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5.0 The Craft of Screenwriting: Format and Related Issues
5.1 INTRODUCTION
Most people who write original screenplays plan to sell them to
somebody else, e.g. producers, who will then make the scripts into
movies. With hundreds of scripts to read and evaluate, the
prospective buyer may sometimes look for shortcuts -- ways to judge
the potential quality of a screenplay without having to read the
entire script. This is a simple fact of life when there are at
least 100 scripts written for every script that gets sold and
produced each year in the mainstream of American film.
So, beginning writers are urged to follow various arbitrary, and
seemingly capricious, guidelines of script format and presentation.
Doing so pays off when the reader, with a single glance at a
script, recognizes that its author has done his/her homework, and
is serious about becoming part of the filmmaking team. By meeting
that test, the screenplay has a better chance of getting a fair and
thorough consideration, instead of being thrown into the discard
pile immediately. The advice presented here is not intended to
inhibit creativity. It is merely a description of the way things
generally are in the industry.
What are the "rules," then? They fall into two main categories:
Page format, and presentation.
Format has to do with things like margin settings, proper use of
script elements; tab stops or placement of elements on the page,
the size and typeface used to print the script; methods of
continuing script elements from page to page; capitalization and
punctuation; and so on.
Presentation includes things like the contents of title pages,
types of script covers, and methods of binding the screenplay pages
together.
5.2 Page dimensions and paper type
The misc.writing.screenplays newsgroup has users from around the
world. However, this document will assume that users have access to
U.S.-standard "letter-size" paper, which is 8.5 x 11 inches (216 by
279 mm). The paper should be smooth, standard bond. Most laser
printer papers nowadays come in 24-pound weight, but there are also
many papers of a somewhat lighter (and thinner) 20-pound weight.
There have been no reports in the newsgroup of problems when using
paper in this weight range. Anything lighter or heavier should be
avoided. (For writers outside the U.S., A4 paper is usually the
standard. Some non-U.S. writers aiming at U.S. markets have
reported success by writing on A4 paper but using U.S. margin
settings, and copying the finished scripts onto "letter-size" paper
upon arrival in the U.S., or doing so by mail order. Further detail
goes beyond the scope of this document.)
5.3 Typeface
The typeface used on spec screenplays is Courier, and the required
size is 12 points high. Courier is a monospaced typeface, meaning
that each character takes up the same amount of space from left to
right. As a result, it is possible to precisely measure the number
of characters that will fit in a given width of paper. The same is
not true of typefaces like Times Roman, Helvetica, or others, in
which narrow letters take up less space than wide letters.
When a true Courier typeface is set to 12 points of height, it
automatically requires one "Pica" or 1/10 of an inch of horizontal
space on the page, and in most cases will require 1/6 of an inch of
vertical space.
Note that computer software use the term "font" in place of the
word "typeface," and this is somewhat of a misnomer. In any case,
there is great discussion in the newsgroup about the common
"Courier New" TrueType font appearing rather pale compared to other
typefaces. No user has reported a script rejection on the basis of
this font, but it still generates a lot of questions. Whether it is
Courier New, Courier Old, or whatever, does not matter as long as
it is some sort of Courier, with the size set at 12 points.
The reason producers want consistently-sized type on submission
screenplay drafts is because it usually results in a total page
count that is useful in estimating the finished film's length. Of
course there can be great variations, but the ballpark
rule-of-thumb estimate is one minute of running time for each page
of screenplay. If every screenwriter used a different typeface of a
different size, this already-rough estimation process would become
totally erratic. Remember, the writer's goal in following
formatting guidelines is to make life easier for people who are
reading the script and considering buying it.
5.4 Script elements defined
Most traditional film screenplays are constructed of a small
collection of element types: Sluglines, Action, Dialogue,
Parenthetical, Character, Character Extension, Transition, and in
some styles, a separate element for Shot description.
Remember that a screenplay is a blueprint for the production of a
movie, not an end in itself. For example, the primary reason
sluglines exist is to help production managers count the number of
different sets and locations required, and the number of scenes
occurring at each of them. There are similar production-related
reasons for many of the otherwise arbitrary conventions of the
screenplay format.
5.4.1 SLUGLINE (SCENE HEADING)
A single-line description of the location where a scene takes
place, the time of day, and whether it takes place indoors or
outdoors (interior or exterior).
