useless underfull hbox messages
X% General page layout:
X\newdimen\lineskip \lineskip=12bp % 6 lines per inch
X\newdimen\charwid `7B\setbox0=\hbox`7B\mainfont M`7D \global\charwid=\wd0`7D
X\baselineskip=\lineskip  % 2\lineskip for sitcoms
X\spaceskip=\charwid   % for true typewriter spacing (redundant in cmtt)
X\xspaceskip=2\charwid % for two spaces after a sentence (redundant in cmtt)
X\voffset=-4\lineskip % 1 blank line from top
X\hoffset=0.5truein   % extra room for hole punch
X\vsize=58\lineskip
X\hsize=60\charwid
X\parindent 0pt
X\parskip\baselineskip
X\splittopskip=\topskip
X\splitmaxdepth=\maxdepth
X\newdimen\rightmar
X\def\hotzone`7B8\charwid`7D % right margin hotzone
X\def\margins#1#2`7B%
X  \leftskip=#1
X  \rightmar=\hsize \advance\rightmar by -\leftskip \advance\rightmar by -#2
X  \rightskip=\rightmar plus \hotzone
X% My first output routine.  Marks have six parts:  act/scene header,
X% previous scene continued, dialog continued, \nukeline for (MORE),
X% continuing dialog (MORE), \nukeline for continuing scene, and
X% continuing scene.  The seventh part is reserved for rev pages.
X% I realize that I use \splitbotmark before a \vsplit is ever done, but
X% this is correct.  \topmark has the wrong value if I put back lines back
X% during the previous \output run.
X\output=`7B%
X  \dimen0=\ht255
X  \ifx\LR\empty \else
X    \if L\LR \hoffset=0.0truein \global\def\LR`7BR`7D
X      \else \hoffset=0.5truein \global\def\LR`7BL`7D
X    \fi
X  \fi%x
X  \shipout\vbox to 62\lineskip`7B%
X    \boxmaxdepth=\maxdepth%
X    \makeheadline%
X    \pagebody%
X    \makefootline%
X  `7D
X  \unvbox255 \penalty\outputpenalty % put back unused text
X  \advancepageno
X\def\makeheadline`7B%  Act/scene header and page number
X  \line`7B%
X    \mainfont%
X    \ifcase1\expandafter\relax\splitbotmark\fi%
X    \ifnum\pageno>0 \hss \folio\rlap`7B.`7D\fi`7D
X  \vskip\lineskip
X\def\pagebody`7B%
X  \ifcase2\expandafter\relax\splitbotmark\fi   % So-and-so (CONT'D) \nukelin
X  \ifcase3\expandafter\relax\botmark\fi        % \nukeline for (MORE)
X  \ifcase5\expandafter\relax\botmark\fi        % \nukelines for CONTINUED
X  `7B%
X    \vbadness=10000
X    \setbox0=\vsplit255 to \dimen0             % split to new height
X    \unvbox0                                   % put page into output
X  `7D%
X  \ifcase4\expandafter\relax\splitbotmark\fi   % (MORE)
X  \ifcase6\expandafter\relax\splitbotmark\fi   %   CONTINUED
X  \kern-\dimen0 \vfil % kern keeps \vfil from being discarded
X\def\makefootline`7B%
X  \vskip\lineskip
X  \line`7B\mainfont \footer`7D
X\def\nukeline`7B%
X  \advance\dimen0 by -\lineskip
X\def\mymark`7B`7B
X  \header \noexpand\or %
X  \contprevscene \noexpand\or %
X  \contprevdialog \noexpand\or %
X  \contdialoga \noexpand\or %
