path: root/Master/texmf-dist/source/latex/screenplay/screenplay.dtx

% \iffalse
% +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=
% screenplay.dtx
% Latest version is available as:
%	http://dvc.org.uk/sacrific.txt/screenplay.zip
%
% Authored by and Copyright (C)2006 by
%        John Pate <johnny@dvc.org.uk>
%                http://dvc.org.uk
%
% This program is free software; you can redistribute it and/or modify it
% under the terms of the GNU General Public License as published by the
% Free Software Foundation; either version 2 of the License, or (at your
% option) any later version.
% 
% This program is distributed in the hope that it will be useful, but
% WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY
% or FITNESS FOR A PARTICULAR PURPOSE.  See the GNU General Public License
% for more details.
% 
% You should have received a copy of the GNU General Public License along
% with this program; if not, write to the Free Software Foundation, Inc.,
% 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA
% 
% GPL v2 text also available as: 
% 	http://dvc.org.uk/gplv2.txt 
% +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=
% \fi
%
% \iffalse
%<*dtx>
\ProvidesFile{screenplay.dtx}
\NeedsTeXFormat{LaTeX2e}[2003/12/01]
%</dtx>
%<driver>\ProvidesFile{screenplay.drv}
% \fi
%\ProvidesFile{screenplay}[2012/06/30 v1.6
%    LaTeX2e Draft Screenplay document class
%    (C)2006 John Pate
%    released under the GNU General Public License]
% \iffalse
%<*driver>
\documentclass{article}
\usepackage{doc}
\usepackage[dvips,letterpaper,pdfauthor=John\ Pate,
pdftitle=A\ LaTeX2e\ class\ for\ Draft\ Screenplays,
pdfsubject=LaTeX2e\ class\ documentation\ and\ source\ (C)2006\ John\ Pate]
{hyperref}
\RecordChanges
\CodelineIndex
\begin{document}
	\DocInput{screenplay.dtx}
\end{document}
%</driver>
% \fi
%
%% \CheckSum{356}
% \changes{1.0.0}{2006 Sep 23}{first \texttt{screenplay.dtx, 2006/09/23, v1.457}}
% \changes{1.0.1}{2006 Sep 24}{minor code changes, revision to documentation,
% v1.461}
% \changes{1.0.2}{2006 Sep 26}{minor code changes, revision to documentation,
% added \texttt{test} file, \texttt{example} file, to \texttt{.dtx},
% amended \texttt{.ins}, v1.465}
% \changes{1.0.3}{2006 Sep 27}{minor code changes, revision to documentation,
% added change history, v1.487}
% \changes{1.0.4}{2006 Sep 28}{enabled hyperlinks in documentation, v1.491}
% \changes{1.0.5}{2006 Sep 29}{minor code changes, revision to documentation,
% v1.494}
% \changes{1.0.6}{2006 Sep 30}{fixed typos, v1.496}
% \changes{1.0.7}{2006 Oct 01}{revision to documentation, v1.499}
% \changes{1.2.9}{2012 Jun 30}{v1.6, moved to Github}
%
% \MakeShortVerb{\|}
%
% \GetFileInfo{screenplay}
% \title{\bfseries A \LaTeXe\ class for Draft Screenplays}
% \author{by\\John Pate}
% \date{This paper describes class \texttt{\filename}\\
% version \fileversion, released \filedate}
% \maketitle
%
% \section{Introduction}
%
% Every year \textit{The Academy of Motion Picture Arts
% and Sciences} runs a competition for screenplay writers,
% the \textit{Nicholl Fellowships in Screenwriting}.
% Full-length feature film screenplays are submitted (for
% a fee).  You can win money but, more importantly, placing in
% the competition will make agents take notice.  
% \textit{The Academy} recommends a particular format which this
% \texttt{class} file attempts to duplicate, using a 
% \texttt{.pdf} available from \textit{The Academy} website as the
% model.  This format has various functions, amongst which is a
% gate-keeping function to show you have at least a first idea.
% It also gives readers a better chance of assessing how long,
% in filmic terms, your screenplay would be.  Formatted along
% the lines recommended, you should aim to have your screenplay
% in the region of 120 pages long.  Although they say A4
% paper is acceptable, it is widely held that you severely
% handicap yourself if you don't use American 8.5" by 11"
% Letter size paper.  I have a ream on my lap as I type: 20
% pound, 106 bright, acid free.  My sister brought it from
% America for me---it's very expensive to buy outside the US
% and not easy to find. One might imagine it's at the
% photocopy stage that dealing with A4 in America becomes
% a nuisance---one more reason to put your magnum opus
% to the bottom of the pile.
%
% Of course, if you didn't know this already you likely
% need to do some serious reading and research \emph{before}
% you start writing.  I guess trying to understand what's
% going on here is a start.
%
% The format specifications are pretty straightforward.
% You'll have to believe me when I say it wasn't quite so
% straightforward for me to start from a minimal understanding
% of \TeX\ and \LaTeXe\ to a usable \texttt{.dtx} file.
%
% This is an attempt to turn \TeX\ into a typewriter emulator.
% A crazy idea---which is why it appealed to me, obviously.
% Fortunately I'm easily entertained.
%
% I hope \texttt{screenplay.dtx} proves of use (and
% instruction) to others as it has to me.
%
% Anyhoo, on with the show\dots
% \pagebreak
% \section{Getting started}
%
% You should have: 
%   \begin{itemize}
%       \item\texttt{README}---plain text file 
%       \item\texttt{screenplay.dtx}---the source file 
%       \item\texttt{screenplay.ins}---driver file
%       \item\texttt{screenplay.pdf}---the file I assume you're reading right now
%       \item\texttt{test.pdf}---format test \texttt{.pdf} result
%       \item\texttt{COPYING}---GNU General Public License
%   \end{itemize}
% 
% If not, get \texttt{screenplay.zip} via, \\
% \href{http://dvc.org.uk/sacrific.txt/screenplay.zip}%
% {\texttt{http://dvc.org.uk/sacrific.txt/screenplay.zip}}
% 
% Use the command, \\
% \texttt{> latex screenplay.ins}  \\
% to generate from \texttt{screenplay.dtx}\dots
%   \begin{itemize}
%       \item\texttt{screenplay.cls}---class file
%       \item\texttt{hardmarg.sty}---optional style package 
%       \item\texttt{example.tex}---example (very) mini-screenplay
%       \item\texttt{test.tex}---format test source file
%   \end{itemize}
%
% Once you've unpacked the bundle and generated the \texttt{class} 
% file do, \\
% \texttt{> latex test} \\
% to generate the \texttt{test.dvi} you can compare with the
% \texttt{test.pdf}.
%
% Make sure everything in the printing chain can deal properly
% with 8.5ins by 11ins Letter paper.  Print out your
% version of \texttt{test} and the provided \texttt{test.pdf}
% (on Letter paper of course!) and compare them.  The two
% printouts should be dimensionally identical. The left margin
% should measure as  \emph{exactly} 1.5ins.  If not you have
% an old version of \texttt{dvips} and/or your printer driver
% is configured incorrectly and you'll need to fix things before
% you proceed further.
%
% \section{Some example markup}
%
% Although \texttt{screenplay.cls} builds on the standard \TeX\ document
% class \texttt{article}, it is not intended you pass it any options
% (except for the release date specification, see below). 
% The formatting required is minimalist. \texttt{screenplay.cls} will
% issue an error message if you use any options.
%
% |\documentclass{screenplay}[2012/06/30]| \\
% is your first command, you can give the optional date argument in
% case of any earlier copies of \texttt{screenplay.cls} lying around.
%
% You are now in the \textit{document preamble} where you should
% initialise the values of some commands.
%
% You must define the title of the screenplay\ldots\\
% |\title{The Title of Your Opus}| \\
% \ldots it will be uppercased automagically so don't fuss.
% If it's for the \textit{Nicholl Competition} you're done.
% However, you may as well also initialise\ldots \\
% |\author{Your Name}| \\
% \ldots capitalised as in ordinary writing, it's not munged
