ADAM-12 was a spin-off of the successful DRAGNET series, created, produced and Starring Jack Webb and his Mark VII Production Company in association with Universal Studios Television and MCA Incorporated. Jack Webb’s authentic portrayal of the LAPD police procedures on ADAM-12 is still credited and used in Police Academy Training Films throughout the world.
Adam-12 aired on the NBC Television Network from 1968 to 1975, Starring Martin Milner as Officer Pete Malloy and Kent McCord as Officer Jim Reed. The show aired in various time slots, always highly rated throughout its run on NBC.Early characters prior to the Adam-12 series were actors Kent McCord (originally appearing in Jack Webb’s ‘Dragnet’ series and credited by his birth name, Kent McWhirter) and William Boyett as Sgt. MacDonald (and as other officers) in early episodes. What most people don’t know is that Adam-12 almost didn’t survive after the first season. NBC gave Jack Webb an ultimatum – keep Dragnet or Adam-12. Not both. Webb chose television production.wisely and kept Adam-12 on the air, which proved to be his most successful television series.
ADAM-12 – The most successful of producer Jack Webb’s non-Dragnet projects. The weekly half hour police procedural was a realistic look at the “street cop.” Not long after the show began, officers were noticing the change in the public’s attitude towards police. ADAM-12 allowed the general population to see police officers as hard working human beings trying to make a living.
Although the show is credited as being created by both R.A. Cinader and Jack Webb, the idea and concept for the show was solely R.A. Cinader’s. He researched and created the series and tried and eventually succeeded in pulling away from the Jack Webb “style” in presenting a more realistic approach.
Each episode dealt with a typical day in the lives of two uniformed policemen assigned to a patrol car in the city of Los Angeles. Seasoned actor Martin Milner portrayed Officer Peter J. Malloy, an LAPD veteran who in the first episode is teamed with probationary rookie cop, Officer James A. Reed played by Kent McCord. There were a few rocky moments in the beginning but the relationship between Malloy and Reed always remained on an equal basis with Reed benefiting from Malloy’s casual expertise and experience.
The show portrayed the professionalism of the officers and the LAPD. The police vehicles were also central characters on ADAM-12 with the black and white cop cars also becoming stars of the show. The theme of ADAM-12 had a military style while portraying a sense of contemporary action. Reversing the usual TV cop cliché with the younger officer, Jim Reed married to wife Jean, (played by Mikki Jamison and later by Kristin Harmon Nelson), while senior officer, Pete Malloy was a freewheeling bachelor.
Sent to their assignments by a never-seen police dispatcher (voice provided by Shaaron Snead), whose repeated “1 Adam 12 – 1 Adam 12” became the series’ most familiar catch phrase. Reed and Malloy handled calls ranging from the hilarious to the horrendous. Over the years their colleagues included Sgt. MacDonald (William Boyett), Officer Ed Wells (Gary Crosby), Officer Jerry [Bill, Lou] Walters (William Stevens), Officer Grant (William Elliott II), Officer Jerry Woods (Fred Stromsoe), and Officer Brinkman [also as Officer Green], both played (in different seasons) by Universal Studios contract actor, Claude Johnson.
Beginning with the third season, Jim Reed is no longer a rookie but a full-fledged officer; and at the outset of season four, Pete Malloy is promoted to policeman three, one rank below sergeant.
ADAM-12 premiered Saturday nights at 7:30pm. Original Primetime Prrogramming TV Schedule listed:
- SEPTEMBER 1968 – SEPTEMBER 1969, Saturday – 7:30PM – 8:00PM
- SEPTEMBER 1969 – JANUARY 1971, Saturday – 8:30PM – 9:00PM
- JANUARY 1971 – SEPTEMBER 1971, Thursday – 9:30PM – 10:00PM (Parents protested the late timeslot)
- aJANUARY 1974 – MAY 1975, Tuesday – 8:00PM – 8:30PM
ADAM-12 was rated 92nd of the TOP 100 network series programs ever produced until 1980. In its seven seasons on the NBC Television Network, it ranked #12 in 1970, #8 in 1971 and #11 in 1972. ADAM-12 was named Best Drama Program in 1970 by the Quigley Champion Awards. In September 2013, ADAM-12 celebrated its 45 Anniversary with an LAPDCOPS Special Anniversary video special. View the 45th Anniversary Special at the LAPDCOPS YouTube Channel.
Jack Webb, with the cooperation of the Los Angeles Police Department, was able to achieve one of the most authentic police procedural dramas ever produced for television. ADAM-12 was assigned a Technical Adviser by LAPD to assist the writers and actors. Authentic dispatch procedures, as well as, an real LAPD dispatcher, Rampart Division (a smaller replica of the interior and parking area in Sound Stage 42 at Universal Studios), authentic LAPD police cars, uniforms, authentic LAPD issue badges and then LAPD call sign of KMA-367 for its radio depictions.
NOTE: During this era all LAPD officers were required to wear their hats in the police cars. The actors tried, but the shiny brims reflected on the lights and into the camera. To solve the problem – in the first episode, the writers have Malloy tell Reed that hats were put in the back seat because the car roof was too low. That change was one of the few “dramatic license” used for technical reasons.
ADAM-12 First Episode (THE IMPOSSIBLE MISSION):
After his young partner is killed in a gun battle 3 weeks earlier, 7 year veteran patrol officer Pete Malloy – bitter and disillusioned, Malloy is decided to resign at the end of watch. As he readies for his final day on duty, he is teamed with an over-eager rookie partner, Jim Reed. Officer Malloy, being Reed’s FTO (Field Training Officer) feels responsible for his anxious new partner and is determined to keep him safe and alive.
Contrary to popular belief — NO real police officers were ever used as extras on the show. The union did not allow non-union actors to perform on the program and most cops were not members of the Screen Actors Guild at that time.
