This is the format used for half-hour comedies shot in the classic sitcom style of Two and a Half Men, as opposed to the single-camera style of The Office. Much of what is true of single-camera film format and discussed in detail earlier in this guide is also true of multi-camera film format:
The margins for shot headings, direction, dialogue and transitions are the same
The same rules apply to font size and type, and paper size and type
Shot headings are arranged according to the same rules
The same rules apply to how dialogue and direction are broken between pages
The principle differences from single-camera film format are these:
Shot headings and transitions are underscored
Direction is typed in all capital letters
Dialogue is double-spaced
Sound cues are underscored
Parenthetical character direction is embedded in dialogue
See Appendix B for sample script pages in multi-camera film format.
Writers who aspire to write for television must write spec episodes of existing series to demonstrate their skill. To create the desired positive impression on agents and show runners, these spec episodes must be formatted like the scripts written by the show’s staff writers. The challenge is that every television series, hour-long or half-hour, uses a slightly different format. The only sure way to know exactly what character names are used over dialogue, or what recurring locations are regularly called in shot headings, and countless other details that will help a spec script appear professional, is to obtain a copy of a sample episode. Study it. Replicate the format.
How to get your hands on a sample script?
In many cases, an Internet search will turn up an episode script online. Numerous sites host scripts, including:
The Daily Script at http://www.dailyscript.com
Drew’s Script-O-Rama at http://www.script-o-rama.com
The Internet Movie Script Database at http://imsdb.com
Simply Scripts at http://www.simplyscripts.com
Scriptcrawler at http://www.scriptcrawler.net
Pay attention to the type of script you’re getting from these sites. Some are the actual scripts in their original formats. Others are transcripts created by fans, which won’t be of any value to someone wanting to see how the show’s actual scripts look. Jack Gilbert, an expert on television writing who has directed the vaunted Warner Bros. Writers Workshop, points out that scripts in PDF format are most likely to be copies of an original episode.
However, Gilbert recommends that the best source he’s found for television scripts is http://tvwriting.googlepages.com. Next is Script City at www.scriptcity.net, which offers scripts in paper or PDF formats for about $10.
University libraries often contain sample scripts, especially if the school has a film and television writing program.
If you’re in Southern California, visit the Writers Guild Foundation Shavelson-Webb Library to access their collection of upwards of 15,000 produced scripts. The library is housed in the WGA West headquarters at 7000 West Third Street, Los Angeles, CA 90048.
Standard multi-camera film format margins are as follows:
Paper is 3-hole punched 8.5″ × 11″ white 20 lb. bond
Shot headings:
Left margin is 1.7″
Right margin is 1.1″
Line length is 57 characters
Shot headings are underscored
Direction:
Left margin is 1.7″
Right margin is 1.1″
Line length is 57 characters
Direction is typed in all capital letters
Dialogue:
Left margin is 2.7″
Right margin is 2.4″
Line length is 34 characters
Dialogue is typed in upper and lower case letters and double-spaced
Character name over dialogue:
Left margin is 4.1″
Note that the character name over dialogue is not centered. It begins at the same fixed point (4.1″ from the left edge of the page) no matter how long it is
Parenthetical character direction is embedded in dialogue in all capital letters
Scene transitions:
Left margin is 6.0″
Scene transitions are underscored
Sound cues:
Left margin is 1.7″
Right margin is 1.1″
Line length is 57 characters
Sound cues are typed in all capital letters and underscored and begin with the abbreviation SFX:
Scene letters:
Go at 7.2″, on the line immediately following the page number Scene letters are capitalized and enclosed in parentheses
Page numbers:
Go at 7.2″, .5″ below the top edge of the paper
Font:
Courier or Courier New 12 point (or equivalent fixed-pitch serif font)
Page length:
A maximum of 57 lines (which allows for .5″ margin at the top and 1″ margin at the bottom of each page)
These 57 lines include one line at the top of each page for the page number, followed by a blank line and the text of the script.
Shot headings are arranged according to the principles detailed for single-camera film format.
The only change for multi-camera format is that shot headings are underscored:
INT. “BETTER FRED THAN DEAD” DINER — DAY
Typically multi-camera format scripts use very few shot headings besides master scene headings. It is common for a scene to run in its entirety beneath a single heading.
