1955-07-12 Kaleidoscope

This Ray Bradbury story first appeared in Thrilling Wonder Stories in 1949. Its first radio version was on Dimension X in 1951. It’s one of those outer space stories that doesn’t need to be set in space. It’s a story where the participants are facing their imminent demise from an explosion of their craft, they end up in conversations examining their lives and relationships, knowing that they are having last conversations with others. Those conversations aren’t in-person, but by their audio communications in their space suits, which makes them even more poignant. The dialogues are filled with wide ranging emotions of anger, resignation, regret, hope, animosity, friendship, gratitude, and in the end are quite stunning when heard and pondered. The fact it is set in the emptiness of space adds a deeper loneliness and meaning to the tragedy and the end of their lives. You get the sense that some of the characters led lives that did not include much introspection about the nature of their behavior or decision or actions until confronted with this situation. The Socrates quote “The unexamined life is not worth living” is quite interesting here as they are examining their lives knowing they are near an undesired end.

Science fiction has always tackled existential and philosophical issues in creative and insightful ways. It often does that without being explicit, luring you into weighty topics that might not otherwise be considered. This episode does that.

The writing by Bradbury and its adaptation by Antony Ellis are excellent. The cast was already used to working with each other since they were already on Gunsmoke week after week for almost three years. They are superb together. It might not have worked without that binding experience. William Conrad might be identified as the star, but this is a true ensemble performance. The production had a special construction to make it more realistic and duplicate the alone-ness of floating in space. In the June 22, 1956 issue of TV-Radio Life in the article Serve Well Chilled by Jon Bruce (p. 46), Ellis said:

This is a story of six men blown out of a rocket ship who float around in outer space. Each philosophizes what will happen to him. To help create the desired effect, we had our six actors play their roles in six different isolated booths so that they were entirely alone. They couldn't even see each other. This helped to give them the proper mood and it made for a highly successful show. This sort of thing—even this type of production—could not have been done half as well on TV.

The episode had no consistent or even viable publicity. It seems that, for a time, the CBS Radio publicity department had no idea what the program was about. They used a dictionary-style description of what a “kaleidoscope” is for the episode. This is what they sent to the newspapers:

Changing patterns fall into an exciting design in Kaleidoscope on Suspense Tuesday at 8pm. Antony Ellis produces and directs the series. Wilbur Hatch conducts the program's music.

Really? No mention of Bradbury, science fiction, or anything else! There were some closer to air time, that mentioned an outer space wreck of some sort, but did not even mention Bradbury.

There is, however, something that makes this episode extra special. The Ellis family is in the production: Antony, Georgia, and six-year-old Jonathan. Antony was directing, and Georgia and Jonathan are heard at the very end of the broadcast. At least one newspaper listed Jonathan as the star! Some newspapers had this listing:

Ray Bradbury’s Kaleidoscope, story of a rocket wrecked in outer space, with Jonathan Ellis.

The Ellises would divorce a few years later, with Georgia remarrying in 1961.

Despite the uniqueness of the play and the nature of the staging, and the presence of a six-year-old actor, this show was broadcast live, with no prerecorded segments. By today’s standards, that would seem to be astonishing.

The sound of this episode is excellent. For many years, collectors had unsatisfying recordings with much noise, narrow range, and other problems. Some 1970s collectors, however, had access to a personal 15ips reel that Antony Ellis had for himself. It is exceptional.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP550712

THE CAST

William Conrad (Hollis), Howard McNear (Lespere), Stacy Harris (Applegate), Parley Baer (Stone), John Dehner (Captain), Sam Edwards (Stimson), Georgia Ellis (Mother), Jonathan Ellis (Sonny), Larry Thor (Narrator)

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1955-06-14 The Whole Town's Sleeping

Antony Ellis adapts this Ray Bradbury story that first appeared in the September 1950 issue of McCall’s. Its good but somewhat predictable plotline is made better by the engaging narration of William Conrad.

Two unmarried women, Lavinia and Florence, decide to take in a movie in the downtown area near where they live. Another friend, Helen, joins them. There’s a shortcut across a ravine that will take them there. It’s not usually a problem to take that route, but there is concern about about the activities of a serial strangler in the area. Known as “The Lonely One,” he seems to space his attacks about a month apart. Lavinia knows about it, but is not concerned about it. Francine and Helen, however, are, especially for the after-movie walk home.