% in the typesetting, and\ldots\\
% |\address{99 Any Street \\| \\
% |Any Town \\ Postcode / Zip \\| \\
% |Phone \\| \\
% |email@whereami }| \\
% \ldots which you will need for a ``proper'' title page.
%
% The preamble is closed, of course, by\ldots\\ 
% |\begin{document}| 
%
% The first typesetting command, in the body of the document, should
% be one to build the title page.
% For the \textit{Nicholl Competition} this is |\nicholl|,
% \emph{alternatively} for the style used when submitting to
% an Agent, etc.\ use |\coverpage| (which uses your address
% and name from the preamble).
%
% The first thing you need to see in your screenplay is 
% FADE~IN: left justified with a blank line underneath.
% Screenplays always start this way, because they do.  You deploy
% the |\fadein| command for this.
%
% Next would typically be a slugline, \\
% |\intslug[day]{Johnny's House}| \\
% which would produce\ldots \\
% INT.~JOHNNY'S HOUSE \quad DAY 
%
% I made the time of day optional because my screenplay had
% stuff happening in space where there is no time of
% day.  You will likely \emph{always} use either \textit{day}
% or \textit{night}.  (Refer to \textit{The Academy's} information
% on formatting.)  Likewise there's an |\extslug[]{}| for EXT.
%
% After a slugline you would typically have some description.  This
% is simply ordinary text with paragraph breaks as per usual.
%
% When you get to dialogue, you have the |dialogue environment|.
%
% |\begin{dialogue}{Johnny}| |After| |some| |description| |you|\\
% |would| |typically| |have|\quad  |some| |dialogue.| |\end{dialogue}|
% 
% Directions (short) can be put inside dialogue text either as an optional
% argument to the dialogue environment, |\begin{dialogue}[shouting]{Johnny}| 
% which will result in parenthesized text below the dialogue name, or
% the |\paren{}| command can be used to put parentheticals into the
% blocks of dialogue text.
% 
% Do not put any blank lines in dialogue text.
%
% So you wander on with your screenplay requiring little in the
% way of \LaTeXe's powers until you reach the end of the
% final scene.  Personally I use \texttt{Elvis} with a selection
% of macros in my \texttt{.exrc} to save me having to type the
% commands I've invented.
%
% The  command at the end of the final scene is always
% |\fadeout| to produce the words FADE~OUT: flushright. 
%
% Then it's simply a case of |\theend| and |\end{document}|.
%
% \changes{1.2.7}{2006 Nov 15}{revision to documentation}
% The only tricky part of the formatting is deciding where to
% put any \emph{pagebreaks} that are required to help \TeX\ out
% with formatting.
%
% \textbf{Do not put in pagebreaks until you have really, really,
% really finished editing.}
%
% The bottom margin should be between a half and one and a half inches.
% \texttt{screenplay} will format pages avoiding breaks in blocks of
% dialogue or titleover passages, will not widow sluglines or ``TITLE
% OVER'' headers.
%
% Putting in manual pagebreaks will likely involve using the |\dialbreak| 
% command, though for description text |\pagebreak| is all that
% is required. 
%
% The |\dialbreak| command needs to know the character name and any
% optional directions as required.
%
% If you've used the |\titleover environment| you may
% need the |\titbreak| command (more tea, vicar?).  However, mostly
% for TITLE OVER: you'll be doing a date to accommodate flash\-backs
% or flash\-forwards, I expect, so use the |\centretitle| command
% as in\\
% |\centretitle{December 21, 2012}|.\\ 
% Yes, that's the English (or for that matter French and Canadian)
% ``centre'' not ``center'' in a stunning break from tradition.
%
% For further enlightenment, you should scrutinise the markup of
% \texttt{example.tex} and peruse \textbf{The Coding}
% section of this document where other useful commands may
% be found.
%
% Here are lists of the \texttt{screenplay} commands you should
% familiarise yourself with. 
%
% For the title page\ldots
%   \begin{itemize}
%       \item |\title{}| 
%       \item |\author{}|
%       \item |\realauthor{}|
%       \item |\address{}|
%       \item |\agent{}|
%       \item |\coverpage|
%       \item |\nicholl|
%   \end{itemize}
%
% In your screenplay text\ldots
%   \begin{itemize}
%       \item |\fadein|
%       \item |\intslug[]{}|
%       \item |\extslug[]{}|
%       \item |\intextslug[]{}|
%       \item |\extintslug[]{}|
%       \item |\begin{dialogue}[]{}| \ldots\ |\end{dialogue}|
%       \item |\paren{}| (for use inside dialogue environment);
%       \item |\dialbreak[]{}| for pagebreak in dialogue environment;
%       \item |\begin{titleover}| \ldots\ |\end{titleover}|
%       \item |\titbreak| for pagebreak in titleover environment;
%       \item |\centretitle{}| 
%       \item |\intercut| gives ``INTERCUT~WITH:'' flushright;
%       \item \verb*|\pov\ | gives ``P.O.V.'' as a ``word'' (n.b.\
% the \verb*| | symbol denotes a space);
%       \item \verb*|\revert\ | gives ``REVERSE~P.O.V.'' as a ``word'';
%       \item |\fadeout| 
%       \item |\theend|
%   \end{itemize}
% (|\fadeout| and |\fadein| should not be confused with ``FADE~TO:''
% which is, IMHO, unnecessary in a Draft Screenplay.)
% 
% You can see a completed screenplay marked-up via \LaTeXe\ and
% typeset with the latest revision of \texttt{screenplay.cls}
% at \href{http://dvc.org.uk/sacrific.txt/}%
% {\texttt{http://dvc.org.uk/sacrific.txt/}}. 
% There is also, at time of writing, a ``work-in-progress''
% uncompleted screenplay that has not had manual pagebreaks inserted.
%
% \section{Hard Margins package}
% \changes{1.0.9}{2006 Oct 06}{added \texttt{hardmarg.sty}, v1.502}
% \changes{1.2.6}{2006 Nov 10}{revision to documentation, v1.533}
%
% Here we're emulating a typewriter.  On a typewriter, the
% left margin is a hard stop, whereas the right margin was
% signified by a bell warning you to to hit the carriage return
% (those of us who typed in the stone age well remember that
% ``ding'').  Even the best typist (let alone me) would hit the
% margin release and run past the right margins by a character
% or two once in a while, sometimes deliberately.  Hence the
% ``fudge factors'' interpolated by me, which in days of yore
% would perhaps have been referred to as the \textit{gutter}.
% 
% The provided \texttt{hardmarg.sty} shows you what happens
% with the \textit{fudge factors} eliminated.  Place the command 
% |usepackage{hardmarg}| in the document preamble
% (i.e.\ between |\documentclass{|\ldots|}| and |\begin{document}|) 
% and judge for yourself.  Personally I'll stick with my 
% \textit{fudge}.  All the brain-work makes me crave carbs anyway.
% But if you want then use it to fix your screenplay to tighter
% margins, or perhaps compose an amended version to give your
% interpretation of ``the standard.''
% 
% \section{User customisation}
%
% \emph{\textbf{Don't!}}  It really is a case of KISS for Draft
% Screenplay formatting.  The margins are already ``relaxed,''
% unless you use \texttt{hardmarg.sty}. There are a few things
% you might get away with though\ldots
%
% You may want to change how the time of day is spaced from the
% rest of the slugline.  You can do this without editing the
% class file by redefining the |\slugspace| command 
% e.g.\ |\renewcommand*{\slugspace}{ - }|
% which will change the default 3em space to |em hyphen em| spacing.
% Likewise you could |\renewcommand*{\pov}{POV}| to lose the dots.
% If for some strange reason you don't like \textit{The Academy's} use
% of uppercase for (MORE) and (CONT'D) you can |\renewcommand*| the
% |\more| and |\contd| macros.
%
% Should you not want page number~1 to appear on the first page
% of the body of the screenplay put the |\thispagestyle{empty}| command
