Ernie Adams

Brenda Starr, Reporter (1945, Wallace Fox)

Brenda Starr, Reporter never has a chance. Worse, lead Joan Woodbury never has a chance. Of all the characters in Brenda Starr, Woodbury gets the worst. Well, wait. No. Lottie Harrison gets the worst part. She’s Woodbury’s cousin (and roommate) and she’s constantly making fat jokes at her own expense. Other characters get close, but Harrison gets the majority of the worst jokes. It’s unfortunate–but is apparently comic strip accurate.

Based on my cursory research–I read Brenda Starr back in the nineties for a bit, but had no idea going into the serial knowing who was from the comic strip and who wasn’t. Anyway, based on cursory research, only William ‘Billy’ Benedict is playing another comic strip character. He’s the idiot newsroom gopher. The script plays him for dumb laughs, but it never works. Benedict’s terrible, Fox’s direction of him (and the actors in general) is lousy, and the script isn’t funny. So they’re these painful scenes. And Benedict is on the bottom of the Brenda Starr caste system. It goes Benedict, dimwit copper Joe Devlin, photographer Syd Saylor, Woodbury herself, then Kane Richmond is at the top of the food chain. Alongside Frank Jaquet as Woodbury and Saylor’s boss, which is weird.

Richmond’s the dreamy police lieutenant who Woodbury always seems to be competing with. Because all either of them do is go to the scenes of crimes, either in progress or to follow-up, and get in trouble with the bad guys. Richmond never investigates anything. Woodbury never actually publishes stories. The Reporter part of the title is a complete misnomer after the third or fourth chapter because Woodbury becomes Richmond’s de facto deputy. Any information she finds, she has to turn over to Richmond and get permission to use it in a story. Managing editor Jaquet isn’t a crusader, he’s a stooge for the cops and sells Woodbury out every chance he can get.

And it’s no spoiler to say the serial isn’t about Woodbury going out against orders and saving the day. It’s not. It’s about her going out against orders and not saving the day until she learns her lesson. Once she learns her lesson, the bad guys start kidnapping her more. They’ve also hold her hostage various times throughout. Sometimes Woodbury gets to save herself, usually it’s up to Richmond.

Shocker the serial is much better when it’s Woodbury and not Richmond doing the saving. Richmond’s obnoxious and not very good. Woodbury’s sympathetic and fine in a poorly written part, but her performance never impresses. She’s likable though. She’s totally solid lead and if she got to do anything solo, the middle chapters of Starr would work much better.

It probably wouldn’t save the thing. The ending’s real, real bad. The serial rallies towards the end, at least in parts, with this subplot involving Ernie Adams and Wheeler Oakman. They’re two-bit crooks who are trying to blackmail George Meeker’s gang leader. He works for an unknown boss who speaks to Meeker and the gang. Starr’s constant with its thugs–Jack Ingram, Anthony Warde, and John Merton are more sympathetic than most of the rest of the cast too. Especially Ingram. Ingram can’t hide his exasperation with the serial from his face. It’s kind of funny.

Meeker’s pretty good. Adams and Oakman are both better than good, Adams more often. Oakman’s scenes with Woodbury are pretty weak, unfortunately, but because of the script.

Before I forget, sometimes screenwriters Ande Lamb and George H. Plympton repeat conversations. Especially with Adams and Oakman. It’s not just the same expository information, it’s the same lines. From the same character. And it doesn’t seem to be a mimeograph error, it seems like filler.

Okay, back to the acting. Saylor’s bad when he’s the butt of jokes, better when he’s sincere (worrying about Woodbury, kind of a dopey uncle), sometimes real funny when he’s doing physical humor, sometimes not. It all depends on how much Fox’s setups are going to mess things up. Fox will occasionally have a good action sequence or a good big scene but it’s somehow never encouraging; it’s always clear they’re flukes.

The script has occasional flukes too. Marion Burns is awesome as this magician who Adams and Oakman enlist to get Meeker. She gets a three or four chapter arc. Cay Forester gets an arc early on, which is unfortunately lost. Brenda Starr, Reporter is incomplete. It was thought entirely lost until it was restored in 2011, unseen for almost seventy years. The missing material is from early chapters and might have a good performance from Forester. She’s not in what’s left enough to gauge her performance. But it’s not like more Brenda Starr would make anything better. The serial forgets subplots–or introduces big ones deus ex machina. It doesn’t build to anything. A bad serial can seem like all it needs is the first chapter and the last, everything in between is inconsequential. Brenda Starr isn’t consequential until the penultimate chapter. And even then the last two episodes would be full of redundancies. There’s just no story.

