Dragnet: The Big Picture (EP4628)

Summary

The Great Detectives Present Dragnet (Old Time Radio)

Episode Summary: "Dragnet: The Big Picture" (EP4628)

Release Date: February 15, 2025
Host/Author: Adam Graham

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Introduction

In the episode titled "Dragnet: The Big Picture," host Adam Graham delves into a gripping narrative from the classic Old Time Radio series Dragnet. This episode, set in December 1950 Los Angeles, unravels a harrowing case involving the trafficking of obscene literature and photographs, ultimately leading to the tragic demise of a young woman named Lois Brewster. Graham's detailed analysis not only recounts the episode but also contextualizes its significance within both the series and societal issues of the time.

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Episode Synopsis

The episode begins with a harrowing plea from Officer Friday (Perry Mason) and Officer Romero (Joe Friday) detailing a true story derived from official police files. The narrative focuses on a juvenile bureau sergeant assigned to investigate a disturbing case involving fake talent scouts exploiting young girls aspiring to enter Hollywood.

Key Plot Points:

• Initial Incident: On May 7, Officer Friday arrives at the Juvenile Bureau to investigate Lois Brewster, a 17-year-old girl who went missing two months prior after seeking a career in Hollywood.
• Discovery of the Body: A body matching Lois's description is found washed ashore in Venice, believed to have committed suicide. However, a rent receipt bearing the name Linda Drake leads the officers to uncover deeper layers of foul play.
• Investigation Intensifies: The officers uncover a network of wholesalers and distributors involved in the production and distribution of obscene photographs. Despite multiple arrests, the case reaches a stalemate due to a missing key witness, Joyce Fowler.
• Breakthrough: On June 11, Joyce Fowler resurfaces after an altercation, providing crucial testimony that links the obscene materials to Fred Ramos and Harold Gilbert, the masterminds behind the racket.
• Climactic Arrests and Trial: Leveraging Joyce's revelations, the officers conduct raids, apprehend the perpetrators, and conclude with their conviction on charges of rape and lewd conduct.

Notable Quote:
[10:31] Officer Friday: "Dirty rotten business."

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Investigation Details

The heart of the episode lies in the meticulous police investigation process. Officers Friday and Romero navigate through a maze of deceit, confronting several suspects and piecing together evidence from various sources.

Investigation Highlights:

• Stakeout Operations: Implementing surveillance at known distribution points fails to yield immediate results, highlighting the sophistication of the criminal network.
• Interrogation Techniques: The officers employ strategic questioning with Joyce Fowler, extracting pivotal information despite her initial reluctance.
• Evidence Collection: The case pivots on the discovery and analysis of photographic negatives linked to Emilio Joseph Martin's studio, leading to the identification of Fred Ramos and Harold Gilbert.
• Legal Proceedings: The episode culminates in the legal repercussions faced by Ramos and Gilbert, emphasizing the effectiveness of dedicated law enforcement.

Notable Quote:
[25:28] Joyce Fowler: "I'm sorry. It doesn't do any good."

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Character Analysis

• Officer Friday (Perry Mason): Portrayed as diligent and empathetic, his interactions with Joyce Fowler reveal his ability to balance professional duty with personal sensitivity.
• Officer Romero (Joe Friday): Methodical and authoritative, his role underscores the importance of perseverance in solving complex cases.
• Joyce Fowler: A pivotal character whose testimony bridges the gap between the victims and the perpetrators, embodying the struggles of those caught in exploitative systems.
• Fred Ramos and Harold Gilbert: Represent the dark underbelly of Hollywood’s allure, manipulating young aspirations for illicit gains.

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Key Themes

1. Exploitation in Hollywood: The episode critiques the predatory practices within the entertainment industry, highlighting how ambition can be manipulated by unscrupulous individuals.
2. Youth Vulnerability: Focuses on the susceptibility of young individuals seeking fame, emphasizing the need for protective measures.
3. Law Enforcement Dedication: Showcases the relentless efforts of police officers in uncovering and dismantling criminal networks.
4. Moral Responsibility: Raises questions about societal and personal accountability in preventing such tragedies.

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Adam Graham’s Analysis

Adam Graham provides insightful commentary post-episode, drawing parallels between the 1950s narrative and contemporary issues.

