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CHAPTER XXIX 117 You do not have Brown limp tlirough tlie play if his limping does not get an effect. You do not put it in merely to make interest. You put it in if the villain disguises himself as Brown. Then you write at the proper scene that "Hawkins enters, disguised as Brown," and the actor who plays Hawkins is told to limp. He can limp on either foot un- less he is unmasked because he forgets and limps on his right instead of his left foot. Then in the cast you tell that Brown should limp on his left foot, or he may forget and use the right, also. It is the same with Agatha. The mole is put on that the comedian may touch it and provide the basis for a cut-in flash that reads "I'll press the but- ton, you do the rest," and the mustache gets a laugh when she re- ceives a safety razor from an envious friend. The description is not essential if it is not used for an effect. Otherwise simply say she is an old maid and leave it to the actress who plays the part. It is re- quired that Betty shall be the opposite of Gladys. You do not say that she is dark or fair. Gladys is a more important character and has the choice of complexions. Betty must take the one that is left. In the Appendix will be found a practical application of this cast work in A-1. 7. Permanent mannerisms are described in the cast. Temporary mannerisms and disguises are described in the scenes in which they are used, as when Hawkins is said to appear as Brown in the preced- ing paragraph. If the disguise is continued the succeeding scenes will show that he is still in disguise by saying "Hawkins on (as Brown)," or "Hawkins enters (in disguise)." 8. If he assumes a disguise not representing some other character, he does not cease to be Hawkins. You do not say that "Tramp en- ters," if this is the disguise that Hawkins assumes. You say that "Hawkins enters (as tramp)" because he is still Hawkins and not a tramp and the director cannot hire a special assistant to keep track of your vagaries of identification. If your hero is Jack Brown do not call him Jack, John and Brown. Call him any one of the three but hold to just one name for him. If you call him by two or more names you will confuse both the Editor and the director. Make him Jack or John, but not both, even though Jack means John. In the same way in writing of Newxomb, who is Mary's father, do not call him "New- comb" or "Mr. Newcomb" for half the play and then change to "Fath- er" because he happens to be playing a scene with Mary. He is her father, but you started off by calling him by name. Hold to that iden- tification. 9. In making up your cast be careful in selecting your names. Do not invent fanciful names for your heroines or use names too long or out of keeping. Keep away from Gwendolyn and Yvonne and Juanita and Mercedes. For one thing if you use names like those and have to write them a couple of hundred times in the plot of action you will not care for them yourself. Another reason will be that the Editor wull find them less easy to trace and a third reason will be that the audi- ence will find them difficult to remember. You have three good rea-