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after the ship was due to dock in New York. On a pre-arranged signal, the film, sealed in tins and attached to a life preserver, was dropped overboard. “From a plane, a life preserver looks like a candy mint, and each time we’d spot it, we’d turn around to come down for a landing and lose our bear¬ ings. On about the eighth try, we got it . . . fortunately,” Donghi added. “On this kind of a venture, you’re only a hero if you come through. If you don’t, you’re an out-and-out bum.” There are two major kinds of news stories—the planned and the acci¬ dental, and planned events (speeches, new developments) get about as much secrecy as a county fair, with almost as many attendants. When disasters occur, the news is relayed to police and fire departments, which are cov¬ ered by local newspapers. Within minutes the wire services send flashes out over the teletypes to news¬ rooms of nearly every newspaper. radio and television station in the country. A TV assignment editor needs only to pick up the phone, call his contact nearest the scene and tell him to get out on the job. John Daly, ABC’s vice-president in charge of news, says, “With today’s thoroughness of coverage, the most practical hope for a scoop is to hope your competitor’s luck runs out.” Oc¬ casionally, though, it’s done in full view of the entire press. In the last Presidential campaign, a weary Adlai Stevenson sat on a dais facing a wall of cameras. Stevenson on a dais was a daily event, but a hole in the shoe of the man who might be’ President was TV, magazine and front page ma¬ terial—and one person saw that. Nowadays, the only guaranteed scoops are the manufactured ones (the point where press agentry was born) and cameramen go to fantastic lengths to come up with a new angle for an ordinary story. Any news edi¬ tor will tell you that “cameramen