Script Double Quotes

I look back on my life the way one watches a badly scripted action flick, sitting at the edge of the seat, bursting out, "No, no, don't open that door! The bad guy is in there and he'll grab you and put his hand over your mouth and tie you up and then you'll miss the train and everything will fall apart!" Except there is no bad guy in this tale. The person who jumped through the door and grabbed me and tied me up was, unfortunately, me. My double image, the evil skinny chick who hisses, Don't eat. I'm not going to let you eat. I'll let you go as soon as you're thin, I swear I will. Everything will be okay when you're thin.

Her friend - and her partner on the stage. You will not believe me, but making love to Kitty - a thing done in passion, but always, too, in shadow and silence, and with an ear half-cocked for the sound of footsteps on the stairs - making love to Kitty and posing at her side in a shaft of limelight, before a thousand pairs of eyes, to a script I knew by heart, in an attitude I had laboured for hours to perfect - these things were not so very different. A double act is always twice the act that the audience thinks it; beyond our songs, our steps, our bits of business with coins and canes and flowers, there was a private language, in which we held an endless, delicate exchange of which the crowd knew nothing. This was a language not of the tongue but of the body, its vocabulary the pressure of a finger or a palm, the nudging of a hip, the holding or breaking of a gaze, that said, You are too slow - you got too fast - not there but here - that's good - that's better! It was as if we walked before the crimson curtain, lay down upon the boards and kissed and fondled - and were clapped, and cheered, and paid for it!

Sunny nodded. But her mind was not on the problems of the black African diaspora. She was thinking about what it was going to be like to meet with a giant sentient spider who was thousands, maybe millions, of years old while she was impaired by doubling.

Echophenomena, such as autistic echoing of phrases, are largely considered involuntary, even if such echoing is done voluntarily. (Such are the paradoxes of compliance.) Conversely, imitation, such as complying with a behavioral analyst's demand to mirror her jumping body, is regarded as voluntary, even if it is coerced or scripted.

You didn't wear that offensive shapewear again, did you? If so, we're heading straight to the bathroom. You can't take it off me, I hissed. So you did wear it? If you were me, you might have been tempted to double up. Lamont rolled his eyes, a ghost of a smile flirting with the edges of his lips. There is nothing wrong with your figure, other than you trying to strangle it every time you wear a dress.

The mythical ‘butterfly effect’ does exist, but we don’t spend enough time butterfly hunting. Here are some recent butterfly effect discoveries, from my own experience: A website adds a single extra option to its checkout procedure – and increases sales by $300m per year. An airline changes the way in which flights are presented – and sells £8m more of premium seating per year. A software company makes a seemingly inconsequential change to call-centre procedure – and retains business worth several million pounds. A publisher adds four trivial words to a call-centre script – and doubles the rate of conversion to sales. A fast-food outlet increases sales of a product by putting the price . . . up. All these disproportionate successes were, to an economist, entirely illogical. All of them worked. And all of them, apart from the first, were produced by a division of my advertising agency, Ogilvy, which I founded to look for counter-intuitive solutions to problems. We discovered that problems almost always have a plethora of seemingly irrational solutions waiting to be discovered, but that nobody is looking for them; everyone is too preoccupied with logic to look anywhere else. We also found, rather annoyingly, that the success of this approach did not always guarantee repeat business; it is difficult for a company, or indeed a government, to request a budget for the pursuit of such magical solutions, because a business case has to look logical.

Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.

