MUSIC:

SIGNATURE

FENN:

(EASILY) Ladies and gentlemen, the story you are about to hear is true. The names have been changed to protect the innocent.

MUSIC:

DRUM ROLL UNDER.

GIBNEY:

Dragnet, brought to you by Chesterfield, America's most popular two-way cigarette. Chesterfield, king-size at the new low price, and Chesterfield regular.

MUSIC:

UP AND FADE FOR

FENN:

(EASILY) You're a detective sergeant. You're assigned to Homicide Detail. On the way back to the office you receive a call. It's about an attempted suicide. You're in the immediate vicinity. Your job -- check it out.

MUSIC:

UP AND OUT

FENNEMAN:

Who do you like in the world series? New York Giants? Cleveland Indians? I guess that question is on everybody's mind right [about] now. Of course, the series starts Wednesday at New York's famous Polo Grounds. Then the action moves to Cleveland's great Municipal Stadium. You fans who have been to these great ball parks know they have one thing in common -- the giant Chesterfield scoreboard signs which instantly flash the official scorer's decision. It's a hit! Yessir, as the big signs say, Chesterfield's a hit with baseball fans everywhere, with millions of smokers around the country. It's America's most popular two-way cigarette. Whether you enjoy the world series at the ballpark, on TV, or radio, there's one thing for sure. You'll enjoy it much more with Chesterfield. In the whole wide world, no cigarette satisfies like a Chesterfield. Buy Chesterfield king-size or Chesterfield regular -- both at the same price in most places. Get a carton today.

MUSIC:

UP AND FADE FOR

GIBNEY:

Dragnet, the documented drama of an actual crime. For the next thirty 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.

MUSIC:

UP TO SEMI-BUTTON AND FALL ON SUSTAINED CHORD

SOUND:

JOE AND FRANK'S STEPS UP CONCRETE WALK. SLIGHT TRAFFIC IN FAR DISTANCE.

JOE:

It was Tuesday, March twenty-fourth. It was windy in Los Angeles. We were working the night watch out of Homicide Detail. My partner's Frank Smith. The boss is Captain Lohrman. My name's Friday. We were answering an ambulance follow-up, attempted suicide. It was eleven fifty-two P.M. when we got to Twenty-Two Ninety-Six Whitworth Drive....(SOUND: DOOR BELL OFF) ... front door.

FRANK:

(BEAT) Place is sure lit up.

JOE:

Mmm. (BEAT) Better try it again, huh?

FRANK:

Yeah.

SOUND:

HE MOVES TO THE DOOR AND WE HEAR THE BELL RING OFF INSIDE THE HOME ... DOOR OPENS

NORA:

You the police?

JOE:

Yes, ma'am. This is Frank Smith. My name's Friday.

NORA:

C'mon in.

JOE & FRANK:

(MURMUR) Thank you, ma'am.

SOUND:

THE OFFICERS ENTER THE HOUSE. DOOR CLOSE BEHIND THEM, CUTS OFF TRAFFIC.

NORA:

He's in there. The study.

SOUND:

JOE AND FRANK MOVE TO THE DOOR.

JOE:

Who is he?

NORA:

Karl Hamlin.

JOE:

Are you Mrs. Hamlin?

NORA:

Yes.

SOUND:

UNDER THE ABOVE, FRANK HAS TRIED THE DOOR AND FOUND IT LOCKED.

FRANK:

Door's locked.

JOE:

(GRUNTS)

SOUND:

JOE MOVES TO THE DOOR ... KNOCKS BEHIND--

JOE:

(UP) Hamlin? Hamlin? C'mon, open the door.

NORA:

He has a gun. Said he was gonna kill himself.

JOE:

Yes, ma'am. Is there another key to this door?

NORA:

No.

JOE:

(TO FRANK) Wanna give me a hand, Frank? We'll try to force it.

FRANK:

Yeah.

SOUND:

FRANK MOVES IN AND, WITH EFFORT, HE AND JOE TRY TO FORCE THE DOOR -- BANG! BANG! -- WITH NO RESULT

JOE:

Wait a minute, wait a minute, let's try it this way.

FRANK:

All right.

JOE:

Come on.

SOUND:

WITH EFFORT, FRANK AND JOE TRY TO FORCE THE DOOR -- THUMP! -- WITH NO RESULT

FRANK:

It isn't gonna give.

JOE:

No. (TO NORA) Is there another way into the room, ma'am?

NORA:

No. This is the only door.

FRANK:

How 'bout windows?

NORMA:

What?

FRANK:

[Any] windows leading into it?

NORA:

Yes, off the front porch.

SOUND:

JOE AND FRANK WITH NORA START TO MOVE TO THE DOOR.

NORMA:

(AS SHE FOLLOWS THEM) Came in here drunk. Caused a scene.

SOUND:

FRONT DOOR OPENS AND JOE AND FRANK WALK OUT. OUTSIDE B.G.

JOE:

Down this way?

NORA:

Yes.

SOUND:

ALL THREE WALK TO WINDOW.

JOE:

This the window here?

NORA:

Yes, it is.

SOUND:

JOE MOVES TO THE WINDOW.

FRANK:

Can you see anything?

JOE:

No. Let me have your flashlight.

FRANK:

Yeah, here y'go.

SOUND:

JOE FLIPS THE FLASHLIGHT ON.