X  \contdialogb \noexpand\or %
X  \contscenea \noexpand\or %
X  \contsceneb %\noexpand\or
X% \contrev
X`7D`7D
X\def\contprevscene`7B`7D
X\def\contprevdialog`7B`7D
X\def\contdialoga`7B`7D
X\def\contdialogb`7B`7D
X\def\contscenea`7B`7D
X\def\contsceneb`7B`7D
X%\def\contrev`7B`7D
X% Revision information
X\def\titletext`7BScreenplay`7D
X\def\title#1`7B\def\titletext`7B#1`7D`7D
X\def\seriestext`7B`7D
X\def\series#1`7B\def\seriestext`7B#1`7D`7D
X\def\authortext`7B`7D
X\def\author#1`7B\def\authortext`7B#1`7D`7D
X\def\drafttext`7B`7D
X\def\draft#1`7B\def\drafttext`7B\uppercase`7B#1`7D`7D`7D
X\def\basedon#1`7B\def\basedontext`7B#1`7D`7D
X\def\basedontext`7B`7D
X\def\showcopyright#1`7B\def\copyrighttext`7B$\copyright$`7E#1`7D`7D
X\def\copyrighttext`7B`7D
X\def\address#1`7B\def\addresstext`7B\vtop`7B\settabs 1\columns \tabalign #1\
Vcr`7D`7D`7D
X\def\\`7B\cr\tabalign`7D
X\def\addresstext`7B`7D
X\def\today`7B%
X  \hbox`7B\number\day-\ifcase\month\or JAN\or FEB\or MAR\or APR\or MAY%
X    \or JUN\or JUL\or AUG\or SEP\or OCT\or NOV\or DEC\fi%
X    -\number\year`7D%
X\edef\datetext`7B\today`7D  % \edef for efficiency; it won't change during j
X\def\date#1`7B\def\datetext`7B#1`7D`7D
X% We count acts and scenes for you.
X\newcount\actcnt \actcnt=0
X\def\currentact`7B`7D
X\newcount\scenecnt \scenecnt=0
X\def\resetscenecnt`7B\scenecnt=0`7D
X\def\currentscene`7B`7D
X\def\stdhang`7B\leavevmode\llap`7B\number\scenecnt.\ `7D`7D
X\def\stdhead`7B\ifx\currentscene\empty \else \number\scenecnt.\fi`7D
X\def\stdfoot`7B%
X  \ifx\seriestext\empty \else
X    `7B\emfont \seriestext`7D \hss
X  \fi%
X  `60`60\titletext'' \hss \drafttext
X\def\stdxref`7B%
X  \ifx\currentact\empty \else%
X    \currentact; %
X  \fi%
X  \ifx\currentscene\empty \else%
X    \currentscene%
X  \fi
X\def\Roman#1`7B\uppercase\expandafter`7B\romannumeral#1`7D`7D
X\def\roman#1`7B\romannumeral#1`7D
X% Keep track of last speaker.
X\global\def\lastspeaker`7B`7D
X% Variants
X\def\LR`7B`7D
X\def\twoside`7B\def\LR`7BR`7D`7D
X\def\jlbrooks`7B
X  \hsize=65\charwid
X  \def\hotzone`7B3\charwid`7D
X  \hfuzz=5\charwid
X\def\movie`7B
X  \def\resetscenecnt`7B`7D
X  \def\actheadblock##1`7B`7D
X  \def\acttailblock`7B`7D
X  \def\actpgbreak`7B`7D
X  \def\stdxref`7B`7D
X\def\TV`7B`7D
X\def\sitcom`7B\lineskip=24bp`7D
X\def\manuscript`7B
X  \def\header`7B`7D
X  \def\footer`7B`7D
X  \def\hangscene`7B`7D
X  \def\draftblock`7B`7D
X  \def\stdxref`7B`7D
X  \def\sound##1`7B##1`7D
X\def\proof`7B
X  \ifx\drafttext\empty \draft`7BWorking Draft`7D\fi
X  \def\header`7B\stdhead`7D
X  \def\footer`7B\stdfoot`7D
X  \def\hangscene`7B\stdhang`7D
X  \def\sound##1`7B##1`7D
X\def\shoot`7B
X  \ifx\drafttext\empty \draft`7BShooting Script`7D\fi
X  \def\header`7B`7D
X  \def\footer`7B`7D
X  \def\hangscene`7B\stdhang`7D
