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Stealing The Billionaire Sm West

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Copyright © 2012 by Miranda Kenneally
Cover and internal design © 2012 by
Sourcebooks, Inc.
Cover photo © Martin Barraud/Age
Fotostock; psamtik/Shutterstock;
RJMC/Shutterstock
Sourcebooks and the colophon are
registered trademarks of Sourcebooks, Inc.
All rights reserved. No part of this book
may be reproduced in any form or by any
electronic or mechanical means including
information storage and retrieval systems
—except in the case of brief quotations
embodied in critical articles or reviews—
without permission in writing from its
publisher, Sourcebooks, Inc.
The characters and events portrayed in this
book are fictitious or are used fictitiously.
Any similarity to real persons, living or
dead, is purely coincidental and not
intended by the author.
Published by Sourcebooks Fire, an imprint
of Sourcebooks, Inc.
P.O. Box 4410, Naperville, Illinois 60567-
4410
(630) 961-3900
Fax: (630) 961-2168
teenfire.sourcebooks.com
Library of Congress Cataloging-in-
Publication data is on file with the
publisher.
 contents

Front Cover
Title Page
Copyright
Chapter 1. The Day I Met Brian
Hoffman
Chapter 2. Stalkerish Tendencies
Aren’t Necessarily a Bad Thing,
Right?
Chapter 3. Defcon 1
Chapter 4. Trust
Chapter 5. The First Baseball Game
Chapter 6. Sinner Extraordinaire
Chapter 7. Insurance Paperwork,
Monster Burgers, and Matching
Furniture
Chapter 8. Open
Chapter 9. Getting Serious
Chapter 10. The Mascot
Chapter 11. I’m Not That Kind of
Girl
Chapter 12. Falling to Pieces
Chapter 13. Alternative Spring
Break
Chapter 14. The Prom Decisional
Chapter 15. Going the Distance
Acknowledgments
About the Author
Back Cover
for all the girls struggling to
find their place
 the day i met brian
hoffman
52 days until i turn 18