THE BEGINNING: ON LOCATION & THE ‘DRAGNET’ SOUND STAGE
BEHIND THE SCENES
ADAM-12 was the original concept of Robert A. Cinader and not Jack Webb. Since it was Webb’s company he also took credit for the creation of the show. Webb’s added many of his own elements to the show, but Cinader and Webb disagreed on how the show should be executed. Webb’s style was outdated and R.A. Cinader wanted to add more realistic, natural reactions from the actors, which he was finally able to do. This proved to be the right direction for the show as the ratings began to finally rise. The first two seasons of ADAM-12 did not fare well in the ratings and was in trouble of cancellation, but Webb agreed to discontinue producing DRAGNET to concentrate on ADAM-12 and other productions for the NBC Network.
R.A. Cinader (known as Bob) altered the format slightly of handling multiple calls punctuated by the dialogue between the actors in the car. This required filming inside the police car being towed through the streets of Los Angeles. The Director, Sound Tech and Cinematographer would sit in a station wagon (sometimes Mac’s car) rear facing back seat overseeing the towed police car with three cameras and lights attached to a bar over the cars hood.
There were a total of 4 Script supervisors during the run of the show. The longest being Cynnie Troup (Bobby Troup’s daughter) who would hide in the back seat of the police car with the script. She would read the dispatcher’s lines to cue Kent McCord. The dispatcher’s voice you hear on television was added in post-production and never heard by the actors during filming. Although viewers became very familiar with the distinct voice of real LAPD RTO [RTO: Radio Telephone Operator], Shaaron Snead’s voice and dispatch calls, the guys only heard the voice of the script supervisor.
PIC 1: Pilot: The ’67 Belvedere ready for the tow-rig. NOTE: Only ONE camera is used for the Pilot which
meant they had to retake each shot for close-ups.
PIC 2: Jack Webb and Sound man John Erlinger crouch down in the backseat of the tow-car. Jack reads the dispatcher dialogue to the actors in this episode.
PIC 3: Jack (seen in the backseat) gives Marty and Kent final directions before filming begins in the tow-car.
1. Jack Webb directing the pilot episode with Martin Milner and Kent McCord on location at a liquor store in North Hollywood. The ADAM-12 unit was an authentic police unit borrowed from North Hollywood Division. 2. On location at Encino Park. No real police officers were ever used as extras.
PILOT: 1. Filmed in Sound Stage 42 – Malloy tells Reed “hats in the back, these ceilings are to low.” This is one of the few changes from normal LAPD procedure since, at the time, cops were required to wear their hats while driving on patrol – but the brims of the hats caused a reflection from the lights.
2. On location in North Hollywood, character actor Howard Culver (portraying the liquor store clerk) is seen following Jack Webb’s direction on handing Malloy a piece of paper.
Art Gilmore and Martin Milner in the same area with the same (painted trees) backdrop used for the background of Rampart Division in the Pilot and the first call with Guest Star Ann Guilbert, known to her fans as ‘Millie Helper’ from The Dick Van Dyke Show. A prop tree was rolled into the sound stage for the scene and was placed behind the actors for close-ups. Exterior shots for Ann’s scenes were filmed on a side street in North Hollywood.
1.Note the duct tape covering a number on the T-2 ‘can light’ behind Reed in the first picture. This scene was filmed in the sound stage with another borrowed North Hollywood [Division 15] police car with the second number on the red/amber light covered.
2.The Pilot is the only episode where the ‘Plymouth’ name is not covered on the real LAPD car. The license plate seen on the car was not real and was created by the Universal prop department.
PIC 1: The desk officer is Rick Warrick, he was Martin Milner’s stand-in. The Sgt. next to him on the left is Steve Downing AKA Michael Donovan (the name of his dog…yes, the name of his dog) who wrote many scripts for the show. The police station set used in the Pilot was filmed on the Dragnet stage. The ADAM- 12 set had not yet been constructed on Stage 42.
PIC 2: On Location at Encino Park… M & R’s “mark” is a [red arrow and circled] crumpled up piece of paper where they dive directly in front of the camera. Watch our LOCATIONS: ‘NOW & THEN’ Part 1 video on the HOMEPAGE to visit Encino Park as it looks today.
PIC 3: MARCO LOPEZ appeared on many episodes of DRAGNET and ADAM-12 and never spoke a word. He was also Jack Webb’s stand-in on DRAGNET. We didn’t realize Marco could speak until he appeared as Firefighter Marco Lopez on “EMERGENCY!.”
PIC 4: Gary Crosby and Marco Lopez arrest a suspect.
PIC 5: Rick Warrick and Marco Lopez are seen as background officers walking in the station (Stage 42) on ADAM-12.
On location at Encino Park on Ventura Blvd in the San Fernando Valley. The area, houses and trees still look the same for the most part, with the exception of apartment buildings being built where the police cars are seen in front of where houses once stood. FYI: Jack Webb lived nearby.
On location at North Hollywood Division used for the Pilot. Pictured are actors and not actual police officers. Often mistaken for RAMPART Division, the Pilot episode used exterior shots of North Hollywood Police Station.
On location in North Hollywood in front of Dave Berg’s Liguor Store as seen in many episodes and featured on LAPDCOPS.com video “NOW & THEN Part 2.” Second picture on location at Moorpark and Bellingham Ave near Moorpark Park.
PILOT: On location at the front entrance of the real LAPD North Hollywood Station
[Division 15] in 1967. The station has since moved to a new location.
Malloy and Reed in front of North Hollywood Division and the back parking area of the station. The pilot is one of the few times actual police units are used in a scene.
North Hollywood Division now and the old North Hollywood station used for the Pilot filmed in 1967.
FYI: Although not aired until 2/15/69, Log 51- A Jumper, Code 2 – Season 1, Episode 19 was the second episode filmed (or officially, the first episodeafter the Pilot was approved by NBC for series) with a brief summary of the upcoming episode with the radio dispatcher calls in the opening credits. NBC choose not to air this show immediately. It finally appears in the series as the 19th episode of the first season.
Before the show began it’s run, Martin and Kent received brief specialized training and studied defensive tactics and firearms at LAPD’s Police Academy.
Jack Webb used his clout with the LAPD to secure permits and LAPD vehicles for location shots which most producers could not do at the time; now it is common practice.