A new scene always begins on a new page. However, when action moves continuously from one room to an adjacent room and cameras don’t stop rolling, a new shot heading may be used without it being considered a new scene. In this case, the new shot doesn’t indicate a new scene but only a new portion of a continuing scene. Drop four lines after the final text of the first portion and type the new shot heading, like this:
INT. DINER — KITCHEN — DAY
(Fred)
FRED POURS PANCAKE BATTER ON THE GRIDDLE. TURNS ON THE DISHWATER. HE RUSHES OUT INTO:
INT. MAIN DINER
HE UNLOCKS THE FRONT DOOR. RUSHES BACK INTO:
INT. KITCHEN
HE FLIPS THE PANCAKES. THROWS DIRTY DISHES IN THE SINK.
Direction is typed in all capital letters. This of course alleviates the need to decide what to capitalize and greatly simplifies the task of formatting multi-camera format scripts:
IT’S THE BREAKFAST RUSH. FRED’S BEHIND THE COUNTER. MARTHA’S TAKING AN ORDER FROM DEBBIE, EARLY 20S, ATHLETIC, LEAN.
Character entrances and exits are underscored in direction. Underscore the name of the character and the word or words describing the entrance or exit:
THE DOOR OPENS. BOB ENTERS.
CURT COMES THROUGH THE FRONT DOOR AND SLIPS ON A BANANA PEEL.
BEICHMAN GRABS A BUCKET AND EXITS AT A RUN.
Camera direction is underscored in direction. Underscore the word camera as well as any words related to the camera’s movement and associated prepositions:
SWEETPEA SITS ALONE ON A CHAIR, READING THE LETTER. HER BODY IS RACKED WITH SILENT SOBS. CAMERA PULLS BACK TO REVEAL THAT THE ENTIRE ACTING CLASS SURROUNDS HER, WIPING AWAY TEARS AT HER BRAVURA PERFORMANCE.
Character names over dialogue follow the same rules as those for single-camera film format. The dialogue itself is typed in upper and lower-case letters and double-spaced:
FRED
That’s it! First Johnny called and
said he had the flu. Now Ronnie
calls with a cold. The job is a
real headache.
MARTHA
I’ve gotta tell you. All this
moaning and groaning is making me
sick!
Whenever the same character continues speaking after an interruption for direction or a sound cue, the abbreviation (CONT’D) is placed beside the character’s name over dialogue, typed in all capital letters, inside parentheses:
DEBBIE
Ronnie, come over here.
RONNIE APPROACHES, FILLED WITH TREPIDATION.
Come closer. I’m not gonna hurt
you.
All the rules from single-camera film format apply here, with one important exception. In multi-camera format, parenthetical character direction is embedded in the dialogue, not pulled out on a separate line at a separate tab:
FRED
Eyes this way, people. (WAITS)
So that’s about it. (TURNS TO
O.S. AUDIENCE) How’d we do?
Scene transitions follow the same rules in multi-camera format that they do in single-camera film format. The only difference here is that they get underscored:
CUT TO:
WIPE TO:
DISSOLVE TO:
FADE OUT.
RIPPLE DISSOLVE TO:
All sound cues (sounds that must be made by someone besides an actor on camera) are underscored and preceded by the abbreviation “SFX”:
CURT HITS THE FLOOR. MOANS LIKE A COW.
SFX: THE PHONE RINGS.
NO ON ANSWERS IT. CURT LOOKS UP FROM WHERE HE LIES ON THE FLOOR.
Characters who appear in a scene are listed beneath the shot heading for that scene. They are typed in the order of appearance, in upper and lower case letters, inside parentheses, with extras listed after speaking characters:
INT. “BETTER FRED THAN DEAD” DINER — DAY
(Fred, Martha, Bob, Debbie, Curt, Diner Extras)
IT’S THE BREAKFAST RUSH. FRED’S BEHIND THE COUNTER.
MARTHA’S TAKING AN ORDER FROM DEBBIE.
Scenes in a multi-camera script are either lettered or numbered. Most often they are lettered. The scene letter appears capitalized, inside parentheses, on each page of the scene.
Practices vary from series to series, but the following is a common and time-honored scheme. On the first page of a scene, the scene letter is centered, 12 lines below the top of the page. The text of the scene begins 12 lines below that:
21.
(D)
INT. FRED’S APARTMENT — NIGHT
(Fred, Martha)
FRED ENTERS TO FIND MARTHA TRYING TO WRESTLE THE
REFRIGERATOR OUT AN OPEN WINDOW.
All subsequent pages that are part of the scene show the scene letter directly below the page number. The text of the script begins on the line immediately below the scene letter:
45.
