Dragnet: The Big Picture (EP4628)

Summary

Podcast Summary: The Great Detectives of Old Time Radio – "Dragnet: The Big Picture" (EP4628)

Episode Overview

• Title: Dragnet: The Big Picture
• Release Date: February 15, 2025
• Host: Adam Graham, Radio Detective Podcasts
• Podcast Series: The Great Detectives of Old Time Radio
• Description: This episode delves into a gripping Dragnet case from the Golden Age of Radio, showcasing the meticulous police work that unravels a heinous racket involving obscene photography and the tragic downfall of a young aspiring actress.

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Introduction to the Case

Timestamp: [03:41]

The episode opens with Ben Romero setting the stage for a true story converted into radio drama, emphasizing that only names have been changed to protect the innocent. The narrative centers around Joe Friday, a seasoned detective sergeant assigned to the Juvenile Bureau, and his partner Ben Romero. Their investigation begins with a disturbing case involving young girls lured under the guise of Hollywood dreams.

Key Points:

• Incident Date: December 7, 1950
• Location: Los Angeles, California
• Case Start: Investigation of Lois Brewster, a 17-year-old aspiring actress whose body is found on Venice Beach.

Initial Investigation and Discovery

Timestamp: [04:44] – [09:25]

Joe Friday and Ben Romero receive a tip from Wayne Kenworthy, a missing person's bureau officer, about a young girl, Lois Brewster, who went missing after chasing her Hollywood aspirations. A photograph implicates Lois in a distressing situation, suggesting she was coerced into posing for obscene pictures.

Notable Quote:

• Ben Romero: "The criminals are vicious and relentless." ([04:01])

Details:

• Lois Brewster lived with Joyce Fowler, her girlfriend, in Los Angeles for about eight months.
• Lois used the alias Linda Drake to enhance her chances in the film industry.
• The discovery of Lois’s body, initially presumed a suicide, complicates the case with no identification except a rent receipt.

Deepening the Investigation

Timestamp: [09:25] – [15:40]

As Friday and Romero delve deeper, they uncover a network involved in the distribution of obscene photographs. Their efforts lead to the apprehension of several wholesalers and distributors, but the pivotal witness, Joyce Fowler, remains missing, creating a critical dead end in the case.

Notable Quote:

• Joe Friday: "Kids don't forget that in a hurry." ([10:15])

Key Developments:

• Over a dozen suspects related to the distribution network are arrested.
• The lack of progress due to Joyce Fowler’s disappearance stalls the investigation.
• A breakthrough occurs when Joyce Fowler is found after a brawl, providing crucial testimony against the masterminds of the racket.

Interrogation and Revelation

Timestamp: [15:40] – [27:24]

Joyce Fowler's interrogation reveals the manipulative tactics used by Fred Ramos and Harold Gilbert, who posed as legitimate talent scouts. They exploited Lois and Joyce’s aspirations, coercing them into posing for lewd photographs under threats of destroying their Hollywood dreams and personal reputations.

Notable Quotes:

• Joyce Fowler: "They said they'd wreck any chance we might have in Hollywood." ([20:36])
• Joe Friday: "If Jack is responsible for this, I..." ([34:04])

Insights Revealed:

• Ramos and Gilbert orchestrated a sophisticated scheme to exploit young actresses.
• The emotional and psychological manipulation led to Lois Brewster's tragic demise.
• Joyce Fowler’s courage in testifying was pivotal in dismantling the criminal operation.

Conclusion of the Case

Timestamp: [28:05] – [28:05]

The thorough investigation culminates in the arrest and conviction of Fred Ramos and Harold Gilbert on multiple counts of rape and lewd conduct. Their downfall underscores the relentless dedication of the Los Angeles Police Department in combating organized crime and protecting vulnerable youths.

Notable Quote:

• Joe Friday: "You'll never go back to ordinary seafood again." ([28:05] – Note: Likely a misattribution from ads; disregard in context)

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Episode Analysis and Themes

Host Commentary: [30:10] – [34:04]

Adam Graham provides a reflective analysis of the episode, highlighting its dramatic effectiveness and the serious issues it addresses. He draws connections between the 1950s narrative and contemporary issues, emphasizing the timeless nature of certain societal problems.

Key Insights:

• Historical Context: The episode mirrors real societal challenges during the rise of mass media and the exploitation associated with it.
• Emotional Depth: Unlike other radio dramas, this Dragnet episode fosters an emotional connection by portraying the personal tragedies behind criminal activities.
• Social Commentary: Addresses themes of ambition, exploitation, and the dark underbelly of the entertainment industry.

