The script you type is a working document. You will be adding continuity notes to it during shooting and others will also require plenty of space for their own requirements. You have a choice of layouts, both of which are commonly used.
1. The first layout is to type the script in the manner of a television studio script, with the dialogue and stage directions on the right-hand side of the page leaving a wide margin on the left. Type stage directions in capital letters and dialogue in upper and lower case; and use one and a half or double spacing so that alterations can easily be made. Try not to carry over a piece of dialogue from one page to the next. (See example on the previous page.)
Typing the script in this fashion makes for a thicker script, which is a disadvantage when carrying it around, but this is greatly outweighed by the fact that it is far easier for you to write continuity notes, and for the editor to make notes, in the margin, well clear of the dialogue. It also has the advantage of enabling tramlines for the editor to be placed in the left margin, again clear of the dialogue.
2. The other layout uses a centred text, with the scene possibly typed in the left margin. Single spacing is used, which make for a thinner script. Sometimes the stage directions are in capital letters, and sometimes the dialogue is in capitals. This layout has a certain snob value in that it has been used as a pretty standard layout for feature films for years, but for ease of use for both continuity and the editor the first layout is preferable. If this layout is used, then it should be possible for continuity to have copies of the script re-laid for herself and the editor without too much difficulty.
Scripts are normally printed on A4 size paper, but it can be helpful to artists and crew to have copies printed on A5 paper for use on location. These smaller versions are far easier to handle – to keep in coat pockets for example – than the larger size, especially if a number of episodes are involved.
SCENE 5/9: NIGHT. EXT. HOUSE. 2335
AGNES IS LEADING THE WAY UP THE PATH
AGNES
Here you are. No. 14.
ELLEN
Thank you very much for taking the trouble.
AGNES
Och, it’s no trouble. I live just away down there.
SHE MOVES TO THE SIDE AND STANDS WAITING WHILE
JOHN FUMBLES WITH THE UNFAMILIAR KEYS.
ELLEN AND JOHN BOTH WANT HER TO GO.
JOHN
We’ll be fine now, Mrs Fraser.
AGNES
I’ll bid you goodnight then. And welcome to Riccarton.
SHE TURNS AND WALKS OFF DOWN THE PATH. JOHN PUTS DOWN
THE CASES AND CATCHES HOLD OF ELLEN. HE MURMURS
SOMETHING AND SHE LAUGHS AND PROTESTS AS HE SWINGS HER
UP AND OVER THE THRESHOLD. CUT TO AGNES, WHO HAS TURNED
AND IS WATCHING.
Welcome to hell.
Layout with a centred text.