Bubblegum Pink is the nail polish of

the day.
Matt Higgins will definitely like it
—he’s into all things girly-girl, so I
add another coat before blowing on
my nails. Tonight we’re meeting at
this field party, and I fully expect
we’ll make out behind a hay bale or
something.
 Drew is lounging on my bed,
reading Cosmo. “So I signed you up
to be manager for my baseball
team.”
“What?!” Careful not to mess up
my polish, I mute the TV and sit up
to face him. “Why?”
“I can’t stand the idea of you
holed up in your room while I’m
playing ball this spring. You should
come to practice tomorrow
morning.” He smells a perfume ad,
cringes and sticks his tongue out.
My heart pounds faster than light
speed. I hate baseball. I know, I
know. That means I’m not a true
American. It probably means I’m
not human. But I gave up foam
fingers, peanuts, and the Atlanta
Braves when my mom announced
she’s a lesbian and ran off with her
friend who was more than just a
friend. A year ago January, she
divorced my dad, and I divorced her
dreams of me playing softball for
Hundred Oaks.
“No way,” I say, examining my
nails.
“Come on, Parker!” He thumbs
through the magazine. “Please?” he
whines.
“What’s involved?” I try to act
nonchalant, but Drew looks up with
a knowing smile. He’s lived down
the street from me my whole life—
I’ll do anything for him.
“Taking stats and helping with
equipment.”
Taking stats is way easy. I could
do it in my sleep.
“It’ll be a cinch,” Drew says,
reading my mind. He shows me a
cartoon couple using a dining room
table for Kama Sutra maximum
effect. “Jesus Christ,” he says. “Is
that move physically possible?”
“Try it out with Amy and let me
know.”
He glances at me sideways, then
turns the magazine vertical and
studies it closely. “I’m flexible, but
not that flexible.”
“Can you imagine needing a hip
replacement at seventeen? You
could get a cane with flames
painted on it.”
“Or maybe one with skulls.”
“Pirate ships!”
“Don’t change the subject…So
there’ll be plenty of guys for you on
the team.” He snorggles. That’s our
special word for snorting and
giggling. It’ll be in Webster’s any
day now.
I have to admit I love the way
cute guys look in baseball uniforms.
Plus, I’d get to spend more time
with Drew. Lately, his idea of fun
has been going to Jiffy Burger with
Corndog and Sam Henry and acting
like they’re the characters from
Seinfeld, talking about nothing.
Drew invites me along sometimes
when they need an Elaine, because
I’m really good at punching Corndog
(George Costanza) and yelling “Get
out!” and Drew says I dance worse
than the real Elaine. But it’s been
getting kinda old. How many times
can those guys debate who has
better fries: Sonic or Jiffy Burger?
And what else do I have to do
this semester? It’s February, I’ve
got a 4.0, and classes don’t matter
at this point—the only way
Vanderbilt could revoke my early
admission would be if I went on the
news and advocated for Tennessee
to secede from the union.
On the other hand, this could be
a lot of work. I’d probably end up
doing hard stuff like lugging water
coolers around and washing dirty
jockstraps or something.
On the other hand, I don’t want
to be lonely.
Jockstraps it is.
•••
When I was five, Mom
discovered a recipe for
homemade edible Play-Doh. We
loved cooking together,
especially fancy stuff like foie
gras grilled cheese. We sat at
the kitchen table, which was
covered by the previous week’s
comics, and mixed flour and
sugar and peanut butter
together and rolled it into
shapes. I had dinosaur cookie
cutters, so I made a Play-Doh
T-Rex. Mom made a triceratops.
I bit its head off, and she joked,
“My little praying mantis.” We
giggled and giggled and gorged
ourselves on that Play-Doh. The
next day we went to church and
Mom and I kneeled at the altar.
As I prayed, I didn’t ask you for
 anything. I only thanked you for
giving me Mom.
Written on February 12 before the
party at Morton’s field. Burned using
a candle.
•••
On Saturday morning, Drew and I
arrive at the baseball field behind
Hundred Oaks High—aka the only
place I dread more than Chuck E.
Cheese (I worked there last
summer and almost died because I
had to wear a Crusty the Cat
costume).
We step out of his red VW bug
into the sun, and the crisp wind
bites my face. I pull my arms up
inside my fleece and begin the trek
across the parking lot to meet the
players, who are warming up by
doing throwing exercises and
sprints. I stare at the most popular
guys at our school.
Popular-schmopular—any cute
guy will do. Last Sunday after
church? I hung out with this guy
Aaron on the swings at the
playground, listening to him talk
about how much his school sucks
(he goes to Woodbury High) and
how Nirvana really is the best band
ever. I disagree—I’m into modern
stuff like Paramore and the All-
American Rejects, but I couldn’t get
a word in because he kept talking
and talking and talking. Before he
drove home with his parents, I let
him kiss me beside the turtle
sandbox thing, so people will know
I like boys.
“Over here!” Coach Burns calls,
beckoning us.
“Oh, dear me,” I croon to Drew.
“Your coach is older than baseball
itself.”
“I think he coached my grandpa.”
“And his grandpa.”
“Everyone’s been saying he’ll
retire after this year. Would you
rather retire or work your whole
life?”
“I’d retire tomorrow if I could,
and I haven’t even started working
yet,” I reply. “When you retire,
would you rather spend time
playing golf or bingo?”
“Golf. I love the outfits. Golf or
polo?” he asks.
“Do you mean water polo or
horse polo?”
“Water.”
“Gross. I like animals much more
than speedos.”
Drew introduces me to the
coach, who starts explaining my
responsibilities. How I’ll be the
official statistician because I make
straight As in calc. (Coach did his
homework.) How I should always
have the coolers filled with ice
water before practices start, and
how I should make sure the buckets
by the pitching machines are loaded
with balls. Drew snorggles at the
mention of balls. Perv. I elbow him.
“You should always be thirty
minutes early for practice.” The
coach clears his throat, and his
lined face goes a bit pink. He
glances at Drew, then back to me.
“And if you decide to date or mess
around with anyone on the team,
you can’t be a manager anymore,
okay?”
 What? Kissing players is reason
numero uno I’m willing to sit around
watching these guys belch and
adjust their crotches and spit in the
dugout.
“Why?” I ask, scrunching my
eyebrows.
“The girl who managed the team
last year, uh, well, we had some
incidents on the bus and in the
locker room.” He coughs. “I’m sure
that won’t happen with you.”
Does he think I’m incapable of
getting guys? I kissed Matt Higgins
behind a barn last night. Trust me,
I’m capable of getting a guy.
I smooth my curve-enhancing
blue fleece. I’m wearing leather
boots over skinny jeans. It’s not
sporty attire, but I once read this
book called The Rules that said
guys like girls who always look
ready to go on a date, so I even
wear lip gloss when jogging. The
only thing I never bother fixing is
my tangled waist-length brown hair.
It may sound gross, but my hair
looks good tangly—guys love it.
“No worries, Coach,” I say.
Coach tells Drew to warm up, so
he runs off, his cleats clacking on
the asphalt. “You should meet my
new assistant coach and our new
captain. Don’t take orders from any
guys except the captain,
understand?”
I nod, and Coach Burns calls out,
“Hoffman! Whitfield! Get over
here!”
Corndog, aka Will Whitfield,
swings at a pitch, drops his bat,
then jogs over. He must truly love
baseball to smile in 40-degree
February weather. He tosses away
his batting helmet and runs his
fingers through the brown waves of
his hair before pulling his cap from
the back pocket of his baseball
pants.
“Hey,” he says, giving me a
bright grin, showing off the dimple
in his right cheek.
Yeah, yeah. I know you’re hot,
Corndog. I fight the urge to roll my
eyes. Thanks to all the years he’s
spent baling hay on his dad’s farm,
Corndog has gone from not to hot,
from scrawny to sinewy, from geek
to god, and now has to beat girls
off with a stick. Not that he ever
dates. Not that I’d ever hook up
with him. He nearly became
valedictorian instead of me.
“So…” he whispers, putting his
hat on. “You and Higgins, eh?”
I pull my knit cap down over my
ears and tell myself to ignore the
queasiness. I didn’t enjoy kissing
Matt Higgins very much. He kept
trying to go up my shirt. “It was a
one-night thing.”
Corndog removes a batting
glove. “Isn’t it always, for you?” He
laughs, but it’s not a nice laugh,
and gives me a hard stare. “You
keep screwing with my friends.”
I rub my neck. What he’s saying
isn’t a lie. I do kiss guys a lot.
And I’d be lying if I said I’m not
interested in snuggling or talking on
the phone late at night, falling
asleep talking to a boy I’m in love
with. I do want a boyfriend. But I
haven’t met any guys worth the risk
of being ditched.
 “Just do me a favor,” Corndog
whispers. “Don’t mess with Bates.”
I raise my eyebrows. I’ve never
had that kind of spark with Drew.
We had our diapers changed
together. Besides, he’s been dating
this sweet girl, Amy Countryman,
for like half his life. She enjoys
knitting and cooks him breakfast for
dinner. But truth be told, I’m not
entirely sure Drew likes only girls.
“You don’t have to worry about
Drew,” I whisper.
“Thanks.” Corndog nods.
“Would you two like to join us
sometime today?” Coach Burns
says, motioning toward the field. “I
want Parker to meet the new
coach.”
That’s when a baseball rolls up
to my boots.
“Sorry! Foul ball,” Sam calls from
home plate, clutching his bat.
I scoop up the ball, wind my
arm, and hurl it from the parking lot
and over the fence to shortstop.
“Wow,” a voice says. “She’s got a
hell of an arm.”
I turn slowly, and that’s when I
first see him.
His tan face is thin with stubble
and a strong jaw. He’s a couple
inches taller than my 5'7". He’s
wearing gray baseball pants, an
oversized black sweatshirt cut off at
the elbows, and a frayed beige ball
cap. Dark curls sneak out from
under the brim. His big brown eyes
meet mine and my breath sputters.
“Hi,” Beautiful Boy says,
stretching out a hand. “I’m Brian
Hoffman, the new assistant coach.”
“Parker Shelton.”
Somehow I shake his hand and
squeak out my name. Names,
names. Brian & Parker sounds like a
law firm. Parker & Brian sounds like
a pharmaceutical company. His
calloused palm feels rough against
mine. I picture him touching my
hair.
 “Do you play softball?” Coach
Hoffman asks me, smiling. He
raises an eyebrow.
“No.”
“You should try out.”
I’m still shaking his hand.
Longest Handshake of All Time.
Maybe we can shake hands until
practice is over and then I’ll ask if
he wants to hang out.
Wait. This guy’s a coach. How
old is he? Twenty-one? Twenty-
two?
I release his hand and wipe my
tingling palm on my jeans.
Corndog’s shaking his head at me.
Coach Hoffman beckons for us to
follow him onto the field. My pulse
races as I cross the fresh chalk of
the first base line. This is the first
time I’ve stepped foot on a
diamond in a year.
We meet the team at home
plate, where Coach Hoffman tells
them I’m the new manager. The
guys crowd around me, saying
stupid things like “Parker Shelton,
woooo!” and “I love you, Parker!”
and “Parker Shelton, I want to have
all your babies!” and I shove my
hands in the pockets of my fleece,
glancing between the guys and the
ground. Normally I’d be grinning,
but I don’t want Bri—I mean, Coach
Hoffman seeing me act desperate.
Coach Burns takes this moment
to tell the guys to keep their hands
off me or risk getting suspended for
two games. Then he leads the
pitchers to the outfield for long
toss.
“Coach Burns must really be
pissed about last year,” Paul Briggs
says under his breath to Sam, but
loud enough for me to hear. Paul
plays catcher, and his weight rivals
that of an orca whale. He gestures
at me. “Sucks we won’t be getting
hot managerial play. Everyone
knows she puts out.”
“Shut up, man,” Sam says,
slapping Paul with a glove.
Corndog glares at Paul.
“Apologize now.”
Paul shrugs. “Sorry.”
“Don’t be an ass,” Coach
Hoffman tells Paul, grabbing him by
a sleeve. “Five laps.”
Paul throws him a look of hatred
but takes off ambling around the
field. Paul’s not even capable of
jogging.
I toe the ground, wishing
someone would squash me into the
red clay.
Coach Hoffman steps closer, his
face turning rosy. Freckles dot his
nose. His lips are chapped. Does he
bite them?
He whispers, “I’m sorry about
that.”
“No big deal,” I say, folding my
arms across my chest. I want to tell
him that I don’t technically put out.
I’m still a virgin. Honestly, I still
