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Ladies and gentlemen, the story you are about to hear is true. The names have been changed to protect the innocent.
You're a detective sergeant. You're assigned to homicide detail. You receive a call that a fatal accident has occurred at a Hollywood motion picture studio. Your job, investigate.
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Dragnet. The Documented Drama of an Actual Crime.
For the next 30 minutes in cooperation with the Los Angeles Police Department, you will travel step by step on the side of the law through an actual case transcribed from official police files.
From beginning to end, from crime to punishment, Dragnet is the story of your police force in action.
It was Friday, August 5th. It was warm in Los Angeles. We were working the day watch out of homicide detail.
My partner is Frank Smith. The boss is Captain Warman. My name is Friday.
It was 2.25 p.m. when we got to the Winton Picture Studios, Stage 2.
Better check the guard over there.
Yes, can I help you?
Police officers? About the accident. Where do we find Mr. Adams?
Oh yeah, I should look for you. Let me see. I saw him around here a minute ago.
Oh, there he is. Over there by that office set. See him in the blue suit?
The one with the gray hair?
Yeah, that's him.
Thank you very much.
I know. You can check with the office. If they can come up with an idea, I'll go for it. All I know is that we've got half this tuckie finished.
Yeah, yeah. Is that all you want?
Yes, you, Gerald Adams?
That's right.
Police officers.
My ID card.
Oh, yeah. Friday, huh?
Yes, sir. It's my partner, Frank Smith.
Yeah, I do.
Hi.
How much you know about this?
Well, a doctor down at George Street told us that Henry Wilson had an accident. Is that right?
Yeah, yeah. He was the director. At least he thought he was.
I wonder if we could see where the accident happened.
Yeah, sure. We're on Stage 1, just across the way. Hold on a minute, will you?
I'd like to talk to Sam for a minute, try to get things organized here, get things moving.
Yeah, I'll be right back.
Just wait here, I'll be right back.
Quite a place, huh, Joe?
Yeah, a lot of room. It's a big stage in there.
Yeah. You know all this? The average person doesn't stop to think about it.
What's that?
You know, a fella lays out 85 cents to see a movie.
Ever thinks about all the people, all the equipment, goes in to make it impossible.
Yeah.
It's hard to keep you waiting.
Terrible thing, we're 12 days behind schedule now.
This will probably knock a couple more days off.
The exec's gonna scream like an eagle when he sees what this opus has cost him.
We'll hear right through this story.
Right, right.
The one's right over there.
Yes, sir. Wonder if you'd mind filling us in on this thing.
Yeah, sure. What can I do to help?
Well, if you can tell us how the body was found, who found it, how the accident occurred.
Well, as near as I can figure, it must have happened about 12.10, 12.15.
Crew had broken for lunch.
Most of them were over at the commissary.
I came down from the office and wanted to talk to Henry about tomorrow's schedule.
I wanted to try to change some of the shots, you know, make it more simple.
He wasn't in the lunch room, so I went ahead and had lunch.
About, uh, I see, I think it was about 12.40, Al Evans, a greenery man, came in,
told me he'd found Henry's body, a lamp had fallen on him.
Darn fool yelled it so loud that everybody in the place heard him.
I see.
Well, I came right over.
First looked like Henry was dead. He'd lost a lot of blood.
Called his pulse, found out he was still alive.
That's when I had the ambulance called. Here we are.
Good idea. Thank you.
Over here by the house set. Yeah.
At the time those big doors were open, the green men were putting in their shrubbery here.
After I found out about the accident, I had the doors closed
so people wouldn't be roaming in and out.
Are the doors usually left open?
Usually are when there's no shooting on the stage.
When we're using it, they're closed.
Now, right here is where he was found.
You can see the lamp, but the sun arc must have hit him right about here.
Poor guy.
Yes, sir.
Is that where the lamp fell from, up there?
Yeah. There you can see on the scaffolding where it was between the babies, his face there.