Adam-12 featured the city of Los Angeles with location shoots. The first two seasons made use of the studio back lots for the outdoor scenes but the scenes looking into the car were filmed on city streets, mainly in the North Hollywood, Burbank, Studio City area. By season three, Jack Webb was beginning to use his contacts at the LAPD to get more location shoots without breaking the budget. From the tow car (station wagon) that pulled the patrol car at street level through dozens of locations throughout the city to the extensive filming of scenes on the streets of LA, Jack Webb used the city as his backdrop courtesy of the LAPD.
Although the police would place the standard road blocks for location shoots, Jack Webb ensured that traffic and people flowed through the outdoor shots with little interruption. Be it a street corner, stadium, parking lot or in the patrol car, you could clearly see the flow of people and traffic.
After the third season, Jack wasn’t happy with the scripts, so they started a competition to find new writers. Stephan J. Cannell entered and won the contest. He impressed Webb with his ability to produce good scripts in record time. Cannell would go on to write individual episodes as well as serve as story editor for two seasons. The LAPD assigned sergeants to each of the show’s writers to answer questions and approve the final scripts. Sergeants were also used as technical advisors and would tell the actors tactically what to do as an officer.
Police officers from across the country were encouraged to mail in stories. If used, the show paid $100. Good money for a story line in the 1970’s.
Martin Milner did most of the driving and was known for always hitting his mark. Contrary to popular belief, it is not because Marty’s experience on his former TV show ‘Route 66’ – it had to do with filming stock shots. It would be too costly to film the many stock footage of McCord behind the wheel; strictly done that way for budgetary reasons.
In the episode, “Child Stealer,” (pictured above) which aired in the second season, they chased a kidnapper’s car over railroad tracks. Martin asked if blocks were needed to clear the bottom. He was told not to worry and they tore the bottom of the car out. After being blamed for the damage, an angry Milner told them to hire a stunt driver. His driving was never criticized again. Sometimes accidents happen.
Once Marty accidentally drove the Plymouth Satellite into a fence pole during a scene of the episode ‘The Radical’ as recreated below. M & R were not injured, but the Satellite’s front end was badly damaged and went to the body shop. The exterior Satellite vehicle for the rest of that episode was a temp car and had the obvious temporary magnetic city seal and “to protect and to serve” plates placed on the side doors.
According to Producer Tom Williams – In ‘The Radical’ the scene shown on TV was the first take. Marty thought he could do a better 2nd take, but accidentally drove into the fence pole when he lost control of the Plymouth Satellite. 2nd Picture is a temporary Satellite (studio car dressed as LAPD) seen in the rest of the location shots of the episode with temp LAPD magnets on the door.
ADAM-12 – LAPD “POLICEMAN”
Badges 744 & 2430
The badges used on the show were real, authentic LAPD badges and ID cards and were returned to the Los Angeles Police Department after the show wrapped production in 1975. They turned up missing in the late seventies, but since then a technical adviser from the show claims to have Malloy’s original badge. The “series 6” POLICEMAN badges were retired when the “POLICEMAN” series was changed to the “POLICE OFFICER” series in 1973. The Sergeant and Lieutenant’s Badges number 714 from Dragnet were given to Jack Webb and his Sgt.’s Badge is now mounted in a crystal display and located at the LAPD Police Academy as part of Jack Webb’s Collection.
Had Adam-12 continued production, Jim Reed’s badge would have been updated to “POLICE OFFICER” to reflect the changing environment of the LAPD.
Webb proposed to NBC a spinoff of the original ADAM-12 format where Reed would have been partnered with a younger actor portraying a rookie “Police Officer” (rumored to be Mark Harmon or rotating partners) as Milner had already signed to star in ABC-TV’s new series ‘Swiss Family Robinson.’ Had NBC agreed to another season, it was rumored that Milner would have continued with Adam-12 in a limited capacity as the sergeant – which would only take one day of filming when needed. However, it was highly unlikely that ABC would have allowed Marty to continue to work on an NBC production, which was the biggest tell all that ADAM-12 was about to it’s long run.
Adam-12 script supervisor, Cynnie Troup remembers: “The most interesting thing about the show was that Marty and Kent were truly good friends, which is fairly rare on television shows. And the relationship was very much like the parts they played; you know, Marty sort of being the older, advisor type, and Kent like the young rookie. That’s what their real relationship was like.”
“And aside from the outtakes being very funny, what impressed me the most is that you see what good friends Marty and Kent are. That was the highlight of the whole thing: you see how much they enjoy each other and their screw-ups and their fun with each other, and that really was unusual.”
Such a beautiful friendship might never have begun if Kent had been allowed to follow his first inclination.
As Bill “Mac” Boyett remembers it, “Kent had done a Dragnet, where he’s the young cop accused [of an armed robbery, ‘The Big Interrogation’, 2-9-67], and it was just Kent and Harry Morgan and Jack Webb. Kent felt very intimidated and didn’t like it. He was under contract to Universal, and the story goes that he went to Universal and said, ‘Ill never work for that guy again. That’s a terrible experience…’ Webb went to Universal and said, ‘I’ve seen a lot of these kids you’ve got under contract and this is the only one that’s any good, and I want him on my show.’ And then Kent indeed became a big fan and friend of Webb’s.” Marty Milner who once played Webb’s partner on the radio version of Dragnet, was an old friend when he was offered the part.
Once hired, the two stars began riding with real patrolmen. Kent rode in Hollywood Division most of the time and Marty in South L.A.
Once the show went into production and location shots were in progress, the two “officers” were approached by citizens in need. Marty remembers, “Lots of times people would come up to the car and tell us something that was going on or something that we could take care of. “If the camera was around the corner and it was a shot of us driving by, coming around the corner, we’d be sitting where the civilians on the street couldn’t see the camera and they’d think we were cops. But that was only the first coupl’a years. After the show got pretty popular that wasn’t the case.”
Cynnie Troup laughs as she remembers, “Every other week I spent a whole day on the floor in the back seat of the car doing radio calls while they drove around.
“They towed the car; they mounted three cameras on the front of the hood and they would run the scene and get all the coverage done, the two-shot and the two close-ups. They took the bottom of the back seat out and had a furniture pad down there and I would lay down there with my script book, reading ‘One-adam-12, see the man,’ or ‘415, Code Three,’ or whatever, for them to act to. Later they would dub in the voice of the girl. “I would literally get carsick sometimes, cuz you do them for, like, three shows at once. Once they got that rig going you’d just drive around and around. And Marty and Kent were so funny with their jeans on, and then the cop outfits from the waist up!”