When they get inside the theater, they spot a man who might be the killer. He fits the description of someone who had asked a storekeeper where Livinia lived. It turns out the man was the theater manager’s brother on a family visit; the hubbub created an embarrassing situation. But it passed and they enjoyed the movie. They leave and start walking home. First, Livinia and Helen walk Francine home. Livinia promises to call when she gets home so they don’t worry. They continue in the quiet town as the clock strikes midnight. Livinia then walks Helen home, again reiterating that she’s not concerned about walking home alone because the police were on the lookout for the killer. She promises Helen she’ll call when she gets home. On her way home, she meets a policeman she knows. He offers to walk her home, but she turns it down. She starts her solitary walk through the ravine and gets to the other side, distracted by a man she sees, but she continues. A man may be following her, but she realizes there was no one. She had told everyone she was not concerned about “The Lonely One,” but it’s clear that she really was and did not want to admit it. She finally makes it home, relieved… but then… someone is in the house.

There are two surviving recordings, with the network recording as the better of the two. The other recording is from the Armed Forces Radio and Television Service (AFRTS) repackaged series, Adventure Theater. It is a bit noisy and has a narrow range.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP550614

THE CAST

Jeanette Nolan (Lavinia Nebbs), William Conrad (Narrator), Eve McVeagh (Helen), Paula Winslowe (Francine), Tom McKee (Kennedy / Manager), Florence Walcott (Grandma Hanlon), Tom Brown (Police Lieutenant), Will Wright (Druggist), Larry Thor (Suspense Narrator)

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Suspense 1955-04-05 Zero Hour

Ray Bradbury’s story, adapted by Antony Ellis, about a planned space invasion that recruited children to assist was first presented on Escape on 1953-10-04. The response was quite strong as measured by the volume of letters and phone calls received from listeners, good and bad. Escape was already off the air for almost seven months, and the only program that could re-use the popular script was Suspense.

There are two elements of social context that help create a strong response to the story. The first is that the early 1950s were a time of a large number of UFO sightings and reports, and worries that UFOs might be from outer space, of course, but also be aircraft of enemies of the USA and the Western democracies. The second is that the invasion as staged had a lot of the sounds that the public might associate with the beginning of a nuclear attack. Today’s listeners might easily dismiss these concerns and pass the story off as pure entertainment, but there were enough concerns at that time where some listener might be rattled by this. A third aspect for some of the listeners might be the idea that innocent children could be exploited by a hostile force to undermine society at large. As in the story, such a plot would be dismissed by the adults as imaginative play in which all children participate. Once these cultural aspects are considered, it is easier to understand how Zero Hour could generate negative reactions. But then, so could a lot of the 1950s science fiction movies of that time.

As this Suspense broadcast date was set, it seemed that there was sudden interest by the CBS publicity executives. For many weeks, newspapers had barely any information about Suspense on their pages, usually limited to timetables. It’s clear that the CBS publicity department had other priorities. But this episode was different. This episode demanded special attention because of the feedback that the original Escape broadcast created, and the hope that the broadcast could increase listener attention. Note how the broadcast was positioned in Suspense history:

Two years ago, Zero Hour was presented on CBS Radio’s Escape and an avalanche of phone calls and letters followed, containing several hundred requests for a repeat performance. The chilling tale was compared favorably with the now immortal Sorry, Wrong Number and the equally eerie Donovan's Brain, thus setting the stage for Suspense producer Antony Ellis to schedule it again.

Zero Hour is the strange tale of how the children in the world band together to play the game called “Invasion.” Under the influence of unknown forces from outer space, the children lay plans to obliterate all the grownups in the world. The reality of parental disregard for the naivete of the children’s minds builds Zero Hour to a suspenseful climax.