X% Breakdowns (desupported)
X\def\makecastlist`7B\immediate\write16`7BCast lists no longer supported.`7D`
X\def\collectcast`7B\immediate\write16`7BCast lists no longer supported.`7D`7
X\def\makescenelist`7B\immediate\write16`7BScene lists no longer supported.`7
VD`7D
X\def\collectscenes`7B\immediate\write16`7BScene lists no longer supported.`7
VD`7D
X% Make a title page
X\def\maketitle`7B%
X  \ifx\LR\empty \else \def\LR`7BR`7D \fi
X  \hbox`7B`7D
X  \vskip 2in
X  \ifx\seriestext\empty \else`20
X    \centerline`7B`7B\emfont \uppercase`7B\seriestext`7D`7D`7D
X    \vskip 3\baselineskip
X  \fi
X  \centerline`7B`60`60\uppercase`7B\titletext`7D''`7D
X  \vskip\baselineskip
X  \ifx\authortext\empty \else
X    \centerline`7B\authortext`7D
X  \fi
X  \vskip\baselineskip
X  \centerline`7B\basedontext`7D
X  \vskip 3.5in
X  \line`7B\copyrighttext\hfill\addresstext`7D
X  \vskip 3\baselineskip
X  \draftblock
X  \pageno=0
X  `7B
X    \def\header`7B`7D
X    \def\footer`7B`7D
X    \eject
X  `7D
X  \pageno=1
X\def\draftblock`7B%
X  \ifx\drafttext\empty \else
X    \rightline`7B`7B\emfont \uppercase`7B\drafttext`7D`7D`7D
X  \fi
X  \rightline`7B\datetext`7D
X% Standard header for acts, tags, and teasers
X\def\actpgbreak`7B\vfill \penalty-10000`7D
X\def\actheadblock#1`7B
X  \vskip 2\lineskip
X  \centerline`7B`7B\emfont \uppercase`7B#1`7D`7D`7D
X  \vskip 4\lineskip
X\def\acttailblock`7B
X  \vskip 2\lineskip
X  `7B\edef\tempact`7Bend of \currentact`7D
X    \centerline`7B`7B\emfont \uppercase\expandafter`7B\tempact`7D`7D`7D
X  `7D
X\def\acthead#1`7B%
X  \acttail
X  \advance\actcnt by 1
X  \resetscenecnt
X  \edef\currentact`7B#1`7D
X  \def\contprevscene`7B`7D
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \def\contscenea`7B`7D
X  \def\contsceneb`7B`7D
X  \expandafter\mark\mymark
X  \actpgbreak
X  \parskip\baselineskip
X  \actheadblock`7B#1`7D
X  \immediate\write16`7B#1`7D
X% Standard tail for acts, tags, and teasers
X\def\acttail`7B%
X  \penalty1000
X  \ifx\currentact\empty \else
X    \acttailblock
X    \def\currentact`7B`7D
X  \fi
X% Regular script constructs:
X\def\act`7B\acthead`7BAct \ifcase\actcnt\or One\or Two\or Three\or Four\or
X     Five\or Six\or Seven\or Eight\or Nine\or Ten\or Eleven\or
X     Twelve\or Thirteen\or Fourteen\or Fifteen\or Sixteen\else\Roman\actcnt\
Vfi`7D
X\def\teaser`7B\acthead`7BTeaser`7D\actcnt=0`7D
X\def\tag`7B\acthead`7BTag`7D`7D
X\def\prolog`7B\acthead`7BProlog`7D\actcnt=0`7D
X\def\epilog`7B\acthead`7BEpilog`7D`7D
X\def\prologue`7B\acthead`7BPrologue`7D\actcnt=0`7D
X\def\epilogue`7B\acthead`7BEpilogue`7D`7D
X\def\theend`7B
X  \def\acttailblock`7B
X    \vskip 2\lineskip
X    \centerline`7B`7B\emfont THE END`7D`7D
X  `7D
X\def\scene#1`7B%
X  \penalty10000
X  \def\contprevscene`7B`7D