JOE:

(BEAT) Yeah, I can see him there on the floor.

NORA:

Can't you do something? He might still be alive.

SOUND:

JOE TRIES THE WINDOW SCREEN.

JOE:

Screen's locked.

FRANK:

Y'got somethin' to cut it with?

JOE:

Just a minute.

SOUND:

JOE TAKES A BUNCH OF KEYS FROM HIS POCKET.

JOE:

Try these keys.

SOUND:

JOE PUNCHES A HOLE IN THE SCREEN WITH THE KEYS, SCREEN TEARING.

JOE:

Yeah. That's got it.

SOUND:

JOE UNDOES LATCH. SCREEN SWUNG OUT.

FRANK:

Good. Okay. Let's see if we can get the window open.

JOE:

(AS HE REACHES) Yeah.

SOUND:

HE TRIES TO RAISE THE WINDOW ... CONTINUES BEHIND--

JOE:

I can't-- (BEAT) Gonna have to break this, ma'am.

NORA:

Oh, I don't care, as long as you get to him.

JOE:

All right. (TO FRANK) Wanna hold the light for me?

FRANK:

Yeah.

JOE:

Better stand back, ma'am. The glass here--

NORA:

Just hurry, please. Just hurry.

JOE:

All right.

SOUND:

JOE BREAKS THE GLASS ON THE WINDOW. CRASH, SLIGHT TINKLE. HE DOES NOT SMASH THE ENTIRE PANE.

FRANK:

Can you reach the latch from there?

JOE:

(REACHING) Wait a minute. Yeah, I think so.

SOUND:

HE UNDOES THE LATCH.

JOE:

Yeah, I got it.

FRANK:

I'll give you a hand then.

JOE:

All right.

SOUND:

THE WINDOW SLIDES OPEN.

NORA:

Can you see if he's still alive?

JOE:

Just a minute. We'll have to get into the room, first, ma'am.

SOUND:

JOE CLIMBS INTO THE WINDOW.

FRANK:

Watch your step there, Joe.

JOE:

Yeah.

SOUND:

JOE GETS THROUGH THE WINDOW.

JOE:

All right, c'mon, I'll give you a hand.

FRANK:

All right.

SOUND:

WITH EFFORT, FRANK CLIMBS INTO THE ROOM.

FRANK:

Thanks.

JOE:

(TO NORA) As soon as the ambulance gets here, will you show the attendant how to get in?

NORA:

Yes. Can you tell if he's alive yet?

JOE:

No, ma'am. Not yet.

SOUND:

WE HEAR THE SIREN OF THE AMBULANCE FADING IN.

JOE:

(TO FRANK) You wanna get the door? I'll check the victim.

FRANK:

Yeah.

SOUND:

BOTH OFFICERS MOVE. AMBULANCE SIREN DRAWS NEAR.

FRANK:

(LITTLE OFF, AT THE DOOR) How 'bout it?

JOE:

Well, we better have the attendant look at him.

FRANK:

Uh huh.

SOUND:

AMBULANCE PULLS UP, SIREN OUT. JOE MOVES TO THE DOOR BEHIND--

FRANK:

Take a look at this. No wonder we couldn't force the door.

JOE:

Yeah. There's a chair under the knob.

FRANK:

Locked and bolted.

SOUND:

FRANK MOVES CHAIR, UNDOES BOTH LOCK AND BOLT.

FRANK:

(AS HE WORKS) Musta wanted real privacy.

JOE:

Looks like he's got it now.

SOUND:

FRANK OPENS THE DOOR.

NORA:

(FADING IN, TO ATTENDANT) That's the room. Right there.

ATTEN:

Yes, ma'am.

SOUND:

THE ATTENDANT FADES ON MIKE.

ATTEN:

(TO FRANK AND JOE) Hi.

JOE:

How are ya?

FRANK:

Hi.

NORA:

(STARTING TO CRY) He's dead. Karl's dead.

JOE:

You want to wait in there, ma'am?

NORA:

(CRIES) I didn't think he'd really do it.

SOUND:

JOE WALKS WITH ATTENDANT TO THE BODY. HE PUTS BAG DOWN.

JOE:

How 'bout it?

ATTEN:

Just a minute.

SOUND:

ATTENDANT TAKES STETHOSCOPE OUT OF BAG.

ATTEN:

(BEAT) No. Nothin'. He's dead.

NORA:

(FROM THE DOOR STARTS TO BREAK)

ATTEN:

That his wife?

JOE:

Yeah.

SOUND:

THE ATTENDANT WALKS TO THE WOMAN

ATTEN:

I'm sorry to have to do this, ma'am, but there are a couple of things I've got to know.

NORA:

Go ahead.

ATTEN:

You want to give me his full name?

NORA:

Karl Hamlin.

ATTEN:

His age?

NORA:

Forty-three.

ATTEN:

Does he live here?

NORA:

No. We had a house over on Bronson. Nine Forty-Seven. Do you have to go through all this?

ATTEN:

No, that's all, Mrs. Hamlin. I can get the rest of it later.

JOE:

Frank?

FRANK:

Yeah?

JOE:

You wanna finish up here?

FRANK:

Sure.

SOUND:

JOE WALKS TO THE DOOR AND OUT INTO THE HALL.

NORA:

It's all so wrong. Karl dead; it's - all wrong.

JOE:

Yes, ma'am. Is there anything we can get for you?