The Escape broadcast and this one starred Isa Ashdown, a child actor who appeared on radio quite a number of times, especially Lux Radio Theatre. She left performing at the end of the 1950s. One of the roles for which she is remembered by nostalgia fans, is the Superman TV episode, The Birthday Letter, originally broadcast on 1952-10-31. She plays a young girl who needs to walk with crutches, and she is taken for a fly by Superman himself. The episode is not available online but the happy scene is at https://youtu.be/cYDQlb7khZI Background on that episode is written up well at this fan page http://www.jimnolt.com/ashdown.htm

There are three surviving recordings of which the network recording is best. An Armed Forces Radio Service recording (AFRTS#748) is very close to the network recording quality, but has some some very minor disc clicks from the AFRTS transcription disc. A third recording, from a likely 1970s reissue as an AFRTS Adventure Theater episode, is of lower quality.

The network recording of this Suspense presentation of Zero Hour is also in better sound than the commonly circulating Escape recording.

Preparation for this broadcast of Zero Hour started weeks before. One the back of a page of the script for The Cellar, broadcast two weeks prior, there was a two-item “to-do” list to get letters about the first broadcast on Escape and to retrieve the original script for Antony Ellis from Helen Phelps. She was the script secretary for the CBS drama production department. Hard copy scripts have many surprises on the reverse side of pages, such as this. Some of the scripts that actors kept have some interesting doodles on them as the sat in on rehearsals or were waiting for the group or staff to assemble.

Some of the drama elements were recorded on tape on Friday, April 1, 1955. Those elements were joined with live elements of music, announcing, and narration for the broadcast on Tuesday, April 5.

Bradbury’s original story can be accessed at https://americanliterature.com/author/ray-bradbury/short-story/zero-hour/

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP550405

THE CAST

Isa Ashdown (Mink Morris), Parley Baer (Henry Morris), Paula Winslowe (Mary Morris), Eve McVeagh (Helen), John Dehner (Narrator), Beverly Hanley (Anna), Larry Thor (Suspense Narrator)

NOTE: The original Escape broadcast also included Winslowe, Ashdown, Dehner, and McVeagh in these same roles.

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1950-09-21 The Crowd

Dana Andrews stars as a police lieutenant in a compelling episode about a person who appears in the crowd that surrounds accidents and misfortunes of others. He taunts the police into finding him. It is an exceptional Suspense production with fine performances by Andrews and Joe Kearns as the killer.

This murderer enjoys his taunting telephone conversations with the lieutenant. They eventually figure out exactly where he is but it’s always on a busy street. All he has to do is wander a few steps away from a phone booth to become an anonymous part of the crowd. The police suspect that he likes to hang around as to watch each morbidly curious group of spectators gather to stare at the body of his victim, and he hides among them, in plain sight of everyone.

Morton Fine and David Friedkin adapted the original Ray Bradbury story that appeared in the May 1943 edition of Weird Tales. They made major changes to it. It is believed that Bradbury was not pleased with adaptation. He may not have known how much they changed it until he heard the broadcast. To oversimplify it, Suspense changed the intent of the story as commentary about the interest in that pain and suffering of others that draw crowds around scenes of tragedy and transformed it into a story about a serial killer. Bradbury did his own adaptation for cable television in the 1980s Ray Bradbury Theater using his original premise. The idea for the story came from an experience Bradbury had as a boy. He saw the aftermath of a car accident and the crowd of people assembling to surround it. In terms of the entertainment business and control of his work, Bradbury had not yet achieved the stature to demand approval of adaptations of his work. That would obviously change as his career moved on.

Because of the difference in the original story and the adaptation, there is justification to consider them as distinct works. Classic radio enthusiast Elizabeth Tankersley noted at the Old Time Radio Researchers Facebook group page that the adaptation sounded "astonishingly like an episode of Broadway Is My Beat with its cynical, moody New York police lieutenant, the detective work, the pacing, and some of the narration and transitions." This is not really surprising, though it was likely unintended. Lewis was producer and director of that series starting in Fall 1949 and Fine and Friedkin were its main writers.