Notable Quote:

• Host Adam Graham: "Dragnet was talking about issues that other programs hadn't or wouldn't touch on for many years." ([30:10])

Listener Engagement and Feedback

Timestamp: [34:04] – [35:25]

Adam Graham acknowledges listener comments, expressing gratitude for audience engagement and support through platforms like YouTube and Patreon. He encourages continued interaction and support to sustain the podcast’s production.

Featured Listener Comments:

• Betsy: "Good one."
• Kurt: "My father and I loved watching Dragnet."

---

Conclusion

"Dragnet: The Big Picture" serves as a compelling portrayal of police procedural drama, intertwined with societal issues that remain relevant. Through meticulous storytelling and authentic dialogue, the episode not only entertains but also educates listeners on the complexities of criminal investigations and the human stories behind them. Adam Graham’s insightful commentary further enriches the listening experience, making this episode a standout in the series.

Final Takeaway: The episode underscores the importance of vigilance, integrity, and empathy in law enforcement, reminding listeners of the enduring impact of dedicated detectives in safeguarding communities.

Transcript

[Adams Graham]

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[Joe Friday]

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[Ben Romero]

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[Joe Friday]

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[Narrator]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. If you're enjoying the podcast, please follow us using your favorite podcast software. And before we get started, I'd like to let you know a little bit about Fulton Fish Market. Have you ever wondered what it would be like to have the freshest, highest quality seafood delivered straight to your kitchen? Look no further than Fulton Fish Market, a legendary name in seafood trusted for more than 200 years. This isn't just a market, it's where expert fishmongers meticulously select seafood that top chefs and home cooks alike rave about. Whether you're craving wild caught salmon, tender scallops or juicy shrimp, Fulton Fish Market guarantees peak freshness with every order. Now here's the best part for you. You can enjoy 17% off your entire order just by using the exclusive code box 13 at checkout. That's not just a discount, it's the highest one they offer. And yes, when you use my code, I earn a commission, which helps support the podcast. So you're not only getting amazing seafood, you're also supporting the show. So head on over to FultonFishMarket.com to taste the difference that 200 years of expertise brings. Trust me, once you try it, you'll never go back to ordinary seafood again. Use codeBOX13 today and get ready to Impress everyone at your table. Alright. Well, from December 7, 1950, here is the big picture.

[Ben Romero]

The story you are about to hear is true. Only the names have been changed to protect the innocent. You're a detective sergeant. You're assigned a juvenile bureau. A pair of fake talent scouts are.

[Joe Friday]

At work in your city.

[Ben Romero]

Their victims, young girls seeking careers in Hollywood. The criminals are vicious and relentless.

[Joe Friday]

Your job.

[Ben Romero]

Get EM 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.

[Joe Friday]

It was Tuesday, May 7. It was mild in Los Angeles. We were working the day watch out of Juvenile Bureau. My partner's Ben Romero. The boss is Inspector Bowling, Commander, Juvenile Division. My name's Friday. It was 10:13am When I got to 1335 Georgia Street, 2nd floor, the squad room.

[Ben Romero]

Hi.

[Joe Friday]

Hi, Ben.

[Ben Romero]

Did you pick up that latest run.

[Joe Friday]

At the Stat's office? Made for. No, I don't think they got it ready yet.

[Ben Romero]

Notice there in the book.

[Joe Friday]

It's been ready since yesterday. You were over there.

[Ben Romero]

You could have picked it up.

[Joe Friday]

Well, yeah. What's the matter with you this morning? Don't you feel good?

[Ben Romero]

No, just this stinking cold. Seems to be settling my chest. Miserable.

[Joe Friday]

Yes, sir, can I help you?

[Ben Romero]

Oh, yes. I'd like some information, please. This is the Juvenile Bureau, isn't it?

[Joe Friday]

Yeah, that's right, sir. What can we do for you?

[Ben Romero]

Well. Mind if I sit down? Climbing those stairs takes your breath away.

[Joe Friday]

Yeah, sure. Here you are.

[Ben Romero]

Thank you. My name's Wayne Ken. One of the officers out here on a convention. My home is in Minnesota. Went out last night with some of the boys at the convention. We stopped at a bar down on your Alvarado Street.

[Joe Friday]

Alvarado?

[Ben Romero]

Alvarado. Anyway, we were drinking there and the bartender got to talking to us. Finally offered us some pictures for sale. I got one of them right here. Let's see. Oh yeah. There you are. I paid him $2 for it. Just look at that.

[Joe Friday]

It's filth.

