How do you name a character in disguise? Page 2

I'm only describing the convention used most frequently in broadcast long-form narrative comedies I've script edited, written on, or written. (Although in fairness I only can think of three episodes where there's been this kind of misdirect.)

Dave, I always advise people to treat the script readers as your audience - the most important audience members you'll ever have. The script should draw them into the world.

[quote name="Lazzard" post="1084115" date="12th August 2014, 5:44 PM BST"]Not a part of the process I recognise, I'm afraid.

And I'm happy to say it's a part I do.

A rehearsed read to win a series commission?

Zai Bennett commissioned a series of 6 eps that I co-wrote, at a rehearsed read. He even admits to it here... http://www.broadcastnow.co.uk/news/commissioning/bbc3-orders-sitcoms-prior-to-online-move/5069774.article

It happens not as infrequently as you might think.

The buggers want me to sign up for a subscription - but I'll happily take your word for it.
You would admit it's not the norm though, wouldn't you?

As it will only be read by the cast, die=rectors etc I would've thought you write:-

MATTHEW (DISGUISED AS SUSAN)

You're not giving anything away and I think the actors and Directors would need to know who this person is.

I'll admit it's not the norm, but it's the gold standard one should aim for - and your script shouldn't get in the way of that happening I guess.

Is there an example from that read through that won the commission that
illustrates your point re misdirecting professionals?

Yes , but wouldn't all that "previously known as" hoo-ha in parenthesis make for a confusing script?
Better surely to allow the action to explain?
Anything that holds you up, for even a second, when reading through is to be avoided IMHO.
Clarity is all.

There actually is. I'm not allowed to reproduce from the script before TX, but there is a character referred to as INMATE 3 who changes name following a reveal. I can't promise that particular line won the commission.

We are all guessing the same thing Adam. Just have different takes. Don't do it in a spec script is the best advice. But sitcom is it's own beast, sending in something blind isn't though in that respect. There is a world of difference between a spec script a rehearsed reading and a broadcast script

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.

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Sorry, but as far as I am aware, that is wrong and the mark of an amateur.

Lee got it right, you must not confuse the producer as to how many actors he needs to employ. Too many actors ..-> too expensive ... -> waste basket.

Quote: Lee @ 12th August 2014, 3:11 PM BST

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.

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Quote: amateuradam @ 12th August 2014, 6:25 PM BST

There actually is. I'm not allowed to reproduce from the script before TX, but there is a character referred to as INMATE 3 who changes name following a reveal. I can't promise that particular line won the commission.

View original

Well that's potentially spoilt any shows I watch with more than two inmates in them. Shame - I was quite enjoying Orange is the New Black.

Thanks to everyone on this thread who have given their thoughts so far. The reading audience would already know what is happening so there would be no secret reveal to the reader.

In case it helps here is a mock up example of a couple of scenes so that you can get the idea of how this would look to play out:-

INT. OFFICE. DAY

Jane and Matthew sit in the room. A bag of ladies clothing is on the side.

JANE:
We must get the thing we want from horrible Harriet.

MATTHEW:
She will never give it us. She hates me and she detests you.

JANE:
She would let Susan have it though. She loves her.

MATTHEW:
Now there's an idea!

Matthew takes the bag of clothes and starts to rummage through it.

CUT TO:

INT. HORRIBLE ROOM. DAY

Matthew enters. He is dressed as Susan.

MATTHEW:
Hello Harriet. Can I have the thing I want?

HARRIET:
Oh hello Susan. Of course you can have the thing you want.

END.

I hope that gives a better idea of what I am trying to do.

Yes. Put it in stage directions!

I would just advise Harriet the Horrible rather than horrible Harriet however!

Harriet the Horrible sounds like something out of Chelmsford 1,2,3