NBC (ended 1975)




  • Season 1 Episode 1: Log 1: The Impossible Mis...

  • The voice of the police dispatcher belongs to real life LAPD 2nd shift radio dispatcher Shaaron Claridge, who would add her voice talents to all but two of the 174 episodes of the series.

  • Malloy and Reed's first police cruiser in the series is a 1967 Plymouth Belvedere.

  • The name listed in the credits for the writer of this episode, John Randolph, was in actuality, series creator/executive producer Jack Webb. Webb's real name, is John Randolph Webb.

  • The police station seen in this episode and throughout the series was the recently built (1965) station for the Los Angeles Police Department Rampart Division.

    With Jack Webb's insistence on authenticity, he had the interior sets of the station actually constructed to mirror the interior of the "real" station.

  • The Rampart station shown in the series is actually in Division 2 within the LAPD, meaning that Malloy & Reed's radio call sign should technically have been "2-Adam-12".

    Series creator Jack Webb thought "1-Adam-12" sounded better, and as the series wore on, it became a moot point, since the two officers spent time in just about every division in the city, which would not have happened in reality.

  • Season 1 Episode 2: Log 141: The Color TV Bandit

  • This is the only time on the series where we see Malloy, apparently, smoking. (Malloy has a clearly lit cigarette in his hand in the lunch room scene, tapping it on the ashtray, although we never see the cigarette in his mouth.)

    CORRECTION: Malloy was also seen smoking at the end of S1:E23 "He - He Was Trying to Kill Me".

  • Season 1 Episode 3: Log 11: It's Just A Littl...

  • At around 14:52, as Reed and Malloy are driving away from talking with the suspect, they are in a flat, tree lined residential neighborhood of houses on both sides of the street. As they discuss the conversation they just had with the suspect, when the angle cuts to Malloy, you see the nice pretty houses through his window. When the angle cuts to Reed, the terrain outside his window is suddenly rough, barren, hills and ravines with sage brush bushes and deep, dangerous valleys. When the wide view of the police car from the front returns, they are driving through the pretty, tree lined neighborhood with large old houses again on both sides of the street. This lack of continuity is from them grabbing Reed's lines on a different stretch of highway, possibly on a different day, which is common in film production.

  • At about 20:22, the boom mic can be seen reflected in the window of the police car as Malloy gets out his door to go eat.

  • Season 1 Episode 4: Log 131: Reed, The Dicks ...

  • At around 12 minutes into the episode, as Malloy pulls the car further into the parking lot of the food stand, the HMI stage light can be clearly seen in the reflection of the left rear window of the patrol car.

  • Season 1 Episode 6: Log 161: And You Want Me ...

  • At approximately 17 minutes into the episdoe, as Reed and Malloy start to talk about marriage, Milner's mic takes on a radically different, ambient sound compared to McCord's, which is close up and "dry" sounding. Either the mic used for Martin Milner stopped functioning and the recordist just continued to pick up Milner on McCord's mic, or the mic may have been bumped and was not readjusted, being determined that it was "good enough".

  • The street number on the house of the couple with the loud noise complaint was 10724.

  • Season 1 Episode 7: Log 71: I Feel Like A Foo...

  • The address of the Temple Of Love where the 415 fight call happens is 2742 Melrose. There are two locations in the Los Angeles area with that address, both residential areas, one being the "Braille Institute".

  • The backlot used for the liquor store scene was the Mayberry town set used for many years on The Andy Griffith Show. The alley where the young punks were caught has been seen many times as the back wall of the Mayberry jail.

  • The address for the 211 silent alarm at the liquor store was 895 Cordova, which is a real address in the Los Angeles area but in a residential neighborhood.

  • Season 1 Episode 8: Log 72: El Presidente

  • After Malloy dons his bullet-proof vest, he tells another officer things to do. Then the other officer says "Right, Reed".

  • Malloy requests "bullet proof" vests while dealing with the man with the gun. This showed that officers of the day did not routinely wear the then bulky ill-fitting vests, which were not bullet proof, but only bullet resistant. Today's vests are custom fitted and worn by almost all street officers, but are still only resistant.

  • Season 1 Episode 10: Log 132: Producer

  • The address for the Free Form Swim Wear shop, 4371 N. Central, and 456 Bennington for the woman with a prowler, are both bogus addresses in the Los Angeles area.

  • Tommy, the boy who got his head stuck in the iron fence, was played by Richard Steele, who acted as a child star in the late 60s and early 70s. He would later work in the industry as a sound editor and sound designer on shows like Heroes, Baywatch Nights, and Matlock.

  • When Reed and Malloy take the call about the boy with the stuck head, as the patrol car turns and Malloy says "I see it", out the back of the window you see a nice park in the background with some widely spaced trees. But when the camera immediately goes wide a second later, there is no park, but a hedgerow of very thick trees. This lack of continuity comes from shooting the closeup scene while out on a public highway, and then shooting the same wide shot on the studio backlot.

  • The phone number given by the sultry woman, 763-4699, is not an active number in the Los Angeles area.

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More Info About This Show


Thrillers, Crime, gunfights, gritty crime scenarios, high stake situations