5.4.2 ACTION (SCENE DESCRIPTION, DIRECTION)
A narrative description of what the camera sees. An action
paragraph is used to introduce and describe characters when they
first appear, to tell what they do in the scene, to indicate
special effects, and to a very limited extent, describe camera
movement or placement if such description is required for the
delivery of plot or story information. Clever use of scene
description can also be very useful in setting mood.
5.4.3 CHARACTER or CHARACTER CUE
The name of the character who is about to speak.
5.4.4 CHARACTER EXTENSION
The addition of an abbreviation after the character's name, to
indicate special production circumstances. Most common are
(O.S.) for Offscreen, when the character speaking is present in
the scene, but out of range of the camera; and (V.O.) for
Voiceover, when the character speaking is not in the scene at
all, but dubbed into the soundtrack, as in the case of a
narrator.
5.4.5 PARENTHETICAL (PERSONAL DIRECTION)
A description of the way in which the character delivers the
dialogue that follows. The parenthetical is also sometimes used
in place of a line of action description. Most experts advise
only minimal use of parenthetical direction. Professional
directors and actors generally will not require help from the
screenwriter to interpret their roles, and unnecessary
parentheticals simply add clutter to the page, which should be
avoided.
5.4.6 DIALOGUE
The words spoken (or sounds made) by a character.
5.4.7 TRANSITION
A very short description of the way the current scene ends, and
the next scene begins. Most scenes in most movies end with a
straight cut, and therefore many writers do not indicate
transitions in their scripts at all. Other writers indicate only
those transitions that are not cuts. The most common examples
are "DISSOLVE TO:" and less commonly "WIPE TO:". The opening
"FADE IN:" and the closing "FADE OUT." or "FADE TO BLACK." are
technically transitions, also.
5.4.8 SHOT DESCRIPTION
In recent years there has been a trend in which the writer may
separate a single word, or short phrase, in upper case on the
left margin, with double spaces above and below it, and with
action description often following. Often this is a way the
writer "cheats" a camera direction into the script without
mentioning the camera, but it is also used as a sort of visual
punctuation on the page to add white space. In any case it is
very easy to misuse. Beginning writers are urged to read
produced screenplays to see how professionals have handled this
technique previously.
5.5 Margins, tab settings, etc.
Greg Beal, of the Academy of Motion Picture Arts and Sciences
Foundation, created a web page on the Academy's website with
guidelines for script formatting, at http://www.oscars.org/nicholl
In a posting to m.w.s. he has also compared it with other sources
of information:
-------------------
"In my fourth printing (1980) edition of Cole/Haag, the settings
are as follows for a screenplay without scene numbers:
14 picas (1.4") scene headings, description.
28 picas (2.8") dialogue begins.
35 picas (3.5") parenthetical begins.
41 picas (4.1") character name.
51 picas (5.1") parenthetical cut off.
56 picas (5.6") dialogue cut off.
76 picas (7.6") description cut off.
In the WGAe Professional Writers Teleplay/Screenplay Formats (1970)
handbook, the settings are:
20 picas (2.0") scene headings, description.
30 picas (3.0") dialogue begins.
35 picas (3.5") parenthetical begins.
40 picas (4.0") character name.
not listed -- parenthetical cut off.
not listed -- dialogue cut off.
75 picas (7.5") description cut off.
[This handbook does include a printing error, corrected with an
inserted slip of paper, that seems to indicate that left
description margins should be at 1.5".]
Rick Reichman's Formatting Your Screenplay (1992) has the following
settings:
14 picas (1.4") scene headings, description.
28 picas (2.8") dialogue begins.
35 picas (3.5") parenthetical begins.
41 picas (4.1") character name.
[couldn't find it] parenthetical cut off.
56 or 58 picas (5.6/5.8") dialogue cut off.
71 picas (7.1") description cut off.
On the Nicholl page of the Academy's Web site, the formatting guide
(which I wrote) lists these settings:
1.5" scene headings, description.
3.0" dialogue begins.
3.7" parenthetical begins.
4.2" character name.
5.2" parenthetical cut off.
6.0" dialogue cut off (with a 3-4 character gutter).
7.5" description cut off.