In the last years of the Republic there were films such as Robert Siodmark's Menschen am Sonntag (People on Sunday, 1930)) and Gerhard Lamprecht's Emil und die Detektive (Emil and the Detectives, 1931), which embraced the airy streets, light-dappled forests, and lakes surrounding Berlin. Billie Wilder, a brash young journalist and dance-hall enthusiast, worked on the scripts for both these films. While Kracauer and Eisner saw malevolence in the frequent trope of doubling (one being possessed by another and thus becoming two conflicting psychological presences), Wilder witnessed another form of doubling during the Weimer era: transvestitism, a staple of cabaret. Men dressing as women (as do Reinhold Schünzel in der Himmel auf Erden [Heaven on earth]) and Curti Bois in Der Fürst von Pappenheim [The Masked Mannequin][both 1927]) or women as men (as does Dolly Haas in Liebeskommando [Love's Command, 1931]), in order to either escape detection or get closer to the object of their affection, is an inherently comic situation, especially when much to his or her surprise the cross-dresser begins to enjoy the disguise. Billie left Germany before he directed a film of his own; as Billy he brought to Hollywood a vigorous appreciation of such absurdities of human behavior, along with the dry cynicism that distinguished Berlin humor and an enthusiasm for the syncopations of American jazz, a musical phenomenon welcomed in the German capital. Wilder, informed by his years in Berlin (to which he returned to make A Foreign Affair in 1948 and One, Two, Three in 1961), wrote and directed many dark and sophisticated American films, including The Apartment (1969) and Some Like it Hot (1959), a comedy, set during Prohibition, about the gender confusion on a tonal par with Schünzel's Viktor und Viktoria, released in December 1933, eleven months into the Third Reich and the last musical to reflect the insouciance of the late Republic.

Coach Phil’s shorts probably fit him okay twenty, thirty pounds ago. His red polo shirt with the word “Coach” stitched in script across the left breast was also snug enough to double as sausage casing. He had the look of an ex-jock gone to seed, which, Maya surmised, he probably was. He was big and intimidating, and his size probably scared people. Keeping

All part of the morning ritual: Astor never wanted anything Rita gave her to eat. And I found it oddly comforting that I knew what would happen next, as Rita and the kids followed the every-morning script and I waited for the cold pills to kick in and return to me the power of independent thought. Until then, no need to worry; I didn’t have to do anything but follow the pattern.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Follow-up Call (Script) Seller: “Hello Mr. Prospect, my name is Tom Freese, and I’m the regional manager for KnowledgeWare in Kansas City. I wanted to contact you about the CASE application development seminar we are hosting at IBM’s Regional Headquarters on August 26. Do you remember receiving the invitation we sent you? (Pause for a response) “Frankly, we are expecting a record turnout—over one hundred people, including development managers from Sprint, Hallmark Cards, Pepsi Co., Yellow Freight, Kansas Power & Light, the Federal Reserve Bank, Northwest Mutual Life, American Family Life, St. Luke’s Hospital, Anheuser-Busch, MasterCard, American Express, Worldspan, and United Airlines, just to name a few. “I wanted to follow up because we haven’t yet received an RSVP from your company, and I wanted to make sure you didn’t get left out.” Granted, this was a highly positioned approach, but it was also 100 percent accurate. I wanted prospects to know that IBM was endorsing this event. I also wanted to let them know that I expected “everyone else” to participate. I accomplished this by rattling off an impressive list of marquee company names that we were “expected” to attend. Most importantly, I wanted to make sure that they didn’t get left out.

I wonder if they ever noticed how he’d double down on every misstep just to avoid admitting he was wrong.

When writing a novel, the only real constraint is how far you want to go with your ideas. With movie scripts, you have time and budgetary constraints. For example, if your screenplay is set entirely at night, you've just doubled the cost of the movie. Novels can indulge all five senses, but Film is a visual medium that usurps the novelist's tool of narration through voice-over to add depth and perspective.

two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.

Names A name is a letter optionally followed by one or more letters, digits, or underbars. A name cannot be one of these reserved words: abstract boolean break byte case catch char class const continue debugger default delete do double else enum export extends false final finally float for function goto if implements import in instanceof int interface long native new null package private protected public return short static super switch synchronized this throw throws transient true try typeof var volatile void while with Most of the reserved words in this list are not used in the language. The list does not include some words that should have been reserved but were not, such as undefined, NaN, and Infinity. It is not permitted to name a variable or parameter with a reserved word. Worse, it is not permitted to use a reserved word as the name of an object property in an object literal or following a dot in a refinement. Names are used for statements, variables, parameters, property names, operators, and labels.

Numbers JavaScript has a single number type. Internally, it is represented as 64-bit floating point, the same as Java’s double. Unlike most other programming languages, there is no separate integer type, so 1 and 1.0 are the same value. This is a significant convenience because problems of overflow in short integers are completely avoided, and all you need to know about a number is that it is a number. A large class of numeric type errors is avoided.

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