NORA:

No.

JOE:

Do you want to go into the other room and sit down?

SOUND:

THEY WALK INTO THE LIVING ROOM.

JOE:

That's better. Would you like us to call your doctor for you?

NORA:

I've already called him for my mother. He's on the way over.

JOE:

Where is she now?

NORA:

In the back bedroom. She's laying down. This whole thing has been a shock for her.

JOE:

Yes, ma'am, I can understand.

NORA:

When I talked to him, he said for me to give her one of those pills he's prescribed. Supposed to make her sleep.

JOE:

Mm hm.

NORA:

You gonna have to talk to her?

JOE:

Yes, we probably will.

NORA:

I hope you won't have to do it tonight. This whole thing's been a terrible shock to her. She's not too well anyway.

JOE:

Well, we'll try to avoid upsetting her any further.

NORA:

I'd appreciate it more than I could tell you.

JOE:

All right, Mrs. Hamlin. There are a few questions we've got to ask, if you feel up to answering 'em.

NORA:

Might as well get it over with. What do you want to know?

JOE:

You want to tell us what happened?

NORA:

Well, Karl came over tonight. Drunk. Caused a big scene.

JOE:

Your husband doesn't live here then?

NORA:

No. We're separated.

JOE:

I see. Who was here when the shooting took place?

NORA:

My mother and myself.

JOE:

Anybody else living here?

NORA:

No. Just the two of us.

JOE:

All right. What time did Mr. Hamlin get here?

NORA:

(BLOWS HER NOSE) I'm not sure. I was asleep.

JOE:

I beg your pardon?

NORA:

I was asleep. I don't know.

JOE:

I see. You weren't expecting him then?

NORA:

No, no. Last time I saw him, I told him to leave me alone. Said I'd get a court order if I had to.

JOE:

Yeah.

NORA:

We've been separated about a week this time.

JOE:

This isn't the first time then, huh?

NORA:

No, there've been other times. This was the worst. I told him I was finished. That I didn't want anything more to do with him.

JOE:

Mm hm.

NORA:

He's been calling -- here, where I work -- most of the time he was drunk. Kept asking for a reconciliation. Sayin' how sorry he was and askin' me to take him back.

JOE:

Yeah.

NORA:

I'm not blaming it all on him. I know some of it was my fault.

JOE:

(BEAT) All right, do you want to go on?

NORA:

He called me this afternoon. [Said] that he had to see me. Had it all worked out that we could get back together again.

JOE:

Uh huh.

NORA:

I told him I didn't want to see him. I said for him to stay away.

JOE:

Yeah.

NORA:

I came home and told my mother about it. Said Karl might show up. That if he did, I didn't want to see him.

JOE:

All right, go on.

NORA:

I kinda half expected him to show up, but he didn't. I went to bed after the ten-thirty news. Mother stayed up to read.

JOE:

Mm hm.

NORA:

The first I knew there was anything wrong, [was] when I heard the shot. I got up and came right downstairs.

JOE:

Mm hm.

NORA:

Mother was standing in front of the study door. She told me that Karl was inside. That he'd shot himself.

JOE:

Mm hm.

NORA:

I tried to call him. First I thought he was playing some kind of a joke.

JOE:

Yeah.

NORA:

My mother said she'd heard Karl fall down in the room. I called you right away.

SOUND:

OFF MIKE THE DOOR TO THE STUDY OPENS, FRANK WALKS ON MIKE.

FRANK:

(LITTLE OFF) Joe?

JOE:

(TURNING) Yeah?

SOUND:

JOE MOVES TO FRANK.

JOE:

What've you got?

FRANK:

D.O.A. slip. I'll put in a call to the photo lab and the coroner.

JOE:

Okay.

FRANK:

I checked the gun. It's a thirty-eight revolver. One shot fired.

JOE:

Well, that fits with the story I just got from his wife.

FRANK:

Mm hm. I'll make the calls.

SOUND:

THE TWO OFFICERS MOVE TO NORA.

FRANK:

Wonder if I could use your phone, Mrs. Hamlin?

NORA:

(ABSENTLY) What?

FRANK:

Like to use your phone, please.

NORA:

Oh, it's in the hall. Table there.

FRANK:

Thank you.

SOUND:

FRANK MOVES FROM THE ROOM.

JOE:

Did your mother tell you what happened?

NORA:

Yes. In a way.

JOE:

How do you mean that?

NORA:

She's over seventy, Sergeant Friday. Thing like this isn't easy to go through at that age.

JOE:

I see.

NORA:

My mother and Karl didn't get along. He always said that she caused the trouble between us. Told me a couple of times that if she'd keep her nose out of our business, we might be able to get along.

JOE:

Uh huh.

NORA:

[Course there wasn't any truth to it. Mother didn't have anything to do with our breaking up. If Karl'd stayed sober, stopped running around, there might have been a way. But he wouldn't.

JOE:

Yes ma'am.

NORA:

After he showed her the gun, Mother was afraid he was gonna shoot her. I don't think she really believed that about him killing himself.

JOE:

Uh huh.

NORA:

She told me, he cursed at her and then went into the study and locked the door. Right after that, he shot himself.

JOE:

Did your mother try and stop him?

NORA:

I don't know. She didn't say.]

JOE:

Wonder if it'd be possible for us to talk to her?

NORA:

You have to?