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \def\contscenea`7B`7D
X  \def\contsceneb`7B`7D
X  \expandafter\mark\mymark
X  \penalty-100
X  \advance\scenecnt by 1
X  \edef\currentscene`7BScene \number\scenecnt`7D
X  \parskip\baselineskip
X  \margins`7B0in`7D`7B\hsize`7D
X  \leavevmode\hangscene\uppercase`7B#1`7D\par
X  \def\contprevscene`7B\hangscene CONTINUED`7D
X  \def\contscenea`7B\nukeline\nukeline`7D
X  \def\contsceneb`7B\vskip\lineskip \line`7B\hskip 40\charwid CONTINUED`7D`7
X  \expandafter\mark\mymark
X  \global\def\lastspeaker`7B`7D
X  \penalty1000
X\def\shot#1`7B\scene`7B#1`7D`7D
X\def\stage`7B%
X  \penalty10000
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \expandafter\mark\mymark
X  \penalty-100
X  \margins`7B0in`7D`7B\hsize`7D
X  \parskip\baselineskip
X\def\trans#1`7B%
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \expandafter\mark\mymark
X  \parskip\baselineskip
X  \penalty100
X  `7B\margins`7B40\charwid`7D`7B20\charwid`7D \uppercase`7B#1`7D \par`7D
X  \penalty-100
X\def\open#1`7B%
X  \def\contprevscene`7B`7D
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \def\contscenea`7B`7D
X  \def\contsceneb`7B`7D
X  \expandafter\mark\mymark
X  \parskip\baselineskip
X  `7B\margins`7B0in`7D`7B\hsize`7D \uppercase`7B#1`7D \par`7D
X\def\close#1`7B\open`7B#1`7D`7D
X\def\dialog#1#2\par`7B%
X  \penalty10000 % make sure we don't break until after the clear mark
X  \def\contprevdialog`7B`7D
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \expandafter\mark\mymark
X  \penalty-100 % OK to break now
X  \parskip\lineskip
X  `7B\margins`7B24\charwid`7D`7B36\charwid`7D \uppercase`7B#1`7D%
X    \global\def\thisspeaker`7B#1`7D%
X    \ifx\thisspeaker\lastspeaker \ (CONT'D)\fi
X    \global\def\lastspeaker`7B#1`7D
X  \par`7D
X  \parskip 0pt
X  \def\contprevdialog`7B%
X    \nukeline%
X    \line`7B\hskip 24\charwid \uppercase`7B#1`7D (CONT'D)`7D%
X  `7D
X  \def\contdialoga`7B\nukeline`7D
X  \def\contdialogb`7B\line`7B\hskip 24\charwid (MORE)`7D`7D
X  \expandafter\mark\mymark
X  \margins`7B10\charwid`7D`7B35\charwid`7D % rightmar = \hsize-\leftskip-35\
Vcharwid
X  \penalty10000
X  #2\par
X  \stage
X\def\paren#1#2\par`7B%
X  \par
X  \penalty10000
X  `7B%
X    \margins`7B17\charwid`7D`7B20\charwid`7D % rightmar = \hsize-\leftskip-2
V0\charwid
X    (#1)%
X    \par%
X  `7D
X  \penalty10000
X  #2\par
X  \stage
X\def\leadin#1`7B#1`7E\ldots\par\penalty200`7D  % These are more exciting in
V the
X\def\pickup`7B\ldots`7E`7D                     % stageplay format.
X\def\em#1`7B`7B\emfont #1`7D`7D
X\def\extra#1`7B\uppercase\expandafter`7B#1`7D`7D
X\def\introduce#1`7B\uppercase\expandafter`7B#1`7D`7D
X\def\sound#1`7B\uppercase`7B#1`7D`7D
X\def\ldots`7B.`7E.`7E.`7D  % Formal typing version.  OK to use "..."