have problems using tampons. They
just don’t work for me. I even
studied this diagram in Seventeen
that gave tips on how to get them
in, but I can’t figure out the
logistics. And sometimes trying to
figure it out makes blood rush to
my head and I feel like I might pass
out and I can only imagine Dad
finding me in the bathroom,
unconscious next to the toilet,
pants-less with a tampon in my
hand.
As if I’d ever ask my mother for
tampon tips.
Coach Hoffman directs the JV
guys to the batting cages and sends
the varsity onto the field, to
scrimmage. He adjusts his beige
cap, looking at me. “Let’s go over
how to take stats, okay?”
“Okay, sounds great.” Not that I
need help with stats. I’m so good, I
bet the Braves would hire me. But
he doesn’t have to know that.
Coach Hoffman goes on, “I’ll
need you to take stats at practices
too. I’m in charge of the lineup, so
accurate stats are crucial to my
decision-making process.”
His decision-making process?
Crazy mature.
“Okay, Coach.”
“Coach?” He lets out a ripple of
laughter. “I don’t think I’ll ever get
used to kids calling me coach or
mister.”
He thinks of us as kids? “How old
are you, if you don’t mind me
asking?” My voice shakes.
He pauses. “I’m twenty-three.
Just finished up my master’s in phys
ed at Georgia Tech.”
He’s a complete adult. He’s six—
one, two, three, four, five, six—
years older than me. “What class
are you teaching?”
“Gym, but I’m not sure what my
schedule is yet.” He pulls his cap off
and puts it back on. He chomps on
his gum. “They hired me to take
over the baseball team for Coach
Burns when he retires next year.”
“So it’s true?”
Coach Hoffman nods. “I’m in
training this season.”
As far as coaching goes, working
at Hundred Oaks in Franklin is an
impressive job to have. Our Raiders
usually make it to the district
tournament, if not further.
 “You must know your baseball,” I
say.
He gives me a long serious look.
I see his Adam’s apple shift as he
swallows. “Something like that.”
“Did you play?” I ask.
“Something like that.” His face
goes hard.
“They must call you Cryptic
Coach Hoffman.” We haven’t taken
one step away from home plate.
“I’m never gonna get used to
being called coach. Seriously.”
I laugh lightly. “How about a
nickname?”
“Such as?” He raises his
eyebrows.
 I stuff my frozen hands in my
armpits. “The Hoff?”
“Isn’t that David Hasselhoff’s
nickname?”
“Perhaps.”
“So you’re equating me with that
movie star guy who gets trashed
and videotapes himself drunk and
eating cheeseburgers?”
“Exactly.”
“Back in high school they called
me Shooter.”
“Why? Are you a deer hunter or
something?”
“Uhhh, you don’t want to know
what it means.” The side of his
mouth quirks up.
 I rock back and forth on my
heels. “I like the Hoff way better.”
He smiles at me. “If you’re
gonna call me the Hoff, I’m gonna
give you a nickname too.”
“Such as…?”
“Trouble. I’ll call you Trouble.”
“Cliché.”
“Touché.”
We start laughing.
“God, this is the silliest
conversation I’ve had in ages,” he
says with a smile.
Yeah, probably because you’re
an adult and I’m a child, and how
could an adult possibly have a
normal mature conversation with a
girl? I gaze down at the red clay
beneath my boots, then look up
into his brown eyes and sneak a
glimpse at the loose curls peeking
out from under his hat. Are they
soft?
I say, “Fine, you can call me
Trouble. And I’m still gonna call you
the Hoff.”
His face contorts into this blend
of pain and amusement. “Call me
Brian,” he says quietly. “I’m not
ready to be called coach or mister.
I’m not ancient.”
“Brian.” I like the way it sounds
coming off my tongue. Full and
deep. His mouth slides into a smile,
and I catch him quickly scanning my
body.
He leads me over to the dugout,
picking up a stick along the way.
We sit down. He hands me a pencil
and the stats book, which looks like
a large, floppy sketchpad. Boxes of
tiny field grids fill the inside pages.
I bring the stats book to my nose
and inhale the smoky gray paper.
Brian laughs softly and uses the
stick to clean clay out of his cleats.
“You must really like baseball.
Smelling the stats book and all.”
“Smelling books is a habit Dad
got me started on.”
“There are worse habits.” Brian
shows me his fingernails. He’s
bitten them down to the quick. How
personal. It’s not like I openly show
people my super-long second toes.
“You ever taken stats before?”
he asks. I like his voice. Low,
Southern, manly.
“Sort of,” I say, tracing my palm.
“Dad is a big Braves fan.” Was a big
Braves fan.
“Me too.” He goes back to
picking wet clay and grass out of his
cleat. “What’s your team?”
“Braves, I guess.” I want to keep
talking to him. I can do this. I can
talk about baseball again. When my
family was still together, we loved
heading down to Atlanta on
weekends to catch games,
especially when they played the
Phillies and the Mets.
Mom played softball in high
school, and then went on to play
shortstop for the University of
Tennessee. Before she ditched us, I
played softball too. I loved it. But
last January, when she left and
moved to Knoxville with Theresa,
our family was embarrassed to the
nth degree. Everyone at church
gave us funny looks on Sundays
during Coffee Time in the
Fellowship Hall, which is a fancy
way of saying we eat stale donuts
in the church basement. I don’t
even know why we kept going to
church.
“But why would we want to hang
out with those jerks who judge us
because of something Mom did?” I
had cried to Dad.
“It’s just a phase. They’ll forget
about it.”
“But—”
“We are not negotiating this,” he
replied, studying the newspaper.
“Are we going to atone for Mom’s
sins?” my older brother asked.
“Becoming a lesbian is a sin?” I
replied.
“I’m not sure. People at church
think so.” Ryan sucked on his
bottom lip.
“Does it actually say that in the
Bible? Thou shalt not become a
lesbian?”
“No,” Dad said with a sigh, his
eyes closed.
“Then why are we going to
church?” I blurted. Phase or not,
how the congregation turned on us
didn’t seem forgivable.
“We trust in prayer,” Dad replied.
His father believes in prayer. So did
his grandfather.
Church means dressing up on
Sunday mornings and forgoing
French toast at the kitchen table for
stale powdered donuts. It means
listening to Brother John saying
“Your body is a temple” and “True
love waits,” and then we all would
say we’ll wait until we get married
to have sex. Or at least until
college.
Some people at church thought I
might turn out like my mom. A
lesbian. A sinner. I overheard the
youth pastor whispering that to the
choir director. Brother John told
Mrs. James that they would always
love me, but he and his wife had to
protect their daughter, Laura (my
former best friend), from making
similarly bad choices. I went home
and hid all my pictures of Mom and
cried and cried.
But that made me feel worse,
because I knew Mom adored me,
and no matter how hard she had
tried to hide it, we could tell she
was depressed. Before she left Dad,
sometimes I came home from
school and found she’d been crying.
I used to love church, but I
turned away from it like they turned
on me. I shouldn’t have been
surprised. After Tate Gillam’s dad
got caught doing his secretary, my
own dad told me not to hang
around Tate and his sister Rachel
anymore.
 When I confronted Laura about
what her dad had said, that I might
turn out like my mom—a lesbian, a
sinner—we got into a huge fight
because I said her father wasn’t
being a good Christian toward me.
Laura asked, “What do you know
about being a Christian? You knew I
liked Jack Hulsey. When you turned
him down to the Winter
Wonderland formal, you could’ve
put in a good word for me. But you
only care about yourself and
proving you’re better than me.”
So untrue.
Our frustrations had been
building up for a long time anyhow,
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DEALER TO DEALER. General Motors Acceptance Corp. Made by
Jam Handy Organization. 29 min., sd., b&w, 35mm. © General
Motors Acceptance Corp.; 15Nov57; MU6407.
DEALER’S CHOICE. SEE Schlitz Playhouse of Stars.
DEAN FOR A DAY. SEE Meet Mr. McNutley.
DEAR BRAT. Paramount Pictures Corp., 1951. 82 min., sd., b&w,
35mm. © Paramount Pictures Corp.; 1Jun51; LP952.
THE DEAR DEPARTED. Revue Productions. 3 reels, sd., b&w,
16mm. © Revue Productions, Inc.; 31Dec53; LP3330.
DEAR DIANE. SEE All Star Theatre, no. 132.
DEAR MILKMAN. SEE The Loretta Young Show, nos. 4015-16.
DEAR MISS LOVELACE. SEE The Ethel Barrymore Theater.
DEAR MURDERER. Gainsborough Pictures, London. Released in
the U.S. by Universal Pictures, 1948. 94 min., sd., b&w, 35mm.
Based on the play by St. John Legh Clowes. © Gainsborough
Pictures, Ltd.; 5Jun48 (in notice: 1947); LP411.
DEAR MURDERER. Gainsborough Pictures, London, 1947.
Released in the U. S. by Universal Pictures Co. 94 min., sd., b&w,
35mm. Based on the play by St. John Legh Clowes. ©
Gainsborough Pictures, Ltd.; 5Jun47; LP411.
DEAR MYRTLE. Universal Pictures Co. 1 reel, sd., b&w, 35mm.
(Variety View) A Universal International picture. © Universal
Pictures Co., Inc.; 25Oct54; MP5580.
DEAR TEACHER. SEE Death Valley Days, no. 323.
DEAR UNCLE. Harding College. Made by John Sutherland
Productions. 9 min., sd., color, 16mm. Technicolor. © Harding
College; 1Jul53 (in notice: 1951); MP3711.
DEAR VARIETY. SEE Mr. Adams and Eve.
DEAR WIFE. Paramount Pictures Inc., 1950. 88 min., sd., b&w,
35mm. Based on characters created by Norman Krasna. ©
 Paramount Pictures Corp.; 17Feb50 (in notice: 1949); LP2857.
DEATH AND TAXES. SEE Death Valley Days, no. 346.
DEATH AND THE OTHER MONKEY. Panda Productions. 3 reels,
sd., b&w, 16mm. © Panda Productions, Inc.; 17Feb54; LP3700.
DEATH AT TWIN PINES. SEE Wire Service.
DEATH BELOW DECKS. SEE Man Against Crime. Apr. 15, 1953.
DEATH BELOW ZERO. SEE Jet Jackson, The Flying Commando,
no. 5.
DEATH BOOK. Lindsley Parsons Productions, 1952. 3 reels, sd.,
b&w, 16mm. (Crime File Series, no. 12) © Lindsley Parsons
Productions, Inc.; 24Mar52; LP1605.
DEATH BY PROXY. B. B. Productions. 3 reels, sd., b&w, 16mm.
Based on characters created by Clarence E. Mulford. © B. B.
Productions; 11Dec53; LP3796.
DEATH BY PROXY. SEE The Californians, no. 25A.
DEATH CALL. SEE Invisible Man, no. 15.
DEATH CELL. SEE Invisible Man, no. 15.
DEATH DOLL. SEE Mr. and Mrs. North, no. N212.
DEATH DREAM. Revue Productions. Approx. 27 min., sd., b&w,
16mm. © Revue Productions, Inc.; 10Oct55; LP7001.
DEATH GETS A DIPLOMA. SEE Mickey Spillane.
DEATH GOES TO PRESS. SEE The Lone Ranger.
DEATH HAS A SYSTEM. Revue Productions. 3 reels, sd., b&w,
16mm. © Revue Productions, Inc.; 31Dec53; LP3438.
DEATH HAS DEEP ROOTS. SEE Guilty.
DEATH HOUSE TESTAMENT. SEE Peter Gunn.
DEATH IN A GHOST TOWN. SEE The Adventures of Ellery
Queen.
DEATH IN INNER SPACE. Panda Productions. 3 reels, sd., b&w,
16mm. © Panda Productions, Inc.; 3Feb54; LP3810.
DEATH IN LOVE. SEE La Muerte Enamorada.
DEATH IN SMALL DOSES. Allied Artists Pictures Corp. 79 min.,
sd., b&w, 35mm. Based on a Saturday Evening Post article by
Arthur L. Davis. © Allied Artists Pictures Corp.; 13Aug57;
LP8983.
DEATH IN THE DRAGOONS. SEE 26 Men.
DEATH IN THE DUNES. SEE Mr. and Mrs. North, no. 3.
DEATH IN THE FOREST. SEE Lone Ranger Series, no. 117.
DEATH IN THE NEGATIVE. SEE Flash Gordon.
DEATH IN THE SNOW. SEE On Trial.
DEATH IS A RED BALLOON. SEE Medic.
DEATH MAKES A PASS. Revue Productions. 3 reels, sd., b&w,
16mm. © Revue Productions, Inc.; 31Dec53; LP3408.
THE DEATH MERCHANT. SEE Wire Service.
DEATH OF A NOBODY. SEE Telephone Time.
THE DEATH OF A PUPPET. SEE The Line-Up.
DEATH OF A SALESMAN. Stanley Kramer Co. Released by
Columbia Pictures Corp., 1951. 115 min., sd., b&w, 35mm. Based
on the play of the same title by Arthur Miller. © Stanley Kramer
Co.; 5Dec51; LP1442.
DEATH OF A SCOUNDREL. Charles Martin Productions.
Released by RKO Radio Pictures. 119 min., sd., b&w, 35mm.
Produced, and written by Charles Martin. © Charles Martin
Productions, Inc.; 31Oct56; LP7263.
DEATH OF A SMART ALECK. Revue Productions. 3 reels, sd.,
b&w, 16mm. © Revue Productions, Inc.; 31Dec53; LP3378.
DEATH OF A SPY. SEE I Spy.
DEATH OF A WAX DOLL. SEE The Adventures of Ellery Queen.
THE DEATH OF DILLINGER-SAN. SEE Navy Log.
THE DEATH OF JOHNNY RINGO. SEE Buffalo Bill, Jr.
DEATH OF MANOLETE. SEE Manolete.
THE DEATH OF SOCRATES. SEE You Are There.
THE DEATH OF STONEWALL JACKSON. SEE You Are There.
DEATH ON THE DIAMOND. SEE Man Against Crime, July 17,
1953.
DEATH ON THE ROCK. SEE State Trooper.
DEATH ON WHEELS. SEE State Trooper.
DEATH RIDES A WAGON. SEE Medic.
DEATH RIDES A WILDCAT. Revue Productions. 3 reels, sd., b&w,
16mm. © Revue Productions, Inc.; 31Dec54; LP5012.
DEATH RIDES THE 12:15. SEE Jane Wyman Theater.
DEATH SENTENCE. SEE