The basic plot has Oakman knowing about a payroll heist, which happens before the first chapter starts. Instead of investigating the heist, idiot cops Richmond and Devlin hound Woodbury, who’s at least managing to investigate something. Meanwhile, Meeker is a model citizen running a crime empire out of a night club. Meeker plays it like a sleaze-bag running a crime empire out a night club, yet Richmond and Jaquet treat him like a prince. Even for what’s obviously a cheap, rushed serial, Starr gets mind-boggling dumb.

There’s some bad day for night photography from Ira H. Morgan. Brenda Starr mostly takes place at night–Woodbury will get woken up at two in the morning and go out and get in trouble while Harrison is at home cooking for her. Harrison cooks for everyone. Lamb, Plympton, and Brenda Starr creator Dale Messick sure are comedic geniuses. But there are a lot of poorly lighted night scenes.

There’s not much to like about Brenda Starr, Reporter. It makes casualties out its better cast members. Its visual range is from ugly to low mundane. It’s a fail because of the production, not the cast. Not even the bad ones. Not even Richmond’s cop. Who you end up hissing after a while, he’s such a patronizing dick.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 13: The Mystery of the Payroll

While most of the thirteen chapters of Brenda Starr, Reporter don’t deal with it, The Mystery of the Payroll is what the whole thing is supposedly about. And it gets solved in the last chapter. Though not really. I mean, it’s solved, but not satisfactorily. In fact, one of the big twists just raising more questions. Luckily, there’s no time to answer them because the serial is over.

After what should be an action-packed cliffhanger resolution (it isn’t, though there’s at least some action in a long shot), the story moves back to the newspaper office. Joan Woodbury is in trouble again with boss Frank Jaquet for disobeying copper Kane Richmond. Pretty soon, there’s a deus ex machina reveal and the wrap-up begins.

I suppose it’s efficiently executed; there’s quite a bit of wrapping up to do, even if none of it involves Woodbury. Given how poorly the serial leaves her, it’s probably better she didn’t get any of that material. It’s mostly Syd Saylor and William ‘Billy’ Benedict.

This chapter might be Benedict’s least annoying performance in the serial. He’s not a constant drag on the proceeding like usual. Or it might just be the “final chapter” energy.

Payroll is a disappointing end to a disappointing serial. It might have been nice, at least once, for Woodbury to take the titular Reporter job seriously instead of just being an adventurer.

Of course, the same goes for inept copper Richmond.

Brenda Starr, Reporter is a drag. Mystery of the Payroll might have been able to brace it after the last few chapters’ general competence. Unfortunately, it doesn’t.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 12: Murder at Night

Murder at Night features two murders at night. It doesn’t, however, have much night. Ira H. Morgan’s day-for-night photography is so inept, most of the action seems like it’s taking place late afternoon. The visual cues run contrary to the script, which has all the action taking place over hours.

So, basically, no one sleeps in Brenda Starr. Cousin Lottie Harrison stays up all night in case Joan Woodbury comes home and needs a meal cooked for her (and any guests).

Oddly enough, the script introduces a whole new element–there’s a mole for the bad guy at Woodbury’s newspaper. Woodbury doesn’t even know the bad guy’s identity. Everyone thinks George Meeker is on the up-and-up, not realizing he’s running a gang for the still unseen (and not really heard from lately) “Big Boss.”

There’s some energy from the finale chase scene, which does set up a real cliffhanger, but the chapter–penultimate or not–is more of the same from Brenda Starr. There are double-crosses, there are betrayals, there is repetitive dialogue. Practically all of Wheeler Oakman’s dialogue involves begging Woodbury to turn him over to the cops; she always refuses, with her reasons getting thinner as the chapter progresses.

The chapter also has a pointless flashback to another chapter. Time killer.

There’s a lot to wrap up in the final chapter–the “Big Boss,” the mole, the secret code (presumably the location of some stolen money)–and Starr needs to use all its remaining time wisely, which seems highly unlikely given the serial to this point.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 11: On the Spot

This chapter has Joan Woodbury not just getting out of a trap, she executes a great plan for it too. A surprising one. Not a lot of surprises in Brenda Starr, Reporter, so getting any of significance–even this late (On the Spot is the penultimate penultimate chapter)–is nice.