X\def\cleanup`7B%
X  \par
X  \acttail
X  \def\contdialoga`7B`7D
X  \def\contdialogb`7B`7D
X  \def\contscenea`7B`7D
X  \def\contsceneb`7B`7D
X  \expandafter\mark\mymark
X  \vfill
X  \penalty-10000
X\def\bye`7B%
X  \cleanup
X  \end
X% Shortcuts:
X\def\beat`7B\paren`7Bbeat`7D`7D
X\def\cut`7B\trans`7Bcut to`7D`7D
X\let\dialogue=\dialog
X\def\dissolve`7B\trans`7Bdissolve to`7D`7D
X\def\ext#1`7B\scene`7Bext.\ #1`7D`7D
X\def\fadein`7B\open`7Bfade in`7D`7D
X\def\fadeout`7B\close`7Bfade out`7D`7D
X\def\int#1`7B\scene`7Bint.\ #1`7D`7D
X\def\os`7B\paren`7Boff screen`7D`7D
X\let\shot=\scene
X\let\tv=\TV
X\def\vo`7B\paren`7Bvoice over`7D`7D
X% Defaults
X\TV\proof
$ CALL UNPACK SCREENPLAY.TEX;2 860846432
$ create 'f'
X% TeX stageplay macros -- typeset format
X% Copyright 1991 Adrian McCarthy  See documentation for re-distribution info
X\def\banner`7BScriptTeX 1.03, 24-OCT-91, typeset stageplay format`7D%version
X\immediate\write16`7B\banner`7D
X% These macros will produce a typeset script in stageplay format.
X% General page layout:
X\font\sc=cmcsc10 % Caps and small caps
X\font\twbf=cmbx12 % Twelve point bold face
X\hsize=6.5truein
X\vsize=8.3truein
X\parindent 0pt
X\parskip\baselineskip
X\hoffset=0.5truein
X% My first output routine.  Marks have three parts:  act/scene header,
X% dialog continuation text for top of page, and dialog continuation text
X% for the bottom of the page.  No insertions are handled at this time.
X\output=`7B%
X  \ifx\LR\empty \else
X    \if L\LR \hoffset=0.0truein \global\def\LR`7BR`7D
X      \else \hoffset=0.5truein \global\def\LR`7BL`7D
X    \fi
X  \fi%x
X  \shipout\vbox to 9.0truein`7B\makeheadline \pagebody \makefootline`7D
X  \advancepageno
X% No supereject nonsense since we aren't going to deal with insertions.
X\def\makeheadline`7B%  Act/scene header and page number
X  \line`7B\tenrm \ifcase0\expandafter\relax\firstmark\fi%
X    \ifnum\pageno>0 \hss $\oldstyle\folio$. \fi`7D
X  \vskip\baselineskip
X\def\pagebody`7B%
X  \line`7B\ifcase1\expandafter\relax\topmark\fi \hss`7D
X  \unvbox255
X  \line`7B\ifcase2\expandafter\relax\botmark\fi \hss`7D
X  \vfil
X\def\makefootline`7B%
X  \line`7B\footer`7D
X% Revision information
X\def\titletext`7BStageplay`7D
X\def\title#1`7B\def\titletext`7B#1`7D`7D
X\def\seriestext`7B`7D  % here for compatibility with screenplay format
X\def\series#1`7B\def\seriesname`7B#1`7D`7D
X\def\authortext`7B`7D
X\def\author#1`7B\def\authortext`7B#1`7D`7D
X\def\drafttext`7B`7D
X\def\draft#1`7B\def\drafttext`7B#1`7D`7D
X\def\basedon#1`7B\def\basedontext`7B#1`7D`7D
X\def\basedontext`7B`7D
X\def\showcopyright#1`7B\def\copyrighttext`7B$\copyright$`7E#1`7D`7D
X\def\copyrighttext`7B`7D
X\def\address#1`7B\def\addresstext`7B\vtop`7B\settabs 1\columns \tabalign #1\
Vcr`7D`7D`7D
X\def\\`7B\cr\tabalign`7D
X\def\addresstext`7B`7D
X\def\today`7B%
X  \hbox`7B\number\day-\ifcase\month\or JAN\or FEB\or MAR\or APR\or MAY%
X    \or JUN\or JUL\or AUG\or SEP\or OCT\or NOV\or DEC\fi%
X    -\number\year`7D%
X\edef\datetext`7B\today`7D
X\def\date#1`7B\def\datetext`7B#1`7D`7D
X% We count acts and scenes for you.