Who puts the lamps up there?
Well, it's in the gaffer's department. He's in charge of them.
What if we could talk to him?
Yeah, sure. He's over on two. I'll call him.
Thank you.
Big lamp, huh?
Yeah. Sure smashed up in it.
Gee, that thing must weigh a couple hundred pounds.
Yeah, look up there. It's quite a drop.
I figure it's about 40 feet up there. What do you think?
Oh, yeah, that anyway.
He's on his way over.
What's your position here, Mr. Adams?
I'm production supervisor, unit manager. A lot of names for it.
I try to take care of the running of the company as far as this one picture is concerned,
make out the budgets, work on the schedule, the director, things like that.
Mm-hmm.
Really hard to say just what my job is, so I do a little of everything.
Yes, sir.
You're false from homicide.
Yes, sir, that's right.
You think that there's something wrong here?
Maybe Henry's accident wasn't an accident or something?
Well, it's just that in any death where there isn't a doctor in attendance at the time of death,
we have to look into it. It's just routine.
I thought for a minute you might think there was something fishy about this.
That's all we need.
Having murder on the set might as well fold up.
Oh, hi, Jerry. You want to see me?
Yeah, Dick, these officers like to ask you a couple of questions.
Sure.
This is Mr. Friday and Mr. Smith. Dick Patterson, our gaffer.
How are you?
Hi, Mr. Patterson.
What do you want to know?
Well, Mr. Adams here tells us that you were in charge of installing those lamps. Is that right?
Yeah, that's right.
Are you trying to say I had anything to do with causing Henry's death?
Oh, no, sir, we didn't say that.
Well, then what are you saying?
Oh, we're just trying to get the facts straight.
No need to get upset, Andy.
Well, what are you talking about? These cops come in here, try to make out I didn't put those lamps in right?
That's not what they said.
Well, don't you think I feel bad enough? Henry was a good friend of mine. We've been together a long time.
I don't know how the lamp got loose.
What if we could look at its mounting?
Sure. I've wanted to get up there anyway, look at it myself.
Jerry here said not to touch anything till you guys got here.
Okay, how do we get up there?
There's a ladder back here at the rear of the stage.
Uh-huh.
I can't understand it, Mr. Friday. I've been hanging lamps here a long time. It's been going on 20 years.
First time anything like this ever happened.
Well, here it is, just go on up.
Okay.
Hey, watch your step.
Hey, go ahead.
Yeah.
Okay.
Yeah. We can get there down this way.
They use these locks to hang the lights on, do they?
Yeah, you gotta be awfully careful, though. Watch your step, it's a long way down.
Yeah.
Once in a while, if you want a real high shot of the scene, we lift the camera up here.
Mostly though, it's used just for lights.
Uh-huh.
Here it is.
Now you can see there where the light was.
Yeah, sir. I'd appreciate it if you didn't touch anything if you could stand back there.
Sure.
Now, base of the lamp went through this hole there, huh?
Yeah, that's right. Yeah, look at the one over there, same way.
Yeah. Do you have anything else securing the lights once they're tied down?
No, sir. Once they're in place, the weight of the thing itself will hold it.
Uh-huh. In other words, you drill this hole and you place the lamp in the hole and it could...
It doesn't look like the wood has chipped, does it?
No, these scaffolds are pretty new. This stage hasn't been up more than a year.
Uh-huh.
Well, from what you can see, Mr. Patterson, can you figure out how the lamp might have fallen?
How it could have broken loose?
I'll tell you, Officer, Bob, that's my best boy.
Bob and I were over here last night checking the lights on the set.
I didn't actually get up here myself, but Bob did.
He's a good boy. He's been around a long time, doesn't make mistakes like this.
He secured this lamp himself and I know it was right.
Well, then, have you got any idea how it might have fallen?
None at all. Matter of fact, I don't think it did.
Sir?
I don't think it did fall. I think it was dropped.
BAND PLAYS
3.15 p.m. Frank and I went back to stage two.