Overall, it’s not a bad chapter. Too much with idiot cop Joe Devlin. Starr’s either got condescending super-cop Kane Richmond (who hasn’t solved a single thing… though neither has Woodbury) or idiot Devlin. On the Spot gives Devlin the illusion of more to do, but then cuts away when it’s his turn.

Syd Saylor’s playing the same type of part–dimwit sidekick–but he’s at least good at it. And his character isn’t as much of a dimwit.

After the escape sequence, it’s all about Ernie Adams scheming until the cliffhanger. Of course Woodbury has inserted herself into that situation; she’s tried to call for back up, but William ‘Billy’ Benedict messes it up.

There are a lot of thin characters in Brenda Starr but Benedict’s got the worst. Whenever he shows up on screen, the serial becomes practically intolerable. I’m not sure if anyone could play the role of office numbskull with charm, but Benedict doesn’t.

Still, it’s a lot better of a chapter than the serial usually puts out.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 10: A Double-Cross Backfires

Brenda Starr is rallying in its last third–A Double-Cross Backfires is a solid serial chapter. Sure, Joan Woodbury gets interviewing and kidnapped duty, but there’s some good action and some actual suspense.

The chapter opens in Marion Burns’s house–rigged for her psychic scam–and no one except Burns can find their way through it. Lots of curtains, false walls, all sorts of stuff. Perfect location for a thrilling shootout, even if Fox’s direction is boring.

And Burns is rather good. She’s underutilized, but at least she’s underutilized in a supporting role as opposed to Woodbury, who’s underutilized in the ostensible lead part.

The action scene has Kane Richmond chasing a bad guy’s cab and then climbing a roof to duke it out with him. Again, not great direction from Fox, but good enough to get it through. Richmond’s still a condescending jackass overall, however.

Maybe the most salient factor in the rallying is Ernie Adams. He’s a stoolie who all of a sudden has a bunch more to do. Adams knows how to act a scene where the director isn’t going to give him anything. He’s a delight.

So, Backfires doesn’t.

I just wish Brenda Starr had this level of energy and inventiveness (and the strong supporting cast–not the tiresome cops and newspaper sidekicks) throughout.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 9: Dark Magic

Dark Magic fully introduces Marion Burns’s psychic character. She showed up at the end of last chapter, but she really didn’t get much to do outside her act. The act, which has everyone panicked this chapter, involves her accusing bad guy Jack Ingram of murder. Then all the lights go out and she, her assistant (Wheeler Oakman in disguise) and Ingram all disappear.

It’s not entirely clear how those events warrant a police investigation, but Kane Richmond sure is going to try to make them.

The chapter opens with him dismissing Joan Woodbury as usual, but maybe for the first time since he agreed they’d share information. They don’t. He strong-arms her for information or just tries to get her fired.

Newspaper editor Frank Jaquet doesn’t back Woodbury up at all. Though, to be fair, it’s not clear she’s a particularly good reporter. Brenda Starr, Reporter is noticeably lacking any evidence of Woodbury’s journalistic skills. Her investigating skills aren’t terrible, though she does get suckered here.

Burns is the best performance in Brenda Starr so far. She’s sick of being lackey to Oakman and Ernie Adams; she (rightly) doesn’t trust them. Leads to some desperate measures, which Fox doesn’t direct well, but Burns still manages the scenes.

As Brenda Starr captures go, it’s not terrible. Syd Saylor’s amusing this time, William ‘Billy’ Benedict’s restained, Burns’s awesome. It’s all right.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 8: Killer at Large

Yes, there’s a Killer at Large, but there are lots of them. The entire gang out bad guys is loose. Brenda Starr’s has all bad ideas when it comes to titling.

And, you know, scenes. There’s a scene between lowlifes Ernie Adams and Wheeler Oakman and the conversation repeats itself. It’s almost surreal, the exposition starting again immediately once Oakman finishes with the initial delivery. Maybe if Adams were getting Oakman to confirm what he’s saying, but he’s not.

In addition to Adams and Oakman gabbing, there’s another scenes with Frank Meeker and his gang. None of the criminals seem particularly motivated, which is kind of fine; the less time thinking about Brenda Starr, the better.

Woodbury starts the episode a damsel in distress. She ends it going to a night club with the rest of the cast. They’re not sitting together, but screenwriters Ande Lamb and George H. Plympton really want to get everyone together.

Not for narrative purposes, unfortunately, just time wasting ones.

The chapter doesn’t even try with a cliffhanger though. Cliffhangers aren’t Brenda Starr’s thing.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 7: Hideout of Terror

There’s a hideout in Hideout of Terror, but there’s no actual terror in that hideout.