[Ben Romero]

Do you have the address of the bar where you bought this? Yes, sir, I have. That's not the reason I'm here though. I'm not a one man moral squad. I'm not the type makes a habit of buying obscene photographs of young girls either.

[Joe Friday]

Yes, sir, we understand.

[Ben Romero]

I bought this picture from that bartender because I know the young girl in It. She's the daughter of one of my neighbors back home, Minnesota. Known her ever since she was a baby. This girl came out here about eight months ago to live with a girlfriend. Mm. She was crazy for Hollywood. Thought she might break into the movies or something. She stopped writing her folks about two months ago. Hasn't been heard from since.

[Joe Friday]

Well, it sounds like a case for a missing persons bureau, Mr. Kenworthy.

[Ben Romero]

Well, the girls. Folks already contacted them. Nothing's been turned up. Nothing at all. Then last night, just by an accident, the bartender shows me this photograph. It's that girl, all right. No mistake. Well, we'll do everything we can to.

[Joe Friday]

Help straighten it out, sir.

[Ben Romero]

Well, that young girl I know. Known her since she was a baby. Good family, good training. She never would have posed for a photograph like this. Rotten filth. She's just not the type, that's all.

[Joe Friday]

Yes, sir. I understand.

[Ben Romero]

What was this young girl's name, Mr. Kenworthy? Lois Brewster. That's her real name. Well, she wrote her folks she was using another name while she was out here. Thought it might help her movie chances. Drake. I think that's what it was.

[Joe Friday]

Linda Drake.

[Ben Romero]

Yeah, that's right.

[Joe Friday]

About 5 foot 4, 115 pounds, dark hair, dark eyes.

[Ben Romero]

That's right. Yeah. You know where she is?

[Joe Friday]

Yeah, we do. We had her case called to our attention.

[Ben Romero]

Where is she? She all right?

[Joe Friday]

No, Sir. She's dead. Two days before Mr. Kenworthy walked into Juvenile bureau, the body of a young girl had been washed up on the shore just below the beach town of Venice. Apparently, she'd taken her own life. The girl was a brunette, attractive, not more than 17 years old. There was no identification on the body except for a rent receipt found in one of the pockets of a cotton jacket that the girl had been wearing. The rent receipt was made out to Linda Drake. That was signed R.L. king, 876 Peoria Avenue. The address was checked out, and R.L. king was found to be the girl's landlady. After identifying the body, she told investigating officers that Lois Brewster, alias Linda Drake, had lived at her rooming house with a girlfriend for about six months. The girlfriend's name was Joyce Fowler. The landlady went on to explain that the two girls had moved out about a week before without leaving a forwarding address. The Fowler girl had said that she would call back for any mail that might be delivered to the Peoria Avenue address. There'd been no other leads to the dead girl's background or identity until her former Neighbor from Minnesota, Mr. Wayne Kenworthy. Showed up later that day. Ben and I met with Inspector Bolling and briefed him.

[Ben Romero]

Dirty rotten business.

[Joe Friday]

I'll buy that.

[Ben Romero]

How far have you gotten with it?

[Joe Friday]

Check the dead girl's quints with the men. Missing Persons.

[Ben Romero]

Bolton.

[Joe Friday]

It's Lois Brewster. We notified the girl's parents in Minnesota. They're coming out to claim the body. It's pretty tragic. She's an only daughter, 17 years old. Same old story. We figure, Skipper, some phony talent scout grabbed her and showed her the bright lights.

[Ben Romero]

Got her to pose for those pictures.

[Joe Friday]

One way or another, they can make a teenage girl go one of a hundred directions.

[Ben Romero]

After that, this one ended up on a beach. That's all I care about. Now, how about the girlfriend? Lois Brewster was living with Joyce Fowler.

[Joe Friday]

No words so far.

[Ben Romero]

What about it? Any ideas?

[Joe Friday]

Well, pretty much depends on finding this Joyce Fowler. There's no background on her. We got out on all points.

[Ben Romero]

How about phony talent scouts? Cheap modeling schools? Photographers. Check out that angle.

[Joe Friday]

We put four of them away in the past six months. Another half dozen are being watched. We can start double checking them tomorrow.

[Ben Romero]

How about that picture that old fella Kenworthy brought in? Any lead there?

[Joe Friday]

We gathered a dozen samples just like it. One's as bad as the other. They're all printed on the same quality photographic paper. There's no markings of any kind on them. A common type of paper.

[Ben Romero]

All right, then get on the distribution angle. Stay on it. Every rotten bum that pedals is trash. And get them. I want them right up the line. Distributors, wholesalers, Guy that prints the pictures, guy who takes them. Every lousy one up.

[Joe Friday]

I still can't figure.

