[Callers] Evaluating/anticipating end effects

I mostly try to collect dances on the hoof so that I know how they feel from the floor, but sometimes I do end up calling dances I haven't done before, ones that I've gotten either from other callers or from written sources. When looking at a dance in note form, how do you figure out when it's likely to have end effects? There's a particular becket dance I'm looking at right now, called Weeks On The Road, by Al Olson (I just realized I've been spelling it "Olsen" for some time. My apologies) A1 On L diagonal, ladies chain Across the set, 1/2 hey (wo by R) A2 Balance and swing the neighbor you chained to B1 Circle L 3/4 Balance the ring and CA twirl B2 P balance and swing If the dance starts with a neutral couple out at the end, that neutral lady can chain in so that the complete foursome can do the dance, but if there's no neutral couple to chain with, should the foursome dance with a ghost, having sent that lady out to chain with nobody, or should the lady who would normally chain out simply dance that round with her partner as though she had just chained in from the end? If she does that (ignore the chain on the diagonal and start the dance at the 1/2 hey), then she and her partner will wind up out at the end for the balance and swing, which I guess is just fine. Hmm. OK, I seem to have answered my own specific question here, but I'm still curious about the general issue of how to tell when a dance is likely to have something tricky at the ends. Movement on the diagonal seems like an obvious warning sign. Another one that I encountered a few nights ago is in Moon and Star Contra by Don Flaherty, where a ring balance and CA twirl in the A1 leaves a cpl alone at the ends for a very short wait while their original neighbors star with someone else and then come back for a balance and swing. I was noticing that everyone immediately crossed over, which is usually a good impulse. In this case, though, they needed to just stay put and wait for their neighbors to return. With the dance in progress, I couldn't find a graceful way to give that information from the mic since it was aimed at just 8 people out of the whole room, but was needed over and over. I settled for sidling up behind occasional couples at the top and telling them not to cross over, but there was still a lot of confusion. So I guess another end-effect indicator would be short-term movement out of the minor set? What else should I be watching for? Kalia