Overview Legal situations arise frequently in everyday business practice, but the assessment of the key issues is not always clear. A working understanding of essential business law concepts is critical for the successful navigation of complex and diverse business environments. Successfully addressing real-world situations will sharpen your skills in spotting issues, identifying vulnerabilities that you may face as a member of the corporate world, and becoming more sensitive to legal dilemmas that commonly arise in business. Legal situations arise frequently in everyday business practice, but the assessment of the key issues is not always clear. A working understanding of essential business law concepts is critical for the successful navigation of complex and diverse business environments. Successfully addressing real-world situations will sharpen your skills in spotting issues, identifying vulnerabilities that you may face as a member of the corporate world, and becoming more sensitive to legal dilemmas that commonly arise in business. In this assignment, you will demonstrate your mastery of the following course outcomes: · Assess the impact of business law on organizational decision making for informing strategic legal decisions · Analyze pertinent facts of business client cases by effectively employing foundational law principles · Select key legislation and legal precedents that impact client cases for informing legal decisions · Assess the impact of public perception on companies in legal situations for informing business practices · Assess the legal and ethical implications of United States companies doing business abroad for informing business decisions that are compliant with applicable domestic laws Scenario You are working for a major U.S. corporation that wants to expand its reach globally and has narrowed the search to either Mexico or Japan. Your supervisor has asked you to prepare a memo that analyzes potential compliance issues with respect to aspects of law and ethics that are specific to one of the two countries. You will choose to prepare your memo for either Mexico or Japan and address the critical elements below. This will help inform the final executive decision. Because you have some fluency with domestic laws, and given your background and history with the corporation, you have been asked to assess the pros and cons of the decision, and to provide your insights with respect to the ethical and legal implications of the expansion. Specifically, the following critical elements must be addressed: I. What pertinent aspects of U.S. law should the company be aware of in its goal to do business internationally? II. II. Assess the legal implications of moving business abroad specific to your chosen country. What are the advantages and disadvantages? III. III. What are the ethical implications involved in this business decision? IV. IV. Explain how other domestic companies have managed to comply with the U.S.

1. Overview
Legal situations arise frequently in everyday business practice,
but the assessment of the key issues is not always clear. A
working understanding of essential business law concepts is
critical for the successful navigation of complex and diverse
business environments. Successfully addressing real-world
situations will sharpen your skills in spotting issues, identifying
vulnerabilities that you may face as a member of the corporate
world, and becoming more sensitive to legal dilemmas that
commonly arise in business.
Legal situations arise frequently in everyday business practice,
but the assessment of the key issues is not always clear. A
working understanding of essential business law concepts is
critical for the successful navigation of complex and diverse
business environments. Successfully addressing real-world
situations will sharpen your skills in spotting issues, identifying
vulnerabilities that you may face as a member of the corporate
world, and becoming more sensitive to legal dilemmas that
commonly arise in business.
In this assignment, you will demonstrate your mastery of the
following course outcomes:
· Assess the impact of business law on organizational decision
making for informing strategic legal decisions
· Analyze pertinent facts of business client cases by effectively
employing foundational law principles
· Select key legislation and legal precedents that impact client
cases for informing legal decisions
· Assess the impact of public perception on companies in legal
situations for informing business practices
· Assess the legal and ethical implications of United States
companies doing business abroad for informing business
decisions that are compliant with applicable domestic laws
Scenario
You are working for a major U.S. corporation that wants to

2. expand its reach globally and has narrowed the search to either
Mexico or Japan. Your supervisor has asked you to prepare a
memo that analyzes potential compliance issues with respect to
aspects of law and ethics that are specific to one of the two
countries. You will choose to prepare your memo for either
Mexico or Japan and address the critical elements below. This
will help inform the final executive decision.
Because you have some fluency with domestic laws, and given
your background and history with the corporation, you have
been asked to assess the pros and cons of the decision, and to
provide your insights with respect to the ethical and legal
implications of the expansion.
Specifically, the following critical elements must be addressed:
I. What pertinent aspects of U.S. law should the company be
aware of in its goal to do business internationally?
II. II. Assess the legal implications of moving business abroad
specific to your chosen country. What are the advantages and
disadvantages?
III. III. What are the ethical implications involved in this
business decision?
IV. IV. Explain how other domestic companies have managed to
comply with the U.S. laws related to this business decision in
the past. How did these companies address potential compliance
issues?
Guidelines for Submission: Your professional business
memorandum should adhere to the following formatting
requirements: 5 pages (not including title and reference pages),
double-spaced, using 12-point Times New Roman font, and one-
inch margins. You should use current APA style guidelines for
your citations and reference list. Generally speaking, the best
memos include references to at least two cases for each point of
law that is mentioned. Students also earn high marks when they
cite cases that appear to support a different legal resolution than
the one presented by the student, and then distinguishing that
case from the scenario described in this assignment. Such