JOE:

Yes, ma'am. We do.

NORA:

(BEAT) I'll go see.

JOE:

All right, thank you.

SOUND:

NORA MOVES OFF AS FRANK WALKS ONTO THE SCENE.

FRANK:

Crew's on the way, Joe.

NORA:

(OFF) Gonna be more policemen out here?

JOE:

Yes, ma'am. We'll try to make it as brief as possible.

NORA:

(OFF) I'd appreciate it.

JOE:

We'll do everything we can.

NORA:

(OFF) I'll go get my mother.

JOE:

Thank you.

SOUND:

NORA EXITS THE ROOM. OFF MIKE DOOR OPEN AND CLOSE.

FRANK:

She give you the story?

JOE:

As much as she knew.

FRANK:

What d'ya mean?

JOE:

Well, she says she wasn't in the room at the time. Her mother saw it happen.

FRANK:

Oh.

JOE:

You turn anything in the other room?

FRANK:

(NO) Mm mm. [No note.]

JOE:

Soon as we get a statement from her mother and the coroner gets here, we can shove off.

FRANK:

Yeah.

SOUND:

OFF MIKE, THE DOOR OPENS. TWO SETS OF STEPS COME INTO THE ROOM. NORA STEERS HER MOTHER TO A CHAIR

NORA:

(FADING IN) You can sit over here, Mother.

JESSIE:

Yes, dear.

NORA:

These men want to ask you some questions.

SOUND:

THE OLD LADY SITS DOWN.

NORA:

This is my mother...Mrs. Gaylor...Sergeant Friday...this is Officer Smith.

JOE:

How do you do, ma'am?

FRANK:

How are you, ma'am?

JESSIE:

How d'ya do?

JOE: We'll try to make this as brief as possible, Mrs. Gaylor. Just a coupla questions we've got to ask.

JESSIE:

You go right ahead.

NORA:

If you get tired, Mother, you tell 'em and they'll stop.

JESSIE:

Yes, dear.

JOE:

What time did your son-in-law get here tonight?

JESSIE:

I'm not sure. I think it was about eleven-thirty.

JOE:

Uh huh.

JESSIE:

Nora told me Mr. Hamlin might be comin' over, but that time of night, you'd hardly expect anybody to come callin'. Would you?

JOE:

No, ma'am.

JESSIE: He did. He always was doing something no one else did. I think he just sat around and tried to figure things to do, that was different.

JOE:

Mm hm.

JESSIE:

Like tonight. Came in drunk. Yelled about how he wanted to have a showdown. I didn't know what he was talkin' about.

JOE:

Mm hm.

JESSIE:

Started to yell at me. Told me how the split-up was my fault. Started to curse at me.

JOE:

Mm hm.

JESSIE:

I'm seventy-three, Mr. Friday. I've seen a lot of things, met a lot of people. Isn't anybody who can talk to me like that. I told Mr. Hamlin. Told him to get out of the house. That's when he pulled this gun out of his pocket.

JOE:

Yes, ma'am.

JESSIE:

Had it right in his coat. The outside pocket.

JOE:

I see.

JESSIE:

I told him. I said, "Mr. Hamlin -- you just stop this foolishness and get out of here." That's what I said to him.

FRANK:

Yes, ma'am.

JESSIE:

He just looked at me and said, "Yeah, you'd like that, wouldn't you?" Those are the exact words. Then he told me how he was gonna kill himself to show me.

JOE:

Mm hm.

JESSIE:

I thought it was some kind of dramatics. Mr. Hamlin was that kind, y'know. Always play actin' around.

JOE:

Yes, ma'am.

JESSIE:

Not this time. Next thing I know, he run into the study and locked the door. After that, there was the shot and I heard him fall down. Right then's when Nora came into the room.

JOE:

All right, Mrs. Gaylor. I think we have all the information we need now.

JESSIE:

Okay if I go to bed then?

JOE:

Yes, ma'am. Go right ahead.

SOUND:

JESSIE STANDS UP

JESSIE:

G'night then. (TO NORA) You wanna help me, dear?

NORA:

Yes, Mother, I'll be right with you.

JESSIE:

(MOVING OFF) I'll be waitin' up for ya.

SOUND:

SHE TURNS AND WALKS TO THE DOOR.

JESSIE:

(OFF) Mr. Friday?

JOE:

Yes, ma'am?

JESSIE:

Anything more you want to know about Mr. Hamlin, I'll tell ya.

JOE:

No, I don't think there'll be anything else, ma'am.

JESSIE:

If there is, I'll tell you.

JOE:

All right, thank you, Mrs. Gaylor.

JESSIE:

I'll be in my room, Nora.

NORA:

All right, Mother. I'll be right there.

SOUND:

JESSIE EXITS THE ROOM AND CLOSES THE DOOR BEHIND HER.

NORA:

She's taking this a lot better than I thought she would.

JOE:

Mm hm. Mrs. Hamlin?

NORA:

Yes?

JOE:

Did your husband ever talk about suicide before?

NORA:

Yes, several times. Just this last week. I thought he was being dramatic again. I didn't pay much attention to him. It was so hard to tell if he was drunk or if he really meant something.

JOE:

Mm hm.

NORA:

All the years we were married, I don't think he was ever really serious.

JOE:

You got it wrong, haven't ya?

NORA:

Hm?

JOE:

He was this time.

