Odd Dialogue formatting problem/question.

PatrickSalter

Please excuse the length of this post...

I am currently writing a supernatural comedy with a partner.
We have come to a point where we don’t exactly know how to handle the formatting of some dialogue, because it’s a little strange. We were hoping you could let us know the proper way to format this, as the books we’ve reviewed do not answer this particular problem.

In this goofy little script of ours, two of the main characters are ghosts. They have the ability to possess the bodies of the living. Once possession has occurred, the voices alternate between ghost’s voice and the living person’s voice. Originally we wrote it this way….

Alex
(Karter’s voice)
Blah blah blah blah
(Alex’s voice)
Blah blah blah blah.


But we realized that it would not be prudent to have our two main characters hidden behind the faces of secondary characters for what is ultimately the last act of the movie. So we added a directorial note stating that the director would decide when we see the possesser versus the possessee, based on who is currently speaking. Using the above example it would read more traditionally, just like any two characters speaking:

Alex
Blah blah blah blah

Karter
Blah blah blah blah

However, there is some concern that this may be too confusing for the reader and we are now in the middle of a debate on how to handle it. Can you advise us on the proper way to handle something like this?


Any and all input is appreciated. Also, if somebody can point us in the way of a reference book that may have the answer to this, I would also appreciate it. We checked The Screenwriter's Bible (Trotter) as well as Standard Script Formats (Cole/Haag) with no success.
 

scripter1

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You won't find your answer

in screenwriting books. Those just cover the bare basics.
But you will find it here because most of us here have read a bunch of scripts. And THOSE will answer all of your questions.

Check out the script for Being John Malchovich.
And also any scripts dealing with possesion.

The key is to be clear about what is happening.
So, don't be afraid to use parentheticals or perhaps even some sort of action line side note. {Just, be careful with that one, you DO want to keep the reader IN the story. STILL, it's better to have them get the story. The audience won't see the notes and in a few cases the reader may need a little bit of help to stay clear on what is happening.}

I would say that if we are hearing Karter's voice then KARTER should be above the dialog. Mainly because it will be the Karter ACTOR who delivers the line. The body actor will lip sync it.

If you set up the scene and clearly show the PHYSICAL and VISUAL differences between the possesion and normalacy then it should be understandable.
 
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dpaterso

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What scripter said makes sense. It's a tough one but all that matters, as with all things, is clarity. All you're really asking is, what's the easiest way to write this so the reader doesn't get confused? Here's a suggestion:

Alex shudders as he's possessed by Karter!

ALEX/KARTER
(as Karter)
May the fleas of a thousand
camels infest thy armpits!
(as Alex)
Get... out... of... my... body!

Karter vanishes leaving Alex shaken and dizzy.

ALEX
That... was no fun. But I
think I got the better of him.
He'll think twice before he--

ALEX/KARTER
(as Karter)
I'm baaaaaack.
(as Alex)
Oh no.
(as Karter)
Oh yes.

...Which defines the "possession" period via ALEX/KARTER both sharing the character name while they share the body, and when Karter isn't possessing him, Alex is just ALEX.

Having said that... if and when it comes time to separate character dialogue for analysis, the above is gonna confuse the bejabbers out of most software packages. At which time, as you have in your example, you may have to rewrite the more traditional version, e.g.

Alex shudders as he's possessed by Karter!

KARTER
May the fleas of a thousand
camels infest thy armpits!

ALEX
Get... out... of... my... body!

Karter vanishes leaving Alex shaken and dizzy.

ALEX
That... was no fun. But I
think I got the better of him.
He'll think twice before he--

He shudders, and--

KARTER
I'm baaaaaack.

ALEX
Oh no.

KARTER
Oh yes.

...Which requires you to define when Karter enters and exits Alex's body, maybe via a text visual (he shudders when Karter enters, he's dizzy when Karter exits) to help things along.

Both angles work for me, so flip a coin, or use the Force, and good luck with it.

-Derek
My Web Page - naked women, bestial sex, and whopping big lies.
Stop reading this and get some writing done instead.
 

Chesher Cat

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Dpat's reads clear. If you want to use his second version, which might be easier to read, when Karter is speaking from inside Alex's body, the character name can read, KARTER INSIDE ALEX I'm baaaack. ALEX Oh no. KARTER INSIDE ALEX Oh yes.