The challenges and issues of audiovisual translation, especially those of dubbing and subtitling, have been widely explored in translation studies. The analysis of the constraints in this field (the interdependence of visual and verbal elements, lip synchronization and temporal or spatial restrictions, among others) helped to better understand the mechanisms and strategies of multilingual audiovisual communication. However, an important part of this field of specialized translation remains largely ignored, although it is booming and implies unique translational difficulties: the translation of scripts. This activity raises interesting issues. Instead of providing a final document (as a dubbed or subtitled movie), the translator must, in addition to mastering the technical jargon, the development of narrative structures and the writing of fluid and believable dialogue, produce a useful work tool for the director, the actors and the technicians involved in the production. In addition, the translation of scripts is almost never mentioned in translation studies, even in this era of globalization and telecommunication technologies, where many cultural exchanges take place in the various screens that surround us and where it represents an important and dynamic sector of activity. This type of translation places the translator in the heart of the creative process, especially in the case of the double shoot, where he or she may even be involved in various stages of production. This article aims to locate the translation of scripts in the broader spectrum of audiovisual translation, to examine its characteristics and challenges, and to study the phenomenon of the double shoot, particularly in the field of advertising.