% in your document source file immediately \emph{after} the command
% to build the title page.
%
% Likely, in the usual \LaTeXe\ fashion, you should develop your own
% style package  depending on what conventions you want to use.
% If you feel you must, the lengths/widths and texts used are defined
% as macros you can redefine in your own style packages without having
% to amend the |class| file---refer to \textbf{The Coding}.
%
% \changes{1.2.9}{2012 Jun 30}{fixed URLs}
% \section{Specs from \textit{The Academy}}
%
% Be sure to read, carefully, and inwardly digest and re-read, \\
% \href{http://www.oscars.org/awards/nicholl/resources.html}%
% {\texttt{http://www.oscars.org/awards/nicholl/resources.html}} \\
% and, \\
% \href{http://www.oscars.org/awards/nicholl/scriptsample.pdf}%
% {\texttt{http://www.oscars.org/awards/nicholl/scriptsample.pdf}}, \\
% (the model document).
%
%   \begin{itemize}
% \item 20lb Letter paper (8.5"x11.0") \\*
% Courier 12pt, 10 pitch 
% 
% \item\textbf{Page} \\*
% Top margin:	1.0" \\*
% Bottom margin: 0.5"-1.5" \\*
% Left margin:	1.5" \\*
% Right margin:	1.0" 
% 
% \item\textbf{Dialogue} \\*
% tab NAME to:	4.2" \\*
% Left margin:	3.0" \\*
% Right margin:	2.5" \\*
%   \textsl{Parenthetical} \\*
% Left margin:	3.7" \\*
% Right margin:	3.3" 
% 
% \item\textbf{Numbering} \\*
% top right, Arabic \\*
% Top margin:	0.5" \\*
% Right margin:	0.75" 
%   \end{itemize}
% 
% INT/EXT. SLUG LINE DESCRIPTION \quad  DAY/NIGHT \nopagebreak \\
%	(with some kind of extra spacing before time of day)
%
% \StopEventually{\PrintIndex\PrintChanges}
%
% \section{The Coding}
% \changes{1.0.8}{2006 Oct 02}{minor format fix, v1.500}
% \changes{1.1.0}{2006 Oct 08}{minor code changes, v1.503}
% \changes{1.1.1}{2006 Oct 08}{minor code changes, v1.504}
% \changes{1.1.5}{2006 Oct 19}{minor code changes, revision to
% comments, v1.511}
% \changes{1.2.0}{2006 Nov 04}{minor code, documentation, changes, v1.521}
% \changes{1.2.3}{2006 Nov 07}{revisions to macros (code cleanups)}
% \changes{1.2.7}{2006 Nov 15}{revisions (bugfixes) to macros, v1.535}
%
% \texttt{screenplay.cls v1.538} was tested with\ldots 
% \begin{itemize}
%	\item pdfe\TeX\ 3.141592-1.21a-2.2 (\Web2C\ 7.5.4)
%	\item \texttt{dvips(k)} 5.95a
%	\item \texttt{kpathsea} version 3.5.4
%	\item \texttt{article} 2004/02/16 v1.4f
% \end{itemize}
%
%\iffalse
%<*class>
%\fi
% We are a \LaTeXe\ thang\ldots
%    \begin{macrocode}
\NeedsTeXFormat{LaTeX2e}[2003/12/01]
%    \end{macrocode}
% Say it like it is\ldots
%    \begin{macrocode}
\ProvidesClass{screenplay}[2012/06/30 v1.6 
	LaTeX2e Draft Screenplay document class
	(C)2006 John Pate
	released under the GNU General Public License]
%    \end{macrocode}
% Whinge if the user is being a bozo\ldots
%    \begin{macrocode}
\DeclareOption*{%
    \PackageError{screenplay}{Unwanted option '\CurrentOption'}%
    {There are no options available for class screenplay v1.538}}
\ProcessOptions\relax
%    \end{macrocode}
% |ifthen| needed for testing for optional args\ldots 
%    \begin{macrocode}
\RequirePackage{ifthen}[2001/05/26]
%    \end{macrocode}
% Use \texttt{article} class for its base functionality,
% \emph{must} be
% American Letter paper \emph{not} A4, \texttt{screenplay.cls}
% eats any papersize options and ignores them\ldots
%    \begin{macrocode}
\LoadClass[12pt,letterpaper,onecolumn,oneside]{article}[2004/02/16]
%    \end{macrocode}
% \texttt{geometry} package puts marks in to suggest to dvi interpretors
% to do the right thang for Letter paper\ldots
%    \begin{macrocode}
\RequirePackage[dvips,letterpaper]{geometry}[2002/07/08]
%    \end{macrocode}
% \ldots and make sure your printer driver (which means
% \textit{Ghostscript} in my case) knows Letter.
% I say again, you \emph{must} use American 8.5"x11" Letter
% paper---stationers in the UK may call it ``US Quarto'' if they've
% even heard of it, see\ldots\\
% \href{http://www.gwydir.demon.co.uk/jo/units/print.htm}%
% {\texttt{http://www.gwydir.demon.co.uk/jo/units/print.htm}}
%    \begin{macrocode}
\setlength{\paperheight}{11in}
\setlength{\paperwidth}{8.5in}
%    \end{macrocode}
%
% \emph{Must} have \texttt{Courier} as font (may cause warnings about
% font stuff, ignore)\ldots 
%    \begin{macrocode}
\RequirePackage{courier}[2004/09/15]
\renewcommand*{\familydefault}{\ttdefault}
%    \end{macrocode}
% You should \emph{not} hyphenate or full justify for Nicholl format\ldots
%    \begin{macrocode}
\raggedright
%    \end{macrocode}
%    \begin{macro}{Page Nums}
% Arabic top right, I'll live with where \TeX\ puts the margin\ldots
%    \begin{macrocode}
\pagenumbering{arabic}
\pagestyle{myheadings}
%    \end{macrocode}
% (You can force the page numbers out towards the right with \\
% |\markright{\hspace*{6.2in}}| \\
% in the document preamble, at the cost of `|Overfull hbox|' warnings,
% if you like.)
%    \end{macro}
%    \begin{macro}{CR/LF}
% Line spacing / pitch---it looks to me the standard
% \LaTeXe\ \texttt{courier} font is correct pitch,
% 12pt skip is what's in \texttt{scriptsample.pdf}\ldots
%    \begin{macrocode}
\setlength{\baselineskip}{12pt plus 0pt minus 0pt}
%    \end{macrocode}
% and this |\baselinestretch| appears to emulate \texttt{scriptsample.pdf}
% closely and, more importantly, measures up as matching the effect
% of the |\baselineskip| value---it matches what \textit{Movie Magic
% Screenwriter} does, for instance\dots
%    \begin{macrocode}
\renewcommand*{\baselinestretch}{0.8}
%    \end{macrocode}
% \textit{vspace} adjustment in |\minipage| and |\parbox| in dialogue
% to correct line spacing, should likely be adjusted if
% |\baselinestretch| is altered for some (crazy) reason\ldots
% \changes{1.1.3}{2006 Oct 16}{minor format fix, v1.508}
%    \begin{macrocode}
\newcommand*{\dialfix}{\vspace{2pt}}
%    \end{macrocode}
% skip one line between paras\ldots
%    \begin{macrocode}
\setlength{\parskip}{\baselineskip}
%    \end{macrocode}
% no paragraph indent\ldots 
%    \begin{macrocode}
\setlength{\parindent}{0in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\slugspace} 
% Extra inter-word spacing in sluglines\ldots 
%    \begin{macrocode}
\newcommand*{\slugspace}{\hspace{2.0em plus 0em minus 0em}}
%    \end{macrocode}
% (will result in a total of |3em| space). See also, |\placesep| and
% |\sepintext|, below.
%    \end{macro}
%    \begin{macro}{Margins/tabs}
% \changes{1.1.4}{2006 Oct 17}{minor code changes, revision to documentation, v1.509}
% See specs, 
% fudge factors (i.e.\ a ``gutter'') are needed to resemble
% the ``correct'' layout---take a ruler to it and \texttt{scriptsample.pdf}.
%
% 0.1" represents |1 em| in \texttt{courier} 12pt 10 pitch.
%    \begin{macro}{left margin}
% 1.5", default 1" +
%    \begin{macrocode}
\setlength{\evensidemargin}{0.5in}
\setlength{\oddsidemargin}{0.5in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{top margin}
% 0.5" to number, 1" to body\ldots
%    \begin{macrocode}
\setlength{\topmargin}{-0.5in}
\setlength{\headsep}{0.4in}
\setlength{\topskip}{0in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{bottom margin}
% 11" - (1" top margin) - (0.5" bottom) = 
%    \begin{macrocode}
\setlength{\textheight}{9.5in}
%    \end{macrocode}
% \ldots bottom can go to 1.5" for page breaking purposes.
%    \end{macro}
%    \begin{macro}{right margin}
% 6" width for description text to give 1" right margin, +0.1" fudge\ldots 
%    \begin{macrocode}
\setlength{\textwidth}{6.0in}
\newlength{\widthgutter}
\setlength{\widthgutter}{0.1in}
\addtolength{\textwidth}{\widthgutter}
%    \end{macrocode}
% (later on, we must adjust centring and flush right to the ``correct''
% margin by subtracting |\widthgutter|).
%    \end{macro}
%
% \textbf{Tabbing / spacing dialogues}\\
% Width of dialogue text, 3" with 0.2" fudge\ldots