We talked to Bob Murphy, the best boy, and got the same story from him.
He said that he had secured the lamp in position himself
and that as far as he was concerned, it could not have fallen.
He agreed with Dick Patterson that the lamp must have been removed from its place
and either dropped or was thrown at Wilson.
At this point, there was the possibility that the death was not an accident.
We asked the unit manager to assign one of the studio police to guard the scene of the accident
and then we called the crime lab.
Dean Bergman lifted several clean prints from the broken lens of the lamp.
Bob Murphy's fingerprints were taken and they matched those found in the lamp.
There were no other prints on the glass.
The men from the crime lab found a small piece of blue cloth on the mounting of the lamp.
Lee Jones put it in an envelope and gave it to me.
At 4.20 p.m., we talked to Gerald Adams in one of the portable dressing rooms.
I just can't believe it. There were a lot of people in town that didn't like Henry,
but I don't think there was anyone that would kill him.
Was there anyone in the company that he had any disagreements with, would you know?
What do you mean?
Well, anyone he had crawls with, arguments, would you know?
Well, I guess Sam would be the most likely. They argued all the time.
Sam?
Yeah, Sam Phillips. He's the first assistant director.
Real talented guy. Been at it a long time.
He and Henry worked together for a long time. They were always arguing.
I guess if you didn't know him, you might think they were serious,
but here in the company, we all knew. We understood.
Understood what?
Well, Sam's been in Hollywood almost since it was.
He began as a prop man, worked his way up to be a cutter.
Then I guess about 15 years ago, he went into directing.
He's going to get a picture of his own pretty soon.
He'll do well, too. Real talent.
What about these arguments, Mr. Adams, between Wilson and Phillips?
Well, to understand him, you'd have to know Henry.
He was one of the first directors in pictures.
He came out here from New York even before Sam did.
Really old school. He drove special cars, most of them pure white,
had all his clothes designed and made.
He wore a cape while he was on the set, you know.
Referred to himself as Wilson.
You know, Wilson thinks this, Wilson thinks that.
If you didn't know him, you'd take him seriously.
Once you did that, you were in trouble.
Were you ever present when one of these arguments took place?
No, matter of fact, they had one yesterday.
That's all.
Yeah, over in the commissary, I thought for a minute it was going to be pretty serious.
Then I realized it was all a gag, everyone else did, too.
What was it about?
Well, like I told you, the picture's 12 days over now.
A lot of tension on the stage, everyone's pretty edgy.
Well, Sam's a great practical joker, you know.
Always trying to cook up something.
Most of the time, the jokes do the job.
They give everybody a laugh, they all feel a little better.
Well, the day before yesterday, Sam got one of the set dresses
and took a cement deer.
You know, the kind people used to have on their front lawns?
Yeah, I think I know the kind you mean.
Well, the two of them carted this deer down to the parking lot
and put it in the back seat of Henry's car.
He planted it so the deer was looking right at Henry
when he'd get in the driver's seat.
The thing weighed about 250 pounds.
Once they got it in, Henry couldn't get it out.
He tried that night, he couldn't make it.
He didn't think it was very funny, did he?
No, he had to leave it in the car all night.
Drove home with it.
Next morning, when he checked in the lot, he tried to get it out again.
While he was trying, the horns on the thing tore up the upholstery in his car,
really ripped it up to pieces.
Oh, I'll be darned.
Finally, Henry got a hammer and broke the thing up,
smashed it in little pieces and threw them all out of the car,
left them right in front of the scene doc.
Yeah, was that when he and Phillips had the argument?
No, no, yesterday morning when Wilson got on the set,
he wasn't saying anything to anybody.
All the crew knew about the deer and they were all waiting for him
to say something about it, but he didn't.
He just drove the crew through the morning set-ups.
The argument took place at lunchtime.
Yeah.
Henry waited until the whole crew was having lunch
and stormed into the cafe, walked over to Sam,
really read him off, called him a child.