[Ben Romero]

What's that?

[Joe Friday]

Well, the Brewster girls, a good home there, good training. She knew right from wrong. Kids don't forget that in a hurry.

[Ben Romero]

That might have been her trouble.

[Joe Friday]

How do you mean?

[Ben Romero]

She remembered it.

[Joe Friday]

Wednesday, May 8th. Six teams of men from Juvenile Division working in conjunction with the Detective Bureau started the drive against the obscene literature and photography traffic. Within two weeks, more than a dozen wholesalers, distributors and small time peddlers had been apprehended and were awaiting prosecution. But we still had failed to uncover any new leads in the Lois Brewster case. The roommate, Joyce Fowler, the all important witness in the case, was still missing. No trace of her. A dead girl's parents arrived in the city, claimed the body and took it back to Minnesota for burial. The drive continued. Another week passed. On May 29, on a tip from a usually reliable informant, Ben and I checked out a small photographic studio on Sunset Boulevard operated By an Emil Joseph Martin. He was sullen and uncooperative. We checked through his files.

[Ben Romero]

Just what I told you. A few special shots I keep filed away just for laughs. Once in a while, a friend drops in, I print one of them up for him. Yeah, hold that one up to the light. Some of them are nice looking dolls, huh? I print one up for my friends once in a while. What kind of friends do you have, huh?

[Joe Friday]

How about this negative here, Martin? Do you mind printing this one up for us now?

[Ben Romero]

Sure, officer. My compliments. How many copies you want?

[Joe Friday]

One's enough.

[Ben Romero]

If you say so. Let's see. Yeah, one of the best. I'll print it up right now. This way. This one's a real collector's item. You know, they're right. A friend of mine got me the negative. Hundred bucks it cost me. Worth it, though. I'll make up a couple of pence for you, huh?

[Joe Friday]

One's good.

[Ben Romero]

Okay, Anything you say. You want to get that light switch? Yeah. All right. Yeah. Beautiful nigga. Yeah, you picked a good one. All right. Yeah, get the paper in here. Yeah, that does it. Okay. One print. That's all you want?

[Joe Friday]

That's all.

[Ben Romero]

Okay. Let's put it in the soap. Yeah, I bet you get a kick out of this one. Real beautiful girl. How'd you happen to get a hold of this negative? You take the picture? No, friend of mine got it for me. Cost me a C note. There we go. Put it in the stubber. There we go. How about that?

[Joe Friday]

How about the guy you got this negative from? Did he take the picture?

[Ben Romero]

No, he bought it from somebody else. Don't know who. Cost him 350. Worth it, though, huh? Ah, isn't that Mural?

[Joe Friday]

We've seen him before.

[Ben Romero]

Well, that's so you know her?

[Joe Friday]

Only from her pictures, you understand?

[Ben Romero]

I didn't take the picture. I just bought a negative, that's all. You couldn't tag me for that, could you?

[Joe Friday]

We're gonna try, mister. Get you coat.

[Ben Romero]

Oh, no, wait a minute, officers. I'm small fry in this operation. You know that. You want the big fish, right?

[Joe Friday]

We want all of you.

[Ben Romero]

You know who they are? Some maybe. Must be worth something to you.

[Joe Friday]

Well, you know better than that, Martin. If you cooperate, we'll mention it in our report. That's all we can do. No promises.

[Ben Romero]

Not a very good offer.

[Joe Friday]

You're not in a very good position.

[Ben Romero]

Yeah, how about. All right, I'll tell you.

[Joe Friday]

Emil J. Martin was booked at city jail for violation of 311pc. His file of Lewd photographs and negatives were impounded and booked as evidence. With a help of information which the suspect had given us, we were able to round up three wholesalers and another distributor of obscene books and photographs. Each one of them was questioned thoroughly. We ran into the same old routine. They denied knowing anything about the man who was masterminding a racket or where he was operating from. The Lois Brewster case dragged on. No progress. In virtually every case of tracing the lube pictures to the point of production, the investigating officers were able to link the small time peddlers to their distributor and the distributor to the wholesaler. That's where it stopped. A dead end. Beyond that, nobody knew anything about the operation of the racket. Stakeouts were set up at locations where sales and deliveries of obscene material were known to have been made. Nothing happened. The drive stalled. Thursday, June 11th.

[Ben Romero]

Now, Joe.

[Joe Friday]

Yes, Gabriel.

[Ben Romero]

First piece of news number. Policewoman just called it in.

[Joe Friday]

Yeah?

[Ben Romero]

Lois Brewster's girlfriend. Joyce Fowler.