3. distinctions demonstrate exemplary understanding of the course
materials.
Every script should have If you have an agent
a title page with one contact the address and number
address only in the bottom can go here.
left hand corner. A draft number or date
Always include a phone number is not required on a
and an e-mail address if you spec script.
have one.
SCREENPLAY FORMAT FOR TV SHOWS
"Episode Title"
Written by
Matt Carless
1.
SERIES TITLE
"Episode Title"
TEASER
FADE IN:

4. EXT. LOCATION #1 - DAY
If your show requires a pre-credits Teaser, then indicate it
like this. All Teasers and Acts must begin with FADE IN:
followed by a scene heading. Scene headings are typed in
capitals and must indicate: interior or exterior, the
location, and day or night.
Scene action is double-spaced under the heading in upper and
lower case text with double-spacing between paragraphs.
Scene action should only deal with what is happening on the
screen and must never stray into superfluous novelistic text
related to character thoughts or back-story.
A general rule of thumb is to limit a paragraph of scene
action to four or five lines. Consider each paragraph as a
significant beat of action within your scene.
INT. LOCATION #2 - NIGHT
Begin a new scene with the heading triple-spaced from the
preceding scene. Always follow a scene heading with a line
of scene action.
CHARACTER #1
Character names appear in capitals
indented to around the middle of
the page, but not centered. A
character is designated by either
their first or last name, but a
role designation may be used
instead with personal titles
abbreviated. The designated name
should remain consistent
throughout the script.

5. CHARACTER #2
Dialogue appears under the
character name in regular text.
Similarly, it is not centered.
(MORE)
2.
CHARACTER #2 (CONT'D)
(pause)
Split dialogue between pages only
if at least two lines appear on
the first page, and only after a
sentence.
CHARACTER #1
(beat)
Parenthetical instructions appear
in lower case text enclosed within
brackets on a separate line in the
body of the dialogue.
(pause)
Never leave a parenthetical
hanging at the bottom of a page
when breaking a character's
speech. Move it to the top of the
next page under the character
name.
If scene action interrupts a character's speech on the same

6. page...
CHARACTER #1 (CONT'D)
Then you must begin a new
character cue when continuing the
dialogue, but including (CONT'D)
isn't essential. Dialogue must
always be preceded by a character
name and never appear on its own.
End the Teaser and each Act in the following way.
FADE OUT.
END OF TEASER
3.
ACT ONE
FADE IN:
EXT. LOCATION #1 - NIGHT
Begin each new Act on a new page. On occasions, it may be
necessary to indicate two characters speaking simultaneously.
This should be used sparingly, but if you need to do it this
is how.
CHARACTER #1
Show your first character
speaking on the left.
CHARACTER #2

7. While the character on the
right tries to get a word
in edgeways.
CHARACTER #2
And finally manages to achieve it.
Try to limit the length of your
overlapping dialogue.
EXT. LOCATION #2 - NIGHT
Sometimes you may need a character to speak in a foreign
language. Contrary to belief, it is not a good idea to write
the foreign language itself. A general rule of thumb is to
always submit a script in the same language as the person
who'll be reading it.
CHARACTER #1
(in French)
Indicate the foreign language in
parenthesis and write the dialogue
as you normally would in English.
CHARACTER #2
(in Russian; English
subtitles)
If your character is speaking in a
foreign language with subtitles,
then this is how to show it.
If, however, the entire scene is being spoken in a foreign
language, then a special note should be included in the scene
action.

8. NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN
HUNGARIAN AND
SUBTITLED IN ENGLISH.
4.
CHARACTER #1
Then just write the dialogue
normally, in English.
CHARACTER #2
And when you reach the end of the
scene, include another special
note.
END OF SUBTITLES.
If there is a specific reason for showing the foreign
language and the translation, use the dual dialogue method
with the foreign language on the left and the translation on
the right -- indicating that they are subtitles in
parenthesis.
INT. LOCATION #2 - DAY
Scene transitions are technical information indicating the
method of changing from one scene to another and should only
be used in shooting scripts. But, if it's absolutely
necessary to specify one, it appears like this.
DISSOLVE TO:
SERIES OF SHOTS:

9. A) SERIES OF SHOTS: is a group of short shots which make up
a
narrative sequence, useful for advancing the story in a
rapid or economical way.
B) The shots are presented in logical arrangement for the
action with a beginning, middle and end point to the
sequence.
C) MONTAGE: is a series of two or more images that blend into
and out of each other in order to create a particular
effect.
D) It is used to create an emotional environment, a main
title sequence, or when representing archive stock
footage.
E) Both are used to avoid multiple scene headings when scenes
are too short to conform to the usual formatting rules.
EXT. LOCATION #1 - NIGHT
Don't leave loose headings hanging at the bottom of a page.
5.
It's sometimes a good idea to start a new scene on a new page
if there is only a line or two at the bottom of the previous
one, but scenes can break over the page easily like this.
Shooting scripts include CONTINUED at the top of the page,
but this is unnecessary in a spec script.
LATER

10. If you need to indicate the passing of time through the same
scene then use LATER as a sub-heading. There is no need to
continuously repeat the master scene heading.
THE CORNER OF THE ROOM
Similarly, you can break up lengthy and complex scenes by
focussing on specific areas of action with a sub-heading.
This is useful when scripting large party or group scenes.
FADE OUT.
END OF ACT ONE
6.
ACT TWO
FADE IN:
EXT. LOCATION #2 - NIGHT
Sometimes it may be necessary to hear characters when we
can't actually see them.
CHARACTER #1 (O.S.)
Off Screen means the character is
physically present within the
scene, but can only be heard, e.g.
they are speaking from an
adjoining room.
CHARACTER #2 (V.O.)
Voiceover is used when the

11. character is not present within
the scene, but can be heard via a
mechanical device such as a
telephone or radio. It is also
used when a character narrates
parts of your story.
CHARACTER #2
If you need to differentiate
between a character's narration
and their on screen dialogue, then
handle it as separate speeches.
CHARACTER #2 (V.O.)
As (O.S.) and (V.O.) are technical
instructions, they appear next to
the character name.
INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY
If it's necessary to CUT back and forth between simultaneous
action in two different locations in the same scene, then
handle your scene heading like this. Use this method when
you want to show a phone conversation.
CHARACTER #1
(into phone)
You can then type your dialogue as
normal.
7.
CHARACTER #2

12. (into phone)
Whilst indicating that both
characters are on the phone.
CHARACTER #1
(into phone)
Just make sure you indicate when
the character hangs up.
(hangs up)
Especially if you are going to
continue the dialogue and scene
beyond the phone conversation.
INT. LOCATION #1 - DAY
Alternatively, you can establish both locations separately.
CHARACTER #1
(into phone)
Show your first character speaking
into the phone like this.
INT. LOCATION #2 - DAY
Then establish your next location.
CHARACTER #2
(into phone)
And show your second character
like this.

13. INTERCUT:
CHARACTER #1
(into phone)
Then continue the conversation,
intercutting comfortably between
the two characters.
CHARACTER #2
(hangs up)
If you finish the conversation and
stay with one character, you don't
need to repeat the scene heading
as it has already been established
earlier.
8.
INT. LOCATION #1 - NIGHT
Another way to write phone conversations is to show one
character speaking but only hear the other.
CHARACTER #1
(into phone)
This is the character we see on
the phone.
CHARACTER #2 (V.O.)
Whilst we hear the second
character speaking at the other

