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Wasted an alcoholic therapist s fight for recovery in a
flawed treatment system Palmer Digital Instant
Download
Author(s): Palmer, Maureen;Pond, Michael
ISBN(s): 9781771641975, 1771641975
Edition: Review copy
File Details: PDF, 1.09 MB
Year: 2016
Language: english
Wasted
WASTED An Alcoholic Therapist’s
Fight for Recovery in a
Flawed Treatment System

MICHAEL POND & MAUREEN PALMER

Vancouver/Berkeley
Copyright © 2016 by Michael Pond and Maureen Palmer

All rights reserved. No part of this book may be reproduced,

stored in a retrieval system or transmitted, in any form or
by any means, without the prior written consent of the pub-
lisher or a licence from The Canadian Copyright Licensing
Agency (Access Copyright). For a copyright licence, visit
www.accesscopyright.ca or call toll free to 1-800-893-5777.

Greystone Books Ltd.

www.greystonebooks.com

Cataloguing data available from Library and Archives Canada

ISBN 978-1-77164-196-8 (pbk.)
ISBN 978-1-77164-197-5 (pdf)

Editing by Trena White (first edition)

and Jennifer Croll (second edition)
Copy editing by Stephanie Fysh (first edition)
and Jennifer Croll (second edition)
Proofreading by Stefania Alexandru
Cover and text design by Nayeli Jimenez

We gratefully acknowledge the support of the Canada

Council for the Arts, the British Columbia Arts Council, the
Province of British Columbia through the Book Publishing
Tax Credit and the Government of Canada through the
Canada Book Fund for our publishing activities.

The advice provided in this book has been carefully checked

by the author and publisher. It should not, however, be
regarded as a substitute for medical advice.
To my three sons: Taylor, Brennan and Jonathan,
for allowing me to be their father again
 Contents

Preface xi

Part I: The Couch of Willingness

1. Three Mile Beach 3
2. The Visit 6
3. Bonnie and Clyde Go to Jail 12
4. Getting Here 17
5. Sandy Lake 28
6. Come Down Here, Mr. Pond 34
7. I Don’t Want to Go to Rehab 43
8. Good Luck, Mr. Pond 58
9. The We Surrender Addiction Recovery Society 68
10. A We Surrender Christmas 82
11. Harold 92
12. Leaving Today 100
13. Coming Back 109
14. Crazy Mike 114
15. Rock Bottom 128
16. I’m Done 136
17. Mission Possible 145

vii
18. Check Out 152
19. Crazy Mike Walks Again 158
20. Cloverdale House 166
21. A Second Chance 181
22. Pay Day 200
23. Piss Test 207
24. Back to Work, Week Two 214
25. The Last Date 222
26. The Last Bender 231
27. Death’s Door 238
28. Fifty-Six 245
29. The Universe Cuts Me a Break 250
30. Your Honour 258
31. The Fraser Regional Correctional Centre 262
32. Christmas 282
33. Life Goes On 287
34. The Prodigal Father 292
35. Spiritual Enlightenment 295
36. I Know That Walk 303

Part II: Searching for New Treatment

37. The Party 311

Maureen:
38. The Real Story of Addiction 323
39. Shaming and Blaming Only Makes the Problem Worse 325
40. Abstinence Doesn’t Mean Success 330
41. How AA’s Standard of Success is Now the Culture’s 334
42. Most Doctors Don’t Know How to Treat Addiction 338
43. The Modern Theory of Addiction 341
44. Drugs Approved to Treat Addiction 345
45. Could Vivitrol Work for Mike? 349
46. Motivational Interviewing 351
47. Community Reinforcement and Family Training
(CRAFT) 356

Mike:
48. Why I Relapsed 365
49. Why Me? 367
50. Training Doctors in Addiction Medicine 377
51. My Relationship With AA 381
52. Our Relationship With Alcohol 385
53. The Challenge with Evidence-Based Treatments 387
54. Hope 389