Alfred Hitchcock Presents.

The Whistler, no. 39.

DEATH STACKS THE DECK. SEE Zorro, no. 19.

DEATH TAKES A PARTNER. SEE Man Against Crime. Mar. 11,
1953.
DEATH TAKES AN ENCORE. SEE Mickey Spillane.
DEATH—THE HARD WAY. Revue Productions. 3 reels, sd., b&w,
16mm. © Revue Productions, Inc.; 31Dec54; LP4976.
DEATH TRAP. Apex Film Corp., 1950. 25 min., sd., b&w, 16mm. ©
The Lone Ranger, Inc.; 20Apr50; LP615.
DEATH TRAP. SEE Lilli Palmer Presents the Quality Theatre.
DEATH UNDER A CITY. SEE Lilli Palmer Presents The Quality
Theatre.
DEATH VALLEY DAYS. Pacific Coast Borax Co. Made by Flying A
Pictures. 2 reels each, sd., b&w, 16mm. Appl. author: McCann-
Erickson, Inc. © Borax Consolidated Ltd. (Pacific Coast Borax
Co.)
316. Sego Lilies. © 28Apr53; LP2945.
317. Little Oscar’s Millions. © 28Apr53; LP2947.
318. Land of the Free. © 26May53; LP2946.
319. The Diamond Babe. © 29Sep53; LP3050.
320. Little Washington. © 1Oct53; LP3048.
321. Whirlwind Courtship. © 21Nov53; LP3219.
322. Which Side of the Fence? © 29Oct53; LP3049.
323. Dear Teacher. © 24Nov53; LP3216.
324. Little Papeete. © 2Jan54; LP3217.
325. Solomon in All His Glory. © 27Oct53; LP3051.
326. Lotta Crabtree. © 5Jan54; LP3218.
327. Snowshoe Thompson. © 27Feb54; LP3535.
328. The Twelve Pound Nugget. © 30Jan54; LP3534.
329. The Big Team Rolls. © 27Jan55 (in notice: 1954); LP4459.
330. Jimmy Dalton’s Treasure. © 27Feb54; LP3533.
331. Yaller. © 30Jan54; LP3532.
332. Husband Pro Tem. © 27Mar54; LP3627.
333. The Kickapoo Run. © 10Apr54; LP3628.
334. The Rainbow Chaser. © 15May54; LP3786.
335. Sixth Sense. © 8May54; LP3787.
336. Mr. Godiva. © 17Jun54; LP4142.
337. Death Valley Scotty. © 29Apr55 (in notice: 1954); LP4603.
338. The Saint’s Portrait. © 24Sep54; LP4143.
339. 11,000 Miners Can’t Be Wrong. © 25Sep54; LP4141.
340. Black Bart, the PO8. © 26Oct54; LP4330.
341. Lola Montez. © 4Jan55 (in notice: 1954); LP4392.
342. To Big Charlie from Little Charlie. © 6Dec54; LP4393.
 343. Halfway Girl. © 22Oct54; LP4331.
344. The Light on the Mountain. © 19Nov54; LP4329.
345. Sequoia. © 31Dec54; LP4391.
346. Death and Taxes. © 3Feb55 (in notice: 1954); LP4458.
347. Million Dollar Wedding. © 1Mar55; LP4525.
348. Riggs and Riggs. © 24Feb55; LP4526.
349. Love ’Em and Leave ’Em. © 29Mar55 (in notice: 1954);
LP4602.

