- The most
successful of producer Jack Webb's
non-Dragnet TV projects. The weekly,
half-hour Adam-12 police series was a
realistic look at the "working cop."
Not long after the show started,
officers began noticing that people
were approaching them differently.
Adam-12 allowed the public to see the
police as human beings.
Kent McCord credits co-creator,
Robert A. Cinader for the
Each episode dealt with a typical day
in the lives of two uniformed
policemen, assigned to a patrol car in
the streets of Los Angeles.
Martin Milner portrayed
Officer Peter Joseph Malloy, a
veteran who in
the first episode was teamed with
probationary rookie cop, Officer James A.
Reed, played by Kent McCord. A few rocky
moments in the beginning, the relationship
between Malloy and Reed
always remained on an equal basis, with Reed
benefiting from Malloy's casual expertise
The show portrayed the professionalism of
the officers and the LAPD. The police
vehicles were also central characters on
Adam-12 and the black and white units also
became stars. 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
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 utility actor, Claude
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.
premiered Saturday nights at 7:30 pm.
Original Primetime TV
Schedule listed below:
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
this time slot)
September 1971 -
January 1974, Wednesday 8:00 - 8:30PM
January 1974 - May
1975, Tuesday 8:00 - 8:30PM
Adam-12 was rated 92nd of
the top 100 series programs ever produced
until 1980. In its seven seasons, it ranked
#12 in 1970, #8 in 1971, and #11 in 1972.
Adam-12 was named best drama program in 1970
and 1971 by the Quigley Champion Awards.
September 2013, Adam-12 celebrated
its 45th Anniversary.
Jack Webb demanded authenticity in
the show, actual dispatch procedures were
used as well as an LAPD dispatcher, actual
LAPD stations and authentic police vehicles,
uniforms and badges were depicted in the
During the era, LAPD
officers were required to wear their hats in
the police cars. The actors tried, but the
shiny brims reflected the camera lights. To
solve the problem, in the first episode, the
writers have Malloy tell Reed, "Hats in the
back. These roofs are too low." That change
was the only major dramatic license Adam-12 took
throughout the series.
Adam-12 even used the official LAPD call
sign of "KMA-367"
for its police radio depictions.
ADAM-12 STAGE SHOW at Universal Studios
ADAM-12 STAGE 70 SHOW - Universal Studios
the 1970's, the Universal Studios Tour
included stage shows. Audience members were
chosen to act in scenes from the television
show, "Adam-12." The scenes were filmed,
edited and then played back at the end of
the show. Guests could also purchase a copy
of the film.
Studios Stage 70 Promotional video and click
on the pics for more.
Adam-12 as "Nashville Beat" in 1989.
Kent McCord was behind this project. The
movie (Pilot) aired on the now defunct
Network and was not picked up for series.
Watch Now! Starring Kent McCord and
his young partner is killed in a gun battle three weeks
earlier, 7-year Veteran Patrol Officer Pete Malloy,
bitter & disillusioned, is scheduled to resign at end of
watch. Malloy is teamed with an over-eager rookie
partner, Jim Reed. Officer Malloy feeling responsible
for his new partner after the shift, is determined to
his new partner safe and alive. Contrary to popular
belief, NO real police officers were ever used as extras
in the filming of Adam-12. Watch the first episode now on Hulu!
(refresh browser if video does not appear)
Jack Webb, Director of the Adam 12 Pilot didn't like the
reflections on the windshield. The crew took the
windshield out but their hair was blowing. The crew
quickly built a shield to
place over the top of the car and the windshield put
A permanent "tow car" shield was built for the show and
used for all 7 seasons. There was also a problem with
the sound that occurred during the Pilot. The interior
and it is noticeable when watching
the Pilot that their voices sound higher than normal at
the full story at KentMcCord.com)
1. Jack Webb Directing the Pilot (1st
episode) with Martin Milner and Kent McCord on location
at a liquor store in North Hollywood. Most of the police
in the pilot episode
were authentic LAPD vehicles borrowed to film the pilot.
2. On location at Encino Park, however, NO real officers
were 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
Hollywood, character actor Howard Culver (portraying the liquor
store clerk) is seen following Jack Webb's direction on
handing Malloy a piece of paper.
Behind The Scenes
Originally his concept, Bob (R.A.)Cinader was a
major advocate of Adam-12's format of handling multiple
calls punctuated by the dialogue between Malloy and Reed
in the car. This required filming inside the police car
moving through the streets of Los Angeles. The director,
sound tech, and cinematographer would sit in a station
wagons rear-facing third seat
overseeing the towed police unit with lights and cameras
attached to a bar over the car's 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 dispatch calls, the guys
only heard the voice of the script supervisor.