Acknowledgments 391
Endnotes 395
 Preface

I
met Mike a few years ago on the dating website Plentyof-
Fish. On our first date he arrived on transit and ordered
cranberry juice and soda. Ashamed, he admitted he had lost
his licence to drunk driving and had been sober just over a
year. This is the part where my female friends screamed, “Run,
run, run for the hills.” Over the next few dates, Mike revealed
such a riveting story, I blurted, “We have to write a book,” to
this near stranger. Initially, I was probably more intrigued with
the story than the man. Wasted: An Alcoholic Therapist’s Fight for
Recovery in a Flawed Treatment System is that story. Five years
later, we are very happy together.
In telling this story, we needed to be respectful of people’s
privacy. Many names and other identifying information have
been changed. This book is Mike Pond’s truth. As much as pos-
sible, we corroborated events with others.

—Maureen Palmer

xi
 Pa r t I

The Couch of Willingness

 · 1 ·
Three Mile Beach

I
t’s like a stuck record that no one nudges.
“Let me outta here! You sons a’ bitches! I wanna talk to
my lawyer!” Dana’s caterwauling reaches me from the soli-
tary cell in the women’s wing. It’s grating on my nerves. Three
a.m. and she’s been at it for hours.
“Cocksuckers. Let me talk to my lawyer. Let me out of here,
you sons a’ bitches.”
“Shut the fuck up, bitch!” another female inmate howls,
matching Dana decibel for decibel. “I’m gonna fuck you up
when we get outta here, you drunken whore.”
I roll over on the thin jail-cell pallet and pull the grey
blanket over my head in a useless attempt to drown out the
hollering. I fade in and out of sleep, no longer able to discern
what’s a bad dream and what’s an even worse reality.
I wish I’d never gone to Three Mile Beach.

The wan autumn sun bathes everything at Three Mile

Beach in light so fragile, so ephemeral it’s almost magical. A
rare kind of day.

3
4 wa s t e d

“Mr. Pond.” Dana emerges from the lake, runs across the
sand and stands before me glistening in the sun. “Let’s move to
Nelson and open up a treatment centre on Kootenay Lake. It’s
our destiny. We’re meant to do something amazing together.”
I gaze into Dana’s piercing blue eyes and I’m sick with
longing. I long for her and the fantasy we’ve built together, a
fantasy so flimsy I already feel it slipping away. She arranges
her perfect coral-bikini-clad body on the towel, plants a kiss
on my sun-burnished brow, lies down and closes her eyes. At
forty-two, Dana’s lithe, willowy beauty belies her age. I track a
rivulet of water as it slides into the hollow between her breasts.
I’d always wanted to open a treatment centre. I’d been
practising psychotherapy for over twenty years in Penticton,
a small resort city in Canada’s Okanagan wine region, and I’d
often thought I wouldn’t have much of a practice at all if not
for alcohol. From the surly conduct-disordered kid slouched
on my couch to the shamefaced husband convicted of domes-
tic assault, court-ordered into treatment, to the suicidal young
First Nations mother of five, barely thirty and already worn out,
you don’t get too far in family-of-origin research before you
stumble over an out-of-control alcoholic. I’d helped hundreds
of people kick booze. But I can’t help myself.
“Yeah, the universe has a grand plan for us, Dana.” I try to
muster enthusiasm as I lie back next to her. “We were put
together to make great things happen.” Great. Now I’m lying
even to myself.
Dana exhales, her face breaking into a wide smile. Her per-
fect white teeth dazzle. I smell vodka. The fantasy fades just a
little bit more.
Over the course of the afternoon at the beach, we polish off
a litre and a half of Smirnoff mixed with Clamato juice and a
generous splash of Frank’s hot sauce. We regale ourselves. We
are as eloquent and witty and deep as only drunks can be.
 Three Mile Beach 5