The Adam-12 cars were a perfect match for the real thing–almost–according to one of the producers, Tom Williams. “The last year, they added two more cars to the Los Angeles Police order, that we paid for. [Before the Matadors] we would just buy a commercial vehicle and then paint it to look exactly like and LAPD police car, except we always made one little difference in it so we’d know if it was our car used anyplace else.
Accidents will happen, and a few of them did while Marty Milner was at the wheel (see above). Tom Williams recalls, “Those tow-shows were done every other Friday. They actors couldn’t see anything; they were being towed down the street. Webb and his cameraman designed that hood rig; the three cameras ran simultaneously. That’s why, if there was a car behind them, it would always match from every angle.
A lot of shows were using rear screen projection as did DRAGNET, but we just went out and did all of those scenes on the streets, mostly near the studio. Those were all real cars back there. And in the police car that you would see on exteriors where the car’s doing run-bys and things like that, the actors usually did not film those scenes. We would have extras, because from that distance you couldn’t tell who it was. But sometimes on that Friday when we’d go out to do the tow-shots and they still had a couple of hours left, we would put [Milner and McCord] in a car, shoot footage from the backseat and have them drive short distances, stopping, starting and pulling over for exterior scenes.
Producer Bob Cinader was the person the stars went to if they had any problems with the show’s scripts. Milner recalls the production routine. “I think we’d meet Monday and discuss the show that would start in eight days. We would read through with Bob Cinader and the story editor, and find what needed to be fixed, and that would give the guys eight days to fix ’em before the show began shooting.”
The TV Collector May-June 1995(#78) By Diane L. Albert Edited by Dave Skyler / LAPDCOPS.com
Read The Full Story HERE
ADAM-12 – Link Operator (The Male Dispatcher)
LITTLE KNOWN FACT: TOM WILLIAMS was also heard as the voice of the male dispatcher (known as the Link Operator) and was many other background voices heard on the show. He
was also minor acting roles and appeared on both ADAM-12 and EMERGENCY. (ABOVE) B/W PIC: From 1971 (L-R): Head Writer STEPHEN J. CANNELL, Executive Producer HERMAN SAUNDERS, Producer TOM WILLIAMS and MARTIN MILNER as Officer Pete Malloy dressed and ready to film on set.
ADAM-12’s VIP’s Behind The Scenes
PICTURED (L-R) Executive Producer HERMAN S. SAUNDERS • Head Writer STEPHEN J. CANNELL • Jack Webb’s Secretary JEAN MILES • Mark VII Productions Secretary CAROL GILLSON
The Cynnie Troup Collection
Adam-12 Script Supervisor
Cynnie Troup pictured in my studio for the 45th Anniversary interview. Cynnie Troup [Script Supervisor: 1969 – 1972] on location. Cynnie (always dressed in black in the car so she didn’t reflect on the windows) sits up as the scene ends with the Director yelling “cut” on a walkie-talkie heard from the tow-car.
On location in North Hollywood, Cynnie, her Mom (Cynthia) and sister Ronne who was featured in the episode. Marty, Cynnie (checking the script) and crew. On location waiting for the next scene: The beautiful daughters of Bobby Troup: Actress RONNE TROUP and her sister, Adam-12 Script supervisor CYNNIE TROUP on Location.
Kent McCord and Cynnie checking the script while Marty gets ready for the scene. Waiting for the next scene in the studio wearing their uniforms (described as costumes by the wardrobe people), Marty and Kent play foosball while Cynnie looks on smoking a cigarette. Final pic is on stage filming an episode featuring SWAT with Marty and Kent in SWAT uniforms.
PIC 2: Marty, Writer Stephen Cannell, Kent and Producer Tom Williams
SHAARON SNEAD – “The Gold Standard” – LAPD
LAPD & ADAM-12 Dispatcher
A real LAPD dispatcher who made extra money dispatching for TV and movies. She was an LAPD RTO in the San Fernando Valley for many years. Shaaron (formerly Claridge) was once nominated for a “Heard but not Seen” TV Land Award – but she actually makes an uncredited appearance in the 1973 episode “Suspended.” WATCH Shaaron’s entire and only appearance on Adam-12. WATCH NOW ►
The actors never heard Shaaron during filming, her voice was dubbed in during post-production. The calls were read by the script supervisor, hidden in the back seat of the car.
All of the radio calls (even the calls heard in the background) were recorded in a studio, including the male voice (usually followed by three tones) of the link operator, voiced by Producer Tom Williams. A filter was then placed on the audio to create the “dispatcher radio sound” known in the industry as “fussing” and then dubbed into the show. Mr. Williams auditioned three different real LAPD RTO’s for the dispatcher role, all are heard as background calls in the Pilot episode and throughout the first season, but Shaaron sounded the best, was qualified and had a true passion for the job.
Re-dubbing, or known as looping the actors voices in a studio was a common practice, since there were often audio problems with location shoots
When actors loop a scene, the actor is played back the original scene in headphones and then repeats it the same way into a studio microphone to match the words as they were said in the scene.
SHAARON (then known as Claridge) SNEAD, is now semi-retired, however, she still does voice over work. She was a second-shift ”radiotelephone operator” or simply known as a police radio dispatcher at the Van Nuys Division of the LAPD.
Hey… Where’s Shaaron?
The one of two where Shaaron is NOT used as the (RTO) dispatcher on Adam-12. Episodes: “Elegy For A Pig” and “Hollywood Division” is Shaaronless. The sexy voiced dispatcher in “Hollywood Division” caught the ear of Pete Malloy, but she frustrated Reed with her lack of experience. Turns out sexy dispatcher ‘Betty Edwards’ (played by actress Sondra Currie) was married to a fellow officer they worked with earlier in the episode, SWAT Commander, Lt. Edwards (Robert Torrey).