The drama was recorded on Friday, September 8, 1950. It appears to be an early morning rehearsal starting at 8:00am to 12:30pm, with recording from 12:30pm to 1:00pm.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP50921

THE CAST

DANA ANDREWS (Lt. Johnny Stillano), Howard McNear (Doc Gilbert), Joe Kearns (Signature Voice / Charles Turner), Jerry Hausner (Marty / Smart aleck in subway), Jack Kruschen (Sgt. Riorden), Lou Merrill (Elliott Becker / Voice 1), Bob Bruce (Jones / Burke), Truda Marson (Angry Woman / Voice 2), Lou Krugman (Voice 4 [Man yelling in subway] / Man who confesses), Irene Tedrow (Mrs. Shirley), Byron Kane (Voice 3 / Joe the diner proprietor)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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1948-11-25 The Screaming Woman

Suspense presents another Ray Bradbury story. The broadcast stars an almost-12-year-old Margaret O’Brien. The script was adapted by Silvia Richards.

A man neglects to complete the murder of his wife and disposes of the body prematurely. A young neighborhood girl hears the screams of the woman coming from under ground at an area where people have been dumping junk and soil, but no one else seems to hear her. The young girl always being told it’s her imagination, but she knows she’s right and persists in finding out where the woman is to save her. The girl’s got spunk, as they say, and she starts canvassing the homes in the neighborhood. Her ideas is to find out if anyone in the homes have been missing since the day the screams began. Her simple investigation works… but now she’s in danger, herself.

It’s a good story, and O’Brien performs so very well. She was last on Suspense about three and one-half years earlier, in Cricket with Dame Mae Whitty.

For a few broadcasts, Harlow Wilcox has been heard to utter the phrase “by Cornelius” as part of his Auto-Lite commercial banter. The phrase is not used much in common conversation any more, so it sounds strange to modern ears. It seems to relate to a person mentioned in the New Testament Acts of the Apostles, Chapter 10. Cornelius was held in very high esteem and considered as very honest and trustworthy. The phrase “by Cornelius” has an approximate meaning in the ad copy read by Wilcox to be “what I’m saying is true and worth believing.”

There are two recordings of this broadcast, the network recording and an Armed Forces Radio Service release (#260). The network recording is much better than the AFRS one.

There is a myth surrounding this broadcast, and it involves Agnes Moorehead. Researcher and performer Keith Scott notes that according to Darryl Shelton’s book, Suspense, an unbilled Agnes Moorehead did the screaming woman’s muffled sounds. That cannot be documented. The following footnote can be found in Agnes Moorehead on Radio, Stage and Television by Axel Nissen, published by McFarland Books in 2017:

21. I have included only Moorehead's documented roles and other types of credits below that are found in the actual broadcast or in reliable sources. It was not until about 1950 that supporting cast members were routinely given credit, so it is possible, though not likely, that Moorehead played uncredited supporting roles on Suspense that have not yet been identified. Some modern sources, for example, indicate that Moorehead had an uncredited role as the screaming woman of the title in "The Screaming Woman" (November 25, 1948), starring Margaret O'Brien, but I have not found any historical evidence to support this claim. See Lynn Kear, Agnes Moorehead: A Bio-Bibliography (Westport, CT: Greenwood, 1992), p. 212; Tranberg, I Love the Illusion, p. 407.

An extensive online search of newspapers and radio industry trade journals had no reference to such an event. These kinds of cameo appearances eventually “leak out” and most end up in publicity releases by the network or the actor’s agent. They are also noted in cover sheets in the production scripts.

There are some articles that state that Moorehead was the “screaming woman,” but further research indicates a reason for this a mistake. There are some articles and comments, online and in print, that Moorehead played the “screaming woman” in Sorry, Wrong Number. It seems that some writers miss that last point. That is, she played a “screaming woman” on Suspense, so she must have been in the cast of The Screaming Woman! Indeed, some of the most common photos of the series and of Moorehead is as she is screaming. This means that search engines, like Google and Bing, are part of the problem. If you search “screaming woman” you can find references to SWN as well as The Screaming Woman and also references to the speculation of Moorehead’s role in this production.

Performer and researcher Keith Scott has seen the actual script cover page with its cast listing for this episode. As noted below in the cast list, Sylvia Simms plays this episode’s “screaming woman.” She was going to be in the studio, anyway, as the phone operator in the closing Auto-Lite commercial.

For the series most famous Suspense cameo, go to https://suspenseproject.blogspot.com/2023/09/1947-05-01-lady-in-distress.html

Also in the cast was Marissa O’Brien who played Mama and Mrs. Hyde. She was Margaret O’Brien’s aunt (as noted by performer and radio researcher Patte Rosebank at the Old Time Radio Researchers Facebook group).