X\newcount\actcnt \actcnt=0
X\def\currentact`7B`7D
X\newcount\scenecnt \scenecnt=0
X\def\currentscene`7B`7D
X\def\stdhead`7B%
X  `7B\tenit \titletext\/`7D
X  `7B\tenrm \currentact\ifx\currentscene\empty \else,\currentscene\fi`7D
X\def\stdfoot`7B`7B\tenrm \drafttext`7D \hss `7B\tenrm \datetext`7D`7D
X\def\stdxref`7B%
X  \ifx\currentact\emtpy \else%
X    \currentact, %
X  \fi%
X  \ifx\currentscene\empty \else%
X    \currentscene%
X  \fi
X\def\Roman#1`7B\uppercase\expandafter`7B\romannumeral#1`7D`7D
X\def\roman#1`7B\romannumeral#1`7D
X% Variants
X\def\LR`7B`7D
X\def\twoside`7B\def\LR`7BR`7D`7D
X\def\jlbrooks`7B`7D % for compatibility with screenplay format
X\def\movie`7B`7D
X\def\TV`7B`7D
X\def\sitcom`7B`7D
X\def\manuscript`7B
X  \def\header`7B\stdhead`7D
X  \def\footer`7B`7D
X  \def\draftblock`7B`7D
X\def\proof`7B
X  \ifx\drafttext\empty \draft`7BWorking Draft`7D\fi
X  \def\header`7B\stdhead`7D
X  \def\footer`7B\stdfoot`7D
X\def\shoot`7B  % here for compatibility with screenplay format
X  \manuscript
X% Breakdowns
X\def\makecastlist`7B\immediate\write16`7BCast lists no longer supported.`7D`
X\def\collectcast`7B\immediate\write16`7BCast lists no longer supported.`7D`7
X\def\makescenelist`7B\immediate\write16`7BScene lists no longer supported.`7
VD`7D
X\def\collectscenes`7B\immediate\write16`7BScene lists no longer supported.`7
VD`7D
X% Make a titlepage
X\def\maketitle`7B%
X  \ifx\LR\empty \else \def\LR`7BR`7D \fi
X  \hbox`7B`7D
X  \vskip 2in
X  \ifx\seriestext\empty \else`20
X    \centerline`7B\rm \seriestext`7D
X    \vskip 3\baselineskip
X  \fi
X  \centerline`7B\twbf \titletext`7D
X  \vskip\baselineskip
X  \ifx\authortext\empty \else
X    \centerline`7B\rm \authortext`7D
X  \fi
X  \vskip\baselineskip
X  \centerline`7B\basedontext`7D
X  \vskip 3.5in
X  \line`7B\copyrighttext\hfill\addresstext`7D
X  \vskip 3\baselineskip
X  \draftblock
X  \pageno=0
X  `7B
X    \def\header`7B`7D
X    \def\footer`7B`7D
X    \eject
X  `7D
X  \pageno=1
X\def\draftblock`7B%
X  \vskip 2in
X  \ifx\drafttext\empty \else
X    \rightline`7B\rm \drafttext`7D
X  \fi
X  \rightline`7B\rm \datetext`7D
X% Standard header for acts, tags, and teasers
X\def\acthead#1`7B%
X  \acttail
X  \advance\actcnt by 1
X  \scenecnt=0
X  \edef\currentact`7B#1`7D
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  \vfill
X  \penalty-10000
X  \vskip\baselineskip
X  \centerline`7B\twbf ACT #1`7D
X  \vskip 2\baselineskip
X% Standard tail for acts, tags, and teasers
X\def\acttail`7B%
X  \penalty1000
X  \ifx\currentact\empty \else
X    \vskip 2\baselineskip
X    \centerline`7B\twbf END OF ACT \currentact`7D
X  \fi
X% Regular script constructs:
X\def\act`7B\acthead`7B\Roman\actcnt`7D`7D
X\def\teaser`7B\prolog`7D  % Here for compatibility with
X\def\tag`7B\epilog`7D     % screenplay format.