THE ORIGINAL SUPPORTING CAST
(L-R) William Boyett as Sgt. MacDonald, Art Gilmore at Lt. Moore, William Stevens as Officer Walters, Claude Johnson as Officer Brinkman, Jack Hogan as Detective Jerry Miller and Gary Crosby as Officer Ed Wells. Unfortunately, none of the actors were under contract so most moved on to other projects. William Boyett and Gary Crosby always made themselves available but were never under contract and worked by choice when called.
William Boyett was part of Webb’s stable of actors and was always available when called in to work. [Trivia note: Boyett’s original character name was different, but changed to “MacDONALD” at the last minute during filming of the pilot. He was never given a first name]. Art Gilmore was written out early on since his character wasn’t necessary to the storyline.
William Stevens would make several appearances in the first season, but the work was inconsistent so he moved on to other opportunities. Producer Tom Williams brought him back in Season 6 as a helicopter pilot in the episode ‘SKYWATCH.’ [Trivia Note: Stevens always was given the surname of “Walters” but had 3 different first names].
Claude Johnson was a contract player for Universal Studios and appeared on many Universal productions, usually portraying a cop. [Trivia note: Johnson also plays Officer Norm Green and Officer Johnson on the show].
Jack Hogan’s character was also written out of series since they wanted to concentrate on the patrol officers and eliminate the detective (Dragnet) aspect of the show. Hogan also returns (as a different character) in Season 6 episode: ‘SKYWATCH.’
Gary Crosby was also a part of Jack Webb’s stable of steady actors and always made himself available when called to audition for any Mark VII Produced television show including EMERGENCY! Gary makes appearances on EMERGENCY! and other MARK VII pilots while he was on ADAM-12.
Martin Milner as Officer Pete Malloy (Malloy, Peter J. – Serial Number: 10743. Time on the job – Nov 15, 1961 at the the time in 1968)
Kent McCord as Officer Jim Reed (Reed, James A. – Serial Number: 13985. Time on the job – Jul 11 probationer in 1968)
William Boyett as Sgt. MacDonald from 1968 to 1975
Shaaron Snead (formerly Claridge) the voice of the dispatcher from 1968 – 1975. (Shaaron Snead retired from LAPD in the late 1980’s)
Gary Crosby as Officer Ed Wells, a cocky, obnoxious Training Officer who appeared from
1968 – 1975
William Stevens as Officer Jerry (Bill, Lou) Walters, 1968 – 1970 and 1974
Jack Hogan as Sgt. Jerry Miller, 1969
Mikki Jamison as Mrs. Jean Reed, 1969
Kristin Harmon Nelson as Mrs. Jean Reed, 1974 -1975
Claude Johnson as Officer Brinkman (and as Officer Green), 1968 – 1971
William Elliott II as Officer Grant, 1974 – 1975
FRED STROMSOE first appeared on ADAM-12 as a “bad guy” in two episodes before becoming a regular character as Officer Jerry Woods. Fred and Marty were close friends and had worked together in the past. was also a stunt man in movies and television. Other than Marty and Kent, Fred is the only other actor that was given a contract with Mark VII Productions. Not even [Mac] William Boyett was ever under contract. At one point in time, both Marty and Fred owned Avocado Farms in Fallbrook, California and were neighbors. In the last picture with the painting of the “Pocheck” – few people know that there was an alternate ending written in this script that would have ended the series – thankfully, the situation was avoided and the show continued.
MEMORABLE GUEST APPEARANCES
(L-R) Butch Patrick – Barry Williams – Jodie Foster – David Cassidy – Mark Harmon – Lindsay Wagner – Scatman Crothers – Dick Clark
Episode 58, “Log 55: Missing Child” guests stars Jodie Foster as the playmate of a missing child.
Episode 80, “The Million Dollar Buff” making her television debut, Lindsay Wagner guest stars as a jewelry store attendant.
Episode 121, “Gus Corbin”, guest stars Mark Harmon.
Universal Studios contract actor Jed Allen portrayed many characters on several Universal Productions and appearing on ADAM-12 in six episodes, two episodes portraying the same notable character: Reno West. The name “Reno West” was used on several episodes, referencing the character even when Jed Allen did not appear.
(L-R) Aneta Corsaut, Milner, Kristin Harmon Nelson, (sister of Mark Harmon and then wife of Rick Nelson, McCord’s close friend) McCord and the first Mrs. Jim Reed played by actress Mikki Jamison in 1969.
Mikki passed away June 17, 2013 at age 70 in her hometown of Spokane, WA Note: It was rumored that Mikki originally won the role of Jean Reed because she had once dated Ricky Nelson of ‘Ozzie & Harriett’ fame. Rick Nelson’s wife Kristin Harmon would end up with the role as the second and final Mrs. Jim Reed. The name ‘Jean’ was the name of ADAM-12 Creator, R.A. (Bob) Cinader’s wife.
McCord got his big break on TV when his best friend, Rick(y) Nelson offered him a minor role on The Adventures of Ozzie and Harriet with the very famous, influential Nelson family. He is credited on that show by his birth name, Kent McWhirter. In the first couple of seasons of Adam-12, Malloy and Reed are dispatched to a “McWhirter” address.
Ozzie Nelson even Directed and appeared as robbery victim Ted Clover in the 1971 episode: The Grandmothers
Jo Ann Pflug Guest Stars as “POLICE OFFICER” Dana Hall in 1975 on one of the final episodes. This unofficially marks the end of the “POLICEMAN” and was intentionally intended to demonstrate women’s new role as full-fledged “POLICE OFFICERS” since this was cutting edge at the time. This episode demonstrates how a female can perform the same tasks as a male “POLICE OFFICER.”
A female officer was considered as a potential new partner (or rotating partner) for officer Jim Reed had NBC picked up the series for another season. Either way, Milner was leaving his full-time roll as ‘Pete Malloy.’ Universal wasn’t talking renewal, so he signed a deal to star in ABC-TV’s, ‘Irwin Allen’s, Swiss Family Robinson‘ due to persistent rumors of Adam-12’s imminent demise. However, had NBC renewed the series, Milner would continue to play a minor role as the new Sergeant and would only film on a very limited basis. He had already filmed the first episode of Swiss Family Robinson before filming the final episodes of Adam-12. In the final episode the camera focuses on Milner in the last shot of what turned out to be the final show of Adam-12’s long run.