%    \begin{macrocode}
\newlength{\dialwidth}
\setlength{\dialwidth}{3.0in}
\newlength{\dialgutter}
\setlength{\dialgutter}{0.2in}
\addtolength{\dialwidth}{\dialgutter}
%    \end{macrocode}
%	3" from left edge of page (1.5" left margin + 1.5")\ldots
%    \begin{macrocode}
\newcommand*{\dialtab}{\hspace*{1.5in}}
%    \end{macrocode}
%	 \textbf{name}, tab in 4.2" (margin + |\dialtab| + |\dialnametab|)
% from left edge of page\ldots
%    \begin{macrocode}
\newcommand*{\dialnametab}{\hspace*{1.2in}}
%    \end{macrocode}
%	parenthetical 1.5" with 0.2" fudge\ldots
%    \begin{macrocode}
\newlength{\parenwidth}
\setlength{\parenwidth}{1.5in}
\addtolength{\parenwidth}{\dialgutter}
%    \end{macrocode}
%	parenthetical, tab in 3.7" (margin + |\dialtab| + |\parentab|)
% from left edge of page\ldots
%    \begin{macrocode}
\newcommand*{\parentab}{\hspace{0.7in}}
%    \end{macrocode}
%
% AFAICS floats not involved\ldots
%    \begin{macrocode}
\renewcommand*{\textfraction}{1}
\renewcommand*{\topfraction}{0}
\renewcommand*{\bottomfraction}{0}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{Title Pages}
% \changes{1.1.8}{2006 Nov 01}{revisions to title page build,
% documentation, v1.517}
% \changes{1.1.9}{2006 Nov 03}{minor revision to title page build, v1.518}
% \changes{1.2.2}{2006 Nov 06}{minor revisions to title page code, v1.526}
% \changes{1.2.3}{2006 Nov 07}{revisions to title page code comments, v1.530}
% Use one of |\nicholl| or |\coverpage| to taste.
% This should be the first typesetting command after |\begin{document}|,
% presuming you want \texttt{screenplay} to generate a title page for you.
%    \begin{macro}{\title}
% |\title{The Title}| with |\\| if you feel you must.\\
% The code is already defined in the |article| class, here I 
% helpfully set a default title in case you can't decide\ldots
%    \begin{macrocode}
\title{My First Screenplay}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\titheadskip}
% Distance down from top of page for title\ldots
%    \begin{macrocode}
\newlength{\titheadskip}
\setlength{\titheadskip}{2.25in}
%    \end{macrocode}
%    \end{macro}
% \begin{macro}{\nicholl}
% For Nicholl Competition---just the title\ldots
%    \begin{macrocode}
\newcommand{\nicholl}{
	\thispagestyle{empty}
	\vspace*{\titheadskip}
	\begin{center}\MakeUppercase{\@title}\end{center}
	\newpage\setcounter{page}{1}
}
%    \end{macrocode}
% \end{macro}
%    \begin{macro}{\author}
% |\author{Author Details}| \\
% The code is already defined in the |article| class, here
% I helpfully define a default author in case you can't decide\ldots
%    \begin{macrocode}
\author{Alan Smithee}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\realauthor}
% |\realauthor{Your Name}| with no formatting code. \\
% This is for when you've used a pseudonym for |\author{}|, or
% if there are multiple authors and/or formatting code in |\author{}|.
% It's used by |\coverpage| when typesetting the ``author's address
% details.'' It will default to the whatever is set as |\author{}|
% if you don't set it\ldots
%    \begin{macrocode}
\newcommand{\@realauthor}{\@author}
\newcommand{\realauthor}[1]{\renewcommand{\@realauthor}{#1}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\address}
% |\address{Contact Address}| (\emph{without} name) with |\\| as
% appropriate.\\
% Your address details for the title page\ldots
%    \begin{macrocode}
\newcommand{\@address}{Contact via Agency}
\newcommand{\address}[1]{\renewcommand{\@address}{#1}}
%    \end{macrocode}
% \ldots see also\ldots
%    \end{macro}
%    \begin{macro}{\agent}
% |\agent{Agent name and address details}| with |\\| as appropriate. \\
% Some people like to put copyright and WGA registration
% details on their submitted screenplays---although the received
% wisdom is that this marks you as an amateur, you can use
% this macro.
%
% I'm calling this |\agent{}| to pretend you're putting
% your Agent's details instead of your own address---hence
% if you don't define |\address{}| (and use |\coverpage|) you'll
% get the boilerplate text ``Contact via Agency'' under the
% name in the ``author's address details'' area.  What
% you would do is omit your own contact details and only have your
% Agent's address (you could define |\realauthor{}| and |\address{}|
% as a non-printing character, e.g.\ |~|, to make your contact
% details blank if you like).  Putting this the other side of
% the page makes it immediately clear what's who.  No really,
% there's no need to use this \emph{unless} you're with an
% agency but it's your screenplay\dots
%    \begin{macrocode}
\newcommand{\@agent}{~}
\newcommand{\agent}[1]{\renewcommand{\@agent}{#1}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\titskip}
% Determines how far down below the title the extra info
% on the title page is written.
% You may have to adjust the |\titskip| if you put in
% a lot of text for |\address| and/or |\agent| but if you do
% there's probably too much---it's a rubber length\ldots
%    \begin{macrocode}
\newlength{\titskip}
\setlength{\titskip}{3.75in plus 0in minus 1.5in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\addrwidth}
% Size of boxes for |\agent| and |\realname|/|\address|
% (19 characters wide at 2")\ldots
%    \begin{macrocode}
\newlength{\addrwidth}
\setlength{\addrwidth}{2.0in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\addrseplen}
% \changes{1.2.1}{2006 Nov 05}{minor revision to title page code, v1.523}
% Separation between Agent and author/address details, rubber to
% allow for possible use of |hardmarg.sty|\ldots
%    \begin{macrocode}
\newlength{\addrseplen}
\setlength{\addrseplen}{2.0in plus 0in minus 0.5in}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\coverpage}
% Now the ability to make the the type of title page for
% Draft Screenplays submitted to Agents\ldots 
%    \begin{macro}{\bytext \byskip}
% \changes{1.2.4}{2006 Nov 08}{revisions to title page code, v1.531}
% In case you want to fiddle with this\ldots
%    \begin{macrocode}
\newcommand*{\bytext}{by}
\newcommand*{\byskip}{\baselineskip}
%    \end{macrocode}
%    \end{macro}
% |\coverpage| will build a title page\ldots
%    \begin{macrocode}
\newcommand{\coverpage}{
	\thispagestyle{empty}
	\vspace*{\titheadskip}
	\begin{center}{\MakeUppercase{\@title}}\\
		\vspace{\byskip}
		\bytext\\
		\vspace{\byskip}
		\@author
	\end{center}
	\vspace{\titskip}
%    \end{macrocode}
% |\agent| (if any, otherwise |\addrwidth| space) details at left margin in
% a |\parbox|, |\addrseplen| space then contact details for the author
% (|\realname|, which will default to |\author| if not defined, and |\address|)
% in a |\parbox|\ldots
%    \begin{macrocode}
\parbox[t]{\addrwidth}{\@agent}\hspace{\addrseplen}
\parbox[t]{\addrwidth}{\@realauthor\\\@address} 
%    \end{macrocode}
% Reset page numbers\ldots
%    \begin{macrocode}
	\newpage\setcounter{page}{1}
}
%    \end{macrocode}
%    \end{macro}
% End title page---author details 
%    \end{macro}
%    \begin{macro}{\more \contd}
% \changes{1.1.6}{2006 Oct 22}{minor code changes, revision to
% documentation, v1.512}
% \textbf{More and Continued.} You may want to use these
% macros if you feel it's necessary to follow what appears to
% be the ``older'' style where they aren't only used for
% pagebreaks\ldots
%    \begin{macrocode}
\newcommand*{\more}{(MORE)}
%    \end{macrocode}
%    \begin{macrocode}
\newcommand*{\contd}{(CONT'D)}
%    \end{macrocode}
%    \end{macro}
% \textbf{Dialogue blocks}\ldots
%    \begin{macro}{\paren}
% \changes{1.2.8}{2006 Nov 15}{bugfix}
% |\paren{hello world}| \\
% parenthetical within dialogue environment\ldots
% only for \emph{very short} text (directions) within
% dialogue\ldots
%    \begin{macrocode}
\newcommand{\paren}[1]{%