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP481125

THE CAST

MARGARET O’BRIEN (Margaret Leary), John McIntire (Dad Leary), Jeff Corey (Police Officer / Charles Nesbitt), Ed Begley (Kelly / Mr. Hyde), Gilbert Barnett (Dippy Smith), Marissa O’Brien (Mama / Mrs. Hyde), Sylvia Simms (Miss Griswold / Mrs. Kelly / Screaming Woman), Paul Frees (Signature Voice)

COMMERCIAL: Bill Johnstone (Hap), Sylvia Simms (Operator), Harlow Wilcox (Announcer)

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1948-07-15 Summer Night

The first episode sponsored by Auto-Lite was The Last Chance and starred Cary Grant. It may have been a casting decision for “good luck” since Grant starred in the first Roma Wines episode almost five years prior. Of course, Grant was a big star and a good radio actor. Unfortunately, no recording of that broadcast has survived, either network or Armed Forces Radio Service. It was a Lou Lusty script, adapted by Larry Marcus, a key figure in the success of The Whistler. Some newspapers indicated the involvement of Les Crutchfield, who wrote many scripts for Gunsmoke and other series. It is believed to be an error, but only hearing the actual credits verbalized at the end of the program may shed light on that, but that is obviously not possible at this time.

Instead, our first taste of Auto-Lite’s sponsorship is this Ray Bradbury story, Summer Night and stars Ida Lupino. It is not a fantasy or sci-fi like much of Bradbury’s work, but a story of interpersonal conflict and a serial killer with a surprise ending. The story was adapted by Robert L. Richards.

“The Lipstick Killer” is panicking a town after two women are murdered. Ida Lupino’s character calls an old friend who was a rival for a particular young man’s affections many years ago. She was spurned, and still holds a grudge over it. He’s back in town, and things take a bad turn when she decides to eliminate the love competition by staging her former friend’s murder to be blamed on the serial killer. Then she realizes too late that the man she had such great desire for is the killer terrorizing the town. Whoops! Be careful what you ask for, you might get it… or worse.

This is the first surviving half-hour produced by Anton M. Leader. It is much better than his initial productions for the hour-long format. He was likely saddled with script sequence they used and it is possible that Montgomery elbowed his way to the foreground of decision-making in those few weeks as Leader tried to figure out what was going on until Montgomery’s departure. The Leader shows that followed were much better. These Auto-Lite shows would be Leader’s clean slate, picking up the best production aspects of the Roma era and conveniently letting the memory hour shows fade away.

The shows open with hokum playlets of people getting ready for the “Auto-Lite Show, Suspense.” That’s clearly the influence of sponsor and ad agency copywriters. They’re cute and classic radio fans eventually just tolerate them. Bill Johnstone is often featured as “Hap,” everyone’s nice uncle or friendly neighbor. The end of this broadcast has an Auto-Lite jingle that Variety panned in their review of the first episode. This second production is the final time it is heard. Who says nobody reads what the critics are saying?

These Leader episodes feature Paul Frees as the signature voice of the series. He is superb in the role.

Summer Night was presented on the Suspense TV series on 1952-02-19. No kinescope has been found. Newspaper plot summaries indicate that some changes were made to the storyline that was presented here.

It is evident that when Paley was negotiating with Auto-Lite that television was an important part of their overall deal. In just seven months, Suspense would make its television debut. The television show was produced in New York, and was largely separate from the Hollywood radio series. When the Auto-Lite sponsorship would end in 1954 for both radio and television, Suspense was highly rated and respected in both media. The recessionary times of the mid-1950s and a change in distribution strategy of Auto-Lite’s products led to a surprising sponsorship cancellation. The radio series changed greatly in the Auto-Lite years with three different producers (Leader, William Spier, and Elliott Lewis) and a wider range of story types. In the meantime, the lone year that Leader produced the series offered some of the best scripts and productions in the twenty-year run of Suspense.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP480715

THE CAST

IDA LUPINO (Anna Macauley), Larry Dobkin (Charles), Sylvia Simms (Miss Welsh, the telephone operator), Frances Robinson (Helen), Paul Frees (Signature Voice)

