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6 And 10

6 And 10

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6 And 10

176 Seiten
1 Stunde
Jan 15, 2013


In graduate school, young Mara Foley learns about the ethics and the theory of modern electronic journalism. However a summer internship with a South Texas TV station opens her eyes to the real world of in-house drama and competitiveness among those who ply the trade as their profession.

Teamed with a photo journalist with little formal higher education who has little respect for the book smart young reporter, Mara is given a chance to try her hand at actual on-camera reporting. It turns out to be a great deal more involved than she ever suspected.

As the friction between Mara and her “photog” grows, the news director tells her to listen to this young man. She learns he is a lot smarter about the day to day skills it takes to make it in professional journalism than she first thought.

When the pair are the only team available to cover a story about a body found by police, they cover the story and are drawn into the mystery and the unexpected twists real news can make. When they end up solving the case it is not only a surprise to them but to the rest of the station. The question becomes, how will this inexperienced young woman handle what is likely to become a story the main stream media picks up?

Jan 15, 2013

Über den Autor

Jack R. Stanley is an award winning novelist, playwright, and screenwriter. As an officer and combat photographer in Vietnam he earned the Bronze Star. Yet he says, “When you’re in a firefight and everybody else on both side have guns while you have a camera --- you get to change your pants a lot.”After his military service he received both his M.A. and his Ph.D. at the University of Michigan in Ann Arbor in Radio-TV-Film. His doctoral dissertation was on the long running TV series GUNSMOKE. Stanley also received two of Michigan1s most prestigious creative writing awards, The Hopwood Award, one for a one-act play and the second for a novel.Still married to his gifted high school sweetheart, Stanley’s first academic position was TV Area Head at The University of Texas at Austin’s Department of Radio-TV-Film. He later moved to deep-south Texas and the Lower Rio Grande Valley for a challenging position with The University of Texas-Pan American. Here he taught Theatre-TV-Film for 30 years in the Department of Communication serving as Department Chair at U.T.P.A. for 11 years. He did take one year out to work for The University of Alaska Anchorage as a visiting professor. Back in Texas, Stanley directed for stage at The University Theatre, produced and directed fifteen student staffed, cast, and crewed feature films, writing most of the original screenplays. Just a few of his credits are available on now lives in the Texas Panhandle where he writes his fiction and runs his blog, . His webpage is

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6 And 10 - Jack R. Stanley

6 and 10

An Original Screenplay


Jack R. Stanley

© All Rights Reserved

6 and 10

Text copyright © 2013 by Jack R. Stanley

All rights reserved

Smashwords Edition

This screenplay may not be copied or reproduced, in whole or in part, by any means, electronic, mechanical or otherwise, without written permission from the publisher except by a reviewer who may quote brief passages in his/her review.

This is a work of fiction. Any resemblance to any persons, events or localities is purely coincidental and beyond the intent of the author and publisher.


Cover illustration background

iStock illustration by ZlatkoGuzmic


A movie script is a story told in visual terms as seen by the film or television camera, and just as it will be seen by the audience on the screen.

Screenplays are not, however, really meant to be read by the general public. In fact, the version you’ll see here is NOT the professional format but one I call Readable Screenplay. It’s designed to (1) easier for e-book readers to handle and (2) more accessible to the non-professional reader.

As a document, screenplays are actually a technical writing intended for the eyes of professional working on the film or video production based on the script. And yet, a good screenwriter knows that the script should be first of all be a good reading experience for professional script readers, potential producers, directors, and actors. The text is written for these professionals who, hopefully, will combine their talents to mount a production of the script.

The description of the sets, lights, props, actions and sounds are often written phrases and incomplete sentences, not punctuated correctly, and annotated in a code expected to be interpreted by those who know the code. Think of the difference between a script and a movie as the difference between a blueprint and a building.

In a very real sense, "..the movie (like a play) is the thing" – not the screenplay. Still, a well written script will play out in the mind of the reader like the movie running in their head.