Martin and Kent were required to receive
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
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
Martin Milner did most of the driving
and was known for always hitting his mark. In the
episode, "Child Stealer," 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 drove the
Plymouth Satellite into a pole during a scene, and it
becomes obvious the exterior
Satellite vehicle for the rest of that episode and
another was a temp car since it had the
obvious temporary magnetic city seal and "to protect and to
serve" plates placed on the side doors.
From the episode: The Beast
On location shoots in the first couple
of seasons, bystanders often mistook the actors
for real cops since the show used vehicles
identical to the LAPD and authentic LAPD badges
and uniforms. This would cause filming to abruptly halt
while the actors stopped to explain that they were just
Martin Milner and Kent McCord are proud that Adam-12
motivated officers to put on the uniform and do the job.
McCord himself was a real reserve 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
Kent McCord and Martin Milner remain
close friends and teamed up again as cops in an episode
of 'Diagnosis Murder' on CBS and the 1989 TV (Pilot) movie,
'Nashville Beat' on the TNN Network, which McCord created and produced.
Unfortunately, the Pilot was not picked up for series.
ADAM-12 - LAPD "POLICEMAN" Badges 744
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 advisor 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. Martin
Milner and Kent McCord have stated that they don't
know what happened to their badges. Below are Malloy
& Reed's ID cards and a plaque dedicated to Officer
An example of LAPD's current ID card, which is also an
access card to police stations replacing keys.
"POLICEMAN" to "POLICE OFFICER"
Had Adam-12 continued production,
Jim Reed's badge
would have been updated to "POLICE OFFICER" as
strived to retain authenticity and reflect the
ongoing changes within the LAPD on his television shows.
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' even if Adam-12 had been picked up by NBC
for another season. Milner would have continued with
Adam-12 in a limited capacity as the sergeant - which
would only take one day of filming when needed.
Pictured (R) is Martin Milner's 1975
Publicity Photo from ABC-TV which premiered 'SFR'
on September 14, 1975. Adam-12's last and final episode
aired on May 20, 1975. NOTE: Adam-12's last day of
filming was December 12, 1974.
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
Such a beautiful
friendship might never have begun if Kent had been allowed to follow his first
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
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
"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 cars to the Los Angeles
Police order, that we paid for. [Before that,] we
would just buy the same car and then paint it to
look exactly like it, 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. Tom Williams
recalls, "Those tow-shows were done every other
Friday. They 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 match all the
time. A lot of shows were using rear screen
projection, but we just went out and did all of
that. 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, that usually wasn't them. 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 and have them drive around and
shoot shots with them.
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
The nature of a
show like Adam-12 with a brevity and flurry
of scenes and story lines, precluded two important
things: the real emoting that an actor thrives on,
and anecdotes to be later told to folks like us.
Cynnie Troup Collection
Thanks to Cynnie for
sharing some of her photos from the days of
All photographs are the property of
Cynnie Troup. She has graciously granted
Adam12Code3.com exclusive rights to display on
Cynnie went on to be the Script supervisor for
such shows as Emergency!, L.A. Law, and many other
television programs. Cynnie is the daughter of
Bobby Troup (Dr. Joe Early on Emergency!) and
sister of actress Ronne Troup. Cynnie is now
semi-retired and is enjoying life.
1. Marty Milner and
Cynnie Troup on location. 2. Cynnie (always
dressed in black in the car so she didn't reflect on the
windows) sits up as the scene ends.
1. On location in
North Hollywood, Cynnie, her Mom and sister Ronne
who was featured in the episode. 2. 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
Head writer Stephan Cannell, Kent and Producer
Waiting for the next
scene in the studio wearing their uniforms
(described as costumes by the
and Kent play foosball while Cynnie looks on.
(L-R): Martin Milner, Kent McCord, William Stevens,
Claude Johnson, Jack Hogan, Gary Crosby, William
Elliott II and William Boyett
Martin Milneras 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.
Number: 13985. Time on the job - Jul 11 probationer in
William Boyett as Sgt. MacDonald from 1968 to
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 - 1970and 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 IIas
Officer Grant, 1974 - 1975
Fred Stromsoe as
Officer Woods, 1974 - 1975
Art Gilmore as
Guests on Adam-12
Adam-12 Guest Stars (L-R) Butch Patrick. Barry Williams.
Jodie Foster. David Cassidy. Mark Harmon. Lindsay Wagner,
Scatman Crothers and Dick Clark
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.
Allen: Universal Publicity Photo - Drug pusher: Charles
Jensen - Bad cop: Officer Tony Johnson - Step dad in a
bad marriage: John Spencer
LAX U.S. Marshal: Chuck Stanton - Jewel and Stamp thief:
Reno West - Reno West getting busted again by Officer
Other Notable Guests
Include: Mark Goddard. Margaret O'Brian. Trini Lopez.
Al Martino. Carmen Zapata, Angela Cartwright,
June Lockhart, Warren
Stevens. Frank Sinatra, Jr. Ronne Troup. Virginia Greg.