I agree that slight differences finally don't matter. A character
here or there just isn't discernible. I think the original intent
of the format when first established with the full-blown arrival of
the studio system and sound films in the 1930s was to have pages
appear to be symmetrical." (GB)
5.6 SCREENPLAY COVERS
The writer's submission draft should be bound with a cover of
lightweight card stock, which is not the same as heavyweight paper
stock. Color is not crucial but most opinions support a pale color,
or white. Any good copy shop should provide card stock for sale by
the sheet. It can also be purchased in packs at many office supply
sources.
The wording in some screenwriting books seems to advise putting
screenplay titles on this binding cover. But by far, most m.w.s.
users stated one of two opinions: 1) screenplay covers should
definitely be blank, or 2) at best, nothing is gained by putting
any information on the cover.
Virtually all users agreed that the script should include a
title page, sometimes called a fly page, containing the title,
author's name and other information. The choice of "other
information" is a separate discussion.
From: (e-mail address deleted) (Bob Miller)
"The title, author and contact info goes on a 20-lb. sheet of paper
so it can run through a copying machine with the rest of the
script. The heavy cardstock cover is left blank. ... I doubt anyone
will get uptight if you title your cover, but it's just as often
left blank."
From: (e-mail address deleted) (JoannKB)
"Any time you send your script to any producer, agent, studio,
etc., you have reason to believe your script is going to be
xeroxed. The vast majority of people you send your script to will
send it to a reader to be covered, and most companies will give the
reader a xerox copy so they can lose it and don't have to return
it."
From: (e-mail address deleted) (WriteTV)
"Every agency I've ever been with has used their own custom-printed
covers...The script title, my name and my agent's name/phone number
are on the title page INSIDE the cover. That way, an exec or
anybody needing to make a copy can just take the covers off -- if
all that were on the cover, that information would be lost."
From: (e-mail address deleted)
"If I were trying to break in I would use plain white card stock
with nothing printed on it. Every prodco I know takes a black
Sharpie pen and prints the title along the spine so they can see it
when it's on the shelf. Putting the title on the cover is a waste
of time."
5.7 BINDING THE SCREENPLAY
5.7.1 THREE HOLES
Screenplay pages, title pages, and cover stock should have
three holes punched along the left margin, at positions that are
standard for North American three-ring binders.
5.7.2 TWO BRADS
The entire screenplay, with covers, is then bound together
using brass paper fasteners. Among film and TV writers, and
virtually nowhere else, these fasteners are referred to as
"brads." A brad has a round head and two "legs" that go straight
through the punched hole, and are then spread out and flattened
on the back side of the script to tighten the pages together.
(Users who are unsure what is being described will find
illustrations at the web addresses listed below.) Wordsmiths
take note that the bendable legs on a brad may also be referred
to as shanks, tangs, or prongs.
The topic of binding scripts gets an extraordinary amount of
discussion. Although the paper has three holes, the consensus
among Hollywood insiders in m.w.s. leans toward the use of only
two brads for binding, although there are quite a few users of
the three-brad school of thought. Why should this matter? Nobody
has ever provided an answer that satisfies everybody. It remains
one of the mysteries of filmmaking. If nothing else, using only
two brads means 1/3 less expense for the writer.
Although it is possible that your script will be disassembled
and photocopied, it is also possible that your original
submission copy will be read before copies are made. So it is
important to bind the script tightly, and to do so in a way that
will not cut the hands of people handling the script. That makes
the choice of brad, and method of use, somewhat important.
5.7.2.1 CHOOSING THE RIGHT KIND OF BRAD
Not all brads are created equal. Some are sturdy and
smooth-edged, while others are flimsy and sharp. Some have large
heads that cover the punched hole, while others have heads small
enough to slip through.
Several users combined their research efforts to provide the
following information for writers in search of higher-quality
brads. One question was whether a "brass-plated" brad could do
the job as well as solid brass. Another question was whether all
ACCO branded brads were equal (ACCO is the most prevalent brand
found in typical American office supply stores). After much
research and discussion, users concluded that ACCO stock #71705
is brass plated. ACCO #71505 is solid brass, and is preferable
to most users who reported a preference (both are size #5). When
shopping, note the confusing similarity in the stock numbers.