MUSIC:

ACCENT ... THEN BEHIND JOE--

JOE:

One-fourteen A.M. The photographer got to the house and took pictures of the room. The coroner removed the body to the county morgue and at two-thirty-seven A.M. Frank and I left the house. We went back to the office and filled out the three-point-eleven-point-one form, listing the death of Karl Martin Hamlin as a suicide. Frank called the coroner's office to find when we could get the results of the autopsy. They told us we'd have the necessary information late that afternoon. Three-eighteen A.M. We signed out of the office and went home. At ten-fifteen that morning, we got a call from Ray Pinker. He asked us to come right over to the Crime Lab.

SOUND:

CRIME LAB B.G.

RAY:

We were running a routine check this morning. Came up with a couple things I think you'd like to know.

JOE:

All right, what've you got, Ray?

RAY:

Here, take a look.

SOUND:

JOE, FRANK, AND RAY WALK TO THE SCALES

RAY:

This is a bullet we fired from the gun found in the victim's hand.

JOE:

Yeah.

SOUND:

RAY DROPS THE SLUG ON THE SCALES

RAY:

Now, there. You can see it weighs a hundred and thirty grains.

FRANK:

Uh huh.

SOUND:

RAY MOVES TO PICK UP ANOTHER BULLET

RAY:

This is the bullet that killed the man. Take a look.

JOE:

It's all out o' shape.

RAY:

Mm hm. You see anything else?

JOE:

No. Looks all right to me.

FRANK:

Yeah. What're you buildin', Ray?

RAY:

Well, I checked this one pretty carefully. Made sure that all of it was here. Y'know, that none of the lead had been sheared off by bone tissue?

JOE:

Yeah.

RAY:

None missing. It's complete.

JOE:

Yeah.

RAY:

Now, take a look.

SOUND:

HE TAKES THE ONE BULLET FROM THE SCALES ... THEN DROPS THE NEW ONE ON BEHIND--

RAY:

Here, lemme put this one on the scales. (HE DOES) Now, check it yourself.

SOUND:

JOE MOVES IN AND LOOKS AT THE SCALE

JOE:

Ninety-five grains.

RAY:

Yeah. Thirty-five grains difference. Let me show you something else here. I figured the length of both bullets. They don't check out either.

SOUND:

RATTLE OF PAPER

JOE:

What's it mean, Ray?

RAY:

Bullet that killed Hamlin's a three-eighty. It's a European calibration.

JOE:

Uh huh.

RAY:

Gun he had in his hand's a thirty-eight revolver.

FRANK:

Yeah?

RAY:

Three-eighty's automatic ammunition.

JOE:

Yeah.

RAY:

This fella Hamlin pulled a pretty neat trick.

FRANK:

Well, what d'ya mean, Ray?

RAY:

He killed himself with a bullet that couldn't possibly be fired from the gun he was holding.

FRANK:

(BEAT) Huh. Somethin' sure out of place.

RAY:

Yeah. Might as well tear up the forms you filled out on this one. No suicide.

JOE:

Yeah.

RAY:

You gotta find a murder gun.

MUSIC:

CURTAIN

GIBNEY:

You are listening to Dragnet, the authentic story of your police force in action.

FENN:

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MUSIC:

SIGNATURE ... THEN BEHIND JOE--

JOE:

Eleven-twelve A.M. Frank and I, along with Ray Pinker, left the crime lab and we drove out to see Nora Hamlin. From the physical evidence on hand -- the way the door had been locked and the fact that the windows had been bolted from the inside -- it appeared unlikely that anybody could have left the room after Karl Hamlin had been shot. Yet from the information we'd gotten from Pinker, there had to be another gun involved in the killing. Eleven-twenty-four A.M. We got to the house on Whitmore Drive.

SOUND:

OUTDOOR B.G. ... DOOR OPEN

NORA:

Morning. I didn't expect to see you back so soon. Y'want to come in?

JOE:

Yes, ma'am.

SOUND:

THE THREE MEN WALK INTO THE HOUSE. DOOR CLOSE BEHIND THEM.

JOE:

Mrs. Hamlin, this is Mr. Pinker from our crime lab. Ray....Mrs. Hamlin.

NORA:

Nice to know you, Mr. Pinker.

RAY:

How d'ya do?

NORA:

Are there some more questions you have to ask?

JOE:

Yes, ma'am, that's right. Wonder if we could take another look at the study?

NORA:

Sure. Didn't the men who were here last night get what they needed?

JOE:

Oh, we'd just like to check it again with Mr. Pinker here.

NORA:

Uh huh. Well, you know where it is.

FRANK:

How's your mother feeling this morning?

NORA:

She had a good sleep. The doctor gave her a sedative. She's still in bed.

JOE:

We'll try not to disturb her.

NORA:

Well, you go ahead with what you have to do. I'm trying to get the house in order. If there's anything you want, I'll be across the hall.

JOE:

Thank you.

FRANK:

Thanks.

SOUND:

NORA LEAVES THE SCENE.

JOE:

Right over here, Ray.

RAY:

Mm hm.

SOUND:

THE THREE MEN MOVE TO THE DOOR WHICH OPENS ... THEY WALK INTO THE STUDY

JOE:

This is where we found him. You can see there where we had to break the window to get in.

RAY:

Mm hm.

JOE:

Frank?

FRANK:

Yeah?

JOE:

You got that sketch you made last night?