Charles McGraw. Bob Hastings. Donald Barry,
Meadows, Joanne Worley, Randolph Mantooth.
Mikki passed away June 17, 2013 at age 70 in
her hometown of Spokane, WA
Note:Mikki originally won the role of
Reed because she was dating Ricky Nelson
of "Ozzie & Harriett" fame. After
Rick Nelson married Kristin Harmon, the role of Mrs.
Jim Reed went to her.
McCord got his
big break in television when his best friend, Rick(y)
his buddy a minor role on the TV series The Adventures of Ozzie and
Harrietwith the very famous, influential Nelson family. He is credited
on that show by
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:
Adventures of Ozzie and Harriet. Is that Kent back
Jo Ann PflugGuest Stars
as "POLICE OFFICER" Dana Hall in 1975 on one
of the final episodes. This unofficially marks the
end of the "POLICEMAN"
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
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 since his contract had expired and Universal
wasn't talking renewal, so he signed a deal to
ABC-TV's, 'Irwin Allen's, Swiss Family Robinson' due to
persistent rumors of Adam-12's imminent demise. Milner
did not want to be unemployed, considering he had a
family to support. He had already filmed the first
episode of Swiss Family Robinson before filming
the final episodes of Adam-12. That is why
the camera focuses on Milner in the last shot of what
turned out to be the final show of Adam-12's long
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 and realistic,
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 ended it's run. In
1982, Webb was in negotiations with NBC to give Dragnet another go - with Kent McCord
(Jim Reed) as 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
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
By 1974 some female officers
fought for and won patrol positions.
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
she actually makes an uncredited
appearance in the 1973
episode "Suspended." The screen
clip (R) is Shaaron's entire and
only appearance on
Dragnet, Adam-12, The Boatnicks -
1970, Sarge -1970, Lou Grant - 1977,
Columbo - 1978, Blue Thunder -
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.
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. An effect was then placed on the audio to create the
sound" known in the industry as "fussing" and
then dubbed into the show. Mr. Williams auditioned
three different girls for the dispatcher, all are
heard as background calls in the Pilot episode, but Shaaron
sounded the best, was qualified and had a true
passion for the job.
Redubbing, or known as looping the actors voices in a studio was a
common practice, since there were often audio
problems with location shoots and tow-car scenes.
At times you will see Kent completely cover his
mouth with the hand-mic when talking on the radio,
which made it easier to loop his voice.
When actors looped a scene, as in the example picture to
the left, 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.
The Shaaron Snead Collection
Photo is the property of Shaaron Snead and she has granted
permission of use on Adam12Code3.com
Shaaron visits with Marty
and Kent on location. Fun for the guys to see their
dispatcher since they never get to hear her when filming
the car scenes.
PIC 2. Shaaron on duty at LAPD and Marty and Kent
Where's Shaaron? -
The one and only time
that Shaaron is NOT the (RTO) dispatcher on
Adam-12 except for the openning. Episode: "Hollywood
- the sexy voiced dispatcher caught the ear of
Pete Malloy, but she frustrated Reed with
her lack of experience - she even pronounced La Brea Ter (Terrace) "La Breeter."
(not a real street) LOL! 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).
11/21/1973: The Radical Season 4, Episode 4
Pictured above: Malloy and
Reed at roll call and in a locker room scene. NO real cops
were used as extras as once believed. All were actors
(members of SAG) and much of the same people throughout the series -
dressed accurately in LAPD attire by Wardrobe
specialist; Gil Loe. Martin Milner and Kent McCord's
uniforms were not LAPD regulation, but were custom made
with light Navy-blue wool cloth for comfort and JCPenny t-shirts
dyed with a light blue hue (Technicolor Tint #2), which appears white on
The area used to film the
scenes above is the same - the lockers are removed and
replaced with desks. It is also used as the coffee room. Jack Webb had the prop department try to replicate
the interior of the Rampart
Police Station as all scenes
inside the Adam-12 "police station" as well as
houses, buildings and other interior scenes were
filmed inside sound stage 42 at Universal Studios. Many
locations around the Los Angeles area were used
for exterior shots as Malloy and Reed arrive at
the scene, but interior scenes were then filmed in
the sound stage. However, many action and outdoor
scenes were filmed on location. Pictures above include Barry Williams
(The Brady Bunch), Dick Clark and
William Boyett as Mac on the set of Adam-12.
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
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
appearanced on Adam-12) Firefighters / Paramedics Roy DeSoto
John Gage (Randolph
Mantooth). Malloy is pictured with
Dr. Brackett (Robert
Fuller) in the examination room on the "Emergency!" sound stage at
Exterior shots and some
filming was done at the real Rampart Police Station, but
all of the interior shots 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
"outdoor" scenes - they were done in Stage 42,
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 with the shadow of the car
blatantly visible throughout the entire scene...oops.
