Filmy touched on a key point in his post, page counts are relative to script format.
I remember interviewing for a script editing job with a TV series once and even though I'd requested sample scripts prior to interview they didn't send them.
During the interview the producer asked me how many pages I thought would constitute a script for one of their half hour programmes. I knew it was BBC output so no commercials so I said "Well, depending on how you format your scripts, industry standard is about a page a minute, so somewhere in the 27 to 32 range."
This numbnuts practically leapt out of his seat he was so excited that I'd given him a wrong answer "Aha, no you're wrong, our scripts come out a 50 pages."
So I replied "Well, I guess you must format your scripts differently from the way I do." This was true and also he was talking about the shooting scripts, which is what he saw and not the original scripts that the script editor saw. Strangley enough if you put a half page margin into a thirty page script it comes in at about 50 pages
After another couple of questions like that I decided I didn't want to work for them and walked out of the interview.
The truth is that script formats matter a lot in this industry for some strange reason and everyone appears to be wedded to their way of doing it.
I think this is why as professional writer I think that Final Draft is a must, simply because it has templates and examples of most of the industry layouts for scripts. That's a real must if you're pitching because it demonstrates a degree of professional knowledge.
If you're pitching for an established show, it's a good idea work out the formula, because most shows have identical patterns week in week out and it's just the details that change. If you ever need proof of this it's worth baring in mind that "Murder She Wrote' was one of the most sucessful franchises of all time and that show was practially the same script every week, just with different characters. People who hire writers are looking for someone who can be fresh and original within the confines of the formula.
Actually that's the trick to all sucessful writing, if you measure sucess in getting paid. A lesson that I've been taught over and over again by refusing to play by the rules and as a consequence of that not getting funded/commissioned/a sale. If I have any advice to offer any writer film maker it's if you don't want to deal with constant rejection, despite your abilites to write and direct good films, learn to work with the needs of the industry and not against them.