How do you name a character in disguise?

Hello Guys & Gals

In a sitcom script, if one of your main characters puts on a disguise to speak to another character, how do you name that main character while they are disguised?

So for example, lets say the main character is called Matthew. Ordinarily we would have in a script:

MATTHEW:
Hello, my name is Matthew.

But for plot reasons he has to dress up as Susan. So when Matthew disguised as 'Susan' is talking to another character is it correct to put:

SUSAN:
Hello other character.

Or is it..

MATTHEW (as Susan) or MATTHEW (in disguise):
Hello other character.

I think I may have read that you never change the character names but I just wanted to get peoples thoughts on the correct way to do this.

Just put it in stage directions.

Presuming that we, the audience, are supposed to know that it's Matthew in disguise, just describe his new appearance in the action.
The fact that he's in disguise - especially if it's drag - will significantly affect his behaviour, so the audience are unlikely to need reminding of his disguise - but you could always put a little action to be safe i.e.

Matthew, unsteady in unfamiliar high heels, wobbles across to the bar etc etc

Keep things as simple as possible.

Whether a character is in disguise or not, it is still that same character. You're not trying to fool/misdirect the script reader, as the script is just a plan/blueprint for the production.

Quote: Lazzard @ 12th August 2014, 2:40 PM BST

Presuming that we, the audience, are supposed to know that it's Matthew in disguise, just describe his new appearance in the action.
The fact that he's in disguise - especially if it's drag - will significantly affect his behaviour, so the audience are unlikely to need reminding of his disguise - but you could always put a little action to be safe i.e.

Matthew, unsteady in unfamiliar high heels, wobbles across to the bar etc etc

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OR... Just put it in stage directions.

Blimey Lazzard I know you like to get paid by the word count but come on!!

Thanks guys. It sounds like the detail will go in the Direction. That makes sense and keeps everything simple.

Quote: Marc P @ 12th August 2014, 3:28 PM BST

Blimey Lazzard I know you like to get paid by The Word Count but come on!!

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I'd like to get paid by anyone, titled or otherwise...

Lol.

You *do* need to fool the script reader to the same extent that the audience should be fooled. The next stage would be a read-through of the script, and the script needs to work in that scenario.

I would suggest character misdirects go along the lines of:

Brian is joined by another passenger

OTHER PASSENGER
That's a nice hat

BRIAN
Thanks

Brian realises that Other Passenger is in fact his mortal enemy DEATHBOT 5000

DEATHBOT 5000 (previously known as OTHER PASSENGER)
I'm going to kill you now.

Oh, I agree that it needs to be interesting and full of surprises but that will come with practice as you develop as a writer.

I'd argue against that approach from Adam. Find a way to do it in stage directions still. You don't need to fool a script reader.

Marc - fast-forward to the rehearsed read to win your script its series commission. The important people in the room haven't read the script, and need to enjoy it as the audience would. Any giving away of game will ruin the episode for them.

Quote: amateuradam @ 12th August 2014, 5:05 PM BST

You *do* need to fool the script reader to the same extent that the audience should be fooled. The next stage would be a read-through of the script, and the script needs to work in that scenario.

I would suggest character misdirects go along the lines of:

Brian is joined by another passenger

OTHER PASSENGER
That's a nice hat

BRIAN
Thanks

Brian realises that Other Passenger is in fact his mortal enemy DEATHBOT 5000

DEATHBOT 5000 (previously known as OTHER PASSENGER)
I'm going to kill you now.

View original

I suspect that may confuse things when producers are doing their quick cast count and may confuse readers of longer works (multi scene works and those longer than a short sketch). I'd assume that script readers are smart enough to separate what they know from what the audience knows and so just mentioning it in directions is enough.

However, I've occasionally used something like the above (or a generic character name and an explanatory note at the end) in the odd topical sketch, as a 30-second sketch may be totally defused to a reader if the pull back & reveal occurs in directions at the top of the sketch!

e.g. it probably won't be used but I wrote a shorty today about George Osborne's cat, and just called the cat 'CHARACTER' so the reveal was delayed to the end. There again, it was only about half a page or less, and I did put a note at the end...

Quote: amateuradam @ 12th August 2014, 5:35 PM BST

the rehearsed read to win your script its series commission.

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Not a part of the process I recognise, I'm afraid.

Quote: amateuradam @ 12th August 2014, 5:05 PM BST

You *do* need to fool the script reader to the same extent that the audience should be fooled. The next stage would be a read-through of the script, and the script needs to work in that scenario.

I would suggest character misdirects go along the lines of:

Brian is joined by another passenger

OTHER PASSENGER
That's a nice hat

BRIAN
Thanks

Brian realises that Other Passenger is in fact his mortal enemy DEATHBOT 5000

DEATHBOT 5000 (previously known as OTHER PASSENGER)
I'm going to kill you now.

View original

This is a completely different scenario to the one cited by the OP.
And how exactly do you propose showing Brian "suddenly realising"?

Yes sorry again Adam have to disagree. There are no golden rules of course. One worth thinking about is the pleasure an audience member has in having information the character doesn't have. It involves them in the narrative. We the hatch lifted before Del Boy falls through it. It's funnier that way.