Brian Anderson (e-mail address deleted) wrote:
The difference between the brads is not just the material,
it's also the dimensions of the tangs. The tangs on solid brass
brads are 50% thicker (0.5mm vs 0.25mm), and 33% wider (5mm vs
3.75mm), giving them over two and a half times the bulk of the
brass plated tangs. And the huge advantage in bulk is made even
greater by the fact that solid brass brads are also made of much
stiffer material.
The way I read scripts loosens brass plated brads most of the
time. . . Some people use brass plated brads and say they've
never had any problems, so I don't want to make more out of this
than it really is. But I've read about 500 spec scripts, and
have had to stop reading a number of times to replace a failing
brad, so I don't want to take any chances with my own work."
5.7.2.2 BRAD SIZES
Brad size #5 is 1-1/4" long - a common length for screenplays.
For longer scripts (over 120 pages) one can use size #6 (1-1/2")
brads. Shorter brads (2, 3 or 4) would be appropriate for TV
scripts and other shorter documents. ACCO stock numbers seem to
run in sequence starting from the third digit.
Lynn Tucker (e-mail address deleted) wrote:
"Before me sit a box of Acco #2 SOLID BRASS fasteners, and a
box of Acco #3 SOLID BRASS fasteners. The stock #'s on the boxes
are 71502 and 71503, respectively."
There are only a few other brands to choose from, and m.w.s.
users were able to report firm conclusions about only one, made
by Labelon/Noesting.
Ken Wheat (e-mail address deleted) wrote:
"I like the 'Noesting' brand. Solid brass. Their #5 has that
1-1/4" shank. 'Made in the U.S.A.' and 'Millions Daily,'
proclaims the box proudly! Man! That's a whole lotta scripts
happening out there!
5.7.2.3 BUYING BRADS
Once the group had determined the correct stock numbers for
ACCO, users reported being able to purchase them fairly easily
either in local stores, by mail order, or by special order from
the larger American office supply chains. Other sources:
Bill Blum (e-mail address deleted) mentioned that "The New York
Screenwriter" had a mail order service for Labelon/Noesting
brads, and other items. The web page is at
http://www.nyscreenwriter.com/script_supplies.htm Note that
several m.w.s. users in the UK have successfully placed and
received international orders from this source.
Iliya Gontmakher (e-mail address deleted) provided a lead to
"Enterprise of Hollywood" which offers ACCO brads and other
items, at http://www.enterpriseprinters.com
(Look under the "Hard to Find" category at that site.)
Bill "The Judge" Quick (e-mail address deleted) wrote:
"I just ordered and received a box of 100 solid brass 1.5 inch
ACCO fasteners over the net from Alko Office Supply in Berkeley,
CA. The URL is http://www.alkos.com Total cost including
shipping was 11.77. They delivered within three days. The
stock number was: ACC71506, the description 'Fastener Solid
Brass 1.5'."
5.7.2.4 INSTALLING BRADS
Hand-bending the prongs may not be enough to keep them flat.
What makes the brad effective is when a serious 90-degree hard
right angle is bent into the metal of each prong with some
permanency. This is usually done with a hammer or rubber mallet,
although other methods are reported below.
Find a very hard (and clean) surface *beneath* the script when
you set it up for whacking. Get your brads in place, bend the
legs/prongs into position as tightly as possible by hand, set it
down, and give the head of each brad one controlled but serious
whack with the hammer or mallet. Try to hit it straight and
true. (Some people place the script with the brad heads beneath,
and strike the prongs instead. Do what works for you.)
Some people use washers, which -- by virtue of having a small,
rectangular slot -- might tend to provide a firmer edge for the
creation of that hard right angle in the prongs, as mentioned
above. The most important place for washers is the BOTTOM of the
script, i.e. the side where the prongs come out. The prongs go
through the slot in the washer before being bent flat. Since a
proper brad (fastener) should have a large head on it, a washer
on the top (front) side of the script should not be needed.
In the interest of thoroughness, here are user testimonials for
various methods of installing brads.
Steven Weller (e-mail address deleted) wrote:
"Me, I use the rubber-mallet method. Got mine for 99 cents at
the ubiquitous 99 Cents Only store, no complaints. But keep in
mind that often, when a script comes back to you with looser
binding than when you sent it out, it's because the script has
been disassembled by whomever had it - usually for copying. So
if a prodco or agent or whomever sends it back loose, don't
immediately blame the brads."
