Lewis was nervously walking up and down, bumming cigarettes, explaining the script, making changes. Mary Ahern, Radcliffe '42, the feature editor, returned from lunch. She was soon busy in conference.

Upstairs, in Weld 6, staff director Elliot Silverstein, in charge of the Eliot House remote unit, started going over The Merchant of Venice with his attractive assistant, Bennie Lee. The Eliot Drama Group was scheduled to do two scenes from this play in the House junior common room. He finally decided on the Jessica and Lorenzo love scene and the Old Gobbo scene for slapstick. It was "finalizing the script," as he called it.

Which One First?

Silverstein called over Mann, who had moved upstairs. "What do you think we should do, Del, have the comedy or love scene first?"

Mann didn't know. "It depends on how the Pudding show is. I'll tell you later this afternoon." He left.

Silverstein told Bennie to type the two scenes into the script anyway. "I think we'll put the love scene first. We can always change it later.

Then he explained the Eliot House schedule to Bennie. "We're in Eliot twice. About twelve minutes into the show, Senator Kennedy comes on. Then, about half-way through the show, 'Merchant,' with the two scenes broken up by the Pudding Show from Sanders. Then straight to Finely and back to Kennedy and a tutorial session."

Bennie went to the IBM typewriter to type the 'Merchant' script. Silverstein called WNAC-TV, which was supplying the third remote unit, the one to be used for Eliot. He wanted to arrange details for the cameras. "Which of you men should we give the Zoomar lens to? Which one has had the most experience?"

He finally decided to give camera 2 the zoomar. This is the one for the 'Merchant' scenes. Camera 1 was set for C-11, where Kennedy and the tutorial would appear. Camera 3 would take Finley's study.

Silverstein looked over the script again. Lewis came in, and he asked him about Kennedy's first appearance. "It's pretty abrupt, Andy. Kennedy says, 'This is tutorial,' and then we have to pan away from him immediately. Not too good."

Lewis thought a moment. "We'll fix it later."

Arranging the furniture was Silverstein's next problem. He took out a pencil and pad and started sketching. For the tutorial session, he envisioned two easy chairs, no desk. The 'Merchant' scenes were more complicated. He phoned his stage manager. "During the minute cut-off, we may have to change the furniture around. Better get some boys to help. We're shooting the two scenes from different parts of the room."

Bennie had almost finished typing the script. "As soon as you're finished, dear, we're going out to eat."

But a quick sandwich was all they had time for. At 4 p.m. they had an appointment with Samuel H. Beer, professor of Government, and Morris M. Goldings '57 in Eliot C-11.

Still they were ten minutes late. Bursting into the room, they found Beer and Goldings there. But they also found Howard E. Hugo, assistant professor of Comparative Literature and a group of his tutees. The University had forgotten to tell Hugo that he could not use his room for the next few days.