 The Equitable Life Assurance Society presents, This Is Your FBI. This Is Your FBI, the official broadcast from the files of the Federal Bureau of Investigation. Presented transcribed as a public service by the Equitable Life Assurance Society of the United States and the Equitable Society's representative in your community. Perhaps you received one of the postcards your Equitable Society representatives sent out this week. He sent these cards to people in your community who are evidently headed for successful business and professional careers. The kind of people who should be interested in the Equitable Society's plan for men and women on the way up. In about 14 minutes, I'll give you the interesting details on this plan for every man who believes in his ability to get ahead. It is offered by the Equitable Life Assurance Society of the United States. Tonight's FBI file, The Hollywood Frame Up. The announcement a few months ago that Dr. Albert Einstein had successfully completed a series of four equations which he hoped would eventually explain the fundamental laws of matter and energy was a front-page newspaper story in almost every city in the land. Very few people in the world with the exception of Dr. Einstein understood those four arrangements of symbols and it is safe to say that even now very, very few people fully understand them. However, at that same time as the announcement was being made, other people were working on other equations or formulas that anyone can understand. Formulas like one scheme plus manpower equals one crime. Each of us can understand that equation, can accept it because it deals in units our mind can picture. One crime happening someplace is a reality to us. But a million and a half major crimes, that unfortunately does not have the impact it should. Yet the fact that more than that number of major crimes were committed last year that the total will be surpassed this year is important to each of us. For the victims of those crimes will not be names gathered at random and written on police blotters the nation over. The victims will be you. Tonight's file opens in a saloon located on an alley that runs through the slum section of a large eastern city. It is late at night and only two customers remain leaning against the bar. One of them is talking to the tired bartender. And anyway, who says it's better this way? Not the Italians make with the realism. All the time documentaries, documentaries, documentaries. Nobody in Hollywood just makes for plain picture now. They might as well turn the studios into parking lots. Your glass is empty, pal. Yeah, fill it up. Give him a refill, too. I got enough, Doug. What's the matter? You want to live forever? Trick up. Okay, great. Give me a new one, too. Too right coming up. Hey, you see that picture, city edition? No. Again, they made with the documentary. I hear they got good actors. Actors. They got amateurs. Sure, they look good on the screen. They're real newspaper guys. What do they know about acting? They're too stupid to be scared. Are you scared? Sure. Gable is scared. Jimmy Stewart is scared. Why shouldn't I be? Here you are, pal. Here, then. Yeah. How would you like to have a job where you can't go against the juice? I don't see nobody stopping you from drinking. No. But I ain't got a job, either. You just said you'd come in from Hollywood to be in a picture. They make him here. That's right. But the studio threw me a curve. I got a director from New York. A stage director. Hello, Ben. Hi, Artie. Hey, let's have a beer. He's one of them realism nuts. I come in this morning. I got a hangover and poached eyes. He starts beefing. I tell him to shoot me in long shots and nobody'll see my eyes. He says it would violate the spirit of the drama. So I belted him. Down he went. That's where this works. And he comes up to be spanned as my nuisance. I give you the sign. He'll say that John is closing. Just do what I say. We're making a flicker, I said. A 30-cent flicker. Get wise, dear self, I told him. Wait till you're in this business more than 20 minutes before you start making up rules. All you guys come out from New York with that shred of various way of acting where a guy makes believe he's a grapefruit. I told him we ought to go back to Hollywood and let a movie guy make the picture. They call you a director, I said. You couldn't direct traffic. That's when he fired me. Finish your drinks, man. In a closing time yet, it is here. What's your name? Bolstead? Come on, pal. I got a car outside. I'll give you a lift back to your hotel. There's nothing planned at the hotel? Let's go someplace where we can get a drink. Okay, let's go. Leon Earl, did you get it? This way, pal. The car's out here. What's the name of this crib we're going to? Joe Asis. Go ahead, pal. Okay. Well, what happens now? Show him already. Sure. Let's take him down the alley. Good morning at the local FBI field office. Police detective Tommy Adams is approaching Special Agent Jim Taylor's desk. Hello, Tommy. Hi, Jim. Got a minute? I need some help. Sure, name it. Ask your lab to find out what they can about this bullet, will you? Okay. Where's it from? The back wall of a jewelry store named Courtney's. Two men robbed the place this morning. Any descriptions? No, both of them are masked. Isn't this Courtney's got a burglar line? Yeah, but Courtney didn't use it because he was expecting the holdup. Come again? When the store opened this morning, a man came in. He introduced himself as a representative of the Crenshaw movie studio. Yeah. He told Courtney that the studio's making a picture called Eye Witness here in town. Well, that part's true, isn't it? Yeah. Then he said that the holdup of the jewelry store was part of the script. He asked Courtney if they could use his store for the scene. No, I get it. What did they take? $26,000 worth of diamonds. Ouch. Any description on this, man? Nothing good enough. We got something to work on, though. One of the holdup men dropped his hat in his wallet. It belonged to an actor who was working in the picture. His name is George Black. He ought to be easy enough to locate? Yeah, the chief is checking on him. Okay, Tommy. I'll send this bullet along to the lab. As soon as I hear anything, I'll call you. Thought you said you'd call me last night. We said I'd call you if I had trouble. How'd you make up? With the actor? Yeah. I took him to his hotel. Anybody rumble? I told everybody he was loaded. Did he come to? Once in the freight elevator. Did he put up a beef? He didn't have time. I tapped him out again. He must have quite a collection of lumps. Where's the stuff? Over there. Did you look it over? Mm-hmm. What do you think we'll score for? Well, there's two ways of doing it. What do you mean? We can pedal these rocks now and take a couple yards a piece. We let the stuff cool for six months. We can get 10 Gs for it. It's a pretty big