Key Insights:

• Recurring Problems: Graham notes the enduring nature of exploitation in the entertainment industry, drawing a line to similar cases that emerged decades later in the 1968 Dragnet series.
• Emotional Connection: He highlights how this episode stands out for its emotional depth, contrasting it with other episodes that focus more on procedural elements.
• Societal Reflections: The discussion touches upon the rise of mass media and legitimate industries that inadvertently created avenues for racketeering.
• Sensitive Handling: Adam appreciates Dragnet for addressing serious issues with sensitivity, avoiding sensationalism while effectively conveying the gravity of the situations.

Notable Quote:
[29:05] Adam Graham: "As best I can remember, there are three episodes dealing with obscene literature or pictures in the 1950s Dragnet radio series. The Big Picture is easily the most dramatically effective of the three."

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Listener Feedback and Community Engagement

Graham acknowledges listener interactions, mentioning comments from platforms like YouTube, where fans like Parrot Betsy and Kurt express their appreciation for Dragnet.

Notable Quote:
[29:13] Adam Graham: "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."

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Supporting the Podcast

Towards the end of the episode, Graham encourages listener support through Patreon, thanking contributors like Eric, who have been instrumental in sustaining the podcast.

Notable Quote:
[30:43] Adam Graham: "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."

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Conclusion

"Dragnet: The Big Picture" serves as a poignant reminder of the perpetual struggles against exploitation and the unwavering commitment of law enforcement. Through meticulous storytelling and Adam Graham's thoughtful analysis, the episode not only entertains but also educates listeners on the complexities of crime investigation and the moral dilemmas faced by those involved.

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Notable Quotes with Timestamps

• [10:31] Officer Friday: "Dirty rotten business."
• [17:16] Joyce Fowler: "I'm a psycho."
• [24:30] Joyce Fowler: "I still don't know why I'm here. What do you want to know?"
• [26:55] Officer Friday: "What's the pitch, Sergeant? What's this all about?"
• [28:18] Joyce Fowler: "You're lucky, Fred. I'd kill you now if I could."
• [29:13] Adam Graham: "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."

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This comprehensive summary encapsulates the essence of "Dragnet: The Big Picture," providing listeners with an in-depth understanding of the episode's narrative, themes, and critical reception without the need to listen to the full broadcast.

Transcript

[Narrator]

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[Officer Friday]

It's.

[Adam Graham]

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. All right, well, from December 7, 1950, here is the big picture.

[Narrator]

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[Officer Friday]

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.

[Officer Romero]

At work in your city.

[Officer Friday]

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

[Officer Romero]

Your job.

[Officer Friday]

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.

[Officer Romero]

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, second floor. The squadron.

[Officer Friday]

Hi.

[Officer Romero]

Hi, Ben.

[Officer Friday]

Did you pick up that latest run.

[Officer Romero]

The stats office made for us? No, I don't think they got it ready yet. Notice there in the book. It's been ready since yesterday. You were over there you could have picked it up. Well, yeah. What's the matter with you this morning? Don't you feel good? Just this stinking cold seems to be settling my chest.

[Officer Friday]

Miserable.

[Officer Romero]

Yes, sir, can I help you?

[Officer Friday]

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

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

Yeah, sure. There you are.

[Officer Friday]

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.

[Officer Romero]

Alvarado?

[Officer Friday]

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.

[Officer Romero]

It's filth.

[Officer Friday]

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.

[Officer Romero]

Yes, sir, we understand.

[Officer Friday]

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.

[Officer Romero]

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

[Officer Friday]

Well, the girls folks have 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.

[Officer Romero]

Help straighten it out, sir.

[Officer Friday]

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.

[Officer Romero]

Yes, sir, we understand.

[Officer Friday]

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.

[Officer Romero]

Linda Drake.

[Officer Friday]

Yeah, that's right.

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

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

[Officer Friday]

Where is she? She all right?

[Officer Romero]

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. It 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. 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 Bowling and briefed him.

[Officer Friday]

Dirty rotten business.

[Officer Romero]

I'll buy that.

[Officer Friday]

How far have you gotten with it?

[Officer Romero]

Check the dead girl's quints with the missing persons bulletin. Ms. 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.

[Officer Friday]

Same old story with figurescaper.

[Officer Romero]

Some phony talent scout grabbed her and showed her the bright lights.

[Officer Friday]

Got her to pose for those pictures.

[Officer Romero]

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

[Officer Friday]

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.

[Officer Romero]

No words so far.

[Officer Friday]

What about it? Any ideas?

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

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. They're a common type of paper.

[Officer Friday]

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.

[Officer Romero]

I still can't figure.

[Officer Friday]

What's that?

[Officer Romero]

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

[Officer Friday]

That might have been her trouble.

[Officer Romero]

How do you mean?

[Officer Friday]

She remembered it.

[Officer Romero]

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.

[Officer Friday]

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 life. 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?

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

One's enough.

[Officer Friday]

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. 100 bucks it cost me. Worth it, though. I'll make up a couple of pence for you, huh?

[Officer Romero]

One's good.

[Officer Friday]

Okay. Anything you say. You want to get that light switch? Oh, yeah, yeah. All right. Yeah. Beautiful negative. 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?

[Officer Romero]

That's all.

[Officer Friday]

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?

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

We've seen him before.

[Officer Friday]

Well, that's so you know her? Only from her pictures, you understand? I didn't take the picture. I just bought a negative, that's all. You couldn't tag me for that, could you?

[Officer Romero]

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

[Officer Friday]

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

[Officer Romero]

We want all of you. Do you know who they are?

[Officer Friday]

Some maybe. Must be worth something to you.

[Officer Romero]

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

[Officer Friday]

Not a very good offer.

[Officer Romero]

You're not in a very good position.

[Officer Friday]

Yeah?

[Officer Romero]

How am I?

[Officer Friday]

All right, I'll tell you.

[Officer Romero]

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. They ran into the same old routine. They denied knowing anything about the man who was masterminding the 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 Amara.

[Officer Friday]

Joe.

[Officer Romero]

Yes, Gabriel.

[Officer Friday]

First piece of news, no more. The policewoman just called it in.

[Officer Romero]

Yeah?

[Officer Friday]

Lois Brewster's girlfriend, Joyce Fowler.

[Officer Romero]

Yeah.

[Officer Friday]

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

[Officer Romero]

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 exist 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 man 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 he a good friend of yours? Friend? He was about 50, I guess. I thought he was all right. He wasn't.

[Officer Friday]

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.

[Officer Romero]

I got something in my locker.

[Officer Friday]

Be right back.

[Joyce Fowler]

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

[Officer Romero]

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.

[Officer Romero]

Well, whose fault is it?

[Joyce Fowler]

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

[Officer Friday]

Here's your aspirin.

[Joyce Fowler]

Two of them being up. Thanks.

[Officer Friday]

I'll get some water.

[Joyce Fowler]

There's something wrong, Joyce. Don't you feel well? I'll be all right.

[Officer Friday]

Here you are.

[Joyce Fowler]

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

[Officer Romero]

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.

[Officer Romero]

Are you still working there?

[Joyce Fowler]

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

[Officer Romero]

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 as 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.

[Officer Romero]

Would you go on, please?

[Joyce Fowler]

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

[Officer Friday]

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.

[Officer Romero]

Did either of them ever arrange any legitimate interviews for you? I mean with the movie studios, 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.

[Officer Romero]

What pictures do you mean, Joyce?

[Joyce Fowler]

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

[Officer Friday]

Oh, yeah.

[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.

[Officer Friday]

Here you are.

[Joyce Fowler]

Thanks.

[Officer Friday]

Up to that time, how long had.

[Officer Romero]

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.

[Officer Romero]

Mm. 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 get $20 apiece every time we posed.

[Officer Romero]

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, Chart. 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 them. 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. Ramos. I slapped him. When 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.

[Officer Friday]

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. You kept getting in deeper. Sorry that you have that envelope.

[Officer Romero]

Yeah, 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. We always drank a lot so we wouldn't remember. That's. That's not why Lois is drinking. Those pictures aren't the reason.

[Officer Romero]

Well, how do you mean?

[Joyce Fowler]

Joyce, Ramos and Gilbert, they'd 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.