Always remaining authentic as to police procedures, Adam-12 had become a bit too homogenized as other cop shows were becoming a little more gritty than authentic and reflecting the changes in Los Angeles. The show certainly had the potential to move forward – unfortunately, as predicted, it would not survive the television programmers and NBC canceled the show.
In 1982, Webb was in negotiations with NBC to give Dragnet another go with Kent McCord ( as Detective Jim Reed) his new partner. Webb was preparing for the potential new series when he suddenly passed away of a heart attack in late December 1982. Kent McCord attempted to move forward with the new Dragnet project, but without Webb’s influence, the show was shelved.
Adam-12 and LAPD Police women in the ’60s and today’s female police officers. Female officers began to be perceived as “real officers” in 1973 when the badges began to change, but were still wearing a skirt and shuffled into female-only duties, given desk and clerical work, sent to women’s jail wards, or posted to juvenile investigations units. By 1974 some female officers fought for and won patrol positions.
ADAM-12 • The Sound Stage
Pictured above: Malloy and Reed at roll call and in a locker room scene. NO real cops were ever used as extras as once believed. All were actors (required members of the SAG Union) and much of the same people were often used throughout the series. Gil Loe was in charge of Wardrobe and always dressed the actors in LAPD regulation uniforms with the exception of Milner and McCord.
Martin Milner and Kent McCord’s uniforms were NOT LAPD regulation and were custom made with light Navy-blue wool material for comfort. Martin Milner did not care for the lapels on the LAPD regulation shirt, so Marty and Kent’s shirts were custom made with smaller lapels. The t-shirts were purchased at JC Penny and dyed with a light blue hue (Technicolor Tint #2), which appears white on camera. In the first season the uniform was dyed with the wrong color of Navy (LAPD) blue and that’s why Malloy and Reed’s uniforms appear to brighter blue in color.
The area used to film the scenes above is on the stages at Universal. Stage 42 which housed the police station interior and parking area. The lockers are removed and the set is dressed for the roll call room. Coffee room was also dressed as the Detective and Team 12 room, sometimes they would also dress a set [interior rooms, bars] of areas not being used for filming inside Stage 42.
Jack Webb had set decorator John Sturtevant and the prop department replicate the interior building and parking area of the Rampart Police Station in the sound stage at Universal. Other sound stages were used with existing sets that could be used for a particular scene.
Many locations around the Los Angeles area were used for exterior shots and stock footage, but most scenes as Malloy and Reed arrive in the car were filmed near the studio with most of the interior scenes then filmed in a sound stage. However, some of the action and outdoor scenes were filmed on location. Pictures above: Barry Williams (Brady Bunch), Dick Clark, William Boyett as Mac and who can forget Duke Dokowski and his “Julie London” look-a-like girlfriend from Duke’s Cafe on the set in a sound stage.
Sinatra & Crosby: The Children of Frank and Bing – Episode 2, Season 5 “The Late Baby” Air Date: September 20, 1972. (L-R) Tina Sinatra, Gary Crosby and Frank Sinatra, Jr. filming on the set of Adam-12 and Malloy and Reed at the faux Rampart Hospital entrance, another recreated fixture by the Universal prop department and filmed inside the sound stage next door.
Adam-12 visit the set of the fictitious Rampart General Hospital in nearby soundstage 41 on the Universal lot. In the screen clip, Malloy just misses running into (they never meet on the show, although Randolph Mantooth had appeared on Adam-12) Firefighters / Paramedics Roy DeSoto (Kevin Tighe) and John Gage (Randolph Mantooth).
Exterior shots and some filming was done at the real Rampart Police Station, but all of the interior scenes and some exterior scenes were done in the sound stage at Universal. The prop department created a small area that resembled Rampart’s back door and parking area for a two to three police car tight shot – that is why the building appears “dirt-free” and lighting was so impeccable in those close-up “outdoor” scenes – they were done inside Stage 42, pictured below.
Although this area above is made to resemble the outside of Rampart Station where you see the Adam-12 unit park in exterior shots, this area was actually inside sound Stage 42 along with the mock Rampart police station interior created by the prop department. In the last parking lot picture above, a police unit had just backed up in the scene to roll on patrol, but the studio lights are so bright that you can see the shadow of the unit as the car comes to an immediate stop when it’s out of the frame of the picture but the shadow of the car is blatantly visible throughout the entire scene…oops.
Many stages on the back lot were used including Stage 41 [home of EMERGENCY!] and the famous and extremely large Stage 12 known for filming outdoor scenes inside the soundstage
On Location: The real Rampart Police Station
Pictured above is from only a few episodes of each season actually filmed with the actors and studio cars at Rampart Police Station. The last screen shot of the Matador leaving the station was filmed in 1974 and shows how the real police station wasn’t as clean as the pictures above from 1968 and the “studio” police station. Also note the exit driveway of the station no longer has an “IN” entrance, just “OUT” is painted on the ground, as patrol units were only using that driveway to exit the station, it was no longer an entrance except for the Adam-12 car.
Note the different angles used in the scenes above, as you get to see the back and full view of Rampart Division and the actual distance between the cars and exit door. When comparing the real police station and the sound stage version, the Universal prop department did an excellent job recreating the exterior and interior of the actual police station.
The actual Rampart Station was mainly used for filming aerial exterior shots of the police car arriving and leaving the station with extras (not the stars) driving the Adam-12 car, but stock footage (except Season 2 because the ’68 and ’69 Belvedere looked similar) was filmed each season with the stars driving in and out of Rampart station.
Adam-12 & S.W.A.T. [On The Back lot]
Universal Studios Backlot
The original Colonial Street at Universal Studios was in the northwestern region of the lot in an area formerly known as River Road. Colonial Street, created in 1950, was named for the Colonial Mansion (aka Shelby House from the 1927 film Uncle Tom’s Cabin) at the west end of the street.
The older, east end of the street was known as New England Street, a name also applied to this street as it ran further east, south of Circle Drive and a park (built in 1950) and along the north side of Courthouse Square (built in 1948). Some of the houses on Colonial Street had origins elsewhere, including the Maxim and Allison houses, which were original soundstage sets, and “Ron’s Barn,” which was originally a barn set.