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 early 1975 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
between the cars and exit door. When comparing the real police station
sound stage version, the Universal prop
an excellent job recreating the exterior and interior of
the actual police
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 was filmed each season with the stars
driving in and out of Rampart station.
was called upon on several occasions, but focused
on just a few episodes. The
backlot of Universal Studios was always used for
the episodes featuring S.W.A.T. on Adam-12 since
it was easier to control the elaborate scenes.
Jack Webb wanted to feature the relatively new
SWAT operation with the episode filmed in 1969 (note
the early SWAT vehicle resembles an old
Helms Bakery truck)
and would be the first of three separate episodes
featuring S.W.A.T. The uniforms, equipment
and tactics were all authentic of the time thanks
to the assistance of the LAPD. Air Date:
January 24,1970. The second episode featuring SWAT
was minimal as seen on 1/19/72, The Tip. The last row of pictures and clip
is from the third episode featuring S.W.A.T. (note
the SWAT vehicle resembles a 'UPS'
11/21/1973: The Radical Season 4, Episode 4.
While not the first to use specially trained
units, the LAPD was the first to form a specific
SWAT team, and originally created the term,
"Special Weapons And Tactics".
John Nelson was the LAPD officer who came up
with the idea to form a specially trained and
equipped unit in the LAPD, intended to respond to
and manage critical situations involving shootings
while minimizing police casualties.
In 1967, Nelson's CO, then-Inspector
Daryl F. Gates approved this idea, and he
formed a small select group of volunteer officers.
This first SWAT unit initially consisted of
fifteen teams of four men each, for a total staff
of sixty. These officers were given special status
and benefits. They were required to attend special
monthly training. This unit also served as a
security unit for police facilities during times
of civil unrest.
the SWAT personnel were assigned on a full-time
basis to Metropolitan Division to respond to
continuing action by subversive groups, the rising
crime rate and the continuing difficulty of
mustering a team response in a timely manner.
Metropolitan Division, which had a
long-established reputation as the tactical unit
of the Department, was reorganized into 6 units:
"A", "B", "C", "D", "E", and "K-9" Platoons. The
SWAT Unit was given the
designation of "D" Platoon, and at the same time
formally adopted the acronym SWAT. By 1974,
there was a general acceptance of SWAT as a
resource for the city and county of Los Angeles.
Watch S.W.A.T. in action: 2011
(L-R) That old SWAT van and today's LAPD S.W.A.T. high tech vehicle,
well-equipped and extremely well- trained
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
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.
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
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 the tire actually shot is stock footage
of a white-wall tire with a different hub-cap.
Pictured above is
from the first episode of the second season:
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. Watch the episode now on Hulu.
"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
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.
Watch the episode now on Hulu ►
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.
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
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
Hollywood 101 Freeway near the Vine St / Highland Ave
The "Gamewell" boxes used
on Adam-12 were props and were placed where needed for the
GAMEWELL CALL-BOX HISTORY:
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.
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.
In 1989, a new
version of Adam-12 began airing in
syndication starring John Wayne's son, Ethan Wayne and Peter Parros
but only lasted one season. None of the original cast
returned to reprise their roles. The show was awful. Watch the
show open by clicking the picture ◄
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,
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.
McCord in 'Nashville Beat' and 'Diagnosis Murder' Starring Dick
Van Dyke. Watch a promotional video for the show from E! TV.▲Starring former LAPD
"TV" coppers: Martin Milner, Kent McCord, Fred Dryer and Angie
Dickenson as Sergeant Pepper Spray (kidding!). Angie portrayed
Sergeant Pepper Anderson on the 1970's ABC-Television series
'Police Woman.' Fred Dryer portrayed Sgt. Rick Hunter on
NBC's '80s police series 'HUNTER."
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
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
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
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.
site has no affiliation with Universal/Mark VII, NBC, Adam-12 Productions,
or the actors from the show. There is no association with Universal/MCA,
its trade or service marks. This site is a non-profit fan and information
site that is designed to focus on the 1968-1975 television show, ADAM-12,
the history of the LAPD in the era of the 60's and 70's, law enforcement,
related collectibles, vintage police restoration, and the radio and
communications devices used by the LAPD.
Fair Use Notice:
The material on this site is provided for educational and informational
purposes. It may contain copyrighted material the use of which has not
always been specifically authorized by the copyright owner. It is being
made available in an effort to advance the education and information about
Adam-12 and the LAPD etc. It is believed that this constitutes a 'fair
use' of any such copyrighted material as provided for in section 107 of
the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, the
material on this site is distributed without profit to those who have an
interest in using the included information for research and educational
purposes. If you wish to use copyrighted material from this site for
purposes of your own that go beyond 'fair use', you must obtain permission
from the copyright owner. The information on this site does not constitute