(G)
CURT PLACES THE CHAIRS ON TOP OF THE TABLES.
Like hour-long television and many made-for-television movies, half-hour television scripts are divided into acts. Some also include a teaser, cold open, or prologue and a tag or epilogue.
The first page of a multi-camera script includes the series and episode titles plus the heading ACT ONE, TEASER or PROLOGUE, as appropriate, typed in all capitals letters, underscored and centered:
BETTER FRED THAN DEAD
“A Simple Sample”
ACT ONE
(A)
FADE IN:
INT. “BETTER FRED THAN DEAD” DINER — DAY
(Fred, Martha, Debbie, Bob, Curt, Diner Extras)
IT’S THE BREAKFAST RUSH. FRED’S BEHIND THE COUNER.
MARTHA’S TAKING AN ORDER FROM DEBBIE.
The scene letter appears on line 12 and the text of the script begins on line 24. As with single-camera film format, the page number is not typed on page 1.
The first page of each subsequent act begins with the act heading (e.g. ACT TWO) typed in capital letters, centered and underscored on line 3, followed by the scene letter on line 12 and the text of the script beginning on line 24:
30.
ACT THREE
(G)
FADE IN:
INT. CURT’S TAXI — NIGHT
(Curt, Customer Extra)
CURT DRIVES. HE’S WHISTLING A TUNE. AT FIRST IT’S HARD TO
MAKE OUT WHAT IT IS.
The last page of an act ends with a transition (usually FADE OUT) double-spaced below the final script text, followed by the words “END OF ACT ONE” (or TWO or THREE, etc.) typed in all capital letters, underscored and centered. If space allows, leave five blank lines between the final transition (e.g. FADE OUT or CUT TO BLACK) and “END OF ACT ONE.” If space doesn’t allow the full five blank lines, leave at least one blank line.
FRED CLOSES THE DOOR TO THE DINER AND SHUTS OFF THE LIGHTS.
FADE OUT.
END OF ACT ONE
The last page of the entire script ends with no reference to the number of the current act. Instead, it ends with the words, “THE END.”
The following rules govern the breaking of pages in multi-camera film format scripts.
When a scene continues from one page to the next, no (CONTINUED) is placed at the bottom of one page and no CONTINUED: appears at the top of the next. The scene simply continues.
When a speech is broken at the bottom of a page, always break at the end of a sentence and add (MORE) at the bottom of the first page, double-spaced beneath the dialogue, and (CONT’D) at the top of the following page beside the character name:
CURT
This is the last time I come in
here expecting to be served
something that’s actually, how
do you say, edible.
(MORE)
12.
(B)
CURT (CONT’D)
Can I just have a bottle of water
and some crackers?
Even when direction interrupts the speech, (MORE) and (CONT’D) are still required:
FRED
Comin’ atcha.
HE CLIMBS ONTO THE DINER COUNTER.
(MORE)
7.
(A)
FRED (CONT’D)
Yo. Yo yo. Your attention right
here, if you please.
Note that (MORE) is typed beneath the interrupting line of direction, as the last word on the page.
When breaking direction from one page to the next, always break at the end of a sentence:
CURT CLIMBS TO HIS FEET. FRED CLAPS HIS HANDS FOR ATTENTION.
24.
(E)
EVERYONE IN THE DINER STANDS, FACES CURT AND APPLAUDS.
When breaking a page near a sound cue, arrange the break so that the sound cue is not the first item at the top of a page. If a sound cue won’t fit at the bottom of a page, carry it to the top of the next page along with the dialogue or direction that immediately precedes it:
CURT COMES THROUGH THE FRONT DOOR AND SLIPS ON THE BANANA PEEL. HE TAKES OUT AN ENTIRE ROW OF TABLES ON HIS WAY DOWN. IT’S A SIGHT TO BEHOLD.
3.
(A)
DEBBIE
I stand corrected.
SFX: THE PHONE RINGS.
NO ONE ANSWERS IT. CURT LOOKS UP FROM WHERE HE LIES ON THE FLOOR.
A shot heading can’t appear as the last item at the bottom of a page. At least one full sentence of direction must accompany the shot heading or it should be moved to the top of the next page.
Never break a page immediately before a transition. If a transition won’t fit at the bottom of a page, carry it to the top of the next page along with the dialogue or direction that immediately precedes it:
4.
(A)
EVERYONE IN THE DINER STANDS, FACES THE AUDIENCE AND BOWS.
DISSOLVE TO: