I Led 3 Lives
I Led 3 Lives, also known as I Led Three Lives, is an American syndicated drama television series that aired from October 1, 1953, to January 1, 1956, starring Richard Carlson as Herbert A. Philbrick, a real-life advertising executive who for nine years maintained a triple existence as an ordinary citizen, a covert member of the Communist Party USA, and an informant for the Federal Bureau of Investigation.[1][2] The series dramatized Philbrick's autobiography of the same name, depicting the constant peril and moral dilemmas of his undercover operations against communist infiltration in mid-20th-century America, with each half-hour episode showcasing tense espionage scenarios drawn from his experiences infiltrating party cells and relaying intelligence to the FBI.[3][4] Produced by Ziv Television Programs, the show consisted of 117 episodes that emphasized the subversive activities of communists and the vigilance required to counter them, reflecting the era's widespread concerns over domestic subversion amid the Cold War.[1][5] As a product of the early 1950s anti-communist fervor, I Led 3 Lives both mirrored real FBI counterintelligence efforts—Philbrick's testimony contributed to the conviction of several Communist Party leaders—and amplified public awareness of ideological threats, though its repetitive format and didactic tone drew mixed reception even as it achieved syndication success and cultural influence.[2][5] The program's stark portrayal of betrayal and loyalty resonated in a time of heightened national security anxieties, later noted for its appeal to figures like Lee Harvey Oswald, who cited it as a favorite.[6]Background and Historical Context
Herbert Philbrick's Real-Life Infiltration
Herbert Arthur Philbrick, a Boston-area advertising executive serving as assistant advertising director for the Paramount Theaters Division of New England, began associating with communist-front organizations in 1940 through the Cambridge Youth Council while acting as an FBI informant.[7][8] The FBI encouraged his infiltration of the Communist Party USA (CPUSA) from that year onward, leading him to join the Young Communist League in 1942 and formally enter the CPUSA in March 1944.[7][9] From 1940 to 1949, Philbrick maintained a double life as a trusted CPUSA operative in New England, rising to a leadership role while secretly reporting party activities to the FBI.[10][9] His operations included smuggling documents from party headquarters for FBI handlers to photograph, thereby exposing internal strategies and membership details without arousing suspicion.[7] He navigated close calls with detection by adhering to strict compartmentalization, such as using coded communications and avoiding overlaps between his public business life, communist duties, and counterintelligence work.[11] Philbrick's cover ended with his public testimony as a key prosecution witness on April 6, 1949, in the federal trial United States v. Dennis, where he detailed CPUSA operations and training in advocacy for violent overthrow of the government.[9] His evidence contributed to the conviction of eleven top CPUSA leaders under the Smith Act for conspiracy to advocate overthrowing the U.S. government.[12] In 1952, Philbrick published I Led 3 Lives: Citizen, "Communist," Counterspy, a firsthand account of his infiltration that sold over 2 million copies and detailed the psychological strain of his divided loyalties.[11]Communist Infiltration in the United States During the Early Cold War
The Venona Project, a U.S. signals intelligence effort initiated in 1943, decrypted thousands of Soviet diplomatic cables between 1943 and 1980, revealing extensive espionage networks operating in the United States during and after World War II.[13] These decrypts, partially declassified in 1995, identified over 300 covert Soviet agents and assets embedded in American government agencies, including the State Department, Treasury, and Manhattan Project, with operations peaking in the 1940s.[14] Notable cases included Alger Hiss, a senior State Department official code-named "ALES" in Venona messages, who transmitted classified documents to Soviet handlers, and Julius and Ethel Rosenberg, linked to atomic secrets via the "Liberal" and "Antenna" networks.[15] This empirical evidence, corroborated by independent code-breaking analysis, demonstrated systematic infiltration rather than isolated incidents, with Soviet intelligence exploiting ideological sympathizers for material gains like technological blueprints.[13] The Communist Party of the United States (CPUSA), functioning as a de facto Soviet auxiliary since its alignment with the Comintern in the 1920s, facilitated much of this infiltration by recruiting and vetting operatives within labor unions, academia, and federal bureaucracies.[14] CPUSA membership surged to approximately 75,000 by 1942 amid wartime alliances, enabling propaganda dissemination and sabotage efforts, such as strikes in critical industries coordinated with Soviet directives to disrupt U.S. production.[16] Soviet funding, channeled through fronts like the Daily Worker and international aid organizations, provided financial incentives that complemented ideological recruitment, creating causal pathways from domestic agitation to espionage, as agents traded access for subsidies and protection.[14] Venona cables explicitly reference CPUSA leaders coordinating with NKVD officers, underscoring the party's role in masking foreign-directed subversion as grassroots activism.[13] Defectors' testimonies further validated these patterns, exposing the material motivations beneath communist rhetoric. Whittaker Chambers, a former CPUSA underground operative who broke with the party in 1938, testified in 1948 before the House Un-American Activities Committee that he had personally handled microfilmed State Department documents from Alger Hiss, part of a broader apparatus linking U.S. officials to Moscow via couriers and safe houses.[17] Elizabeth Bentley, another defector who managed Soviet spy rings until 1945, corroborated infiltration in the Treasury and OSS, naming over 80 individuals who passed economic intelligence and policy insights, often motivated by direct Soviet payments rather than pure ideology.[14] These accounts, cross-verified by Venona's independent cryptanalytic evidence, illustrate how initial ideological appeals devolved into sustained betrayal chains, with handlers exploiting personal vulnerabilities for operational leverage, thus posing verifiable national security risks in the early Cold War era.[13][17]Production Details
Development and Syndication by Ziv Television
Ziv Television Programs acquired the rights to adapt Herbert A. Philbrick's 1952 memoir I Led 3 Lives: Citizen, "Communist," Counterspy into a television series shortly after its publication as a bestseller, capitalizing on public interest in Cold War espionage.[18][8] The adaptation launched as a first-run syndicated program on October 1, 1953, bypassing network schedules to sell episodes directly to independent and affiliate stations nationwide.[19] The series comprised 117 half-hour episodes produced across three seasons, concluding on January 1, 1956, with filming conducted in Hollywood studios to leverage existing infrastructure and minimize expenses through standardized production techniques, including reusable sets and efficient scripting for high-volume output.[19][20] This approach aligned with Ziv's strategy of generating over 2,300 episodes across multiple series in the mid-1950s, prioritizing action-oriented dramas that could be rapidly distributed via syndication.[20] Founder Frederic W. Ziv's business model emphasized creating advertiser-friendly, morally instructive content—such as anti-communist narratives—to appeal to local broadcasters seeking alternatives to network dominance, enabling Ziv to build the largest syndication operation by selling packages of episodes to stations for flexible scheduling and revenue sharing.[21][22] This decentralized distribution model proved lucrative, as Ziv programs like I Led 3 Lives circulated widely without network intermediaries, fostering independence for producers amid the era's expanding television market.[23]Casting and Key Personnel
Richard Carlson portrayed the lead role of Herbert A. Philbrick, the advertising executive leading a triple life as a citizen, communist operative, and FBI informant, across all 117 episodes of the series from 1953 to 1956.[24] His casting aligned with the character's profile as an unassuming professional, drawing on Carlson's prior experience in roles depicting educated, relatable figures, informed by his own academic background including a master's degree in English from the University of Michigan.[25] Recurring supporting roles bolstered the narrative's focus on Philbrick's divided loyalties and covert communications. John Zaremba appeared as Special Agent Jerry Dressler, Philbrick's primary FBI handler providing instructions and extracting reports.[24] Virginia Stefan played Eva Philbrick, his wife unaware of his espionage, while Patricia Morrow depicted their daughter Constance, highlighting domestic tensions from his secretive activities.[26] The writing staff adapted material directly from Philbrick's 1952 memoir I Led 3 Lives, with Philbrick himself credited as writer on five episodes to ensure fidelity to real infiltration tactics and personal experiences.[27] Directors, varying across episodes, prioritized restrained cinematography to convey suspense through Philbrick's narrow escapes and moral dilemmas, avoiding sensationalism to maintain the protagonist's credible ordinariness.[24] Guest appearances often cast emerging actors in roles as communist cells members or informants, including figures like Robert Patten in multiple parts as comrades.[24]Series Format and Content
Premise and Episode Structure
I Led 3 Lives dramatized the real-life experiences of Herbert A. Philbrick, a Boston advertising executive who, from 1940 to 1949, maintained a covert dual role within the Communist Party USA (CPUSA) while secretly informing for the FBI, thus embodying three distinct identities: ordinary citizen by day, party operative by night, and federal counterspy in utmost secrecy.[4][18] The series portrayed this precarious existence through the character played by Richard Carlson, emphasizing the constant tension of divided loyalties and the risks of exposure in espionage against domestic communist subversion.[1][28] Episodes followed a consistent procedural structure suited to syndication, with each 30-minute black-and-white installment resolving a standalone mission rather than advancing a serialized arc, thereby enhancing replay value across stations.[29][30] A typical narrative opened with the emergence of a CPUSA-directed plot, such as efforts to infiltrate labor unions or educational institutions, prompting Philbrick's activation in his undercover capacity.[31] He then navigated clandestine meetings and assignments, balancing deception toward communist handlers with discreet FBI coordination, building to a climax of thwarted subversion—often via timely intervention or evasion—concluded by a didactic narration underscoring fidelity to democratic principles over ideological allegiance.[2] This formulaic approach, spanning 117 episodes from 1953 to 1956, prioritized suspenseful realism drawn from Philbrick's consultations, distinguishing the show as espionage procedural amid Cold War broadcasts.[29][1]Recurring Themes and Narrative Techniques
The series employed voice-over narration by Richard Carlson as Herbert Philbrick to reveal the protagonist's internal monologues, conveying the psychological strain of juggling loyalties and the constant fear of exposure. This technique immersed viewers in Philbrick's ethical dilemmas, such as the guilt of deceiving his family and colleagues, while building suspense through whispered confessions of doubt during clandestine meetings.[32][33] Visual storytelling drew on film noir aesthetics, utilizing shadowy lighting, stark contrasts, and oblique camera angles to evoke an atmosphere of pervasive paranoia and hidden threats. These elements underscored the narrative's focus on isolation and vigilance, with dim interiors and nocturnal scenes amplifying the tension of furtive encounters without relying on graphic violence. The pacing maintained a breakneck rhythm, featuring rapid scene transitions and escalating confrontations that mirrored the real-time perils of infiltration, culminating in resolutions that reinforced moral clarity through Philbrick's pragmatic resolve.[28][34] Recurring themes centered on personal stakes, including recurrent risks to Philbrick's wife and daughter from communist retaliation or accidental discovery, which heightened dramatic irony and the human cost of secrecy. Narrative consistency portrayed adversaries as rigidly adherent to protocols, enabling plot devices like predictable recruitment patterns that Philbrick exploited through adaptive improvisation, thus contrasting structured deception with individual agency. This approach avoided glorification of confrontation, prioritizing suspense derived from intellectual evasion and quiet endurance over physical action.[32]Anti-Communist Messaging and Realism
Depiction of Communist Tactics and Ideology
The series portrayed the Communist Party USA (CPUSA) as employing compartmentalized cell structures to ensure operational secrecy, wherein members knew only a limited number of contacts to minimize the risk of widespread compromise upon discovery.[28] [35] These cells facilitated covert coordination for activities such as planning industrial sabotage and smuggling operations, with episodes illustrating how such insulated units enabled persistent subversion without full exposure of the network.[10] Front organizations, often masquerading as pacifist, youth, or labor groups, served as recruitment vehicles and covers for ideological penetration, drawing in idealistic individuals before escalating demands for loyalty and action.[8] Agitation and propaganda tactics were depicted as systematic efforts to infiltrate schools, unions, and community institutions, aiming to erode personal responsibility and foster dependency on collective directives, as seen in storylines involving the indoctrination of young people through manipulated educational materials and labor disruptions.[10] Episodes highlighted cell meetings where participants debated and executed plans for broader societal upheaval, underscoring the disciplined, hierarchical enforcement of tasks that prioritized party objectives over individual ethics.[36] Ideologically, the program critiqued communism through character dialogues that exposed inherent contradictions, such as rhetoric of proletarian equality justifying elite party control, suppression of internal dissent via purges, and the betrayal of personal ties in service to abstract doctrine.[37] Shifts in the party line—exemplified by the transition from wartime anti-fascist alliances to postwar antagonism toward the United States—were shown as pragmatic subservience to foreign directives rather than principled evolution, revealing the ideology's adaptability as a tool for power consolidation rather than genuine egalitarianism.[35] These portrayals emphasized collectivism's coercive logic, where professed liberation from individualism masked enforced conformity and the instrumental use of humanitarian pretexts to advance authoritarian ends, debunking sanitized views of domestic communism as mere intellectual dissent.[37]Basis in Verifiable Espionage Cases
The television series I Led 3 Lives derived many of its plotlines directly from Herbert Philbrick's documented experiences infiltrating the Communist Party USA (CPUSA) in the Boston area from 1940 to 1949, during which he reported to the FBI on party activities including recruitment, propaganda distribution, and subversion efforts in labor unions, education, and youth organizations. Philbrick's undercover work exposed operational details such as clandestine meetings, falsified identities, and directives to embed party members in influential positions, elements frequently dramatized in episodes portraying the protagonist's navigation of party cells and handler directives. His 1949 testimony before a federal court in the trial of eleven CPUSA leaders—charged under the Smith Act for conspiring to advocate violent overthrow of the government—provided key evidence leading to their convictions, with Philbrick detailing the party's hierarchical structure and anti-American indoctrination, facts corroborated by trial records and his subsequent accounts.[9][10] Episodes also paralleled broader verifiable espionage penetrations uncovered contemporaneously, such as Elizabeth Bentley's 1945 defection to the FBI, where she identified over 80 individuals, including U.S. government officials in the Treasury Department and Office of Strategic Services (OSS), as sources funneling classified documents to Soviet handlers via networks like the Silvermaster group. Bentley's depositions revealed systematic ideological recruitment and document theft mirroring the series' recurrent motifs of communists exploiting bureaucratic access for espionage, with her testimony contributing to investigations that dismantled active Soviet spy rings by 1948, though initial skepticism delayed prosecutions. These alignments underscore the series' fidelity to empirical patterns of subversion, as Bentley's exposures—validated by later Venona decrypts confirming at least 349 Soviet agents in the U.S. by 1945—demonstrated the scale of infiltration in sensitive agencies, countering postwar dismissals of such threats as isolated or exaggerated.[38][39] The program's narratives avoided unsubstantiated invention by adhering to Philbrick's vetted accounts and FBI-cleared case patterns predating the series' 1953 debut, with plots reflecting 1940s convictions like those of CPUSA operatives for espionage under the Espionage Act, including Julius Rosenberg's 1951 trial for atomic secrets transmission, which echoed dramatized technology theft scenarios. This grounding anticipated fuller disclosures of Soviet operations, such as the Cambridge Five's long-term embedding in British intelligence—suspicions of which surfaced with Guy Burgess and Donald Maclean's 1951 defection, though Kim Philby's role remained obscured until 1963—highlighting underappreciated depths of ideological penetration in elite institutions that the series depicted through parallel American contexts. Declassified records, including FBI files on Philbrick's reports, affirm the causal reality of coordinated CPUSA efforts to subvert democratic structures, validating the show's emphasis on pervasive rather than peripheral threats despite contemporary critiques of alarmism.[7][40]Reception During Broadcast
Audience and Critical Response
The syndicated series I Led 3 Lives demonstrated strong local viewership in the mid-1950s, particularly in competitive markets lacking national network support. In Cincinnati's three-station market, episodes on WLWT achieved a 47.7 rating in March 1954, reflecting robust audience engagement for a half-hour drama.[41] Trade publication Variety reported in July 1954 that the program secured "more than our share of the viewing audience" in tough, multi-station environments, attributing this to its tense, fact-based narratives drawn from espionage realities.[42] Its commercial success was evident in a three-season run spanning 1953 to 1956, with production of 117 episodes by Ziv Television Programs, a feat sustained through advertiser backing and regional syndication rather than centralized network metrics.[43][44] This longevity indicated viability amid the era's fragmented television landscape, where programs relied on heartland market performance for renewal.[45] Contemporary reception emphasized the series' appeal to audiences valuing its anti-subversion themes, with endorsements from viewers and figures like author Herbert Philbrick highlighting its role in public awareness of communist infiltration tactics.[34] Print media responses varied, with entertainment trades lauding dramatic elements and authenticity, though some outlets noted its instructional tone as prioritizing message over subtlety; overall, audience draw in conservative-leaning regions affirmed its resonance during heightened Cold War vigilance.[42][23]Syndication Reach and Ratings
"I Led 3 Lives," syndicated by Ziv Television Programs, premiered on October 1, 1953, and ran for 117 episodes until January 30, 1956, airing primarily on independent stations across the United States.[46] As a first-run syndicated series, it filled evening time slots on local outlets, capitalizing on the expansion of television markets in the early 1950s, where independent broadcasters sought affordable, high-interest programming to compete with networks.[23] In specific markets, the series demonstrated strong performance metrics; for instance, in Cincinnati's three-station market, episodes on WLWT achieved a 47.7 rating in early 1954, indicating substantial local audience capture amid limited competition.[41] Sponsor interest sustained post-broadcast viability, with oil and brewery companies funding reruns into the late 1950s, reflecting perceived viewer retention and advertiser value derived from anecdotal feedback on family-oriented appeal over edgier urban dramas.[47] Rerun revenue underscored enduring dissemination, as lead actor Richard Carlson earned over $800,000 from syndication residuals by March 1959, signaling broad station clearances and repeated airings that extended reach beyond initial broadcasts.[48] International syndication remained limited, with primary distribution confined to the U.S.; while later DVD releases appeared in markets like the UK and Australia, contemporary broadcast evidence points to minimal formal export, though the series' anti-communist themes aligned with allied nations' interests without widespread clearance data.[49][50]Controversies and Criticisms
Accusations of Propaganda and Fear-Mongering
Critics on the political left, including figures sympathetic to blacklisted Hollywood writers and the so-called Hollywood Ten, condemned I Led 3 Lives as emblematic of McCarthyite overreach, arguing that its narratives amplified irrational fears of communist subversion within ordinary American communities.[51] They contended the series functioned as overt propaganda, portraying the Communist Party USA as a shadowy network of deceitful operatives embedded in everyday professions, thereby fostering a climate of suspicion without sufficient evidence of widespread threat.[28] Detractors further criticized the program's oversimplification of communist motivations, which depicted party members uniformly as calculating traitors engaged in espionage, sabotage, and ideological indoctrination, while eliding portrayals of individuals attracted by perceived idealism, anti-fascist sentiments, or socioeconomic grievances during the Great Depression and World War II eras.[52] This monolithic framing, opponents claimed, ignored the diversity within leftist movements and reduced complex ideological appeals to a singular narrative of monolithic menace, selectively omitting contexts that might humanize or contextualize recruits.[53] In 1950s commentary, some media observers and cultural analysts decried anti-communist television fare, including I Led 3 Lives, for engaging in "red-baiting" through entertainment, with its 117 episodes across three seasons (1953–1956) accused of perpetuating hysteria akin to broader Red Scare tactics by suggesting communists were omnipresent and poised for imminent takeover.[54] Later assessments echoed these charges, labeling the series "notorious" for such red-baiting and linking its episodic reinforcement of infiltration fears to propagandistic intent.[55]Counterarguments: Alignment with Declassified Evidence of Subversion
Declassified documents from the Venona Project, publicly released by the U.S. government in 1995, decrypted Soviet communications from the 1940s revealing that the Communist Party USA (CPUSA) actively recruited and facilitated hundreds of American citizens as witting assets for KGB espionage, including infiltration of government agencies, labor unions, and cultural institutions—tactics mirroring the dual and triple lives depicted in the series.[14][56] The project's cables identified over 349 covert sources linked to Soviet intelligence, with CPUSA leaders directing operatives to embed in sensitive positions, such as the Manhattan Project and State Department, validating the show's portrayal of systematic subversion rather than isolated anomalies.[14] The Mitrokhin Archive, smuggled out by KGB defector Vasili Mitrokhin and analyzed in publications from the late 1990s, further corroborated CPUSA's role as a KGB "fifth column," documenting how party branches served as recruitment pools and safe houses for Soviet agents targeting U.S. political and economic structures during the early Cold War.[57] These revelations counter claims of fabricated threats by demonstrating that the series' narratives, drawn from Herbert Philbrick's FBI-informed experiences, aligned with empirically verified patterns of clandestine operations, where communists maintained public facades while advancing Moscow-directed agendas.[58] Philbrick's congressional testimony in 1949 directly contributed to the Smith Act convictions of eleven senior CPUSA officials for conspiring to advocate violent overthrow of the government, with subsequent trials yielding over 100 additional convictions based on similar infiltration evidence, none overturned for lack of factual basis in his specific identifications.[12] This record debunks the "hysteria" narrative, as declassified data show confirmed Soviet spies in the U.S. far exceeded contemporaneous accusations: Venona alone named more agents than McCarthy's lists, while CPUSA membership peaked at around 75,000 in the 1940s, a disproportionate share entangled in espionage per archival tallies.[14] The inherent causal logic of Marxist-Leninist ideology—prioritizing proletarian revolution over national pluralism—manifested in empirical outcomes like the Soviet purges of 1936–1938, which executed nearly 700,000 perceived internal threats, and the Gulag system's imprisonment of up to 2.5 million by 1953, underscoring why CPUSA adherence logically entailed subversive intent rather than benign reformism.[14] Such totalitarianism, exported via Comintern directives until its 1943 disbandment, rendered the series' warnings prescient, as post-war declassifications exposed not exaggeration but underestimation of the threat's scale.[14]Episode Guide
Season 1 (1953–1954)
The debut season of I Led 3 Lives comprised 39 half-hour episodes, syndicated by Ziv Television Programs and airing from October 4, 1953, to June 27, 1954, in markets such as New York on NBC Sundays at 10:30 p.m.[59] It introduced protagonist Herbert Philbrick (portrayed by Richard Carlson) navigating his concealed roles as a Boston advertising executive, an undercover Communist operative, and an FBI counterspy, drawing directly from Philbrick's real-life testimony in the 1949 federal trial of Communist leaders.[1] The narrative formula crystallized early, emphasizing the psychological strain of dual loyalties and the mechanics of Party discipline, with Philbrick thwarting espionage through incremental intelligence gathering.[59] Episodes focused on granular depictions of recruitment into local cells—targeting students, workers, and professionals—and subtle subversion tactics, such as infiltrating labor unions, defense facilities, and civil defense programs, thereby escalating viewer awareness from isolated incidents to systemic national vulnerabilities.[60] Initial installments like "Secret Call" and "Campus Story" outlined the premise of opportunistic enlistment via front organizations, while later ones like "Jet Engine" and "Defense Plant Security" illustrated cells' coordination of industrial sabotage, building cumulative tension around pervasive infiltration risks corroborated by contemporaneous FBI reports on domestic communism.[59][60] Produced on a moderate budget typical of 1950s syndication, the season incorporated stock footage for crowd scenes, meetings, and industrial backdrops to simulate scale without extensive location shooting, prioritizing dialogue-driven realism over spectacle.[1] This approach aligned with Ziv's efficient model, enabling weekly output while grounding plots in verifiable tactics from declassified cases, such as passport forgery and propaganda dissemination.[59]| Episode # | Title | Air Date |
|---|---|---|
| 001 | Secret Call | 04Oct1953 |
| 002 | Bess | 11Oct1953 |
| 003 | Dope Photographic | 18Oct1953 |
| 004 | Baited Trap | 25Oct1953 |
| 005 | Railroad Strike Attempt | 01Nov1953 |
| 006 | Campus Story | 08Nov1953 |
| 007 | Army Infiltration | 15Nov1953 |
| 008 | The Spy | 22Nov1953 |
| 009 | Jet Engine | 29Nov1953 |
| 010 | Helping Hand | 06Dec1953 |
| 011 | Parcels for Poland | 13Dec1953 |
| 012 | Captured Congressman | 20Dec1953 |
| 013 | Purloined Printing Press | 27Dec1953 |
| 014 | The Wife | 03Jan1954 |
| 015 | Civil Defense | 10Jan1954 |
| 016 | Communist Cop | 17Jan1954 |
| 017 | Defense Plant Security | 24Jan1954 |
| 018 | Gun Running | 31Jan1954 |
| 019 | Passports | 07Feb1954 |
| 020 | Map of the City | 14Feb1954 |
| 021 | Caviar | 21Feb1954 |
| 022 | The Kid | 28Feb1954 |
| 023 | Youth Movement | 07Mar1954 |
| 024 | Infra Red-Film | 14Mar1954 |
| 025 | The Editor | 21Mar1954 |
| 026 | Confused Comrade | 28Mar1954 |
| 027 | Communication Disruptions | 04Apr1954 |
| 028 | Phantom Labor Leader | 11Apr1954 |
| 029 | Progressive | 18Apr1954 |
| 030 | Old Man | 25Apr1954 |
| 031 | Birthday | 02May1954 |
| 032 | Cell Leader | 09May1954 |
| 033 | Dry Run | 16May1954 |
| 034 | Comrade Wants Out | 23May1954 |
| 035 | Depression | 30May1954 |
| 036 | The Boss | 06Jun1954 |
| 037 | Love Story | 13Jun1954 |
| 038 | Unexpected Trip | 20Jun1954 |
| 039 | Strategic Material | 27Jun1954 |