He said that if he'd spend a little more time doing his work
and less time playing around,
the picture wouldn't be so far over scheduled.
Really made him look like a fool.
The argument went on for about 15 minutes.
What was Sam doing all this time?
Well, he just sat there and then finally he got up and grabbed Henry.
Kind of shook him.
Said he'd never been talked to like that before
and it wasn't going to happen again.
Said he'd kill Henry next time he did it.
Mm-hmm.
Well, Henry looked pretty scared.
Sam's a big man, you know.
I think if he made up his mind to do it,
he could have broken Henry in two.
Sam looked at Henry for a minute and then he laughed.
Then Henry started to laugh too and then the whole place.
I guess it's like laughing at a horror picture.
Anything to break the tension.
Looked real tight.
Even I wasn't sure it was a joke, you know.
You said that Sam lifted this deer into the car by himself.
Well, I don't know if he did it by himself,
but I know he could lift it without help.
How much did you say that that deer weighed?
More about 250 pounds. Why?
Well, I was just thinking.
That's about what that big lamp weighed, isn't it?
HONKING
3.45 p.m.
Frank called the office and had R. and I run the name
Sam Phillips and Henry Wilson.
Sam Phillips had been arrested once for disturbing the peace.
He'd gotten drunk in a nightclub out on Sunset Boulevard
and gotten into a fight.
The report said that it had taken both of the arresting officers
to subdue him and take him into custody.
There was no record on Henry Wilson.
We continued to talk to the crew.
Each one of them told us about the arguments between Phillips and Wilson,
but most of the people we talked to didn't share Adam's idea
that the arguments were just a joke.
The script girl told us that on at least three occasions,
members of the crew had had to keep the men apart
and that Sam Phillips had said he'd kill Wilson.
We asked each of them if they'd seen anyone enter
or leave the stage at approximately the time of the accident.
None of them had.
They explained that Wilson had been trying to pick up time
and that as soon as they'd finished one shot,
he was yelling at them to get ready for the next one.
4.22 p.m. We talked to Sam Phillips.
Sure, we had some beefs. None of them were serious, sir.
Well, how about this fight you had in the commissary yesterday?
You mean the thing about the deer?
Yeah.
Well, that didn't mean anything.
I admit I was pretty sore for a minute,
but right away I knew Henry wasn't serious.
If he was, I guess I can understand it.
Must have made him pretty sore to see his car ripped up.
Did you left that deer into Wilson's car by yourself?
Yeah, I had one of the set dressers with me.
He kind of steered the thing in. Surely kind of funny.
You sure you weren't over on stage one today?
Positive.
You got any idea of how that light got loose and fell?
No, I've been in the business a long time.
That's the first time I ever known a lamp to fall.
They've been tipped over when on a floor stand
and I've seen them broken when a set has moved.
I've never seen one drop like that.
Do you have any idea how this could have happened then?
Not the slightest.
You're a first assistant, is that right?
Yeah.
How long you been in this job?
Oh, I guess about 15 years now. I was a cutter for a while.
Took a big cut in salary to go into directing.
Figured it'd be a way to get a picture of my own.
A lot of directors come from the cutting department.
That so?
Yeah, they do. I didn't care much for it, though.
I like to be on the set, see things happen.
I like the activity.
Did Wilson know that you wanted to be a director?
Yeah, he said that if I stayed with him,
he'd try to get the producers to give me a picture.
Matter of fact, I kind of thought I might get this one.
Is that right?
Yeah.
I was in the pre-planning stages.
They hadn't assigned a man to it yet,
and Jerry and I both wanted it.
Jerry? You mean Adams?
Yeah, he wants to be a director, too.
It's funny, I guess everyone wants to be a director.
Jerry's been trying for a long time.
I don't think he'll ever make it, though.
All right.
Yeah, he's too valuable as a unit manager.
Was Adams very upset when he didn't get this picture?