Brian Anderson (e-mail address deleted) wrote:
". . . I think the psychological benefits of this cannot be
overstressed. For me, hammering brads is as ritualistic as
anything the Aztecs ever did, carried out on the sacred floor of
my garage. The ceremonial clubbing is a rite of passage for my
screenplays, and is the moment where I officially detach myself
emotionally from my work. I used to use a claw hammer
(Craftsman, 16 oz, Y2K compliant), but as Bernice commented, it
distorts the natural convex shape of the brad head, flattening
it and revealing the unsightly structure beneath. So I switched
to a rubber mallet (NATO milspec, cholesterol free), and I get
that same tight binding while doing minimal damage to the brad
heads. . .
I use only ACCO solid brass #5 brads (part number 71505, 1.25"
long, keep away from children), and ACCO #2 brass washers (part
number 71511, 100 per box, batteries not included). I have
never had the brads loosen during circulation. If the reader
curls the front around to the back as he reads (as I often do),
brass plated brads, even when hammered, loosen up as the reader
nears the end of the script."
Calix (e-mail address deleted) wrote: "Put the brad in the hole.
Turn the script over so the head is down on the desk and the
prongs are sticking straight up, displaying their excitement at
being included in your brilliant submission.
Take a stiff flat metal object -- I usually use a pair of
scissors since they're handy.
Lay the scissors blade flat on the back of your script.
* * The other one is open and out of the way.
Slide the scissors blade so that the cutting edge is up
against the flat of the brad prong.
Fold the brad prong down over the scissors blade. The
scissors blade is now between the brad prong and the script, and
the brad prong is almost perfectly in position for submission.
Hold the tip of the bent brad blade flat on the script with a
free finger, the scissors blade still in place underneath it.
Give the scissors a little twist so that the sharp part of
the blade lifts up while the back side of the blade presses down
into the script. This will put a crease in the brad at a 90
degree angle, making it lie perfectly flat on the script when
you pull it out.
Do the same thing for the other leg of the brad.
Then do the same thing for the other brad.
* this explanation is much longer than the actual process. I
figure it takes me about ten seconds to do both of the brads in
the script, which admittedly is probably slower than two smacks
with a mallet. Also I'm being as careful and detailed as
possible to make sure that I communicate effectively, not to
offend.
** This would be the same way as if you just laid the
scissors down on the script and let gravity do its thing, so
that the handles are parallel with the script and the floor, 90
degrees off from how you'd hold them to cut the script in half."
Andrea Bacharach (e-mail address deleted) wrote:
"A friend uses washers...bashes the backs down then tapes over
them with masking tape. Well, he won at Austin one year so I
guess it works. The first thing we do at a reading is rip the
damn brads out and put the scripts into 3-hole binders so the
actors are comfortable. Then we reassemble with brads and
exchange autographs after the show. Lots of fun!!!"
DavePCI (e-mail address deleted) wrote:
". . . I use a pair of needle nose pliers. I put the brad
through the hole and then clamp onto one leg just inside the
hole. A simple 90 degree turn and boom...tight brads. If you
become adept at it, you can even get the brad legs perfectly in
line... very impressive and people notice."
Bill Blum (e-mail address deleted) wrote:
"I keep a high quality (read expensive) screwdriver on my desk.
The script in placed face-down, two brads are inserted from the
bottom and washers slid down their shafts which are then bent
sideways beyond the horizontal (this may require a partial
lifting of the inverted script). Placed back on the desk (use a
pad to prevent damage to the desk), the screwdriver handle is
slammed down first on the middle of the brad, then on each side.
Them suckers never move until I tell them."
5.7.3 DON'T "SCREW" AROUND
Users now and then inquire about a "screwpost" binding device
often called "Chicago Screws." Although there are seemingly
common-sense reasons to use such devices, they are not the
"industry standard" and they do provide some potential
inconvenience for some readers. The consensus among the great
majority of users with opinions on the matter was to avoid them,
and stick with brads. So, to keep matters clear, this document will
not link to any illustrations of them.
5.7.4 FORMAT AND PRESENTATION OVERVIEW: A READER COMMENTS
Smilin' Ted (e-mail address deleted) has worked extensively as a reader
for Hollywood production entities. Readers are often the front line
"defense" that a spec screenplay must pass before it will be
considered. He offered the following general advice on script
presentation. (NOTE: numbering in the next section comes from Ted's
newsgroup post and is not part of the FAQ outline structure).
