 It was built as a concert hall, a little concert hall, and it has, you know, it has a lot of charm, but it was small. And it was actually some of the interesting things about it where it didn't have, anyway, the rumor was that Carnegie didn't really want it to be a theater, so they kind of hid some things. And there was a paint frame in the building, but the only way to get to it was around and about through kind of catacombs in the basement. And the paint frame, you know, went down near that there are niches in the outside of the building, and it was kind of backing on the niches. And not many people knew that it was there, but we could use it, except in order to, if you put a drop on it, I mean, it went up and down, if you put a drop on it, you then would roll it up, and then you'd take it up to the balcony, and then you'd walk it through this catacomb and then get it back to the stage. But because it was kind of an unknown space, some students actually, they didn't have much money to live down in that space, and nobody knew they were there. So it was, it had, you know, it had its charm. And I know that one of my favorite stories was the, in the theater itself, the lighting situation, in the overhead lights in the auditorium, there were catwalks up there. And one of my very favorite people there was a man named William Nelson, and Bill was very dry, and very funny, but in a very, his own very dry way. And so Rumor has it that he was showing some people through the theater at one time. And suddenly there was this crack and some legs came through, because somebody had gotten off the catwalk and come through the ceiling. So they were just like, and all he did was stop and say, that's going to be expensive, and then went on. So, but it was, it was good, it was just, it was just cramped. When we moved over from the College of Fine Arts to the Margaret Morrison building, we did have a room that we devoted just to storage over there, which was very nice, but it was absolutely insufficient. And so we kept looking around for places, and we discovered in the third basement of Margaret Morrison, there were two large rooms, one of which was being used kind of as a storage room by the bookstore. And the other one was the firing range for Roxy. So we thought, well, gee, the bookstore really doesn't deserve all this space. I mean, the rooms were very big and tall. And so we thought, well, we could, we could really use these, but they didn't have, because of the firing range situation, there was troughs and things in it so that the floors weren't all flat or anything. And in order to get it flat, we said, well, we've got to do something about this. Not the only way you can get to them by going in the elevator inside the building, or there was a long stairway on the outside of the building next to what was in the football stadium, which has only moved a little bit since then. So in order to get the floor that we needed, in the time that we needed it for, we got a bunch of the students, and Cletus and I and some of the other faculty, and we carried buckets of concrete down these outside stairs. And we made our own floor. And then we got, then we brought in, you know, like three-story hanging spaces. And it was great. And the only problem, of course, that building had cockroaches. But I got very used to, you just, you went to the door and you opened the door and you stood there and stamped your feet a little bit and turned the light on. And then you let them run because they were big clock coaches. But they did not come from the movie Creep Show. There were rumors that that's why there were cockroaches in Margaret Morrison. Margaret Morrison grew its own cockroaches. But basically, you know, working with George was okay. He lived it all, and he devoted himself to all of those things. And he, as I said, was very collaborative. He would, for example, if he was thinking about doing something, he would, he always would send me over a copy of the script or the book and say, we're thinking about doing this when it was one of Stephen's things, Steve King's things. And so I'd have to, because I was the fastest reader in the family. So I'd run through it. Cleetus first met him because we'd been doing a lot of productions with WQED at a time when they were doing a lot of historical things. And so George had done all of these movies that he'd done around town. And they'd kind of, you know, everybody would pitch in and make a movie. So he didn't have much in the way of designers associated with it. And when he got night writers, it needed designers. So he was talking to people, and some of the people that we'd worked with had worked with him, and they suggested that he talk to Cleetus. So Cleetus went to talk to him and came back and said, well, he's got this movie and he's thinking that maybe, you know, we should work on it. And so he decided to. And it was a bit nervous-making and very exciting at the same time. And it kept us even busier because we really had been, with all the stuff that we'd been doing for QED, we had, you know, a pretty full plate with things. That was kind of a big thing night writers was getting that done because they had, you had all the stuff, all the regular clothes things and all the medieval clothes things and the fact that the stunt writers had to have doubles and all their stuff. And it had to be flexible enough that they could fit any number of people because the stunt writers got paid more when they did the tougher stunts. And so they would trade off. And because they were, you know, they were leather things, we made them, you know, adaptable with buckles and things like that. And they had helmets and helmet liners and they could go on. So that we could adapt pretty well. But it was always keeping you on your toes. So Coup Show had, there was this one thing which Ted Danson was in where he gets buried alive in the sand and then comes back to life. And it was at the time he had a daughter and his wife was there, not the one, not his current wife, but, and they, and the daughter was, I think, probably about three. And so they were very, you know, we were trying to be very cautious when he was made up as he came back after he drowned and was all not to have so that she wouldn't see her dad looking like that. And then at one point somehow she got away from somebody and she ran over and she said, hey, daddy, didn't bother her at all. She knew it was her daddy and that was, and it was fine. We all thought that was pretty amusing. That was interesting because he was around, Steve was around a lot for the shooting of that movie. He actually had come out and had been an extra in creeps, in night riders. And that's how he and George kind of got together. And they, they were good buddies. They would, you know, they were both about the same size. They're both tall guys. And they both had pretty strange imaginations. And so they would feed off each other on that thing. George had a real place in his heart for the zombies. You know, that was, he was kind of amazed that it had taken off like it did. But you could tell that he, you know, he really felt that you had, you had to kind of understand what they were and what they were looking for and know how they would react. So that was, you know, that was the part of the whole thing of deciding, okay, what was, you know, when we started getting, when Bub started to be kind of having, you know, Bub was, was kind of lovable in certain ways. And you had to kind of, you know, let that happen, even though that the doctor that was operating on him was not lovable at all. He was crazy, but you did have to have a feeling for the zombies. And it was amazing because people came from miles around to be zombies. Sydney Lover came once to be a zombie. And there was one rock band that came in to be a zombie. And then it was just, you know, being a zombie was important to people.