No, I was pretty sore. I told Jerry about it.
He just sat back and said that's the way things are
and that it doesn't pay to fight the front office.
Mm-hmm.
Did you say anything to Wilson about how you felt?
Yeah, I told him.
Said I thought I was real unfair.
Said I thought he could have done something about it.
What did he say?
He told me to be patient. My time would come.
Do you know if there was anybody on the lot
who might have wanted to kill Wilson?
No.
Oh, there might have been some people
that didn't like him very much,
but you run into that in almost every picture.
You know, little jealousies.
Is that right?
Yeah.
You really think he was killed, huh?
Well, it could have been, yeah.
Sure hard to believe.
We've been making pictures about this for a long time.
You know, murders.
Now that it's right here, really on the set,
it makes you feel you can just check ahead in the script
and find out who the killer is.
Read about the ending.
Kind of seems just like another picture.
Yeah, I suppose so.
Yeah, come in.
Oh, I'm sorry.
I didn't know you had somebody here with you.
It's all right, Mr. Patterson. What is it?
I wonder if I could talk to you.
Sure.
It's kind of private.
If you're through with me, I'll get back to work.
No, you just wait. I'll be right back.
Here, we can step out of here.
Okay.
Now, what is it, Mr. Patterson?
Well, I feel like a real idiot.
I should have remembered it when you talked to me before.
What's that, sir?
Well, I remember just before the company broke for lunch,
Sam gave me a note.
Said I should give it to Wilson.
Mm-hmm. Did you see what it was?
No, it was folded up.
Had Wilson's name on it.
I didn't pay much attention to it.
Well, did you give it to him?
Yeah, he read it,
and then he said he had to leave the set for a few minutes.
He left the stage then?
Yeah.
Where was Sam at this time?
Oh, I don't know.
You see, he gave me the note
just outside the door to the stage.
I was bringing in some more lights,
and right after he handed it to me, he left.
Uh-huh.
Heading for stage one.
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We talked to Gerald Adams and had two of the studio police
start a search for the note.
Frank called Georgia Street Receiving Hospital
and asked if the note had been found
on the body of Henry Wilson.
The doctor told us that he didn't know
and that the dead man's personal effects
had been turned over to the coroner.
We called them and they told us
that there was nothing of that description found.
While the search for the missing note went on,
we continued to talk to Sam Phillips.
The whole idea is crazy.
I told you I wasn't near stage one at all this morning.
How about the note?
I don't remember any note.
Well, the gaffer says you gave it to him.
Told him to give it to Wilson.
He's crazy.
If I had a note for Wilson,
I'd have given it to him myself.
I'm with him all day.
I've got no reason to have someone else
deliver messages for me.
Well, then you deny giving him the note.
Is that right?
Well, certainly.
All right, mister,
we'll let you know just how you stand.
We got a witness who says
you were seen going to stage one.
A couple of minutes later,
a man is killed on the same stage.
You admit that you've had arguments with Wilson.
Seems like you might have had a motive for killing him.
I told you I didn't go near the place.
Hey, wait a minute.
Yeah?
I know what's happened.
What's that?
Well, when Dick told you
he saw me heading for stage one,
he probably saw me heading for the office.
I have to pass near the stage to get there.
Matter of fact,
I even cut through it once in a while.
Did you happen to cut through it today?
No.
At least I don't think so.
Well, it's pretty important that you remember.
Well, I'm trying, let's see.
I know what you guys think.
I don't know how to show you that you're wrong.
Well, can you come up with an explanation for the note?
Well, I'm trying to tell you I don't know.
Yeah, that's what he's talking about.
What?
I did give Dick a note.
I told him to give it to Henry.
What was in it?
Well, I don't know.
I didn't even read it.
And then you didn't write it?
No, I found it on my desk
when I was up in the office this morning.
I figured that someone had put it there thinking I'd see Henry
and give it to him.
What time did you find it?
You see, I guess it was about nine or so.