Most of the chapter is kidnapped Joan Woodbury being traded between kidnappers. First it’s Jack Ingram, then he gets nabbed by Wheeler Oakman. Ingram gets most of the chapter’s action–he’s got to leave Woodbury in the Hideout to get orders from boss George Meeker–followed by doofuses Syd Saylor and Joe Devlin.

Though Saylor proves a lot smarter than Devlin, which isn’t a surprise. They’re trying to find Woodbury, but only know her car is missing. Eventually main copper Kane Richmond gets involved but he’s no more effective than anyone else. The purpose of Hideout is to stall long enough for Woodbury to get to her mark for the cliffhanger.

Eventually there a shootouts and fisticuffs and chase scenes and an abandoned mine (where Woodbury needs to get). But Woodbury gets almost no lines in the chapter and, even when she’s in the action being pursued, the chapter follows the pursuers.

Makes one forget why the serial’s called Brenda Starr, given how little Woodbury actually gets to do. But if it weren’t called Brenda Starr, it’d just be Bland Columbia Serial, so maybe not.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 6: Man Hunt

Man Hunt is exasperating. All of it. Copper Kane Richmond, who didn’t have the most fantastic part of the previous chapter’s cliffhanger, gets all the resolution. When the story gets back to Joan Woodbury, her initial shock has worn off and she’s just trying to get Wheeler Oakman to leave her alone. Oakman’s holding Woodbury and cousin Lottie Harrison captive, but he’s not too violent a guy. He just wants the information Woodbury has and it belongs to him after all.

Only he’s not too bright and lets Woodbury get a message along to Syd Saylor. Now, most of Brenda Starr to this point has established Saylor himself isn’t too bright, yet Saylor is able to save the day.

Just long enough for Woodbury to regroup and get kidnapped again.

There’s some more with Richmond, who’s getting to be even more of a yawn and he was an abject bore from chapter one, and villain George Meeker. There are hints the “Big Boss”–the one who only communicates over the radio–might have some secrets he doesn’t want his underlings to know about.

Sounds like a good story for Woodbury; too bad she’s just playing hostage, traded between various elements.

In addition to Saylor getting a moment, which works out (even if it’s Saylor the hero, not Saylor the goof), but William ‘Billy’ Benedict also gets a bit and he’s just too much.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


Brenda Starr, Reporter (1945, Wallace Fox), Chapter 5: The Big Boss Speaks

The Big Boss Speaks does not feature a scene where the Big Boss speaking over the two-way radio setup sets off the cliffhanger. Actually, the part of the chapter where the Big Boss does speak has absolutely nothing important to do with the plot. Except in how wrong the Big Boss is about predicting Joan Woodbury’s behavior.

This chapter of Brenda Starr is the one where Woodbury gives up and decides to cooperate with the police. Not even her editor (Frank Jaquet) can believe it. Woodbury’s decision comes right after main copper Kane Richmond accuses her of being an unprofessional, delusional liar. And after the scene where Richmond flubs a line and Fox didn’t do another take (or he did and Richmond’s one flub is the best it got).

So not a particularly thrilling chapter as far as Woodbury’s agency goes.

There is a conversation where Woodbury and Richmond decide they’re going to work together, which turns out to be Richmond taking Woodbury’s leads and Woodbury just going home for the night, but Speaks focuses on Syd Saylor and Joe Devlin having a painful comedy sequence.

Not a good chapter. But it does move fairly well. Brenda Starr gets by a lot on Woodbury’s likability, even if the script doesn’t show her much respect.

CREDITS

Directed by Wallace Fox; screenplay by Ande Lamb and George H. Plympton, based on the comic strip by Dale Messick; director of photography, Ira H. Morgan; edited by Charles Henkel Jr.; music by Edward J. Kay; produced by Sam Katzman; released by Columbia Pictures.

Starring Joan Woodbury (Brenda Starr), Kane Richmond (Lt. Larry Farrell), Syd Saylor (Chuck Allen), George Meeker (Frank Smith), Wheeler Oakman (Heller), Cay Forester (Vera Harvey), Marion Burns (Zelda), Lottie Harrison (Abretha), Ernie Adams (Charlie), Jack Ingram (Kruger), Anthony Warde (Muller), John Merton (Joe Schultz), William ‘Billy’ Benedict (Pesky), and Joe Devlin (Sgt. Tim Brown).


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