FRANK:

Yeah.

SOUND:

PAPER RATTLE AS FRANK TAKES THE SKETCH FROM HIS POCKET

FRANK:

Yeah, here it is. You wanna take a look, Ray?

RAY:

Yeah.

FRANK:

Y'can see -- the body was about here.

RAY:

Mm hm.

FRANK:

Over here. And the feet were about here.

SOUND:

FRANK TAPS ON PAPER

FRANK:

That's about right, isn't it, Joe?

JOE:

Yeah. He was right next to the chair there.

FRANK:

Mm hm. That's the way I got it there. Just about on a perfect line between the floor lamp and the chair over there.

RAY:

Mm hm. What about the gun?

JOE:

In his right hand.

RAY:

Was the gun in his hand when you found him?

JOE:

Yeah, that's right. Pictures from the photo lab'll bear that out.

RAY:

Sure is out in left field.

JOE:

How d'ya mean?

RAY:

I talked to Doc Newbar when he sent the bullet over.

JOE:

Mm hm.

RAY:

Way he described the wound, it's pretty tough to buy that a right handed man could shoot himself so the slug'd end up where it did.

JOE:

Exactly how d'ya mean?

RAY:

Well, the bullet entered just to the right of the center of his chest -- 'bout here.

FRANK:

Uh huh.

RAY:

Came to rest under the right arm -- here. Line of travel's way off.

JOE:

Sure woulda been an easier way to do it, huh?

RAY:

Yeah. What about the door when you found it?

JOE:

We'll show you how it was locked.

SOUND:

FOLLOW ACTION, THEY WALK TO THE DOOR

JOE:

Hand me that chair, Frank.

FRANK:

Yeah.

SOUND:

CHAIR LIFTED

FRANK:

Here y'go.

SOUND:

DOOR CLOSE

JOE:

Now, the key was turned.

SOUND:

KEY TURN

JOE:

Bolt was thrown.

SOUND:

BOLT THROW

RAY:

Mm hm.

JOE:

And then this chair was propped up under the knob like this.

SOUND:

CHAIR PROPPED UNDER DOORKNOB

RAY:

Uh huh. How 'bout the key? Was it still in the lock?

JOE:

Yeah.

RAY:

Sure looks like he meant the door to stay shut.

JOE:

Yeah, we could figure that.

SOUND:

RAY WALKS OFF MIKE AND LOOKS AT THE WALLS.

RAY:

Place looks pretty solid. Plaster walls. Not much chance of anybody gettin' through 'em.

JOE:

Mm hm.

RAY:

You check the bookcases?

FRANK:

What d'ya mean?

RAY:

Any of 'em pull away from the wall?

FRANK:

I looked at 'em last night. They all seem solid enough.

RAY:

(THOUGHTFUL) Mm hm.

JOE:

Well, got any ideas, Ray?

RAY:

I dunno. Way that door looks - rest of the room - doesn't seem likely anybody could have shot him and then gone outside and locked the door.

JOE:

Think they could have come in through the window?

RAY:

You had to break it.

JOE:

Yeah.

RAY:

Way it's set up, you shouldn't have any trouble findin' a suspect.

JOE:

What d'ya mean?

RAY:

Find a butler built like an envelope.

JOE:

(BEAT, DRY) Mighty funny.

RAY:

You didn't see a shell casing around last night, did you?

JOE:

Wasn't any reason to look for it.

RAY:

Mm hm. No sign of one now. Looks like the room's been cleaned.

FRANK:

Yeah.

JOE:

Well, I guess we better check with the Hamlin woman, huh?

SOUND:

THEY WALK TO THE DOOR.

FRANK:

Let me get this stuff away from the door.

SOUND:

FRANK TAKES THE CHAIR. JOE UNDOES THE BOLT AND TURNS THE KEY. DOOR OPEN. STEPS OUT OF THE ROOM.

JOE:

(UP) Mrs. Hamlin? Mrs. Hamlin?

NORA:

(OFF) Yes, just a minute. (FADES ON MIKE) Something you want?

JOE:

Yes, ma'am. Has anybody been in the study since we left last night?

NORA:

I didn't know I wasn't supposed to. You didn't say anything about it.

JOE:

Well, did you clean the room?

NORA:

Yes, I told you. I was straightening up the house. I ran the vacuum in here.

RAY:

Did you see an empty shell casing?

NORA:

I don't know what you mean.

FRANK:

Well, it looks like this, ma'am. (HE TAKES A CARTRIDGE FROM HIS BELT) See? The brass part on this bullet.

NORA:

No. I didn't see anything like that.

RAY:

Have you emptied your cleaner since you used it this morning?

NORA:

No.

RAY:

Wonder if we could see it?

NORA:

(PUZZLED) Sure. I don't understand what this is all about, but if you want to see the vacuum, I'll get it.

JOE:

If you want to tell me where it is, I'll get it for you.

NORA:

Oh, it's no trouble. In the closet here in the hall.

SOUND:

SHE TAKES A COUPLE OF STEPS, OPENS THE CLOSET DOOR OFF MIKE

JOE:

Can I give you a hand with it?

NORA:

It's not heavy. You want the attachments, too?

RAY:

No, ma'am. Just the cleaner itself.

NORA:

All right.