DEATH VALLEY DAYS. Pacific Coast Borax Co. 2 reels each, sd.,
b&w, 16mm. Appl. author: McCann Erickson, Inc. © Borax
Consolidated, Ltd. (Pacific Coast Borax Co.)

350. The Seventh Day. © 21Apr55; LP5309.

351. I Am Joaquin. © 7Jun55; LP5377.
352. The Crystal Gazer. © 3Jun55; LP5378.
353. The Mormons’ Grindstone. © 28Apr55; LP5308.
354. The Valencia Cake. © 26Sep55; LP5589.
355. Reno. © 23Sep55; LP5588.
356. The Homeliest Man in Nevada. © 24Oct55; LP6915.
357. California’s First Ice Man. © 12Dec55; LP5944.
358. The Hangman Waits. © 19Dec55 (in notice: 1954); LP5943.
359. A Killing in Diamonds. © 20Oct55; LP5792.
360. Miracle of the Sea Gulls. © 14Nov55; LP5853.
361. Nevada’s Plymouth Rock. © 13Feb56; LP6434.
362. Wildcat’s First Piano. ©21Nov55; LP5852.
363. The Baron of Arizona. © 6Feb56; LP6433.
364. The Man Who’d Bet on Anything. © 16Jan56 (in notice:
1955); LP5956.
 365. The Hoodoo Mine. © 2Mar56; LP6444.
366. Gold Is Where You Find It. © 9Jan56 (in notice: 1955);
LP5957.
367. Mr. Bigfoot. © 12Mar56; LP6443.
368. Two Bits. © 7Apr56; LP6565.
369. Escape. © 30Mar56; LP6564.
370. Bill Bottle’s Birthday. © 27Apr56; LP7072.
371. The Sinbuster. © 4May56; LP7070.
372. The Longest Beard in the World. © 1Jun56; LP7071.
373. Pay Dirt. © 25May56; LP7073.
374. Faro Bill’s Layout. © 14Sep56; LP7125.
375. The Bear Flag. © 21Sep56; LP7126.
376. Emperor Norton. © 15Jun56; LP7074.

DEATH VALLEY DAYS. United States Borax & Chemical Corp. 1

reel unless otherwise indicated, sd., b&w, 16mm. Appl. author:
McCann-Erickson, Inc. © United States Borax & Chemical Corp.

Big Liz. © 30Oct58; MP9255.

The Gambler and the Lady. © 27Nov58; LP9260.
The Jackass Mail. © 12Nov58; MP9259.
Perilous Cargo. © 24Nov58; MP9258.
The Red Flannel Shift. © 27Oct58; MP9256.
Thorn of the Rose. © 10Nov58; MP9257.

DEATH VALLEY DAYS. United States Borax & Chemical Corp. 30

min. each, sd., b&w, 16mm. Appl. author: McCann-Erickson, Inc.
© United States Borax & Chemical Corp.

377. The Rose of Rhyolite (The Rose of Thyolite) © 3Dec56;

LP7382.
378. The Last Letter. © 8Dec56; LP7383.
379. Loggerheads. © 17Nov56; LP7856.
380. Year of Destiny. © 31Dec56; LP8203.
381. Mercer Girl. © 7Jan57 (in notice: 1956); LP8201.
382. Pat Garrett’s Side of It. © 22Oct56; LP7262.
383. The Hidden Treasure of Cucamonga. © 5Nov56; LP7855.
384. The Washington Elm. © 4Mar57; LP8204.
385. California’s Paul Revere. © 28Jan57 (in notice: 1956);
LP8202.
387. The Luck of the Irish. © 25Mar57; LP8205.
388. The Trial of Red Haskell. © 25Feb57; LP8206.
389. Lady Engineer. © 1Apr57; LP8207.
390. Train of Events. © 22Apr57; LP8273.
391. The Man Who Was Never Licked. © 29Apr57; LP8272.
392. Arsenic Springs. © 14Oct57; LP9712.
393. California Gold Rush in Reverse. © 30Sep57; LP9714.
394. Camel Train. © 1Oct57; LP9796.
395. Fifteen Paces to Fame. © 7Nov57; LP9795.
396. California’s First Schoolmarm. © 12Oct57; LP9713.
397. Fifty Years a Mystery. © 30Oct57; LP10103.
398. The Calico Dog. © 29Nov57; LP9794.
400. Wheel of Fortune. © 23Jan58; LP9931.
401. Yankee Pirate. © 13Feb58; LP10251.
402. The Girl Who Walked with a Giant. © 12Apr58; LP11072.
403. Auto Intoxication. © 24Feb58; LP10286.
405. The Greatest Scout of All. © 2Jan58; LP10099.
406. The Last Bad Man. © 9Dec57; LP10101.
407. Rough and Ready. © 7Dec57; LP10102.
408. Man on the Run. © 30Jan58; LP10249.
409. Two Gun Nan. © 27Feb58; LP10287.
410. The Mystery of Suicide Gulch. © 28Mar58; LP11068.
411. Ten in Texas. © 14Feb58; LP10250.
412. Quong Kee. © 27Nov58; LP9793.
413. Birth of a Boom. © 31Jan58; LP10100.
414. The Big Rendezvous. © 5Apr58; LP11074.
415. Cockeyed Charlie Parkhurst. © 13Mar58; LP11071.
417. Jerkline Jitters. © 4Jun58; LP11069.
418. The Telescope Eye. © 27Mar58; LP11070.
420. Empire of Youth. © 13Jan58; LP9932.
421. The Great Amulet. © 14Mar58; LP11073.
425. Head of the House. © 29Sep58; MP9141.
426. The Moving Out of Minnie. © 13Oct58; MP9189.
430. The Capture. © 2Oct58; MP9142.
431. Ship of No Return. © 9Oct58; MP9188.
441. The Gunsmith. © 11Dec58; LP12802.
442. Old Gabe. © 8Dec58; LP12803.
443. A Town Is Born. © 16Jan59 (in notice: 1958); LP12804.
444. A Bullet for the Captain. © 3Jan59 (in notice: 1958);
LP12807.
445. A Piano Goes West. © 2Jan59 (in notice: 1958); LP12806.
446. Sailor on a Horse. © 17Jan59 (in notice: 1958); LP12805.
447. Wheelbarrow Johnny. © 31Jan59; LP12809.
448. Gold Lake. © 30Jan59; LP12808.
449. Eruption at Volcano. 2 reels. © 14Feb59; LP13079.
 450. Stagecoach Spy. 2 reels. © 13Feb59; LP13078.
451. Pioneer Circus. 2 reels. © 28Feb59; LP13086.
452. Price of a Passport. 2 reels. © 27Feb59; LP13087.
453. The Blonde King. 2 reels. © 14Mar59; LP13080.
454. The Invaders. 2 reels. © 13Mar59; LP13081.
455. Old Blue. 2 reels. © 28Mar59; LP13077.
456. The Newspaper That Went to Jail. 2 reels. © 27Mar59;
LP13076.
457. The Talking Wire. 2 reels. © 11Apr59; LP13213.
458. Perilous Refuge. 2 reels. © 10Apr59; LP13212.
459. Half a Loaf. © 25Apr59; LP13383.
460. RX - Slow Death. © 24Apr59; LP13384.
461. Forty Steps to Glory. © 9May59; LP13578.
462. Valley of Danger. © 8May59; LP13577.

THE DEATH VALLEY KID. Pacific Coast Borax Co., 1952.