\parentab\parbox[t]{\parenwidth}{\raggedright(#1)\dialfix}\\
}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{dialogue env}
% |\begin{dialogue}[directions]{character name}| \ \ldots\  |\end{dialogue}|\\
% |\begin{dialogue}{character name}| \ \dots\   |\end{dialogue}|\\
% |\minipage| won't allow pagebreaks, see below for new manual
% pagebreak command for this environment.  Do \emph{not} have blank lines
% inside this environment.
% \textbf{Name} is outside |\minipage| to mitigate `|Overfull \hbox|' 
% warnings with long names\ldots
%    \begin{macrocode}
\newenvironment{dialogue}[2][]{%

\dialtab\dialnametab\hbox{\MakeUppercase{#2}}\\*
\dialtab\begin{minipage}[b]{\dialwidth}
\dialfix
\raggedright
\ifthenelse{\not\equal{#1}{}}
{
\paren{#1}
}{}
}{%
\end{minipage}

}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\dialbreak}
% \changes{1.2.8}{2006 Nov 15}{bugfix}
% Forcing pagebreak in dialogue,\\
% |\dialbreak{Character}| \\
% |\dialbreak[directions]{Character}|\\
% (need to know character name---\LaTeXe\ scoping rules don't
% seem to like global vars, somebody tell me otherwise)
% \emph{Note:}
% only do any manual pagebreaks when you absolutely positively
% have killed every muthafucka in the room!\dots
%    \begin{macrocode}
\newcommand{\dialbreak}[2][]{%
\nopagebreak
\dialnametab\hbox{\more}%
\end{dialogue}
\newpage
\ifthenelse{\not\equal{#1}{}}
{
\begin{dialogue}[#1]{\MakeUppercase{#2} \contd}
}{
\begin{dialogue}{\MakeUppercase{#2} \contd}
}
}
%    \end{macrocode}
%    \end{macro}
% \textbf{Sluglines}\\
% Optional arg for night/day.
% You probably should not consider time of day optional when
% you're writing descriptions---unless you're in a spaceship,
% of course\ldots
%    \begin{macro}{\placesep}
% What punctuation/spacing comes after the likes of INT and EXT\ldots
%    \begin{macrocode}
\newcommand*{\placesep}{.~}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\slug} internal command used for building 
% the various user commands\ldots
%    \begin{macrocode}
\newcommand{\slug}[3][]{%