I guess I put it in my pocket and then forgot all about it.
And just before I went up to the office
to tell him that we were breaking for lunch,
I remembered it.
I gave it to Dick and told him to hand it to Henry.
That's what the note's all about.
Right after that, I went upstairs.
Do you always tell the office that you're broken for lunch?
Yeah, most of the time I phone,
but today I went up myself.
I've been kind of expecting a letter from my family back each
and I thought it might be in,
so I wanted to check the morning mail.
Got any idea who might have put the note on your desk?
No, I just found it, you know,
tucked away in the corner of the blotter.
I really didn't look at it.
I was in a hurry.
I wanted to finish lunch so I could get back on the set.
We had a lot of work to do this afternoon.
Did you see Wilson after you left the stage?
No, I looked for him at the commissary,
but he didn't show up.
And the greenery man came in
and said that he had the accident.
Uh-huh.
You recognize the handwriting on that note?
No, all I saw was the name, that it was for Henry.
Come to think of it, though,
I do kind of remember that it was familiar handwriting,
thinking I'd seen it someplace before.
You remember where?
No, I wish I could. Have you found it yet?
No, Wilson must have dropped it someplace here, though.
It wasn't on his body.
I wonder if you'd take a look at this.
What's that?
Well, the crime lab crew found this on the stage,
caught on the lamp that killed Wilson.
Hmm.
Looks like the material they make suits out of.
Yeah, from inside the cuff.
See?
See the little zigzag mark where it's been cut?
Mm-hmm.
You ever see this type of material before, Sam?
Let me see.
Looks like it came from a blue suit, huh?
Mm-hmm.
Good material.
Sure an odd color.
Yeah, I think I've seen a suit like this.
I think I saw it this morning.
Yeah?
Oh, yeah, sure. Jerry Adams was wearing it.
HONKING
6.30 p.m.
We called Gerald Adams into the dressing room.
Were you on stage one at all before the body was found?
No, sir.
Why do you think I had something to do with this?
Well, we're just trying to get the facts here.
Well, I want to help, but it seems to me
that you'd spend your time a little better
if you talked to Sam, the note and all.
Still deny giving it to Henry?
No, he says that he gave it to him.
Well, then there you are.
I guess that argument was a lot more serious
than we thought, huh?
That's a nice-looking suit you got on, Mr. Adams.
New?
Yeah, this is the first day I've worn it,
a present from my wife.
Pretty blue.
I don't usually care for blue, like brown, gray,
mostly.
My wife's been trying to get me to wear blue,
so she got this suit for me.
Yeah, looks like it's made pretty well there.
Yeah, it is.
She had my tailors put it together.
I didn't even go down for a fitting.
There's a few things done to it,
like the shoulders pulled in a little.
I don't much care for padding in the shoulders, you know.
Mm-hmm.
You mind if I look at the cuffs?
I've always had trouble with the cuffs on my suits.
You can see here how they're worn.
It must be in the way they're made.
No, I don't think so.
That looks like it came from your shoes
roaming against it.
You mind if I look?
No, no, here.
Yeah, it sure is beautiful material.
Yeah.
Yeah, she sure got good taste.
Of course, it should be.
She paid 180 bucks for it.
Wow.
You got a little tear here on the cuff inside.
Have you noticed that?
No.
Let me see.
Right there.
Oh, yeah, yeah, how about that?
I gotta get that fixed little piece torn right out.
Uh-huh.
What did you do when you found Wilson's body?
No, I mean...
What were your movements?
Well, it'll be kind of hard to explain.
If you want to walk over there, I can show you.
All right.
Let's go.
Company's broken.
I told them to wait up in the office.
Figured you might want to talk to them some more.
Fine.
Here, I'll get the door.
It's sure a beautiful night, huh?
Yeah, it is.
Best time of the day in the valley.
After the sun starts to go down,
everybody's always kidding about the cool breeze that comes up, you know?
Really does out here.