Three Mile Beach edges Okanagan Lake in British Colum-

bia’s hot, dry wine country. As Napa Valley is to California,
the Okanagan is to Canada. Vines droop, burdened by lush
late-harvest Gewürztraminer grapes, the air pungent with the
earthy promise of ripe fruit. Vineyards march up every slope,
stretching over the horizon, their uniformity broken here and
there by the odd gnarled apple or pear tree, poignant remind-
ers of the days when this was orchard country.
This is wine country, but we don’t drink wine. One would
have to drink too much and wait too long for its effect. Vodka
is a much more efficient drunk. And after going hard at it for
nearly a month, we are all about efficiency.
Forget wild sexual attraction, stimulating conversa-
tion, shared values and beliefs and interests. What keeps us
together now is booze. Every encounter plays out in the same
sickening sequence, from that first seductive sip to giddy
intoxication, through belligerence and anger and exaggerated
competence to melancholy and sullen self-pity, ending always
in self-loathing.
Dana has just arrived at exaggerated competence.
“Mike, I want my kids to meet you.” She gets up off her
towel, brushing sand from her bare legs. “They’re not far away,
in Naramata. Let’s go.”
My judgment dulled by Smirnoff, I agree to this absurd idea.
Who wouldn’t want to meet mom’s drunken boyfriend?
 · 2 ·
The Visit

D
ana drives deliberately slowly just under the speed
limit so as not to alert cops. The late-afternoon October
sun still warms our shoulders as we cruise up Lakeshore
Drive in her little Miata MX-5. We first parallel the beach
where sailboats dance on the sparkling water. Then we veer
north up through the Bench plateaus, curl around the base
of Munson Mountain onto Naramata Road and meander
through the Upper Bench vineyards and orchards to Naramata
Village. A tiny warning pings in my head.
“Dana, I don’t think this is a good idea. Let’s turn back, drop
me off at my place.”
“Oh no, I want them to meet you.” Dana focuses on the road
ahead. “I’m so proud of you.”
I’m not proud of me. I’m a drunk.
We pull up to a 1960s two-storey and I’m filled with a sense
of foreboding. Dana and her husband are separated, and her
boys are living with their dad. He sounds like a pretty good guy.
He lets Dana drop by to see her sons as much as she likes. I’m
not sure how he’ll feel about today’s little unscheduled stop.

6
 The Visit 7

Dana slithers out of the driver’s seat and staggers to the

front door with me in tow. Her nine-year-old son, just home
from school, spies us first as we step into the house. He runs
up and hugs Dana. Her older son walks in, and he and his
brother exchange anxious here-we-go-again glances. The boys
back away and sink simultaneously into the couch.
My presence seems to barely register, for which I am thank-
ful. My stomach knots and my jaw clamps and my eyes dart
around the room. I wish for a cloak of invisibility. I’m sober-
ing up quickly, but Dana keeps kicking the vodka-and-orange
back. She emerges from a bedroom, her drink mysteriously
refreshed. She’s got a stash everywhere. Under different cir-
cumstances, I consider that one of her greatest attributes.
Dana stands at the sink washing dishes, an intimately
domestic task. All I can do is watch. I shouldn’t be here. The
boys sit silent on the couch, their eyes scanning back and forth
from their mother to me and to the door, hoping for a miracle
to walk in. Feigning nonchalance, I lean on the back of an old
easy chair.
Finally, Dana’s twelve-year-old speaks in a tone and man-
ner that children of alcoholics learn early. Don’t want to set
Mom off.
“Mum, maybe it would be better if you came back later?”
He and I lock eyes. I detect fear, disguised as anger. I look
away.
“Dana, let’s go,” I urge. I take her by the elbow and guide her
toward the door.
Too late. Dana’s estranged husband appears in the door-
way. He takes in the scene. I see on his face that odd blend of
shock, resignation and the preternatural calm of those who
love drunks.
Dana explodes.
8 wa s t e d

“You useless prick.” Her face contorts with rage. “I hate you.”
Sean, clearly practiced at this, sits down at the kitchen table.
“Dana, you’re drunk. Why don’t you guys just leave?”
“You prick. You useless piece of shit,” Dana spits.
Sean turns in his chair to face Dana and places both of his
hands on the table. The boys scrunch closer together on the
couch. Lizzy, an old white mutt, belly-crawls under the cherry
wood coffee table, just her curlicue tail visible.
My mouth hangs open in shock. I have never heard my
refined Dana talk this way.
“Dana, let’s go.” The fingers on my left hand embed into her
upper arm flesh. “Let’s get out of here.”
With brute strength she wrenches free and lunges for the
Henckels chef’s knife on the kitchen counter.
“Not until I kill this limp-dicked prick!” She wraps her ele-
gant fingers around the black handle.
No time to process this lightning turn in Dana’s personal-
ity—I jump to action.
“No, Mom, no!” Dana’s older son pleads from the couch.
“Please just leave—just go!”
Sean grabs a kitchen chair and holds it between himself
and Dana like a lion tamer. I dive for Dana, grab her wrist and
wrench the knife from her hand.
“Let’s just go, Dana. That’s enough.” I toss the knife back to
the counter. I feel my carotid arteries pound.
Dana wrestles and kicks at me as I drag her out the door.
They all stare after us, in part disbelief, part relief.
My mind reels. What the hell just happened? What hap-
pened to my impeccable Dana? Who is this woman?
I hear Sean on the phone behind us, talking to 911.
We bolt for what is now our getaway car. We jump in and
Dana tears out of the driveway, spraying gravel everywhere,
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17Mar47; Repix, Inc. (PWH); 2Aug74; R582727.

R582728.
Son of Zorro. Chap. 1–13. By Republic Productions, Inc. 26 reels.
© L1033. 2Jun47; Repix, Inc. (PWH); 2Aug74; R582728.

R582729.
That’s my man. By Republic Productions, Inc. 11 reels. © L1034.
7May47; Repix, Inc. (PWH); 2Aug74; R582729.

R582730.
That’s my gal. By Republic Productions, Inc. 7 reels. © L1064.
7May47; National Telefilm Associates, Inc. (PWH); 2Aug74;
R582730.

R582731.
Northwest outpost. By Republic Productions, Inc. 10 reels. ©
L1111. 18Jun47; Repix, Inc. (PWH); 2Aug74; R582731.

R582732.
Oregon Trail scouts. By Republic Productions, Inc. 6 reels. ©
L1112. 7May47; National Telefilm Associates, Inc. (PWH); 2Aug74;
R582732.

R582733.
 Saddle pals. By Republic Productions, Inc. 8 reels. © L1113.
18Jun47; Repix, Inc. (PWH); 2Aug74; P582733.

R582734.
Jesse James rides again. By Republic Productions, Inc. 13 reels. ©
L1114. 2Jun47; Repix, Inc. (PWH); 2Aug74; R582734.

R582735.
Robin Hood of Texas. By Republic Productions, Inc. 8 reels. ©
L1137. 15Jul47; Repix, Inc. (PWH); 2Aug74; R582735.

R582736.
The Black widow. Chap. 1–5. By Republic Productions, Inc. 10
reels. © L1164. 28Jul47; Repix, Inc. (PWH); 2Aug74; R582736.

R582737.
Wyoming. By Republic Productions, Inc. 9 reels. © L1165.
15Jul47; Repix, Inc. (PWH); 2Aug74; R582737.

R582738.
Rustlers of Devil’s Canyon. By Republic Productions, Inc. 6 reels,
© L1167. 15Jul47; Repix, Inc. (PWH); 2Aug74; R582738.

R582739.
The Trespasser. By Republic Productions, Inc. 8 reels. © L1168.
15Jul47; Repix, Inc. (PWH); 2Aug74; R582739.