\MakeUppercase{#2\placesep#3}%
\ifthenelse{\not\equal{#1}{}}
                {%
\slugspace\MakeUppercase{#1}\hspace{\fill}
                }{}
\nopagebreak 

}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\intslug}
% INT. SLUGLINE DESCRIPTION \quad DAY\\
% |\intslug[time of day]{description text}|\\
% |\intslug{description text}|
%    \begin{macrocode}
\newcommand*{\inttext}{INT}
\newcommand{\intslug}[2][]{\slug[#1]{\inttext}{#2}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\extslug}
% EXT. SLUGLINE DESCRIPTION \quad DAY\\
% |\extslug[time of day]{description text}| \\
% |\extslug{description text}|
%    \begin{macrocode}
\newcommand*{\exttext}{EXT}
\newcommand{\extslug}[2][]{\slug[#1]{\exttext}{#2}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\sepintext}
% Complementary to |\placesep|\ldots
%    \begin{macrocode}
\newcommand*{\sepintext}{./}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\intextslug}
% Apparently people do this\dots \\
% INT./EXT. SLUGLINE DESCRIPTION \quad DAY\\
% |\intextslug[time of day]{description text}| \\
% |\intextslug{description text}|
%    \begin{macrocode}
\newcommand{\intextslug}[2][]{%
\slug[#1]{\inttext\sepintext\exttext}{#2}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\extintslug}
% and/or this\dots \\ 
% EXT./INT. SLUGLINE DESCRIPTION \quad DAY\\
% |\extintslug[time of day]{description text}| \\
% |\extintextslug{description text}|
%    \begin{macrocode}
\newcommand{\extintslug}[2][]{%
\slug[#1]{\exttext\sepintext\inttext}{#2}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\sccentre \scflushright}
% Internal formatting commands for various macros\ldots \\
% |\sccentre{}| used in macros todo centring, you should use this if rolling 
% your own\ldots
%    \begin{macrocode}
\newcommand*{%
\sccentre}[1]{\hspace*{\fill}{#1}\hspace{\fill}\hspace{\widthgutter}}
%    \end{macrocode}
% |\scflushright{}| used in macros todo flushright, you should use this if rolling
% your own\ldots
%    \begin{macrocode}
\newcommand*{%
\scflushright}[1]{\hspace*{\fill}{#1}\hspace{\widthgutter}}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\punctchar}
% What you use to punctuate things like FADE~TO and TITLE~OVER\ldots
%    \begin{macrocode}
\newcommand*{\punctchar}{:}
%    \end{macrocode}
%    \end{macro}
% \textbf{Title Over}
%
%    \begin{macro}{titleover env}
% |\begin{titleover}| \ \ldots\  |\end{titleover}| \\
% as pseudo dialogue environment (think ``Star Wars'')
% the optional argument is for internal use \emph{only}\ldots
%    \begin{macrocode}
\newcommand*{\titleovertext}{TITLE~OVER}
\newenvironment{titleover}[1][]{%

\ifthenelse{\not\equal{#1}{}}
{%
\titleovertext #1\punctchar
}{%
\titleovertext\punctchar
}%
\\*[\baselineskip]
\dialtab\begin{minipage}[b]{\dialwidth}
\raggedright
}{%
\end{minipage}

}
%    \end{macrocode}
%    \end{macro}
%
%    \begin{macro}{\titbreak}
% \changes{1.2.8}{2006 Nov 15}{bugfix, v1.538}
% pagebreak for titleover environment\ldots
%    \begin{macrocode}
\newcommand{\titbreak}{%
\nopagebreak
\dialnametab\hbox{\more}%
\end{titleover}
\newpage
\begin{titleover}[\contd]%
}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\centretitle}
% |\centretitle| |{short text}| \\
% titleover for short text most often a date, centred with
% adjustment for gutter\ldots
%    \begin{macrocode}
\newcommand{\centretitle}[1]{%

\titleovertext\punctchar\\*[\baselineskip]%
\sccentre{#1}

}
%    \end{macrocode}
%    \end{macro}
% \textbf{Other macros}
%
%    \begin{macro}{\fadein}
% Always the \emph{first} thing in your screenplay, for some reason\ldots
%    \begin{macrocode}
\newcommand*{\fadeintext}{FADE~IN}
\newcommand{\fadein}{%

\fadeintext\punctchar

}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\fadeout}
% Always the last thing in your screenplay, for some reason,
% flush right with adjustment for gutter\ldots
%
%    \begin{macrocode}
\newcommand*{\fadeouttext}{FADE~OUT}
\newcommand{\fadeout}{%

\scflushright{\fadeouttext\punctchar}

}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\intercut}
% flush right with adjustment for gutter\ldots
%    \begin{macrocode}
\newcommand*{\intercuttext}{INTERCUT~WITH}
\newcommand{\intercut}{%

\scflushright{\intercuttext\punctchar}

}
%    \end{macrocode}
%    \end{macro}
%    \begin{macro}{\pov \revert}
% \changes{1.1.7}{2006 Oct 25}{minor revisions, v1.516}
% Switch point of view\ldots
%    \begin{macrocode}
\newcommand*{\pov}{P.O.V.}
%    \end{macrocode}
% \ldots switch it back\ldots
%    \begin{macrocode}
\newcommand*{\revert}{REVERSE~\pov}
%    \end{macrocode}
%    \end{macro}
%
%    \begin{macro}{\theend}
% But this is what we've all been waiting for\ldots
% OK, so this is actually the \emph{last} thing in the screenplay\ldots
%    \begin{macrocode}
\newcommand*{\thirty}{THE~END}
\newcommand{\theend}{%

