Also known as A pages · lettered pages
Inserted pages on a locked script that avoid renumbering everything after them — material between 27 and 28 becomes 27A, 27B, and so on.
A-pages exist because crews already scheduled "page 28." When a rewrite needs more room than a single swapped page allows, material between 27 and 28 becomes 27A, 27B, and so on. Letter suffixes keep history stable while new beats land without renumbering the back half of the locked script.
A revised page and an A-page solve different problems. A revised page replaces an existing number with a new colour generation. An A-page inserts length between two numbers when the scene grew. Confusing the two leads to missing pages in sides and confused lineups when the scene is rehearsed.
Writers should not invent A-pages in an unlocked spec to "look official." Use them when you are on a locked continuum and production needs inserted paper. Until then, a normal continuous draft is clearer for managers and easier to read as story without fake production apparatus attached.
A revised page replaces an existing page number with a new colour. An A-page adds length between two existing numbers when the rewrite needs more room than a single swapped page allows.
Because call sheets, sides, and lined scripts already point at the old numbers. Renumbering the tail of the book breaks references across departments overnight.
Yes. 27A can go out in a new colour like any other page. The letter addresses position in the continuum; colour addresses which generation of that page is current.
Related idea, different unit. Lettered scene numbers insert scenes; A-pages insert pagination. Both protect locked references instead of renumbering the entire show.
