If you know you’re in a new frontier, and it shows… (or at least passably resembling someone in a new frontier,) there’s nothing wrong with declaring yourself the expert on invisible-speak & adapting the technology to show it in a new way. Form Follows Function. So if your UN-PERSON happens to make it through the whole thing without being italicized… I’d think you might have skipped one of the million ways to jazz him up. (Maybe. I’d certainly look at it.)

Because John’s right… (as is his custom) you’re at war with annoyance and rhythm… so the only right way, is to use a combination of instruments, playing the dudes theme.

I’d look at it as an opportunity to find a multitude of notes, and play ‘um all… play the “I’m so clever” game till the actors wish they could have the role of “the dude who isn’t there” — and my claim is… that THAT orchestrated chaos, (which may at the outset make it seem non-commercial,) will be the exact thing that makes it commercial.

Reading recommendations: STRANGER THAN FICTION, and DROP DEAD FRED - just a thought.

-Synthian

To business:

Is Bob, Jane’s invisible self? If so why can’t Bob be a character in his own right even if we don’t see him on screen and have his own lines labelled ‘BOB’?

Or simply label lines INVISIBLE JANE? or JANE (V/O)? The cleaner the page, the more happy the reader.

I wish you luck, because it’s quite a difficult one. Ultimately, if you know the rules you can break them because it’s your screenplay… which is a liberating, but scary thought.

A beat indicates a passage of time. An example:

He takes a long drag off of his cigarette while staring through the blinds into the pasture beyond. After a beat, he extinguishes the butt. He puts on his hat and makes for the door.

All a beat means here is a pause. You could say “After a long beat…” to indicate a long pause, or passage of time.

The only addition I’d make is that every once in a while, mainly to avoid driving your reader (and yourself) crazy, that you have Jane do something extensive enough to warrant breaking-up the dialog-parenthetical-dialog chains with an action block.

-amateurwriter

1) Can Jane see Bob? 2) Does Jane hear Bob only in her head? 3) Does Bob communicate with Jane telepathically, and if so, why doesn’t it work both ways? 3) Is Bob a spirit or ghost of some kind, or is Jane just nuts? 4) Can Jane make “eye contact” with Bob? Can she physically touch him?

The answers to these questions would determine how the actress would “interact” with Bob, and therefore how you’ll write the scenes.

In this bit, Elwood is driving a car. There are two real characters in the back seat. The passenger seat is empty. That’s for Harvey, of course.

ELWOOD (to Harvey) No, this is the best way. I disagree. Because I’ve driven it. No, that’s a horrible idea, the traffic is much worse there…

As you can see, I did away with all of the beats and implied responses. In short, I used option #1.

The one that John doesn’t like. :)

On the other hand, as I said, there weren’t too many instances of actual dialogue between Elwood and Harvey.

JANE I’ve gotta get some food in me. You hungry…?

JANE (BOB) You know I’m a vegetarian…

JANE Yeah, so?

JANE (BOB) Pork rinds are not made of real pig…