SOUND:

SHE TAKES THE CLEANER OUT OF THE CLOSET, SHUTS CLOSET DOOR, AND BRINGS IT ON MIKE. SETS IT DOWN ON THE FLOOR.

NORA:

There it is.

RAY:

Mm hm. All right if we use a piece of this newspaper?

NORA:

Sure, go ahead. I guess you know what you're doin'.

SOUND:

RATTLE OF NEWSPAPER

RAY:

This the way you take the dust bag out?

NORA:

Yeah, just flip that little catch on the side there.

RAY:

Mm hm.

SOUND:

HE FLIPS THE CATCH AND LIFTS THE DUST BAG OUT

NORA:

If you'll tell me what you're looking for, I might be able to help.

JOE:

How 'bout it, Ray?

RAY:

(BEAT) Yeah. Here it is.

JOE:

Three-eighty?

RAY:

Yeah.

NORA:

What's all that mean?

JOE:

Do you have another gun in the house, Mrs. Hamlin?

NORA:

No.

FRANK:

You pretty sure about that?

NORA:

Yes. What makes you think there might be another one?

JOE:

How many shots did you hear last night, Mrs. Hamlin?

NORA:

What do you mean?

JOE:

Well, just that. How many shots did you hear?

NORA:

One.

JOE:

You're sure about that?

NORA:

Yes. Why?

JOE:

We've got reason to believe that there were two shots fired.

NORA:

What difference does it make how many there were?

JOE:

Pretty big difference.

NORA:

Why is it important? My husband killed himself. Can't be sure how many I heard -- one, two, three -- a half a dozen. What difference does it make?

JOE:

Well, we'll try to explain it to you. Your husband was holding a thirty-eight calibre revolver when we found him. But the bullet that killed him came from a three-eighty automatic.

NORA:

I don't know what you're talking about. What're you trying to say?

JOE:

Well, I think you'll understand this. Your husband didn't kill himself.

NORA:

(BEAT) You're not serious.

JOE:

Afraid we are, ma'am.

NORA:

(BEAT) But this whole thing is ridiculous.

JOE:

The evidence makes it true.

NORA:

Who'd kill him? Who'd have a reason?

JOE:

We'd like to know that, too.

FRANK:

Would you get your mother, please?

NORA:

What do you want to talk to her about?

JOE:

Wonder if you'd get her, please?

NORA:

I'm not gonna have her dragged into anything. She's had enough trouble. There's no reason for you to make any more.

JESSIE:

(FROM OFF MIKE) Don't worry about it, Nora.

NORA:

Mother -- you shouldn't be out of bed.

JESSIE:

(OFF) I heard the talkin'. I been listenin'.

SOUND:

SHE WALKS ON MIKE

JESSIE:

(TO RAY) Haven't seen you before. You a policeman, too?

RAY:

No, ma'am. I'm Ray Pinker.

JESSIE:

How d'ya do? Jessie Gaylor, Nora's mother.

RAY:

How are you?

SOUND:

JESSE TAKES A COUPLE OF STEPS.

JESSIE:

Now what's all this about Mr. Hamlin not killin' himself?

JOE:

That's right, Mrs. Gaylor.

JESSIE:

What makes you think it is?

JOE:

Lotta things. Do you have a gun in the house?

JESSIE:

Y'mean a pistol?

JOE:

That's right.

JESSIE:

Might. Why?

JOE:

Where is it?

JESSIE:

In the table there. Left hand drawer.

FRANK:

I'll get it.

SOUND:

FRANK MOVES OFF TO THE TABLE ... OPENS DRAWER.

JOE:

(BEAT, TO FRANK) How 'bout it?

FRANK:

(OFF) Three-eighty.

JOE:

That gun belong to you, Mrs. Gaylor?

JESSIE:

Yes. My husband had it.

JOE:

Mm hm.

JESSIE:

All this talk about Mr. Hamlin. If he didn't kill himself, who d'ya think did?

JOE:

Well, that's what we're trying to find out.

JESSIE:

Uh huh. But you got somebody you're lookin' at, haven't you? Somebody you figure did it?

JOE:

This is your gun.

JESSIE:

(BEAT) Uh huh.

JOE:

You're the only person who witnessed the shooting.

JESSIE:

That's right.

JOE:

Well, why don't you tell us about it?

JESSIE:

(BEAT) Because if I did, you'd never believe it.

JOE:

Well, give us a try, huh?

JESSIE:

All right. Mr. Hamlin came here last night -- like I said. He was drunk. Came in and started yellin'. I was sittin' in that chair, readin'. He started to curse at me.

JOE:

Yeah.

JESSIE:

I didn't pay him no mind. Told him to go away -- that Nora was through with him. He wouldn't go.

FRANK:

Yes, ma'am.

JESSIE:

All of a sudden, he pulled out a gun and started wavin' it around. Said if I didn't get Nora, he'd kill himself. I thought it was just some more of his play actin'.

JOE:

Yes, ma'am.

JESSIE:

I didn't pay any attention to him. Figured when he was through, he'd go away. I went back to the book. Made him madder than ever.

JOE:

Mm hm.

JESSIE:

He grabbed the book out of my hand and shot. Shot right at it. Then he threw it into the fireplace.

FRANK:

He threw your book into the fireplace. Is that right?

JESSIE:

That's right. Just all of a sudden something happened to me. Don't think I've ever been so mad. I took the gun out of the table there and shot him. He got real scared and ran into the study. Closed the door behind him.