COMMERCIAL: Bill Johnstone (Hap), Gil Stratton, Jr. (Billy), Ken Harvey (Mike & jingle singer), Frank Martin (announcer)

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1947-11-13 Riabouchinska

Ray Bradbury’s first Suspense program sat in a file drawer for almost 18 months. It finally emerged at the end of the Roma series. The strange story about a tortured ventriloquist and his dummy, adapted by Mel Dinelli, is one of the most unusual Suspense productions. Not everyone will like it. Lurene Tuttle provides an excellent performance as the voice of Ria.

This broadcast often has a dreamy and “artsy” feel that you might think you’re listening to Columbia Workshop. Then you’re suddenly back in a police interrogation. It is not one of those Suspense broadcasts that you can have on in the background and still follow the story. This requires undivided attention.

Bradbury wrote this as a radio script, or at least a detailed radio script narrative, and later built it into a short story. It was not published until six years later in The Saint Detective Magazine (in the June-July, 1953 issue). The script was later adapted for television and was presented on Alfred Hitchcock Presents series (also by Mel Dinelli) and on Ray Bradbury Theater (Bradbury’s own adaptation).

This was not the first presentation of a Bradbury script, but it could be the first script he sold. The first broadcast of a Bradbury story was for Molle Mystery Theater in Killer, Come Back to Me in May, 1946. This page at The Internet Archive has much of Bradbury’s radio work from its beginnings https://archive.org/details/Bradbury_On_Radio Indiana University has a timeline of Bradbury’s life and career that includes radio events https://liberalarts.iupui.edu/centers/bradbury-center/ray-bradbury/timeline-of-bradburys-life/

This episode is probably the last one that was influenced by Kay Thompson. She had read Ray Bradbury's work and enjoyed it, resulting in the sale of this script to the series in April 1946. It was not until this time at the very end of the Roma contract and when the future of the series was in great doubt it was finally pulled out of the file cabinet. Why was it held? Probably because the script was so different to standard Suspense fare that Roma or others kept pushing it aside.

It is quite possible that this script may never have made it to the air unless Suspense was on the verge of cancellation. Lucille Ball was originally scheduled for this date for another performance of Dime a Dance. The show’s budget for stars and for big name scriptwriters were cut as Roma was minimizing its expenses on their way out. It’s possible that there was a scheduling conflict with Ball, but she loved doing Suspense and would not have agreed without a firm date for both sides.

There are very few newspaper clips about this episode, but many more about Ball's return. The decision was probably made about 7-10 days before the broadcast date, possibly less. For Bradbury getting on the air, this worked out to be a fortuitous radio circumstance, for sure.

June Havoc is billed as "Armina Fargay" in the episode. No one knows why the name was created or used, but it appears to be an inside joke. The name was also used for some of her appearances in the Sam Spade series. Armina Marshall was a director of the New York Theatre Guild and was a founder of the Westport Country Playhouse in 1930. It was at that venue that Havoc played in Girl of the Golden West in the Summer of 1947. It is not known where the "Fargay" or "Fargey" name originated at this time.

The east coast network broadcast is not available; the AFRS recording inserted a different announcer clip as it was often doing in their editing for other episodes in this period. There are two copies of the west coast network broadcast. One is a KNX aircheck. The other is a studio recording. The studio network recording is the one in the best sound.

A marker for the west coast broadcast is a flub at approximately 1:35 when Truman Bradley mispronounces the story title as “Riaboushinskee.” This matches the KNX aircheck.

The Armed Forces Radio Service recording has a different announcer for their release. The drama is from the east broadcast; times are approximate:

• AFRS 3:58 “Why, she's appeared in London...”

• WC 5:10 is “She's appeared in London...”

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP471113

THE CAST

ARMINA FARGAY aka JUNE HAVOC (Narrator), Joe Kearns (John Fabian / Signature Voice), Wally Maher (Detective Lieutenant Krobic), Lurene Tuttle (Riabouchinska / Ilya), Jerry Hausner (“Sweet William”), Frances Robinson (Alice Fabian), Byron Kane (Bernard Douglas)

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