The protocol of the screenplay is that each scene begins with a heading in all caps that tells the reader where the scene is located (INT. for interior or inside, and EXT. for exterior or outside) followed by a specific place (BEDROOM or SQUAD ROOM, or CITY STREET) and often the time of day (DAY or NIGHT). In the format you’ll see here all Scene Headings are underlined like this:


The stage directions or action paragraphs below the Scene Headings, describe briefly the local, (war torn or modern steel and glass) and what action is taking place. These very general descriptions appear here with character names in ALL CAPS if it’s a character’s first appearance in the story.

JOHN DODGE sprints from tree to bush and drops into a bomb crater his rifle ready to cover the rest of the team. One by one ALICE, MAC, and TINY join him each securing a different direction.

Certain words may appear in ALL CAPS just to make them jump out because screenwriters know the old joke: Why do producers hate to read? Because their lips get tired. For this reason the punch up the script so even if the producer just reads what in ALL CAPS and the dialogue, they’ll get the story.

Directing from the page is a major no-no for screenwriters so writers don’t try to specify certain shots beyond EST. or establishing shots to tell the reader where the doors and windows are or other set specifics as absolutely necessary. Often the mere use of a different paragraph of stage direction indicates a different shot but it’s not the writer’s job to tell the director what shot or what lens to use unless it is mandatory. For example if Hans unsnaps his holster while talking to the bounty hunter in the bar, this will be noted.

In this Readable Screenplay when shots are indicated, they, too, will be underline like Scene Heading. However, screenwriters rarely specify and exact nature of a shot, rather merely suggesting a different ANGLE, or a WIDER or CLOSER shot when required.

Here are some of the terms you’ll see in all screenplays.

ANGLE - a single camera shot. Camera shots are also written as CLOSER or WIDER or even DIFFERENT ANGLE or ANOTHER ANGLE.

ON - BILL or BACK ON – BILL are general camera shots but not necessarily a CLOSE UP or MEDIUM or even OVER THE SHOULD shot of the character. The ON or BACK ON shot simply means that the audience’s attention should shift but exactly how is a decision for the director to make.

BILL or BACK ON - SCENE means return to a previous shot after allowing the audience to see something specific.

Some other terms you should know:

BEAT - a pause equal to a single count or beat of a waltz; usually a one second pause in action or dialogue.

P.O.V. - point of view; a camera shot taken from the vantage point of a person or object.

V.O. – voice over; narration, or a person’s thoughts or memories.

O.C. - off camera; dialogue, sound effects or action which takes place but which is not seen at that moment.


Hi, Sam. What's up?

You will also see a few transitions noted (DISSOLVE TO: or FADE TO BLACK: and FADE IN:). Unless otherwise noted it’s normal to CUT TO: the next shot or scene from the previous. But you will find some writers to still use CUT TO: for emphasis.

Dialogue is written in upper and lower case under the CHARACTER’S NAME in ALL CAPS set off in to be distinguished from stage directions. Parentheses under the character’s name or within dialogue are stage directions to the actors



My partner here, yet, or is he still home getting laid?


Upstairs. And the Captain's on his way, too.

In some earlier periods, the stage for plays used to be raked or slanted with the lower portion being toward the audience and the upper portion being the back of the stage, away from the audience. So when something or someone is to be U they are to be Up Stage and D is Down Stage. The action and description in the script might indicate that some object or person is to be above or below something or someone else (C D or R U). Thus above and below usually refer to Up Stage and Down Stage of the camera’s point of reference.

X means cross or an actor moves from one place to another on the set.

ASIDE is a line a character says mostly for the audience’s benefit but is often said as if the character is talking to himself and no one else on screen is supposed to be able to hear the line.

One more point before you start reading. All screenplays, no matter how long the writer has been working on it, is a First Draft when it reaches the studio. It’s like someone working in the music business and suddenly having a smash hit and they’re called an overnight success.

Now read and enjoy the movie.

6 and 10


Jack R. Stanley




An expanse of interstate highway winds through the summer heat. From a distance MARA'S CAR approaches.

It's several years old; faded, a few small dents and a couple of rust spots. The windows are rolled down; no air conditioning.


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