R582740.
Blackmail. By Republic Productions, Inc. 7 reels. © L1209.
15Jul47; Repix, Inc. (PWH); 2Aug74; R582740.
R582741.
Marshall of Cripple Creek. By Republic Productions, Inc. 6 reels.
© L1210. 28Jul47; Repix, Inc. (PWH); 2Aug74; R582741.

R582742.
The Adventures of Don Coyote. By Comet Productions, Inc. 7 reels.
© L1446. 9May47; National Telefilm Associates, Inc. (PWH);
2Aug74; R582742.

R582866.
Daddy Duck. 1 reel. © L1544. 1Jul47; Walt Disney Productions
(PWH); 2Aug74; R582866.

R582867.
Mickey down under. 1 reel. © L1545. 23Jul47; Walt Disney
Productions (PWH); 2Aug74; R582867.

R582868.
Donald’s dream voice. 1 reel. © L1719. 23Jul47; Walt Disney
Productions (PWH); 2Aug74; R582868.

R582869.
Bone bandit. 1 reel. © L1720. 21Jul47; Walt Disney Productions
(PWH); 2Aug74; R582869.

R582958.
The Dark mirror. By Inter-John, Inc. 9 reels. © L632. 3Oct46;
National Telefilm Associates, Inc. (PWH); 8Aug74; R582958.

R582959.
 Magnificent doll. By Hallmark Productions, Inc. 11 reels. © L757.
9Dec46; National Telefilm Associates, Inc. (PWH); 8Aug74;
R582959.

R582961.
Leave us chase it. By Screen Gems, Inc. 1 reel. © L983. 8May47;
Columbia Pictures Industries, Inc. (PWH); 11Jun74; R582961.

R582962.
Nervous shakedown. By Columbia Pictures Corporation. 2 reels. ©
L990. 8May47; Columbia Pictures Industries, Inc. (PWH); 11Jun74;
R582962.

R582963.
Mother hubba-hubba Hubbard. By Screen Gems, Inc. 1 reel. ©
L1008. 26May47; Columbia Pictures Industries, Inc. (PWH);
11Jun74; R582963.

R582964.
Tooth or consequences. By Screen Gems, Inc. 1 reel. © L1009.
26May47; Columbia Pictures Industries, Inc. (PWH); 11Jun74;
R582964.

R582965.
Wheels of fate. By Columbia Pictures Corporation. (Jack
Armstrong, chap. no. 13) 2 reels. © L1018. 1May47; Columbia
Pictures Industries, Inc. (PWH); 11Jun74; R582965.

R582966.
Gunfighters. By Columbia Pictures Corporation. 10 reels. © L1031.
9Jun47; Columbia Pictures Industries, Inc. (PWH); 8Jul74;
R582966.
R582967.
Little Miss Broadway. By Columbia Pictures Corporation. 7 reels.
© L1032. 9Jun47; Columbia Pictures Industries, Inc. (PWH);
8Jul74; R582967.

R582968.
The Stranger from Ponca City. By Columbia Pictures Corporation.
6 reels. © L1036. 10Jun47; Columbia Pictures Industries, Inc.
(PWH); 8Jul74; R582968.

R582969.
The Corpse came C.O.D. By Columbia Pictures Corporation. 9
reels. © L1046. 11Jun47; Columbia Pictures Industries, Inc. (PWH);
8Jul74; R582969.

R582970.
Swing the western way. By Columbia Pictures Corporation. 7 reels.
© L1050. 16Jun47; Columbia Pictures Industries, Inc. (PWH);
8Jul74; R582970.

R582971.
Sport of kings. By Columbia Pictures Corporation. 7 reels. ©
L1051. 16Jun47; Columbia Pictures Industries, Inc. (PWH); 8Jul74;
R582971.