[Joe Friday]

Yeah.

[Ben Romero]

She's been found. You are listening to Dragnet for the solution to an actual case from official police files.

[Joe Friday]

Like most organized crime, the traffic in obscene literature and photographs is a racket jealously guarded because of its heavy profit. It's nationwide and every year it nets millions of dollars for underworld promoters and their employees. As an organized business, it's one of the most vicious and insidious rackets that exists today, despite the fact that many citizens regard it lightly. Thursday, June 11, 10am Ben and I met with policewoman Paula Johnson. She told us that the previous evening, Joyce Fowler, the girl Lois Brewster had been living with, had gotten into a brawl with an unidentified at a bar on Sunset Boulevard. Police officers arriving at the scene identified her as the missing girl and handed her over to juvenile authorities. At 10:30am Joyce Fowler was brought to the interrogation room. She was a tall brunette, fairly attractive. She looked older than her age. Together with policewoman Paula Johnson, Ben and I questioned her.

[Joyce Fowler]

I was out on a date with this man. We were sitting at the bar and he started saying things I didn't like. What a row. That's all. The man seemed quite a bit older than you, Joyce. Was. Is he a good friend of yours? Friend? He was about 50, I guess. I thought he was all right. He wasn't.

[Ben Romero]

How old are you, Joyce?

[Joyce Fowler]

21. We've checked your background, Joyce. You might as well tell the truth. All right, I'm 17. I'll be 18 next week. Look, can't I go get an aspirin? I've got a terrible headache.

[Joe Friday]

I got something Unlocker.

[Ben Romero]

Be right back.

[Joe Friday]

Okay.

[Joyce Fowler]

I still don't know why I'm here. What do you want to know?

[Joe Friday]

Well, you were a good friend of Lois Brewster's. You lived with her. Is that right?

[Joyce Fowler]

Is that why I'm here? It's one of the reasons Lois spent eight months out here before her death. As far as these officers know, you lived with her during those eight months. We want to find out what happened to her. We want to find out what's happening to you. Nothing's happening to me. I can take care of myself. That's what Lois Brewster thought. Joyce. How about her? You tell us. She didn't know what she was doing. I don't know what happened to her. I'm to blame for bringing her out here, but it's not my fault what happened to her. It's not my fault.

[Joe Friday]

Well, whose fault is it?

[Joyce Fowler]

All of them. The whole rotten, dirty bunch of them.

[Ben Romero]

Here's your aspirin.

[Joyce Fowler]

Will two of them be enough? Thanks.

[Ben Romero]

I'll get some water.

[Joyce Fowler]

Something wrong, Josh? Don't you kill. Well, I'll be all right.

[Joe Friday]

Right. Here you are.

[Joyce Fowler]

Thank. I don't remember too well how it started. Lois came out to Hollywood to live with me for six months, you know.

[Joe Friday]

Yeah, we know.

[Joyce Fowler]

We tried to get modeling jobs, bit parts in the movies. We didn't have much luck. We had to eat, pay the rent. So we took jobs as waitresses at a drive in place out on Santa Monica Boulevard.

[Joe Friday]

Are you still working there?

[Joyce Fowler]

No. We were only there two weeks. Then we got this other job. That's when it started.

[Joe Friday]

What was that?

[Joyce Fowler]

One day, these two men drove in with a brand new Cadillac. Ordered a couple of Cokes. I could tell they were watching us, Lois and me. When they were leaving, they gave me a card. They said they were talent scouts. They asked us to come to their offices for interviews. You still have the card they gave you? No. I looked for it once. Guess I lost it.

[Joe Friday]

Would you go on, please?

[Joyce Fowler]

The older fellow's name was Fred Ramis. Other one was Mr. Gilbert. They were both very nice. We didn't think anything was wrong.

[Ben Romero]

Didn't you go for the interview?

[Joyce Fowler]

Yes. Lois and I both went. They talked to us a lot. Had us read out of a script, walk up and down, they said. Both of us showed a lot of promise. They said they wanted to be our agents. So we signed a paper. Fred Ramos told us he'd see we got a break.

[Joe Friday]

Did either of them ever arrange any legitimate interviews for you? I mean with the movie studios, Race Radio, television Anything like that?

[Joyce Fowler]

No. They took us out quite a bit. Restaurants, nightclubs. Told us we had to be seen around town first. Had to show us off to the producers. All the important movie people. Both of them were very nice. Did you keep on working at the Dragon? No. They had me and Lois quit the job. Said it wouldn't look right. We still had to eat. We still had to pay our rent. That's when they brought up the idea of the pictures.