-------------
"What follows is my personal (but not necessarily complete) list of
what's a really bad format screw-up, and what is a trivial one. The
basis for the list is more years than I care to admit working as a
free-lance script reader.
MAJOR ISSUES (in no particular order):
1. Margins -- this affects page count, and thus, the length of your
movie. A reader may not notice wonky margins immediately, but he is
sure to notice them within ten or twenty pages, and he will be
pissed... particularly because he is often paid by the script, and
a script with excessively wide margins has automatically reduced
his per-hour rate, as well as branding the author an amateur who
cannot edit himself.
2. Font -- Courier 12. Nothing else, period. Doesn't matter how
nice-looking your favorite font is, don't use it. First, because
this will once again affect page count. Second, because it is the
second most visible way to announce that you don't know what you're
doing. After a day of reading Courier 12, anything else sticks out
like a sore thumb, and is usually harder to read.
3. Page Count -- No more than 120 pages. Preferably less, say
101-115. Using the famous page-a-minute rule of thumb, 120 pages
equals a two-hour movie. Yes, tatteleh, I KNOW that "Titanic" is
longer. When you get to be an A-list director like James Cameron,
you also can do longer scripts. Until then....
4. Binding and paper -- 8.5x11". White. Bound with two (or three
brads). Nothing else. I've gotten stuff in three-ring binders,
velo-bound, comb-bound, with Chicago screws, even bound as a
hardcover book...this is the first, most obvious way to announce
that you don't know what you're doing.
5. "Sloppiness" -- Bad grammar, bad spelling, bad punctuation. One
or two typos are trivial. But consistent mistakes are guaranteed to
arouse the contempt of the reader (who is a college graduate and
usually a liberal arts major). Use a spellchecker. If your grammar
and spelling are not the best, admit it to yourself and hire a
proof-reader. And even ONE mistake is a major error, if it's on the
first page.
6. Bad descriptions -- Action descriptions that include things that
shouldn't be there:
A. Camera directions: Leave that "Smash cut to a trucking pan
of Harry's POV" to the director.
B. Overly detailed description: I don't need to know the color
scheme of Louise's business ensemble, and how it coordinates with
her office furnishings. Really.
C. Specifying story elements that are not in your control --
like the songs in your soundtrack, or the actor for a particular
role, or a location ("This film takes place at Harvard. I've
included maps...."). It's not in the public domain, you can't
guarantee the rights, it ain't your job, and it's too damn
specific. Your story should be able to stand alone.
D. Stuff I can't see on the screen: Don't tell me in the
description that Joe has just blown up at Karen because when he was
a kid, his mother teased him the same way...if the audience won't
see it on the screen, then it is irrelevant. Exceptions can be
made, **IF** the exception is just an occasional sentence to
indicate character's interior mood or line reading. But THIS HAS TO
BE USED VERY, VERY CAREFULLY. Fire is your friend, but if you are
careless, it will burn you.
All of these things (except for C) make the script harder to read,
and slow the reader down, once again cutting into his hourly rate.
MINOR ISSUES
1. **Number of brads** -- I rarely even notice if a script has two
or three brads. The proper number is two, though.
2. Card stock cover or no -- The issue that generated this post.
Once again, I get them both ways. Often, the ones with card-stock
covers come from the authors or their agents; the ones without
often come from companies that are somehow attached to the project.
3. "Continued"s and "More"s at the ends of pages -- I can't tell
you the rules of these things, because I don't even notice them
when I read.
4. Typos -- There will always be two or three in every script. But
there shouldn't be any more than that, and they most especially
should not be on the first ten or the last two pages. Then it
becomes sloppiness (see above).
FINAL WORDS: Anyone here can point to some script that was produced
that broke these rules (particularly the length rule). But almost
without exception, these were scripts by writers who were already
members of the establishment, who already have broken through. This
post talks about the rules for SAMPLE SCRIPTS, and if you're
uncertain about these rules (or considering breaking them) then you
are probably writing a sample script. Break the rules if you want.
No skin off my nose. Just expect the already low chances of success
for that script to fall even closer to zero." (ST)
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