JOE:

Mm hm.

JESSIE:

I heard him lock the door and move something up to the door.

RAY:

Musta been the chair.

JESSIE:

Yeah. I guess it was. Right after that, I heard him fall down. Right after that, Nora came into the room.

NORA:

(CRYING LIGHTLY) Why didn't you tell me, Mother?

JESSIE:

Wasn't any reason to. I had to think about it. What I'd done and what I had to do. [Y'know that pill the doctor gave me last night?

NORA:

Yeah?

JESSIE:

Sleepin' pill wasn't it?

NORA:

Yes.

JESSIE:

Thought so. I spit it out y'know. Had to stay awake to think about things.] I was gonna call you men this morning -- tell you the truth. I really was. You believe that?

JOE:

Well, I guess so.

JESSIE:

I really was. Just all of a sudden last night when he shot my book -- I never been so mad. I really wanted to kill him.

JOE:

You remember it all pretty well, don't you?

JESSIE:

Yes, I do. All of it. [Yeah. One thing I oughta tell you.

JOE:

What's that?

JESSIE:

It's about that gun. It's got an awful easy trigger. You don't have to pull it very hard to make it go off. Maybe it was an accident. I don't know. I pointed the gun at him. And it went off. I'm not sure I really did it on purpose. But that doesn't make any difference.]

JOE:

You want to get a coat, Mrs. Gaylor? We'll have to take you downtown.

JESSIE:

Yes, sir. I'll do it right away.

JOE:

Better go with her, Frank.

FRANK:

Yeah.

SOUND:

FRANK AND JESSIE WALK TO DOOR ... FADE OFF MIKE

NORA:

It is gonna be all right?

JOE:

We don't decide that, ma'am.

NORA:

But she told the truth. Isn't that going to make a difference?

JOE:

We'll put it down that way. (BEAT, TO RAY) You want to get that book, Ray? We're gonna need it.

RAY:

Yeah.

SOUND:

RAY GOES TO THE FIREPLACE

NORA:

She didn't say a word about it.

JOE:

Yeah, I know. Story's still pretty hard to believe, isn't it?

RAY:

[(FROM THE FIREPLACE) I dunno, Joe. Bein' like she is...It could happen.

JOE:

Yeah.]

RAY:

(FADING IN) Here we are. Here's the book Hamlin shot. Slug's still in it. Looks like a thirty-eight.

JOE:

Mm hm.

RAY:

Might have made her mad enough to kill him.

JOE:

Yeah.

NORA:

What is it, Mr. Friday?

JOE:

Holy Bible.

MUSIC:

SIGNATURE

FENN:

The story you have just heard is true. The names were changed to protect the innocent.

GIBNEY:

On July fourteenth, trial was held in Department Ninety-Six, Superior Court of the State of California, in and for the county of Los Angeles. In a moment the results of that trial.

FENN:

Now, here is our star, Jack Webb.

WEBB:

Thank you, George Fenneman. You noticed how many king-size smokers are changing to Chesterfield? Everywhere, king-size smokers are finding it out. No other king-size cigarette has Chesterfield quality -- tastes so good - or gives you such a refreshing smoke. What a pair! Chesterfield king-size and Chesterfield regular. They satisfy!

MUSIC:

TRANSITION

GIBNEY:

Jessie Margaret Gaylor was examined by three psychiatrists appointed by the court and found to be insane during the commission of the crime. A sanity hearing was held and she was made a ward of the state. She was placed in the State Hospital at Mendocino for treatment.

FENN:

This week a group of men are meeting in New Orleans for the sixty-first annual conference of the international association of Chiefs of Police. Dragnet is pleased to extend its best wishes to our top law enforcement officers and to thank them for the protection they give our homes and families. May their convention be an outstanding success.

MUSIC:

CLOSING MARCH ... THEN UNDER

GIBNEY:

You have just heard Dragnet -- a series of authentic cases from official files. Technical advice comes from the Office of Chief of Police W. H. Parker, Los Angeles Police Department. Technical advisors: Captain Jack Donohoe, Sgt. Marty Wynn, Sgt. Vance Brasher. Heard tonight were: Ben Alexander, Lillian Powell, Olan Soule, Virginia Gregg. Script by John Robinson, Earl Schley. Music by Walter Schumann. Hal Gibney speaking.

FENN:

Watch an entirely different Dragnet case history each week on your local NBC Television Station. Please check your newspapers for day and time. Chesterfield has brought you Dragnet, transcribed, from Los Angeles.

MUSIC:

OUT

FENNEMAN:

Ladies and gentlemen, GUNSMOKE -- brought to you by L & M Filters -- will now be heard on Saturday night. Chesterfield's Perry Como Show will be heard Monday, Wednesday, and Friday nights. Consult your radio listings for the time. That's GUNSMOKE and the COMO show, both on another network.

LE FEVRE:

L & M Filters are sweeping the country and the reason's simple. No filter compares with L & M's exclusive miracle tip for quality or for effectiveness. And notice how easy it draws. You get much more flavor, much less nicotine. Yes, only L & M gives you effective filtration and no other cigarette has it. Our statement of quality goes unchallenged. L & M is America's highest quality and best filter-tip cigarette. Buy L & Ms -- now king-size or regular -- both at the same low price.

MUSIC:

CLOSING MARCH ... FADES OUT ... NBC CHIMES