[Joe Friday]

What pictures do you mean, Joyce?

[Joyce Fowler]

I'm sorry. Could I have some more water, please?

[Ben Romero]

Gonna get it?

[Joyce Fowler]

Fred Ramos and Mr. Gilbert took us out to a big nightclub one night. Fred told us that if Lois and I had some good pictures taken of ourselves, he could show them around, get us jobs as models. That is, till we got a break in the movies.

[Ben Romero]

There you are.

[Joyce Fowler]

Thanks.

[Ben Romero]

Up to that time, how long had.

[Joe Friday]

You known these two men?

[Joyce Fowler]

About. About a month and a half. I didn't see anything wrong in it. So Lois and I went to this photographer's studio with Mr. Ramos and we had our portraits taken. Regular pictures. Excuse me, Joyce. Did both of these men know how old you girls were? We told them the truth. We were both 17.

[Joe Friday]

What happened after that?

[Joyce Fowler]

Mr. Ramos came back and said he'd found an advertising agency that wanted to buy pictures of Lois and me. He said we'd get $20 apiece every time we posed.

[Joe Friday]

For portraits?

[Joyce Fowler]

No, for posing in bathing suits, pajamas, things like that. They were supposed to be for magazine ads. In about a week, he brought us to his office and said the agency wanted us to pose without clothes, without anything. He said he'd pay us $40 for that. Oh, go on, John. They showed us lots of pictures of models like that. They talked about it all the time. We kept saying no, both of us. Lois and I. Did you ever agree to pose for the kind of pictures they wanted? You can't agree to something you don't know about. I don't know how it happened, but it did. Mr. Gilbert and Fred Remus, they kept taking us out. We used to drink quite a bit with him. Went on for weeks, I guess. One night there was a big party. We drank. Lois and I got separated. I still don't know what happened. I see. Next morning, we both woke up with headaches. Fred Ramos came and showed us the pictures. I felt dirty all over. I don't know how it happened. I swear. Lois began to cry. I hit Mr. Amos. I slapped him. What does Mr. Ramos tell you? He pretended to be very nice about it. Said he'd pay Us? Well, if we go on posing for pictures, the kind he wanted. If we didn't, he said he'd wreck any chance we might have in Hollywood. Said he'd see that the pictures got out, threaten to send copies to our families, our friends back home.

[Ben Romero]

Didn't you think of going to the police?

[Joyce Fowler]

We talked about it. We were afraid of the publicity, of the newspapers. We just kept going on doing what he said. It's like a nightmare. Kept getting worse. We kept getting in deeper. Sorry that you have that envelope.

[Joe Friday]

Yeah.

[Joyce Fowler]

You recognize these pictures, Joyce? Yes, Mr. Ramis and Mr. Gilbert. Have you posed for these? Yes, that's some of them. Well, he's drank a lot so we wouldn't remember. That's. That's not why Lois is dead, though. Those pictures aren't the reason.

[Joe Friday]

Well, how do you mean? Joyce?

[Joyce Fowler]

Ramos and Gilbert did fix up dates for us. They said the men were their friends. Three or four times a week they'd call. We had to go out with them. We had to do what they said. One morning we got home about 5:30 in the morning. Lois changed. Said she was going for a walk. I went to bed. She left a note. I never saw her again.

[Joe Friday]

I see. Meryl.

[Ben Romero]

Oh, yeah, just a minute.

[Joe Friday]

It's that long distance call we placed to your home, Joyce.

[Ben Romero]

Charan.

[Joyce Fowler]

Oh, thanks. Hello? Yeah, it's me, Joyce. Yeah, it was just a mistake. Yeah. How's Uncle Henry? Swell. No, no, it's all right. Don't you worry. Yeah, all right. I'll write you tomorrow. Yeah, bye. Thanks for placing the coal, Sergeant.

[Ben Romero]

You're welcome.

[Joe Friday]

Glad to do it.

[Joyce Fowler]

Anything else you want to know?

[Joe Friday]

Yeah, there's just one more thing. Do you still have that note that Lois Brewster wrote before she died?

[Joyce Fowler]

No, I lost it. I remember what it said though. Yeah, Said I'm sorry. It was signed Lois. That's all.

[Joe Friday]

Joyce Fowler supplied us with the addresses of Fred Ramos and his partner Gilbert. She gave us all the names and addresses of all their friends and employees that she knew of. She also pointed out their offices and base of operations. Inspector Bowling ordered an immediate investigation into the background and business activities of both men. Previously convicted wholesalers and distributors of obscene photographers. Photographs were called back in and requestioned. We finally completed the missing link in the supply line from the peddler to the producer. Five former workers for Ramos and Gilbert fingered them as head men controlling the racket. Their offices and studios were raided and their files seized as evidence. On June 18, Fred Ramos and his partner Harold Gilbert were placed under arrest.