\sccentre{\thirty}

}%THE END
%    \end{macrocode}
%    \end{macro}
%\iffalse
%</class>
%\fi
%\iffalse
%<*hard>
%\fi
%    \begin{macro}{hardmarg.sty}
%
% \textbf{Hard Margins package} \\
% Re-defines margins to exactly as stated in \texttt{scriptsample.pdf}.
% Try it out and see if you like it.  Also shows you what
% todo if you want to fiddle with some of the margin settings\ldots
%
% Issue info as to what we do\ldots
%    \begin{macrocode}
\ProvidesPackage{hardmarg}[2012/06/30 v1.6
For use with class screenplay
(C)2006 John Pate
released under the GNU General Public License]
%    \end{macrocode}
% Hard 1" right margin\ldots
%    \begin{macrocode}
\setlength{\textwidth}{6.0in}
%    \end{macrocode}
% Flushright and centring use this, so eliminate it\ldots
%    \begin{macrocode}
\setlength{\widthgutter}{0in}
%    \end{macrocode}
% Set dialogue to 3" width, right margin 2.5"\dots
%    \begin{macrocode}
\setlength{\dialwidth}{3.0in}
%    \end{macrocode}
% Set parentheticals to 1.5" width, right margin 3.3"\ldots
%    \begin{macrocode}
\setlength{\parenwidth}{1.5in}
%    \end{macrocode}
%    \end{macro}
%\iffalse
%</hard>
%\fi
%
% \section{More about paper}
% \changes{1.1.2}{2006 Oct 12}{revision to documentation, v1.507}
%
% Unless you're in America, getting Letter paper will be a problem.
% Another issue is that the recommended 20lb weight paper is
% equivalent to 75gsm, a non-standard weight for metric papers.
% (Well, strictly speaking the Americans have defined their measures
% using metric standards but let's not get into that.)
% Americans have a 24lb weight paper that's close to 80gsm.
% I've got samples of Letter in both 20lb and 80gsm.  The same
% screenplay, with the same card covers (240gsm plain white card)
% measures 12mm vs 15mm in thickness.  The 80gsm stuff is
% noticeably heavier and thicker (less flexible).
%
% IMHO good quality 20lb is nicer in handling and you can very much
% tell the difference.  Old-style typing paper was usually pretty
% thin for ``normal'' use.
%
% Copy Shops will cut down A3 paper to 8.5" by 11" for you but
% whether they'll get you 75gsm weight is another matter.  One
% told me he could ``probably'' get 75gsm paper if I really
% wanted it.  
%
% Buying Letter paper mail order in the UK is very expensive and
% I haven't seen American-style pound bond weights quoted---the
% ``heavy'' paper I have was sourced in the UK as
% XEROX PREMIER 216mm~x~279mm 80gsm.
%
% Another issue is that the paper must be three-hole punched.  Specs
% gleaned from the Internet suggest that Letter three-hole paper is
% a central hole (i.e.\ 140mm down from the top edge) with the other
% two holes 108mm up, and down, from that central hole.  I'm hoping
% to get some genuine three-hole from America to check that out,
% meantime I got a Copy Shop to drill a ream of paper for me (and
% some card for covers).  I'd advise that if you can't buy punched
% paper, get a Copy Shop to drill it for you.  It produces a vastly
% neater result than using a hole punch---and a suitable hole punch
% for ``home use'' is going to be rather expensive in any case.
%
% And then there's the paper fasteners\ldots\\
% To cut a long story short, here's what you want:
%   \begin{itemize}
%	\item ACCO solid brass \#5 brads, 1.25" long, part number 71505;
%	\item ACCO \#2 brass washers, part number 71511.
%   \end{itemize}
% \ldots and a rubber mallet to hammer them in with.
% The rubber mallet is easy enough to come by but 
% you'll have to source the paper fasteners from America (it seems to
% be mainly the screenwriting fraternity that call them ``brads''
% rather than paper fasteners, BTW).  The brass-plated ersatz
% versions available in the UK are clearly \emph{not} up to the job
% by a long shot. And beware that ACCO make a version that isn't
% solid brass and is inferior to these all-brass ones, hence the
% necessity for part numbers.
%
% The washers are for the back, where the prongs are folded over;
% you use \emph{two brads}, each with a single washer, one in the
% top and one in the bottom hole leaving the central hole empty.
%
% And while I'm on about paper, 120 pages is really the absolute
% longest you should go.  A screenplay that runs between 100 and 110
% pages is a better bet---and that's with plenty of whitespace in the
% passages of description.
% 
% \section{\LaTeX\ for the impatient}
% \changes{1.2.5}{2006 Nov 09}{additions to documentation, v1.532}
%
% You will likely need to be familiar with the following standard \LaTeX\
% foibles and constructs.
%
% In \TeX\ the \textsl{space} or \textsl{blank} character has special
% properties: 
%   \begin{itemize}
%	\item one blank is the same as a thousand and counts as one,
% except for \textsl{carriage returns} where two, or more, consecutive
% carriage returns signal a paragraph break.  A single carriage
% return is treated as a blank;
%	\item blanks at the beginning of a line are ignored;
%	\item blanks terminating a command name are removed (except
% in the case of printing \textsl{command characters}, see for example
% |\$| below);
%	\item blanks following \textsl{full stop} (period) get extra
% space inserted, except where the full stop follows an uppercase
% character.  Blanks following a \textsl{colon} get extra space
% inserted, as do those after an \textsl{exclamation mark};
%   \end{itemize}
% So to work with this you likely need to know:
%   \begin{itemize}
%       \item \verb*|\ | force single space (e.g.\ after e.g. and
% see |\pov| and |\revert| \texttt{screenplay} commands which follow
% convention and therefore need this to get a space after them);
%       \item |\@| force double space after full stop
% following an uppercase character (place it before the offending
% full stop);
%       \item |%| is the \textsl{comment character} (makes things invisible
% to \TeX)---the comment character used immediately before a carriage
% return suppresses the space \TeX\ would otherwise substitute for
% the carriage return;
%       \item |\\| force a linebreak;
%       \item |\\*| force a linebreak but don't allow a pagebreak;
%       \item |\pagebreak| (works in description text)
%       \item |\nopagebreak| 
%       \item |~| non-breaking space, |$\sim$| gives a $\sim$ symbol;
%   \end{itemize}
% You \emph{do} want \TeX\ to munge space for you, I advise you
% \emph{against} the use of the |\frenchspacing| command
% with \texttt{screenplay} (even if you're French).
%
% Special characters you might want:
%   \begin{itemize}
%       \item |\#| to produce a \# symbol;
%       \item |\$| to produce a \$ symbol;
%	\item |\%| to produce a \% symbol;
%       \item |$\backslash$| to produce a $\backslash$ symbol;
%       \item |\ldots| ellipsis \ldots
%   \end{itemize}
%
% A \LaTeX\ installation comes with extensive
% documentation---\emph{read  it}!
%
% Also check out the \textit{\TeX\ Users Group}
% \href{http://www.tug.org/}%
% {\texttt{http://www.tug.org}}.
%
% \section{Todo}
% If anybody else uses it maybe they'll spot stuff that's
% wrong but \textsl{Johnny} says, ``It works for me.''
%
% The test file \texttt{test.tex} shows \texttt{screenplay}
% markup applied to ``FOR A FEW DAYS MORE''
% (\href{http://www.oscars.org/awards/nicholl/scriptsample.pdf}%
% {\texttt{http://www.oscars.org/awards/nicholl/scriptsample.pdf}})
% and the \texttt{test.pdf} file was generated from that.
%
% A printout of the first page \texttt{scriptsample.pdf} and
% \texttt{test.pdf} show identical pitch and the inter-line
% spacing is pretty close.  However, I chose a |\baselinestretch|
% value to complement the |\baselineskip| and be more typographically
% appropriate rather than exactly match \texttt{scriptsample.pdf}
% (i.e.\ we're emulating a typewriter).
%
% You can tell which is which because \texttt{test.pdf}
% numbers the first page whilst \texttt{scriptsample.pdf} starts
% numbering on the second page of the screenplay.  
%
% If I get any \emph{useful} feedback I \emph{may} alter things
% accordingly.  In that regard Don (the webmaster) at, 
% \href{http://www.simplyscripts.com/}%
% {\texttt{http://www.simplyscripts.com}}
% has judged the results as, ``Script is in some generally agreed
% upon screenplay format or close enough,'' which is my intention
% for this |class|.
%
% If anyone comes up with additional |style| package(s) suitably
% applicable I'll add such to the |.dtx| bundle.  Having researched
% the subject I believe it's inappropriate to use constructs like
% CUT TO:, DISSOLVE TO:, FADE TO:, etc.\ in a Draft Screenplay, though
% they might legitimately appear in a Shooting Script or something
% getting close to it.  This |class| is aimed at Draft Screenplays,
% IMHO any further elaboration of capabilities should be via
% additional |style| packages---which I leave as an exercise for the
% reader.
%
% Please ensure you have tried latest available version before
% reporting any bugs.
%
% \section{Disclaimer}
% The arcane art of writing screenplays has spawned a whole industry
% of books and software.  \texttt{screenplay} is my modest and, more
% importantly, \emph{free} contribution.  It is \copyright 2006
% John Pate, released under the \textit{GNU General Public License}.
% Your mileage may vary.  E\&OE.
%
% The source for \texttt{screenplay} can be found on \textbf{github}, \\
% \href{https://github.com/JohnPate/Screenplay}%
% {\texttt{https://github.com/JohnPate/Screenplay}} 
%
%
% For howto contact the author see, 
% \href{http://dvc.org.uk/johnny.html}%
% {\texttt{http://dvc.org.uk/johnny.html}}.
%
% \newpage
% \section{A note for our Sponsor}
%
% I don't think I'm alone when I say\ldots 
% \bigskip
%
% \Huge Hail Eris!
%
% \bigskip
%  All Hail Discordia!
% \normalsize
% \newpage
%
%\iffalse
%<*rider>
%% Test document: facsimile of title and first page
%% of http://www.oscars.org/awards/nicholl/scriptsample.pdf
%% to demonstrate veracity of class screenplay
%% see http://www.dvc.org.uk/sacrific.txt/
%% for more information on the document class.
%%
\documentclass{screenplay}[2012/06/30]
\title{For a Few Days More}
\author{April Rider}
\address{555 George St NNW\\
Kaplan, ND 77777\\
999-999-9999}
\begin{document}
\coverpage
\fadein
\intslug[day]{Driskill Hotel Seminar Room}
JOE and APRIL burst through the doors into a clean, well-lit
seminar room.
\begin{dialogue}{Joe}
Are we in time?
\end{dialogue}
\begin{dialogue}{April}
How could they start without us?
We're the main attraction.
\end{dialogue}
Joe catches his breath as he leans against the podium at the
front of the room.
\begin{dialogue}[looking about the room]{Joe}
We are?
\end{dialogue}
\begin{dialogue}{April}
Don't be a moron.  You know we've
been invited to Austin to discuss
script format.
\end{dialogue}
\begin{dialogue}{Joe}
But why is the room empty?
\end{dialogue} 
April and Joe both look out across the room~-- rows of empty
chairs and nary a person in sight.
\begin{dialogue}{April}
Okay, okay, don't panic.
\end{dialogue} 
She takes three deep breaths.  Then she looks at her watch
and smiles.
\begin{dialogue}[continuing]{April}
We're an hour early.\dots  We should
rehearse.
\end{dialogue}
\begin{dialogue}{Joe}
Okay, you start.  Margins?
\end{dialogue} 
\begin{dialogue}{April}
Left, 1.5 inches.  Right, 1.0
inches.  Top, 1.0 inches to the
body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches,
depending on where the page break
comes.
\end{dialogue} 
\end{document}
%</rider>
%\fi
%\iffalse
%<*example>
\documentclass{screenplay}[2012/06/30]