Produced by Flying A Pictures. 2 reels, sd., b&w, 16mm. (Death
Valley Days Series) © Borax Consolidated, Ltd. (Pacific Coast
Borax Co.); 10Dec52; LP2446.
DEATH VALLEY SCOTTY. SEE Death Valley Days, no. 337.
DEATH WATCH. SEE Zane Grey Theatre, no. 9404.
DEATH WEARS LEAD SHOES. SEE Man Against Crime, Oct. 11,
1953; Oct. 18, 1953.
DEATH’S GODCHILD. SEE El Ahijado de la Muerte.
DEATH’S RANSOM. Lindsley Parsons Productions, 1952. 3 reels,
sd., b&w, 16mm. © Lindsley Parsons Productions, Inc.; 19Aug52;
LP1876.
THE DE BERRY AFFAIR. SEE The Count of Monte Cristo.
DEBORAH. SEE Celebrity Playhouse, no. 28.
DEBT OF GRATITUDE. SEE Zane Grey Theatre, no. 8450.
DEBUT. SEE The Westinghouse-Desilu Playhouse, no. 4.
DECAMERON NIGHTS. Film Locations, London. Released in the
U. S. by RKO Radio Pictures. 85 min., sd., color, 35mm.
Technicolor. Based on a treatment by Géza Herczeg. © Film
Locations, Ltd.; 31Dec52; LP3117.
DECATHLON MAP. Chevrolet Motor Division. Made by Campbell-
Ewald Co. 140 sec. Appl. author: Campbell-Ewald Co., employer
for hire of Frederick L. Lounsberry, author of script. ©
Campbell-Ewald Co.; 7Jun57; MU6328.
DECATUR’S RAID ON TRIPOLI. SEE You Are There.
DECEMBER BRIDE. Columbia Broadcasting System. 30 min.
each, sd., b&w, 16mm. © Columbia Broadcasting System, Inc.

Alaska Show. © 8Oct58; LP12630.

Bald Baby. © 6May59; LP14054.
Beatnik Show. © 31Dec58; LP13191.
Bride’s Father-in-Law. © 22Oct58; LP12631.
Capistrano Show. © 5May58 (in notice: 1957); LP11199.
Car for Christmas. © 17Dec58; LP13190.
Child of Nature. © 24Dec58; LP13189.
Chimp Show. © 29Oct58; LP12632.
Edgar Bergen Show. © 1Oct58; LP12629.
Fenwick Arms. © 15Oct58; LP12628.
Hi Fi Show. © 11Feb59; LP13792.
Hilda Gets Engaged. © 5Nov58; LP12866.
Horse Phobia. © 19Nov58; LP12868.
Lily Babysits. © 4Mar59; LP14046.
Lily Goes Fishing. © 8Apr59; LP14051.
Lily Helps Twilly. © 15Apr59; LP14052.
Lily on Boat. © 11May58 (in notice: 1957); LP11197.
 Lily, the Example. © 29Apr59; LP14053.
Lily’s Advice Column. © 4Feb59 (in notice: 1958); LP13803.
Lily’s Birthday Dress. © 20Apr58 (in notice: 1957); LP11198.
Lily’s Blind Date. © 28Jan59 (in notice: 1958); LP13805.
Linda on TV. © 1Apr59; LP14050.
The Martian Show. © 25Feb59; LP14045.
Matt-Pete Fight. (Matt Joins a Lodge) © 18May58 (in notice:
1957); LP11195.
Mickey Rooney Show. © 13Apr58 (in notice: 1957); LP11196.
Nurse Is Fired. © 21Jan59 (in notice: 1958); LP13806.
Nurse Show. © 7Jan59 (in notice: 1958); LP13193.
The Other Woman. © 8Dec57; LP9894.
Pete Has a Baby. © 14Jan59 (in notice: 1958); LP13804.
Post Office Show. © 10Dec58; LP13192.
Power Saw. © 3Dec58; LP12865.
Ruth, the Brain. © 11Mar59; LP14047.
The Scotch Show. © 18Feb59; LP14044.
Stan Loses His Nerve. © 18Mar59; LP14048.
The Texan, Rory Calhoun. © 25Mar59; LP14049.
Tough Mother-in-Law. © 26Nov58; LP12869.
Wedding Float. © 27Apr58 (in notice: 1957); LP11194.
Zsa Zsa Gabor Show. © 12Nov58; LP12867.

DECEMBER BRIDE. Desilu Productions. 27 min. each, sd., b&w,

16mm. © Desilu Productions, Inc.

2. The Accident. © 7Aug54; LP4251.

3. Chicken Salad. © 14Aug54; LP4402.
4. The Chinese Dinner. © 21Aug54; LP4766.
5. The Veterinarian. © 28Aug54; LP4765.
6. My Soldier. © 4Sep54; LP4916.
8. Grunion Hunting. © 18Sep54; LP4797.
59. Pete’s Brother-in-Law. © 26Mar56; LP8151.
62. Beauty Pageant. © 23Apr56; LP8152.
66. House on Blocks. © 29Oct56; LP7921.
67. Marjorie Main Show. © 15Oct56; LP8150.
68. Ritzy Neighborhood. © 12Nov56; LP8153.
96. Ruth Goes Home to Mother. © 22Dec57; LP9893.
97. Photography Show. © 3Nov57; LP9645.
98. Vallee’s Protege. © 6Oct57; LP9648.
99. Mean Grandfather. © 13Oct57; LP9647.
100. The Golf Lesson. 20Oct57; LP9646.
101. Sports Car. © 10Nov57; LP9644.
103. Microphone Show. © 7Nov57; LP9890.
104. Matt’s Gray Hair. © 1Dec57; LP9891.
105. Butler Show. © 15Dec57; LP9892.
106. Airplane Show. © 5Jan58 (in notice: 1957); LP10058.
107. Hot Meal. © 29Dec57; LP10055.
108. The Parrot Show. © 12Jan58 (in notice: 1957); LP10057.
109. Antique Show. © 19Jan58 (in notice: 1957); LP10056.
110. Housemother. © 26Jan58 (in notice: 1957); LP10054.
111. Muscleman Show. © 1Feb58; LP10336.
112. Contour Chair. © 9Feb58; LP10340.
113. script 114. Baby Rehearsal. © 23Feb58; LP10338.
113. script 115. Army Buddy. © 2Mar58; LP10337.
116. Bouncer Show. © 16Mar58; LP10911.
 117. Sleep Teaching. © 23Mar58; LP10912.
118. Fred MacMurray Show. © 16Feb58; LP10339.
119. Ed Wynn Show. © 9Mar58; LP10910.
121. Aunt Emily. © 6Apr58; LP10909.
123. Gilbert Roland Show. © 30Mar58; LP10913.

DECEMBER 7, 1941: PEARL HARBOR. SEE You Are There.

DECEPTION. SEE

All Star Theatre, no. 106.

Blondie.

THE DECIDING VOTE. SEE The Honeymooners.

DECIMAL FRACTIONS. Johnson Hunt Productions, 1948. 11 min.,
sd., b&w, 16mm. © Johnson Hunt Productions; 5Jun48; MP17.
DECIMALS ARE EASY. Coronet, 1950. 11 min., sd., b&w, 16mm. ©
David A. Smart; 12Dec50; MP812.
DECISION. SEE

Flight, no. 1200-26.

The Walter Winchell File, no. 9.