[Officer Friday]

Hmm.

[Joyce Fowler]

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.

[Officer Romero]

I see. Romero. Oh, yeah, just a minute. It's that long distance call we placed to your home. Joyce Charan.

[Joyce Fowler]

Oh, thanks. Hello? Yeah, it's me. Joyce. Yeah, it was just a mistake. Yeah. How's Uncle Henry?

[Officer Friday]

It's.

[Joyce Fowler]

Well, 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 Surgeon.

[Officer Friday]

You're welcome. Glad to do it.

[Joyce Fowler]

Anything else you want to know?

[Officer Romero]

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.

[Officer Romero]

Yeah.

[Joyce Fowler]

Said, I'm sorry. It was signed Lois. That's all.

[Officer Romero]

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 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.

[Officer Friday]

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

[Officer Romero]

I think you know, Mr. Ramos.

[Officer Friday]

You can't tag me on those pictures.

[Officer Romero]

You want to get your hat?

[Officer Friday]

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

[Officer Romero]

He better be good.

[Officer Friday]

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

[Officer Romero]

Is that right?

[Officer Friday]

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

[Officer Romero]

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

[Officer Friday]

They're just candid shots, you know, Spicy. From my private collection. There's nothing wrong in that. I figured I'd give the girls a break, let them earn a few bucks.

[Officer Romero]

Yeah.

[Officer Friday]

Look, I couldn't have treated those girls better. I took them around, showed them the town. Both psychos. I never did trust them.

[Officer Romero]

Well, that's the big difference, Remus. They trusted you. Fred Ramos and Harold Gilbert were brought downtown to Inspector Bowling'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.

[Officer Friday]

All right, bring in the next one. All right, Come on. Yeah. Can you identify this man, Ms. Fallon?

[Joyce Fowler]

Yes, he's Fred Ramos.

[Officer Friday]

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.

[Officer Romero]

Oh, Joyce, come on now, sit down.

[Officer Friday]

All right, Sloan, take him out.

[Officer Romero]

Joyce, sit down. Come on, sit down.

[Officer Friday]

Be back in a minute, Joe.

[Officer Romero]

All right.

[Joyce Fowler]

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

[Officer Friday]

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?

[Officer Romero]

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.

[Officer Romero]

Aren't you going back home, Joyce?

[Officer Friday]

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.

[Officer Friday]

What are you gonna do out here, Joyce?

[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.

[Officer Romero]

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.

[Officer Romero]

Yeah.

[Joyce Fowler]

Never can tell. Might lead to something.

[Officer Friday]

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.

[Narrator]

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[Adam Graham]

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 at and the same sort of thing happens today, 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 this series is talking about what was a very serious issue, and I think it was a 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 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.

[Officer Romero]

Where now, how long has it been going on?

[Joyce Fowler]

How long has what been going on?

[Officer Romero]

Whatever's bothering you.

[Joyce Fowler]

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

[Officer Friday]

Would you be here if there weren't?

[Joyce Fowler]

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

[Officer Romero]

By whom?

[Joyce Fowler]

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

[Officer Friday]

What does he look like?

[Joyce Fowler]

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

[Officer Friday]

Does he have a southern accent?

[Joyce Fowler]

How did you know?

[Officer Friday]

He's a large brother of mine.

[Joyce Fowler]

What?

[Officer Friday]

He's a private detective named Dixie Hamilton.

[Joyce Fowler]

Oh, I see.

[Officer Friday]

Have you any idea who hired him?

[Joyce Fowler]

No.

[Officer Romero]

You marry him?

[Joyce Fowler]

Yes. Why?

[Officer Friday]

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

[Joyce Fowler]

What about him?

[Officer Romero]

You think he's behind it?

[Joyce Fowler]

That's what I want you to find out.

[Officer Romero]

If Jack is responsible for this, I.

[Joyce Fowler]

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

[Officer Friday]

Is he the jealous time?

[Joyce Fowler]

Unfortunately.

[Officer Friday]

Does he have reasons?

[Joyce Fowler]

How dare you?

[Officer Friday]

Now look, Dorothy.

[Joyce Fowler]

It is Mrs.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to Box 13, 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.

[Narrator]

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