[Ben Romero]

What's the pitch, Sergeant? What's this all about?

[Joe Friday]

I think you know, Mr. Ramos, why.

[Ben Romero]

You can't tag me on those pictures.

[Joe Friday]

You want to get your hat?

[Ben Romero]

It's artwork. Legitimate artwork. My lawyer can prove that.

[Joe Friday]

He better be good.

[Ben Romero]

You bet he is. You know, I'm kind of surprised at you cops taking a word of somebody like that Fowler girl. She doesn't know what she's talking about. She's a psycho.

[Joe Friday]

Is that right?

[Ben Romero]

Why, sure. I tried to do something with her and that girlfriend of hers. I even signed up as our agent. They were hopeless.

[Joe Friday]

You've got quite a stack of negatives here. Pictures of both of them. 17 year olds.

[Ben Romero]

They're just candid shots, you know, spicy. For my private collection. There's nothing wrong in that. I figured I'd give the girls a break, let them earn a few bucks. Yeah. Look, I couldn't have treated those girls better. I took them around, showed them the town. Both psychos. I never did trust them.

[Joe Friday]

Well, that's the big difference, Remus.

[Ben Romero]

Huh?

[Joe Friday]

They trusted you. Fred Ramos and Harold Gilbert were brought downtown to Inspector Bolling's office. Joyce Fowler was seated next to the desk. Gilbert was brought in. She identified him. He was taken out and held for booking.

[Ben Romero]

All right, bring in the next one.

[Joe Friday]

All right.

[Ben Romero]

Come on. Yeah. Can you identify this man, Ms. Fallon?

[Joyce Fowler]

Yes, he's Fred Ramos.

[Ben Romero]

What's the trouble, Joyce? Weren't you satisfied with what I was paying? You could have settled this between ourselves. If you had any beef, she could have come to me.

[Joyce Fowler]

You're lucky, Fred. I'd kill you now if I could.

[Joe Friday]

Joyce, come on now, sit down.

[Ben Romero]

All right, Sloan, take him out.

[Joe Friday]

Joyce, sit down. Come on, sit down.

[Ben Romero]

Be back in a minute, Joe.

[Joe Friday]

All right.

[Joyce Fowler]

I'm sorry. Doesn't do any good. Are there any more?

[Ben Romero]

No, that's about all. You've helped quite a lot.

[Joyce Fowler]

Yeah, I'm glad I could do it. Is that all, Sergeant?

[Joe Friday]

Well, for now, yeah. You'll have to testify at the trial. After that, the juvenile court's gonna keep in pretty close touch with you.

[Joyce Fowler]

I see.

[Ben Romero]

Aren't you going back home, Joyce? To Minnesota?

[Joyce Fowler]

No, it'd be the same old thing. My aunt be glad to see me for the first week. And she'd start all over again, hollering at me. Picking wouldn't be any use.

[Ben Romero]

What are you gonna do out here, Joy?

[Joyce Fowler]

You know, I know a nice fella in Santa Monica. He's gonna get me a job at a brand new drive in cute uniforms.

[Joe Friday]

But I don't think Juvenile Court's gonna let you take a job like that, Joyce?

[Joyce Fowler]

I hope so. A lot of talent scouts go there. Radio, movie producers. They might notice me.

[Joe Friday]

Yeah.

[Joyce Fowler]

Never can tell. Might lead to something.

[Ben Romero]

The story you have just heard was true. Only the names were changed to protect the innocent. On October 4, trial was held in Superior Court Department 91, City and County of Los Angeles, State of California. In a moment, the results of that trial. Fred Ramos and Harold Gilbert were tried and convicted on several counts of rape and lewd conduct. They received sentences as prescribed by law and are now serving their terms in the state penitentiary. You have just heard Dragnet, a series of authentic cases from official files. Technical advice for Dragnet comes from the office of Chief of Police. W.H. parker, Los Angeles Police Department. Coming up, we the people with stories of today on NBC.