DECISION AGAINST TIME. Ealing Films, London. Released in the

U. S. by Metro-Goldwyn-Mayer. 87 min., sd., b&w, 35mm. ©
Ealing Films, Ltd.; 31Dec56; LP8815.
DECISION AT LAUREL FALLS. Pennsylvania Dept. of Internal
Affairs. Made by Louis W. Kellman Productions. 28 min., sd.,
b&w, 16mm. © Dept. of Internal Affairs, Commonwealth of
Pennsylvania; 14Sep57; LP10428.
DECISION AT SEA. SEE Schlitz Playhouse of Stars.
DECISION AT SUNDOWN. Producers-Actors Corp. Released by
Columbia Pictures Corp. 8 reels, sd., Technicolor, 35mm. Based
 on a story by Vernon L. Fluharty. © Producers-Actors Corp.;
1Nov57; LP9546.
DECISION AT WILLIAMSBURG. Colonial Williamsburg. Made by
Knickerbocker Productions. 19 min., sd., color, 16mm.
Kodachrome. © Colonial Williamsburg, Inc.; 25Jul53; MP4243.
DECISION AT WILSON’S CREEK. SEE Zane Grey Theatre no.
9452.
DECISION BEFORE DAWN. Twentieth Century-Fox Film Corp.,
1951. 119 min., sd., b&w, 35mm. Based on the novel, “Call It
Treason,” by George Locke Howe. © Twentieth Century-Fox
Film Corp.; 20Dec51; LP1512.
DECISION BY TERROR. SEE Alcoa-Goodyear Theatre, no. 8168.
DECISION FOR A HERO. SEE Du Pont Theater.
DECISION FOR CHRIS MCKEEVER. SEE The Lone Ranger.
DECISION FOR JUSTICE. E. I. du Pont de Nemours. Made by
Vibar Productions. 3 reels, sd., b&w, 16mm. (The Cavalcade of
America) Based on a story by Samuel Rice. Appl. author: Vibar
Productions, Inc., employer for hire. © E. I. du Pont de Nemours
& Co.; 15Feb55; MP5860.
DECISION IN RED. SEE The Adventures of the Falcon.
THE DECKS RAN RED. Virginia and Andrew L. Stone. Released
by Metro-Goldwyn-Mayer. 84 min., sd., b&w, 35mm. © Loew’s,
Inc. & Andrew L. Stone, Inc.; 12Aug58; LP11848.
THE DECLARATION OF INDEPENDENCE BY THE COLONIES.
Encyclopaedia Britannica Films. 19 min., sd., b&w, 16mm. With
film guide. © Encyclopaedia Britannica Films, Inc.; 23Mar56 (in
notice: 1955); MP7583.
DECLASSE. SEE The Errol Flynn Theatre.
DECLINE OF THE ROMAN EMPIRE. Coronet Instructional
Films. 14 min., sd., b&w, 16mm. © Coronet Instructional Films, a
division of Esquire, Inc.; 23Apr59; MP9760.
DECORATING EPISODE. SEE Topper, no. T112.
DECOY. SEE

Alfred Hitchcock Presents.

Invisible Man, no. 20.
Navy Log.

DEDICATION. Lutheran Brotherhood. Made by Buehler Bros. 24

min., sd., color, 16mm. © Buehler Bros.; 14Oct57; MP8527.
DEDUCE, YOU SAY! Warner Bros. Cartoons. 7 min., sd., color,
35mm. (Looney Tune Cartoon. Porky Pig-Daffy Duck)
Technicolor. © Vitaphone Corp.; 29Sep56; MP8621.
THE DEEDS OF DOCTOR DEADCERT. SEE Rx-Murder.
THE DEEP, BLUE SEA. London Film Productions. Released in the
U. S. by Twentieth Century-Fox Film Corp. 99 min., sd., color,
35mm. CinemaScope. © Twentieth Century-Fox Film Corp.;
12Oct55; LP5716.
THE DEEP BOO SEA. Paramount Pictures Corp., 1952. 1 reel, sd.,
color, 35mm. (Casper Cartoon) © Paramount Pictures Corp.;
15Feb52; LP1612.
THE DEEP END. SEE Wire Service.
DEEP IN MY HEART. Metro-Goldwyn-Mayer. Released by Loew’s,
1954. 132 min., sd., color, 35mm. Eastman color; print by
Technicolor. Based on the book of the same title by Elliott
Arnold. © Loew’s Incorporated; 22Nov54; LP4303.
DEEP MEANINGS. March of Time. 15 min., sd., b&w, 16mm. (Our
Living Language, no. 4) Filmed at Mystic Seaport with the
cooperation of the Marine Historical Association. © Time, Inc.;
1Sep53; MP4179.
DEEP ROOTS. Champion Paper and Fibre Co., 1953. Made by
Wilding Picture Productions. 42 fr., sd., color, 16mm.
Kodachrome. © Champion Paper and Fibre Co.; 15May53;
LP2689.
DEEP ROOTS IN THE CHESAPEAKE. Mildred Stead Capron. 70
min., si., color, 16mm. © Mildred Stead Capron; 24Oct55;
 MU5964.
THE DEEP SIX. Alan Ladd Enterprises. Released by Warner Bros.
Pictures. 108 min., sd., WarnerColor, 35mm. Based on the novel
by Martin Dibner. © Alan Ladd Enterprises, Inc.; 18Jan58;
LP12977.
THE DEER HUNTER. SEE Lassie.
THE DEER HUNTERS. SEE Adventures of Champion.
DEER HUNTING WITH AN OLDTIMER. SEE Adventure Out of
Doors, no. 16.
DEER LIVE WITH DANGER. Les Blacklock. Released by
Encyclopaedia Britannica Films, 1952. 11 min., sd., color, 16mm.
© Les Blacklock; 17Nov52; MP3348.
DEER WITH BOW AND ARROW. SEE Adventure Out of Doors,
no. 4.
THE DEERSLAYER. Twentieth Century-Fox Film Corp. 78 min.,
sd., color, 35mm. CinemaScope. Color by DeLuxe. Based on the
novel of the same title by James Fenimore Cooper. © Twentieth
Century-Fox Film Corp.; 11Sep57; LP9261.
DEFEAT OF JAPAN. SEE Air Power, no. 21.
THE DEFEAT OF SUPERMAN. SEE Adventures of Superman.
THE DEFENDER. SEE Studio One Series.
THE DEFENSE. SEE The Loretta Young Show, no. 4002-2.
THE DEFENSE RESTS. SEE Judge Roy Bean.
DEFENSIVE DRIVING. Aetna Casualty and Surety Co. in
cooperation with Board of Education, City of New York. 9 min.,
sd., b&w, 16mm. Appl. author: Paul Bernard Cullen. © Aetna
Casualty & Surety Co.; 15Dec56; MP8567.
DEFENSIVE DRIVING. SEE Sergeant Bruce Reporting, no. 2.
THE DEFIANT ONES. Lomitas Productions and Curtleigh
Productions. Released by United Artists Corp. 97 min., sd., b&w,
35mm. © Lomitas Productions, Inc. & Curtleigh Productions,
Inc.; 13Aug58; LP13779.
DEFINING DEMOCRACY. Encyclopaedia Britannica Films. 18
min., sd., b&w, 16mm. Forum version of the EBF films
Democracy and Despotism. With film guide. © Encyclopaedia
Britannica Films; 19Mar54; MP5887.
DEFINING THE PROBLEM AND GATHERING INFORMATION.
SEE The Problem Method, pt. 1: Defining the Problem and
Gathering Information.
DEFLECTION CIRCUITS. SEE Deflection Output Circuits.
DEFLECTION OUTPUT CIRCUITS. McGraw-Hill Book Co. Made
by Loucks and Norling Studios. 8 min., sd., b&w, 16mm.
(Television Principles and Servicing) Correlated with the book
“Basic Television,” by Bernard Grob. Appl. title: Deflection
Circuits. © McGraw-Hill Book Co., Inc.; 28Dec53; MP4551.
THE DEGAS BALLERINA. March of Time, 1952. 15 min., sd., b&w,
16mm. (Ballets de France, no. 9) © Time, Inc.; 9Sep52; MP2761.
THE DELANEY CASE. SEE The Line-Up.
DELAWARE HOAX. SEE Hawkeye and the Last of the Mohicans.
DELAYED ACTION. Lone Ranger. Inc., 1952. Produced by Jack
Chertok Productions. 26 min., sd., b&w, 16mm. Created by
George W. Trendle. Appl. author: Jack Chertok Productions, Inc.,
employer for hire. © The Lone Ranger, Inc.; 6Nov52; LP2345.
DELAYED ACTION. Screen Associates, 1952. 25 min., sd., b&w,
16mm. (Electric Theatre) A Screen Televideo release. © Screen
Associates, Inc.; 17Feb52; LP1519.
DELCO AND MR. FOX. Delco Battery. Made by Campbell-Ewald
Co. 210 sec. (High Adventure Series) Appl. author: Campbell-
Ewald Co., employer for hire of Ed Birnbryer, author of script. ©
Campbell-Ewald Co.; 27Apr59; MU6727.
DELCO AND THE WALLACES. Delco Battery. Made by Campbell-
Ewald Co. 210 sec. (High Adventures Series) Appl. author:
Campbell-Ewald Co., employer for hire of E. W. Birnbryer,
author of script. © Campbell-Ewald Co.; 10Nov58; MU6509.
THE DELICATE DELINQUENT. York Pictures Corp. Released by
Paramount Pictures Corp. 101 min., sd., b&w, 35mm.
 VistaVision. © York Pictures Corp.; 17Jul57 (in notice: 1956);
LP9152.
DELIGHTFUL DENMARK. Metro-Goldwyn-Mayer. Released by
Loew’s. 8 min., sd., color, 35mm. Technicolor (James A.
Fitzpatrick’s Traveltalks) © Loew’s Incorporated; 11Jun53;
MP4938.
THE DELINQUENTS. Imperial Productions. Released by United
Artists Corp. 75 min., sd., b&w, 35mm. © Imperial Productions,
Inc.; 20Feb57 (in notice: 1956); LP8135.
DELIVER THE BODY. SEE

Have Gun - Will Travel.