X\def\prolog`7B\acthead`7BProlog`7D\actcnt=0`7D
X\def\epilog`7B\acthead`7BEpilog`7D`7D
X\def\prologue`7B\acthead`7BPrologue`7D\actcnt=0`7D
X\def\epilogue`7B\acthead`7BEpilogue`7D`7D
X\def\theend`7B
X  \def\acttailblock`7B
X    \vskip 2\baselineskip
X    \centerline`7B\bf THE END`7D
X  `7D
X\def\scene#1`7B%
X  \advance\scenecnt by 1
X  \edef\currentscene`7B\roman\scenecnt`7D
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  `7B\it Scene \roman\scenecnt:  #1`7D\par
X  \penalty1000
X\def\stage`7B%
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  \it
X\def\trans#1`7B%
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  \penalty100
X  \rightline`7B\it #1`7D
X  \par
X  \penalty-100
X\def\open#1`7B\trans`7B#1`7D`7D
X\def\close#1`7B\trans`7B#1`7D`7D
X\outer\def\dialog#1#2\par`7B%
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  \hangindent=5pc `7B\sc #1:`7D \rm
X  \mark`7B\header\noexpand\or `7B\sc #1:`7D `7B\it (cont'd)\/`7D%
X    \noexpand\or \rightline`7B\it (more)`7D`7D
X  #2\par
X\def\paren#1`7B`7B\sl (#1)\/`7D`7D
X\def\leadin#1`7B%
X  #1`7E\ldots
X  \par
X  \penalty200
X  \def\leadtext`7B#1`7D
X\def\pickup`7B\phantom`7B\leadtext`7D\llap`7B\ldots`7D`7E`7D
X\def\em#1`7B`7B\it #1\/`7D`7D
X\def\extra#1`7B#1`7D
X\def\introduce#1`7B#1`7D
X\def\sound#1`7B#1`7D  % Here for compatibility with screenplay format.
X\def\ldots`7B.\thinspace.\thinspace.`7D
X\def\cleanup`7B%
X  \par
X  \acttail
X  \mark`7B\header\noexpand\or\noexpand\or`7D
X  \vfill
X  \penalty-10000
X\def\bye`7B
X  \cleanup
X  \end
X% Shortcuts:
X%   (Most of these make more sense in the screenplay format.)
X\def\beat`7B\paren`7Bpause`7D`7D
X\def\cut`7B\trans`7Bcut to`7D`7D
X\def\dissolve`7B\trans`7Bdissolve to`7D`7D
X\def\ext#1`7B\scene`7B#1`7D`7D
X\def\fadein`7B\open`7BLights up`7D`7D
X\def\fadeout`7B\close`7BLights down`7D`7D
X\def\int#1`7B\scene`7B#1`7D`7D
X\def\os`7B\paren`7Boff stage`7D`7D
X\def\shot#1\par`7B\par\stage #1`7D
X\let\tv=\TV
X\def\vo`7B\paren`7Bvoice over`7D`7D
X% Defaults
X\manuscript
$ CALL UNPACK STAGEPLAY.TEX;2 1414188600
$ v=f$verify(v)
$ EXIT