Doctor, in 2.

and so on.  At the time you write Scene 2 you may think that that is the only one in which you will use the doctor; later on, perhaps as you are giving the action of Scene 16, you may find that you have occasion to introduce a doctor again.  Unless Scene 16 is supposed to be located in another part of the country, the chances are that you might just as well bring in the same physician again, and you then simply make it

     Doctor, in 2 and 16.

7.  Naming the Characters

Of course it is unnecessary to give a name to everyone appearing in a picture.  The cast of characters is made up of the names only of those whose work in the photoplay materially advances the action in some way or another.  On the “legitimate” stage any character who has even a “line” to say may be said to have a “speaking part.”  Only these are supposed to be in the cast proper.  Similarly, in the photoplay no one whose work in the picture is not in some way necessary to the working out of the plot need be given a name.  In the same way that you would write “Doctor, in 2 and 16,” or “Policeman, in 8,” write

     Guests at ball, in 13. 
     Stock brokers and clerks, in 22. 
     Clubmen, in 27.

The following is quoted from Mr. Epes Winthrop Sargent’s weekly department, “The Photoplaywright,” in The Moving Picture World.  He says all that could be said upon a subject that is of the greatest importance, no matter on what division of the photoplay script you are at work—­the necessity for simplifying everything so as to make it quickly and easily understood by editor and director alike: 

“When you start to write a play decide what you are going to call your characters, and adhere to your decision.  If you have a character named Robert Wilson, do not indiscriminately call him Bob, Robert, and Wilson.  Decide on one of the three and use that one invariably.  If your character travels under an alias, being known as Montgomery in society, and Jimmy the Rat in the underworld, do not call him Montgomery in the society scenes and The Rat when he gets among his proper associates.  Call him Montgomery straight through, and the first time he changes from Jekyll to Hyde tell the audience, in a leader, that he is known as the Rat; but in the plot of action hold to Montgomery, because you started with that and do not want to confuse the director.  The editor is going to read in a hurry the first time through, and he cannot continually consult the cast to identify your constant changes in cognomens.

“Be careful in selecting your names.  Do not let them sound too much alike, or confusion will arise.  Often a story will be sent back that might be regarded more carefully were the characters more individually named, and perhaps fewer of them named.  Too many names are apt to be confounded with each other.  Names too much alike or not possessed of individual sound are apt to be confusing.  In either case your story is not readily understood on a first reading and never passes to a second perusal.  Take pains with your literary baptisms.”