Judge Roy Bean.

DELIVERY BEAR. H-301R-SC. Theo. Hamm Brewing Co. Made by

Campbell-Mithun. 1 min., sd., b&w, 16mm. © Theo. Hamm
Brewing Co.; 14Apr57; MP8353.
THE DEL MAR CASE. SEE The Line-Up.
DEL PALMA. SEE Lady Possessed.
DELPHINIUM. SEE How Does Your Garden Grow, no. 18.
DELUSION. SEE Alcoa Presents One Step Beyond.
DEMARCO VS. CARTER. SEE Famous Fights, no. 30.
DEMENTIA. J. J. Parker Productions. 55 min., sd., b&w, 35mm.
Appl. author: John Parker. © J. J. Parker Productions, Inc.;
1Dec53; LP12505. (SEE ALSO Dementia; 1Dec53; LP12419)
DEMENTIA. John Parker Productions. 55 min., sd., b&w, 35mm.
© John Parker Productions (in notice: J. J. Parker Productions,
Inc.); 1Dec53; LP12419. (SEE ALSO Dementia; 1Dec53;
LP12505)
DEMETRIUS AND THE GLADIATORS. Twentieth Century-Fox
Film Corp. 101 min., sd., color, 35mm. CinemaScope. Based on a
character created by Lloyd C. Douglas in his book The Robe. ©
Twentieth Century-Fox Film Corp.; 15Jun54; LP3944.
THE DEMON AND MRS. DEVON. SEE The Loretta Young Show,
4009-11.
THE DEMON CARAVAN. SEE Desert Legion.
DEMONSTRATION FLASHBACK. Chevrolet Division. Made by
Jam Handy Organization. 2 min., b&w, 35mm. © Jam Handy
Organization, Inc.; 16Apr54; MU5691.
DEMONSTRATION WITH LIGHT. Moody Institute of Science. 12
min., sd., b&w, 16mm. © Moody Institute of Science; 23Jul56;
MP8092.
DEMOS THE GRIK. SEE Navy Log.
DENMARK. Dudley Pictures Corp. Released by Republic Pictures
Corp., 1950. 9 min., sd., color, 35mm. (This World of Ours
Series) © Dudley Pictures Corp.; 17Aug50: LP313.
THE DENNIS CASE. SEE The Line-Up.
THE DENNIS DAY SHOW. Denmac Productions. 3 reels each, sd.,
b&w, 16mm. © Denmac Productions, Inc.

101. The Little Old Lady, Lavinia. © 25Sep53; LP7886.

102. How To Keep Lavinia. © 2Oct53; LP7887.
103. Charley’s Birthday. © 9Oct53; LP7888.
104. Lavinia’s Fan Club. © 16Oct53; LP7889.
105. Charley’s Fan Club. © 6Nov53; LP7891.
106. Charley’s Sister Bedelia, part 1. © 23Oct53; LP7899.
107. Charley’s Sister Bedelia, part 2. © 31Oct53; LP7890.
108. Off to Las Vegas. © 13Nov53; LP7892.
109. Las Vegas. © 27Nov53; LP9065.
110. Lavinia’s Kitchen. © 4Dec53; LP7893.
111. How To Keep Lavinia’s Kitchen. © 18Dec53; LP8647.
112. Birthday Party (the Chimp) © 1Jan54; LP7900.
113. Grandfather Show, part 1. © 8Jan54; LP7901.
 114. Christmas Show. © 11Dec53; LP7898.
115. Grandfather Show, part 2. © 15Jan54; LP7902.
116. Opera Show. © 22Jan54; LP7903.
117. Presents for Dennis and Charley. © 29Jan54; LP7904.
118. Tape Recorder. © 19Feb54; LP7906.
119. Destiny Day. © 26Mar54; LP7895.
120. Charley’s Song Everything’s Tidy In Mt. Idy. © 19Mar54;
LP7908.
121. Write to Charley. © 5Feb54; LP7905.
122. The Counterfeiter. © 26Feb54; LP7907.
123. The Leprechaun. © 12Mar54; LP7894.
124. A Medal for Dennis. © 9Apr54; LP7910.
125. Party Poopers. © 2Apr54; LP7909.
126. Ann Blyth’s Surprise. © 16Apr54; LP7911.
127. The Bank Robbery. © 30Apr54; LP7913.
128. The Saga of F. H. La Due. © 23Apr54; LP7912.
129. Wilhemina Ogg. © 14May54; LP7896.
130. The Old Friend. © 7May54; LP7914.
131. It’s Du Barry. © 28May54; LP7915.
132. The Firebird. © 21May54; LP7897.
133. Volcano Lips. © 4Jun54; LP7916.
134. The Unexpected Choice. © 18Jun54; LP7917.
135. Men from Mars. © 2Jul54; LP7918.
136. Mumps the Word. © 9Jul54; LP7919.

DENNY BUYS A STEER. SEE It’s a Great Life.

DENNY SINGS. SEE It’s a Great Life.
DENNY’S BIG NIGHT. SEE It’s a Great Life.
DENTAL HEALTH: HOW AND WHY. Coronet, 1949. 11 min., sd.,
b&w, 16mm. © David A. Smart; 31Oct49; MP119.
DENVER & RIO GRANDE. Paramount Pictures Corp., 1952. 89
min., sd., color, 35mm. © Paramount Pictures Corp.; 2May52 (in
notice: 1951); LP1791.
THE DEOXIDATION OF SEMI-KILLED INGOTS, PART 1. U. S.
Steel Corp. Made by Wilding Picture Productions. 6 min., sd.,
b&w, 16mm. © U. S. Steel Corp.; 3Feb58 (in notice: 1957);
MP8788.
THE DEOXIDATION OF SEMI-KILLED INGOTS, PART 2. U. S.
Steel Corp. Made by Wilding Picture Productions. 5 min., sd.,
b&w, 16mm. © U. S. Steel Corp.; 3Feb58 (in notice: 1957);
MP8789.
THE DEPARTMENT OF QUEER COMPLAINTS. SEE Colonel
March of Scotland Yard.
DEPARTMENTALIZATION (Filmstrip) Frederic House.
Distributed by the City College School of Business, 1950.
Sponsored by the Becton-Dickinson Co. 75 fr., sd., color, 35mm.
and disc: 2 s., 16 in., 33-1/3 rpm. (The American Drug Store
Business Training Series) With moderator’s guide. © The City
College. New York; 1Dec50; MP1058.
DEPENDABLE DELIVERY. Jam Handy Organization for
Chevrolet Motor Division, General Motors Corp. © 1951. 1 min.,
sd., b&w, 35mm. © Chevrolet Motor Division, General Motors
Corp.; 9Apr51; MU5302.
DEPORTED. Universal International, 1950. 89 min., sd., b&w,
35mm. © Universal Pictures Co., Inc.; 16Nov50; LP533.
DEPORTED. SEE Wire Service.
THE DEPTHS OF SPACE. International Screen Organization,
1953. 11 min., sd., b&w, 16mm. (Astronomy Films, no. 5) ©
Mabel Sibley; 25Jun53; MP3637.
THE DEPTHS OF THE EARTH. SEE Riding with Buffalo Bill, no.
11.
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