I know the wife and I practically live out of doors during the summer months.
Is that right?
Yeah, we both love the valley.
Right, here we are.
Just the work lights on.
You want me to get the others?
No, no, there's enough white.
Okay.
Now, if you'd show us just what happened when you found the body.
Well, I came in that door, the big one there.
It was open.
Was there anybody on the stage then?
No, no, not right away.
The greenery man came in right after me
and then jacked the guard from the other stage.
Uh-huh.
And like I said, the body was lying about here.
And the lamp was there.
You saw that when you were here.
Yeah, sir, we did.
Did you go near the lamp, touch it in any way?
No, no, I didn't.
Only concern was Henry.
That's all I thought about.
I knelt down to feel Henry's pulse,
and then I told jack to go and phone the ambulance.
Yeah?
Then I had the doors closed.
I waited until a lot of policemen got here,
and then I went back to the other stage.
Our crime lab found a piece of cloth caught on that lamp.
It matches the tear in the cuff of your suit.
I can't understand how it could have gotten there.
What if we could look through your pockets?
Why? What's that gonna prove?
We just want to take a look. It won't hurt anything.
Well, maybe it won't, but I don't see why you're asking me all these questions.
It seems to me that Sam's your killer.
Why don't you talk to him? Make him tell you why he did it.
Let's see what you got in your pockets.
Take everything out and put it on the table.
All right. Here's my wallet.
You'd better take the money out of it.
Okay.
Now, let me see the wallet.
All right, here.
Just a second, Mr. Adams.
What'd you drop over there?
My tan.
Looks like the note we've been looking for, Joe.
What does it say?
Uh, Wilson.
I have to see you.
Something's come up.
Meet me on one when you break for lunch.
It's private.
Signed Jerry. How about this, Adams?
I don't know anything about it.
Well, maybe we'd better talk downtown.
What's going on in place with you?
Watch him, Joe. He's going up that ladder.
All right, give it up, Adams. There's no place to go up there.
Stay away from me.
Come on, Adams. Give it up.
He's not coming down.
Only can't stay up there long.
Why don't you shoot me?
I'm not gonna do what you say. Go ahead and shoot me.
What for? You're not going anyplace.
How about it, Adams? Why'd you do it?
He had it coming.
All his life stepping on people. This picture was mine.
They told me it was.
And he took it away from me just because he wanted to be a big man.
This was my picture. He took it.
All right, come on down.
I'm gonna stay up here.
You suit yourself.
We got lots of time, Adams.
Can't you just go away? Leave me alone.
You know better than that. You killed a man.
Now, come on. You either come down or we'll come up.
What do you think, Joe?
Give him a minute.
He wants to be a director.
Yeah.
Let him figure out the ending.
The story you have just heard was true.
The names were changed to protect the innocent.
On February 17th, trial was held in Department 89,
Superior Court of the State of California,
in and for the County of Los Angeles.
In a moment, the results of that trial.
Now, here is our star, Jack Webb.
Friends, in a sense, every smoker is his own judge and jury
when it comes to selecting a cigarette.
Now, you've heard the facts in our case for Chesterfield,
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And much milder.
Gerald S. Adams was tried and convicted of murder in the first degree.
He was sentenced to life imprisonment
in the state penitentiary, San Quentin, California.
You have just heard Dragon's
a series of authentic cases from official files.
Technical advice comes from the Office of Chief of Police
W.H. Parker, Los Angeles Police Department.
Technical advisors Captain Jack Donahoe,
Sergeant Marty Wynn, Sergeant Vance Brasher.
Heard tonight were Ben Alexander, Whit Connor, Jack Crouchon.
Script by John Robinson, music by Walter Schuman,
Hal Gibney speaking.
Sound off for Chesterfields.
Either way you like them, regular or king size.
Chesterfield gives you the best possible smoke.
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Chesterfield has brought you Dragnet transcribed from Los Angeles.
This is NBC, the nation's headquarters for election news.