\title{Example .tex File}

\author{John Pate}

\address{the address\\
here if you're\\
going postal\\
UK\\
+44~(0)131~999~9999\\
johnny@dvc.org.uk
}

%% ... preamble finished, let's go ...
\begin{document}

%% Make a title page ...
\coverpage
%% ...or use \nicholl

%% TeX allows quite a lot of leeway in whitespace, so I've messed this
%% up a bit.  I find keeping the format structured helps me a lot tho.
%% Note: but don't have blank lines *inside* the body of text in
%% a dialogue environment.
%% I use vi (Elvis) with macros to make a lot of typing disappear.
%% You can, of course, define LaTeX macros to shorten the command names. 
%% 
%% Anyhoo, on with the show ... 

%% for some reason this always happens at the start ...
\fadein

\intslug[illumination]{example sample -- screenplay.cls}

In space, nobody knows what time of day it is.  Wait, there is no
day. 

So BOB, a cross-dressing Republican, and BROWN, a Christian
fundamentalist Democrat, are talking nonsense instead.


\begin{dialogue}{Bob}
That means that someone
sabotaged the unit and killed the
President! Was it one of us?
\end{dialogue}
\begin{dialogue}{Brown}
Who else is mad but us, Condi\ldots
 \paren{beat}
and Bliar?
\end{dialogue}

Bob buries his head in his hands.

\intslug{Atlantis -- somewhere ANyway}

JOHN and MARK are at adjacent consoles. FRED is with them. TOM
is at another console slightly further away.

\begin{dialogue}{John}
The planetoid seems to have a thin crust
covering a nickel-iron core. Could have
been an Earth-like planet at one time.
\end{dialogue}

\begin{dialogue}{Mark}
We're coming up on the radio source now.
\end{dialogue}

Brown walks in and goes to a console.

He has a PARROT on his shoulder.

The Parrot has an air of quiet insouciance.

\begin{dialogue}{Fred}
Switch the visual to main screen so we
can get a good look.\end{dialogue}

They look up at the main screen.

\begin{dialogue}[to John and Mark]{Fred}
Lock on to that.
\dialbreak[to Tom]{Fred}
Establish planetary orbit.
\end{dialogue}

\intextslug[day]{in or out}
Apparently some people do this.

\intercut
\extintslug[night]{out or in}
Or even this.

\extslug[day or nite]{NO WARRANTY -- EXPRESS OR IMPLIED}

\pov\ I made the slugline DAY/NIGHT optional 'cause in space no-one can
tell the time.  You probably will need to specify.

Don't put in pagebreaks by hand until you're really, really
finished editing!

It isn't the done thing to hyphenate for formatting purposes.
\centretitle{http://dvc.org.uk/sacrific.txt/}

That was a centred titleover.
\begin{titleover}There's a titleover environment for dialogue-like layout if you're
doing the "Star Wars" thing.\end{titleover}\extslug[All Hail Discordia!]{where to find us}
http://dvc.org.uk/sacrific.txt/screenplay.zip

Use the source, Luke.

\extslug[illumination]{for definitive info on layout}

http://www.oscars.org/awards/nicholl/resources.html

%% and this always happens at the end ...
\fadeout

\theend

\end{document}
%</example>
%\fi
% \Finale
\endinput