14. end.
CHARACTER #1
(into phone)
But the first character remains
on-screen throughout the scene.
EXT./INT. LOCATION #1 - DAY
If you have a scene where the action is continuously moving
between the interior and exterior of the same location, such
as the hall and driveway of a house, do your scene heading
like this.
But use INTERCUT for cutting back and forth between two
separate pieces of action inside and outside.
FADE OUT.
END OF ACT TWO
9.
ACT THREE
FADE IN:
EXT. LOCATION #2 - NIGHT
On-screen text, such as letters, e-mails, or signs, are
formatted in a couple of ways. Brief text, such as a sign,
can go in the body of the scene action: "THIS IS A SIGN"

15. "Something longer, like a letter, is
formatted like dialogue enclosed
within double-quote marks. It can be
in normal upper and lower case text,
OR ALL IN CAPITALS depending on the
text it is representing."
EXT. LOCATION #1 - NIGHT - 1956, FLASHBACK
If you want flashbacks in your script, treat them as separate
scenes and format your headings like this.
YOUNG CHARACTER #1
If it's important, you can include
the specific year or time period.
YOUNG CHARACTER #2
If your flashback takes place
across a number of consecutive
scenes, then specify it as a
flashback sequence in the heading.
Indicate when the flashback or flashback sequence finishes
and begin a new scene.
END FLASHBACK.
INT. LOCATION #1 - DAY
Scene numbers are not included on a spec script. They
generally only appear on shooting scripts along with camera
and technical directions (which should also be avoided).
Don't forget to number all of your pages -- page one begins
with the Teaser, not the title page. And keep all your pages
together with a simple paper binder in the top left corner.

16. Unfastened pages can become separated and get lost.
FADE TO:
10.
INT. LOCATION #2 - NIGHT
It is standard practice to sign-off a film script with THE
END centered on the page, preceded by FADE OUT.
FADE OUT. only ever appears at the end of an Act and the
entire script. If you want to indicate a FADE OUT. and a
FADE IN: between two scenes within an Act, then the correct
transitional term is FADE TO:
However, as mentioned above, scene transitions should be
avoided in spec scripts where possible.
FADE OUT.
END OF SHOW
Things
you
should
know
about
scriptwriting

17. SCENE
HEADINGS
INT.
HOTEL
ROOM
–
NIGHT
PROPER
DESCRIPTION(S)
CHARACTERS
CAP
FIRST
TIME
AGES
(20s/late-­‐20s/30s/70)
PARENTHETICAL

18. DIRECTION
OR
EMOTION
ONLY
ACTION
FILMABLE!!
PITHY
AND
ACTIVE
(no
“we
hear
a
noise.”)
NO
CAMERA
MOVEMENTS!
DIALOGUE
STORY
OR

19. ENTERTAINING
Page 5 of 5
ORIGINAL SCRIPT
NOTE: This will be discussed in class.
Write a script based on the original story
you pitched. Be sure the storyincludes a
clear beginning, middle, and ending. The script
should be at least 10 pages, no more
than 15, and include a wide range of scriptwriting
and visual storytelling techniques
(at least many if not all of the aspects
discussed in class).
Include a page that describes any and all of the
changes you made to the storyfrom
your original pitch.
In addition to overall polish, threemain components
will be evaluated:(1) the

20. quality of the premise and story-arc; (2) the depth
and quality of the dialogue and
pacing; (3) the ability to properly use a number
of scriptwriting and visual
storytelling techniques.
OBJECTIVES:
Think of this as a “Final Exam,” as a
chance to “show off” everything you’ve
learned
in this class. The script should:
1. Demonstrate an ability to develop an entirely
original storythat follows
traditional conventions and three-act structure.
2. Demonstrate a good depth and quality of
dialogue and pacing.
3. Demonstrate an ability to properly use a number
of advanced scriptwriting
and visual storytelling techniques.
EVALUATION:
The following aspects determine the
pointvalue/grade:
Poor Average Good Outstanding
Does the script follow proper formatting
throughout?
Does the script introduce the characters

21. and explain their relationships to each
otherduring the course of the script?
Is the dialogue “in-line” with the stated
genre?
Is the premise well developed and set-up?
Is the storyas a whole both original and
follow a three-act structure?
Are advanced visual storytelling elements
used and properly written?