In 1981, Colonial Street was relocated on the lot, and the original area was converted to production facilities. Pictured above Malloy and Reed are called to Colonial Mansion, Colonial Street Morrison House, Colonial Street’s Hubbard House and many other famous movie houses, streets and dressed sets on the Universal backlot. Even Emergency!’s Engine 51 made several appearances on Adam-12 dressed as an L.A. City Fire engine.
Four Court on the back lot was used for the setting of Duke’s Cafe and several other settings in the first couple of seasons. They begin
using more city locations in Season 3. However, in the last year, they once again used the back lot in a few of the final episodes. Jim Reed fans may recognize the black Plymouth where he takes cover. That’s the same car used as his personal vehicle in 11/1/69: Log 103-A Sound Like Thunder Season 2, Episode 6
A Closer Look…
1. “The Anniversary” – Same liquor store from the pilot is used again in this episode. 2. “Ambush” The guys are transporting a prisoner they picked up from the Sheriff’s department, which is out of their radio range. Their tire gets shot, but the close-up reveals where the squib is planted on the road (gun shot effect) and the “tire” actually shot is stock footage of a white-wall tire with a different hub-cap.
In the first two seasons, the YELLOW BOX [Fire Extinguisher] is accidentally placed in the wrong area on the stage as can be seen in the stock footage of the real Rampart Police Station. On stage it was placed between the doors until someone finally noticed and moved it to the right place, next to the vents.
ON LOCATION: During filming at Rampart Police Station and NBC uses the opportunity to promote the new show. Kent & Marty interviewed by Joe Garagiola on the TODAY show in 1968. The man sitting on the right is Sgt. Dan Cook (LAPD Public Relations) This is the “JUMPER” episode (2nd episode filmed or first filmed after the pilot) NBC had picked up the Pilot. Harry Morgan is the Director of this episode. LAPD Chief Thomas Reddin is also present during the filming.
ADAM-12 and LAPD: “POLICEMAN BILL” Program
Pictured above is from the first episode of the second season: Log 15: Exactly One Hundred Yards featuring the “Policeman Bill” program. Guest Star: Butch Patrick from “The Munsters” and featuring long time KTLA Channel 5 Los Angeles News Anchorman, Larry McCormick as the school principal, pictured with Milner and McCord. This scene was filmed at Notre Dame High School In North Hollywood, however, stock footage of the North Hollywood High School was seen at the beginning of the segment.
The LAPD “Policeman Bill” program was designed to educate and inform children about the police. Each division had a Community Relations officer with a Lieutenant in charge. He would have a Youth Services officer, usually a policeman and a policewoman, their main duty was the LAPD Explorer Program (a program similar to the Boy Scouts for kids interested in police work), but additional duties were the Policeman Bill program, visiting L.A. Unified Elementary Schools meeting with the kids, show them how the police car worked and to consider all police officers as their friend, “Policeman Bill” and to refer to them as such. The “Policeman Bill” program ended in the early ’70s.
Note: For a brief period, the LAPD had a policeman teaching Police Role in Government in the L.A. Unified District High Schools. This was a full time assignment. One officer would be assigned one high school.
Adam-12 – “Elegy For A Pig” The Documentary Style Episode
Memorial Dedicated To Fallen Officers by Jack Webb
“Log 105: Elegy for a Pig” is the 60th episode which focuses on the life of a recently killed police officer. It is notable for being a major departure from the series’ usual “day in the life” format. The show is presented as a tribute to police officers who have fallen in the line of duty.
In keeping with the show’s somber tone, the opening and closing credits are done differently than usual: the theme music is absent, and the white credits are shown against a black background. Also, the opening credits are spoken aloud by Jack Webb, who finishes with, “For the next 30 minutes, Elegy for a Pig.” Definition of elegy: a mournful, melancholy, or plaintive poem, a lament for the dead.
Officers Malloy and Reed are attending the funeral of slain policeman Tom Porter (Guest Star Mark Goddard), who was a friend and academy classmate of Malloy’s. In flashbacks, Malloy remembers meeting and working with Porter during their “rookie” years and Porter being killed while chasing a robbery suspect.
Actor Tom Bellin was seen on Dragnet many times and mostly seen portraying a bad guy on ADAM-12. In this episode he plays a hippie guy pulled over for a “rolling stop” with a big mouthed bird taught to repeat the phrase “DOWN WITH THE PIGS…RHACK…HAHAHA.” Funny scene.
Funny scene from ‘Training Wheels’ as Wells explains to a little girl how he damaged her bike during an undercover assignment but the police department would fix and pay for her bike. Great expression on her mad little face… and Ed’s look is priceless. Filmed inside Stage 42 at Universal.
211 in progress at a car dealership on location on LANKERSHIM Blvd – car crashes through the doors, Malloy and Reed go in pursuit of the crazy driver but call off the chase. The suspect TA’s (Traffic Accident – now known as TC “Traffic Crash) and Ed Wells surprises Reed by agreeing that it was a good idea for Adam-12 to call off the pursuit because the suspects erratic driving was placing other drivers in danger.
LOG 152 A DEAD COP: Malloy & Reed save crazy Ed Wells after he gets shot rushing into a situation with NO plan. Marco Lopez (Wells partner) seen firing his shotgun but as usual, says nothing. Wells is saved by Malloy and Reed.
Adam-12 Producer Tom Williams notes the Holy Cross featured in Season 3, Episode 12 “Log 46-The Pilgrimage” is a well known landmark in Hollywood, but this was a replica created by the prop department and placed in Universal Studios Stage 12, which was a studio designed to look like an outdoors park and used for the entire scene. The actual Cross is still located high above a Hollywood hill and can be seen day or night off of the N/SB Hollywood 101 Freeway near the Vine St / Highland Ave exits
The LAPD Gamewell Callboxes
GAMEWELL CALL-BOX HISTORY:
The “Gamewell” call-box system was used in Los Angeles for almost a century. Beginning in 1899, the boxes were utilized for hourly call-ins by officers in the field, who all had fixed posts or walked footbeats. Call boxes were located in all patrol divisions, usually installed at intersections where two or more beats met. When practical, boxes were located along Division boundaries for efficiency and economy.