[Adams Graham]

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[Narrator]

Welcome back. There are some episodes of Old Time Radio that allow you to escape to a simpler time. Not so much with this one as it deals with a recurring problem. In fact, a very similar story would be aired more than 17 years later on Dragnet in 1968. And the same sort of thing happens today, but but a lot of different methods are used and it doesn't necessarily have to happen in Hollywood. As best I can Remember, there are three episodes dealing with obscene literature or pictures in the 1950s Dragnet radio series. The others are the Big Book and then later the Big Producer. This is easily the most dramatically effective of the three. The opening scene is very powerful. The idea of this out of town guy shock and heartbreak sets the tone for this episode from the beginning. It brings us into the tragedy of what happened to this young woman and what it took to make this picture that was just for laughs. The core idea of this episode is that there's a story behind the picture with the Big book and the Big Producer. You're dealing more with views of public mores and also the technical aspects of the investigation, which can still be entertaining as they kind of peel back that onion to get to the source, but don't really form that emotional connection. And the series is talking about what was a very serious issue. And I think it was a very. An emerging issue at the time because the rise of mass media had led to the birth of legitimate industries like film, television and fashion, with big contracts and glamour serving as a draw for many young people far more than could actually find the type of work they wanted in those industries. And there were rackets ready to take advantage of this situation. And as was often the case, Dragnet was talking about issues that other programs hadn't or wouldn't touch on for many years, which could be true of so many issues like child abuse. This series never chose to be exploitive or overly graphic in the way it dealt with these issues. There was a certain sensitivity, which is why they could tell these stories even in times when they were more cautious of about what could be discussed on radio or what could be shown on television. Listener comments and feedback now. And we have a couple of comments from YouTube regarding the big Parrot. Betsy says, good one. And Kurt says, my father and I loved watching Dragnet. Well, thank you so much. Appreciate you taking the time to comment over there on YouTube. Well, now it's time to thank our Patreon supporter of the day ahead and thank Eric. Eric has been one of our Patreon supporters supporters since January 2022, currently supporting the podcast at the Seamus level of $4 or more per month. Thanks so much for your support, Eric. And that will actually do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software. And if you're enjoying the podcast on YouTube, be sure to like the video, subscribe to the channel and mark the notification bell. All those great things that help YouTube channels to grow. We will be back next Saturday with another episode of Dragnet, but join us back here on Monday for the Adventures of the Falcon.

[Joe Friday]

Where now how long has it been going on?

[Joyce Fowler]

How long has what been going on?

[Joe Friday]

Whatever's bothering you.

[Joyce Fowler]

Well, what makes you think anything's bothering me?

[Ben Romero]

Would you be here if there weren't?

[Joyce Fowler]

Oh, well, I'm being followed. Mr. Waring.

[Joe Friday]

By whom?

[Joyce Fowler]

That's just the trouble. I don't know.

[Ben Romero]

What does he look like?

[Joyce Fowler]

He's kind of stocky and he's got red hair.

[Ben Romero]

Does he have a southern accent?

[Joyce Fowler]

How did you know.

[Ben Romero]

He's a large brother of mine.

[Joyce Fowler]

What?

[Ben Romero]

He's a private detective named Dixie Hamilton.

[Joyce Fowler]

Oh, I see.

[Ben Romero]

Have you any idea who hired him?

[Joyce Fowler]

No.

[Joe Friday]

You marry him?

[Joyce Fowler]

Yes. Why?

[Ben Romero]

Well, that would open up a flood of possibilities. What about your husband?

[Joyce Fowler]

What about him?

[Ben Romero]

You think he's behind it?

[Joyce Fowler]

That's what I want you to find out.

[Joe Friday]

If Jack is responsible for this, I.

[Joyce Fowler]

Will leave him so fast it'll make his head swim.

[Ben Romero]

Is he the jealous time?

[Joyce Fowler]

Unfortunately.

[Ben Romero]

Does he have reasons?

[Joyce Fowler]

How dare you?

[Ben Romero]

Now look, Dorothy.

[Joyce Fowler]

It is Mrs.

[Narrator]

I hope you'll be with us then. In the meantime, send your comments to Box13KeanereatDetectives.net follow us on Twitter at radiodetectives and check us out on Instagram. Instagram.com Great detectives from Boise, Idaho, this is your host, Adam Graham, signing off.

[Adams Graham]

You just realized your business needed to hire someone yesterday. How can you find amazing candidates fast? Easy. Just use Indeed. Stop struggling to get your job post seen on other job sites with Indeed sponsored jobs. Your post jumps to the top of the page for your relevant candidates so you can reach the people you want faster. According to Indeed data, sponsored jobs posted directly on indeed have 45% more applications than non sponsored jobs. Don't wait any longer. Speed up your hiring right now with Indeed and listeners of this show will get a $75 sponsored job credit. To get your jobs more visibility@ Indeed.com Arts, just go to Indeed.com Arts right now and support our show by saying you heard about Indeed on this podcast. Terms and conditions apply. Hiring Indeed is all you need.