R582972.
Up n’ atom. By Screen Gems, Inc. 1 reel. © L1083. 10Jun47;
Columbia Pictures Industries, Inc. (PWH); 8Jul74; R582972.

R582973.
Screen snapshots, ser. 26, no. 10. By Columbia Pictures
Corporation. 1 reel. © M2168. 10Jun47; Columbia Pictures
Industries, Inc. (PWH); 8Jul74; R582973.

R582974.
Volley oop. By Columbia Pictures Corporation. 1 reel. © M2216.
27Jun47; Columbia Pictures Industries, Inc. (PWH); 8Jul74;
P582974.

R583044.
The Unfinished dance. By Loew’s, Inc. 10 reels. © L1157. 29Jul47;
Metro-Goldwyn-Mayer, Inc. (PWH); 2Aug74; R583044.

R583122.
The Unfaithful. By Warner Brothers Pictures, Inc. 11 reels. ©
L1097. 5Jul47; United Artists Television, Inc. (PWH); 5Aug74;
R583122.

R583123.
Possessed. By Warner Brothers Pictures, Inc. 12 reels. © L1160.
26Jul47; United Artists Television, Inc. (PWH); 5Aug74; R583123.

R583124.
Sportsman’s playground. By Vitaphone Corporation. 1 reel. ©
M2220. 2Jul47; United Artists Television, Inc. (PWH); 5Aug74;
R583124.

R583125.
Growing pains. By Vitaphone Corporation. 1 reel. © M2263.
17Jul47; United Artists Television, Inc. (PWH); 5Aug74; R583125.

R583192.
 The Web. By universal Pictures Company, Inc. 10 reels. © L1085.
9Jun97; Universal Pictures (PWH); 8Jul74; R583192.

R583193.
Ivy. By Inter-Wood Productions, Inc. 10 reels. © L1092. 19Jun47;
Universal Pictures (PWH); 8Jul74; R583193.

R583194.
Universal newsreel, vol. 20, no. 43. By Universal Pictures
Company, Inc. 1 reel. © M2172. 3Jun47; Universal Pictures (PWH);
8Jul74; R583194.

R583195.
Universal newsreel, vol. 20, no. 44. By Universal Pictures
Company, Inc. 1 reel. © M2173. 5Jun47; Universal Pictures (PWH);
8Jul74; R583195.

R583196.
Universal newsreel, vol. 20, no. 45. By Universal Pictures
Company, Inc. 1 reel. M2174. 10Jun47; Universal Pictures (PWH);
8Jul74; R583196.

R583197.
Universal newsreel, vol. 20, no. 46. By Universal Pictures
Company, Inc. 1 reel. © M2175. 12Jun47; Universal Pictures (PWH);
8Jul74; R583197.

R583198.
Universal newsreel, vol. 20, no. 47. By Universal Pictures
Company, Inc. 1 reel. © M2176. 17Jun47; Universal Pictures (PWH);
8Jul74; R583198.
R583199.
Universal newsreel, vol. 20, no. 48. By Universal Pictures
Company, Inc. 1 reel. © M2177. 19Jun47; Universal Pictures (PWH);
11Jul74; R583199.

R583200.
Universal newsreel, vol. 20, no. 49. By Universal Pictures
Company, Inc. 1 reel. © M2178. 24Jun47; Universal Pictures (PWH);
8Jul74; R583200.

R583201.
Universal newsreel, vol. 20, no. 50. By Universal Pictures
Company, Inc. 1 reel. © M2179. 26Jun47; Universal Pictures (PWH);
8Jul74; R583201.

R583202.
The Overture to William Tell. By Universal Pictures Company, Inc.
& Walter Lantz Productions. 1 reel. © M2181. 9Jun47; Universal
Pictures (PWH); 8Jul74; R583202.

R583370.
Desire me. By Loew’s, Inc. 10 reels. © L1211. 5Aug47; Metro-
Goldwyn-Mayer, Inc. (PWH); 12Aug74; R583370.