Early on, the policeman would open the box and pull a handle to identify himself to the city operator downtown. If there were no calls for him, he would receive a “two-bell” signal and be on his way. Three bells, however, meant there was a call for him; he would pick up the receiver and listen to a message telling him only to “See the man (or woman),” and the location – nothing more.
By about 1925, the system had been redesigned. There were over 500 call boxes throughout the city, each equipped with a Western Electric telephone handset, and they were now connected to the local Division station rather than to City Hall. (Except in the San Fernando Valley where there were standard rotary-dial business-line phones in the callboxes). At his appointed time each hour, the officer would pull a handle to identify his callbox to the Divisional operator, and then give his name. If there were any calls or messages pending for him, they would be given, otherwise he would simply be “marked off” as having called in for the hour, and would receive the two-bell “you are clear” signal.
In the 1970s, the remaining private-circuit “Gamewell” system was integrated into the city’s “Centrex” telephone system; the antiquated street-corner phone-sets were replaced with push-button phones, and the two plug-and-cord Gamewell consoles in Communications Division were removed.
The TV Collector May-June 1995(#78) By Diane L. Albert Edited by Adam12Code3.com Read The Full Story HERE
Across the street from Universal Studios Gate 7 – “VALLEYHEART DR” Universal City
Lankershim Blvd and James Stewart Ave [the entrance to Gate 7 at Universal Studios] connects to ValleyHeart Drive directly across the street from Lankershim Blvd and was a favorite location to film scenes since it was close and different angles could easily be used.
NORTH HOLLYWOOD – NEAR TUJUNGA AND MOORPARK
The Final Episode
‘Something Worth Dying For’
5/20/1975: Something Worth Dying For Season 7, Episode 24. Officer Jim Reed receives the Medal of Valor by real LAPD Chief Ed Davis. The scene ends with a close-up of Malloy applauding for his partner, then fade.
Unknown to the cast and crew, this would be the final episode as NBC would end the long running series after 7 years on the network. No one was ever notified by the network and most found out the show was canceled by reading about it in the Hollywood Trade Magazines. The final date of filming was December 12, 1974. Final air date: May 20, 1975.
Milner and McCord reunited on October 21, 1989 for a TV movie called Nashville Beat. The two played former LAPD partners. Unfortunately, the production was unable to use the names Malloy and Reed,
but it was still them! Kent McCord co-wrote the story and it was basically Adam-12 reunited in Nashville. Too bad it was not picked up for series by The Nashville Network.
On September 18, 1997, Milner and McCord appeared as LAPD detectives in the “Murder Blues” episode of Diagnosis: Murder. The pair weren’t named Malloy and Reed however and did not resemble their former characters in this episode. In the 1990 feature film, Predator 2, Kent McCord plays Captain B. Pilgrim of the LAPD.
Kent McCord became a real reserve police officer for the Los Angeles School Police Department wearing the same badge number he wore in the show. He was a frequent speaker at assemblies and in classrooms working to create a bridge between kids and cops. Kent recently retired at the rank of lieutenant.
The patrol unit “One Adam-12″ never existed in the LAPD. When Los Angeles Police Chief Charlie Beck (a big fan of Adam-12) served as Central Division captain, he instituted the “Adam-12 Award” which honored productive officers by allowing them to ride Unit 1-A-12. The officer could pick and choose which calls to check on without having to do any paperwork. Beck invited McCord to ride-along with 1-A-12, finally providing Kent “Jim Reed” McCord the opportunity to say, “One-Adam-Twelve, roger” on the real LAPD radio frequency. See the LAPD Press Release and Picture below.
LOS ANGELES POLICE DEPARTMENT
Thursday, April 10, 2003
“LAPD’s Central Area to Activate 1-Adam-12 Patrol Car”
Los Angeles: In an effort to celebrate and advance the rich history of the Los Angeles Police Department (LAPD) and to recognize the efforts of many of our employees, Car 1 “Adam” 12 will be activated as a special unit at the discretion of the Central Area Police Station Commanding Officer. The 1 “Adam” 12 basic car will be deployed as an emergency response unit in Central Division. In recognition of the cinematic history that is associated with the 1 “Adam” 12 call sign, all radio calls assigned to this unit will be broadcasted over the air by Communications Division personnel.
1 “Adam” 12 was a popular television show produced in the late 1960’s. This television drama showcased the LAPD, dramatizing the day-to-day activities of Officers Reed and Malloy who were assigned to uniformed patrol in the LAPD’s Central Patrol Division. Their patrol unit designation was 1 “Adam” 12, hence the name of the show. In real life, there has never actually been a unit with that designation, even though that call sign is universally recognized as a significant part of the history of the LAPD.
Only a select group of officers will be assigned to work the 1 “Adam” 12 patrol unit. Personnel selected to work this unit must have demonstrated outstanding duty performance. The 1 “Adam” 12 Officer Recognition Program is meant to promote the proud traditions of the LAPD and to recognize those selected officers for their outstanding work.
ADAM-12 Season 8? What if…
WATCH NOW: Had ADAM-12 Been Renewed For An 8th Season, Here Is A Hypothetical Scenario Of The Open Credits With The Plymouth Fury Replacing The Matador, Rotating Rookie Partners Gus Corbin And Dana Hall with new FTO Jim Reed. Milner Having Signed On To Star In ABC’s ‘Swiss Family Robinson’ Would Continue In A Limited Capacity As The New Sergeant. The Sam Browne’s Would Have Returned Without The Clamshell Holster.
WATCH NOW: PART 1: LAPDCOPS.COM and ADAM12CODE3.COM Owner Dave Skyler And ADAM-12 Producer Tom Williams Tour Old ADAM-12 Filming Locations And See How Some Have Changed Over The Past 45 Years.
WATCH NOW: PART 2: LAPDCOPS.COM and ADAM12CODE3.COM Owner Dave Skyler And ADAM-12 Producer Tom Williams Take Another Tour Of Duty To Locations As Seen On Adam-12
WATCH NOW: PART 3: LAPDCOPS.COM and ADAM12CODE3.COM Owner Dave Skyler Takes Another Tour Of Duty To Locations As Seen On Adam-12