R583371.
A Mouse in the house. By Loew’s, Inc. 1 reel. © L1230. 5Aug47;
Metro-Goldwyn-Mayer, Inc. (PWH); 12Aug74; R583371.

R583409.
News of the day, vol. 18, issue no. 285. By Hearst Metrotone News,
Inc. 1 reel. © M2260. 2Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583409.
R583410.
News of the day, vol. 18, issue no. 286. By Hearst Metrotone News,
Inc. 1 reel. © M2261. 4Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583410.

R583411.
News of the day, vol. 18, issue no. 288. By Hearst Metrotone News,
Inc. 1 reel. © M2311. 11Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583411.

R583412.
News of the day, vol. 18, issue no. 291. By Hearst Metrotone News,
Inc. 1 reel. © M2312. 23Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583412.

R583413.
News of the day, vol. 18, issue no. 292. By Hearst Metrotone News,
Inc. 1 reel. © M2313. 25Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583413.

R583414.
News of the day, vol. 18, issue no. 293. By Hearst Metrotone News,
Inc. 1 reel. © M2314. 30Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583414.

R583415.
News of the day, vol. 18, issue no. 287. By Hearst Metrotone News,
Inc. 1 reel. © M2362. 9Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583415.

R583416.
 News of the day, vol. 18, issue no. 289. By Hearst Metrotone News,
Inc. 1 reel. © M2363. 16Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583416.

R583417.
News of the day, vol. 18, issue no. 290. By Hearst Metrotone News,
Inc. 1 reel. M2364. 18Jul47; Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 13Aug74; R583417.

R583549.
Opfergang. By UFA Filmkunst. © 5Dec46; L695. Edward Finney
(PWH); 19Aug74; R583549.

R583550.
Der Scheemann. By Fischer-Koesen Film Pr. Add. ti.: The
Snowman. © 5Dec46; L697. Edward Finney (PWH); 19Aug74;
R583550.

R583551.
Es lebe die Liebe. By Bavaria Filmkunst. Add. ti.: Long live love. ©
8Dec46; L765. Edward Finney (PWH); 19Aug74 R583551.

R583552.
Grosse Liebe. By UFA Filmkunst. Add. ti.: The Great love. ©
8Dec46; L766. Edward Finney (PWH); 19Aug74; R583552.

R583553.
Frauen sind keine Engel. By Wien Film. Add. ti.: Women are no
angels. © 8Dec46; L767. Edward Finney (PWH); 19Aug74; R583553.

R583554.
 Meine Frau Teresa. By Tobis Klangfilm. Add. ti.: My wife Teresa.
© 8Dec46; L768. Edward Finney (PWH); 19Aug74; R583554.

R583555.
Meine Tante, deine Tante. By UFA Filmkunst. Add. ti.: My aunt;
your aunt. © 8Dec46; L769. Edward Finney (PWH); 19Aug74;
R583555.

R583556.
Hallo Janine. By UFA Filmkunst. © 8Dec46; L770. Edward Finney
(PWH); 19Aug74; R583556.

R583571.
Hoppy’s holiday. By Hopalong Cassidy Productions, Inc. 6 reels. ©
19Jul47; L1104. Grace Bradley Boyd, surviving trustee under the
declaration of trust by William L. Boyd & Grace Bradley Boyd, dated
Jan. 6, 1960 (PWH); 23Jul74; R583571.

R583572.
Paramount news, number 91. By Paramount Pictures, Inc. 1 reel.
© 12Jul47; M2228. Major News Library (PWH); 23Jul74; R583572.

R583573.
Paramount news, number 92. By Paramount Pictures, Inc. 1 reel.
© 16Jul47; M2229. Major News Library (PWH); 23Jul74; R583573.

R583574.
Paramount news, number 93. By Paramount Pictures, Inc. 1 reel.
© 19Jul47; M2251. Major News Library (PWH); 23Jul74; R583574.

R583575.
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