margin. You want to let it cool? Cool? Yeah. Let's put it in a deep, deep freeze. They've been made now of the police. It ain't against the law to sleep in this town, is it? You George Black? That's my billing. I'm from police. Okay, I'll take three tickets to the ball. Now let me get back to the case. Wait. I want to question you about the Courtney holdup. Read that again and get a left this time. A jewelry store was held up this morning and when the bandits ran, your hat and your wallet were filed. Look, that's a funny routine, but I think you'd be better off working with a girl. I'm serious. Suppose I show you my wallet. It's here in my back... Hey. It's gone. I know. It's a police headquarters. Now look, Doc, I'm an actor, not a jewel thief. I got loaded last night and I've been sleeping it off all day. How could I stick up a store? We can talk about that downtown. Hey, wait a minute. I just remembered something about last night. What? I got loaded in a crummy joint. I was with a guy. He must have clipped my wallet. Look, let me go back to the joint. I can find that guy. I'm afraid I can't. Oh, now look, you ain't giving me a chance. You got me marked guilty now. I've got to have your book done the evidence. Put a rep like this. Look, after getting canned in the picture, I'm dead. I'll wind up in television wrestling. All right, let's get going, Black. So you won't give me a chance to square myself? Sorry. All right. Then I got a ticket. Shake hands with a sucker, Jim. Tommy, where did you get that eye? I forgot the duck. Well, if this happened on the jewelry case, you better fill me in. We're in on that one, too. You are? Yeah. That bullet you dug out of the wall at Courtney's matches one in our unidentified ammunition file. Oh? A jewelry store in Los Angeles was robbed two years ago. A jeweler was killed with the same gun that fired the bullet you brought in here. George Black lives in Los Angeles? That's right. The last time I saw you approximately 10 hours ago, you were going to try and find this George Black. I found him, all right. Oh? He, uh, gave you this over there? Mm-hmm. I saw him at his hotel. He denied everything. Just plain denied, or did he have a story? He had a story. He said he was drunk last night, and somebody must have picked his pocket. Well, that would explain the wallet. How about the hat? We never got that far, Jim. Huh. He said he remembered being in the saloon with some men. And if he could find them, he could prove they took his hat and wallet. And tell me, how did you feel about his story? Ah, I hate to say this after what he did to me, but I kind of believed him. Despite of all the evidence? Yeah. Well, in either case, we'd better get to work and find him. What do you have? Hello, Pete. What do you want to drink, mister? I wouldn't drink in here if you threw in a picture of the chef in tights. Nobody sent for you, doc. I got up the day after drinking here last night, and I had three heads. Well, one of this joint is always empty. You weren't in here last night, pal. I wasn't in Scranton. I got a good memory for faces, and I'd never seen yours before. Look, I was standing right here with a guy named Ben. You know him, don't you? No. You got a memory like a blue-sert suit. A lot of these joints around here look the same, pal. You must have been in one of them other chimneys. What's the matter? You get rolled? Look, I know I was in this joint talking to this guy Ben. You know him? You kept calling him Ben. Hello, Pete. Hey. He was here, too. He's the guy that turned out the lights on me. Marty, you ever seen this guy before? No. Ah, you're a lion. Look, you're coming with me. Like where? Down to the cops, and you can tell them what you guys did with my wallet and my hat. That's what you think. You know, building this guy out is getting to be a habit. In just a moment, to this exciting file which shows how your FBI helps protect the security of America. Now a quick look at the future of America as it stands at the threshold of the second half of the 20th century. Leading economists say we are safe in predicting that America's industrial productivity will reach new highs during the 50s and that the resulting prosperity will be more widely shared than ever before. By 1960, it is expected that the average family's income will have risen to over $4,000 a year. Remember, that's just the average man's income. If you figure yourself as above average, then your salary should be due to climb to far higher figures than that in the next few years. If you really have faith in your future, then you'll be interested in a special type of life insurance designed to order for your type of person. It's the equitable life insurance society's plan for men and women on the way up. To people who are confident they're going to get ahead, this plan offers three important advantages. First, as your salary goes up, your insurance can keep pace with it. When you get that better job or that big promotion comes your way, you can adjust your insurance to measure up to your increased income. Second, while you're waiting, your wife and children have the life insurance protection they need. This means that you have the peace of mind, the freedom from worry about your family. That's essential to a man who wants to concentrate on getting ahead. Third advantage, the equitable plan is flexible at all times. It can expand or contract as you see fit and offers you many desirable options, which your equitable society representative will be glad to explain to you. So why not get in touch with him right away? Phone him and ask for full details on the equitable plan for people on the way up. Or send the postcard care of this station to the Equitable Society. That's E-Q-U-I-T-A-B-L-E. The Equitable Life Assurance Society of the United States. Now back to the FBI file, the Hollywood Frame Up. In connection with tonight's program from the files of the Federal Bureau of Investigation, we bring you a message from Mr. J. Edgar Hoover. Mr. Hoover's message is, and I quote, Each time this official broadcast dramatizes one of our files, it is done with a specific purpose in mind. Frankly, our purpose this evening is to create apprehension. If someone could teach the American citizen to look about him constantly, to be less bland and more suspicious, our crime taxes might start downward instead of constantly increasing. Our greatest fault is complacence. Second in seriousness is the American habit of viewing everything unpleasant as something detached, something that doesn't concern us. Each of us seems gifted or cursed with the belief that while misfortunes of law and fraction may happen to the other fellow, we ourselves will be spared. Nothing of course could be further from the truth. The victim in approximately 99 out of 100 cases which pass through our field offices is an innocent person. While it is true that thieves fall out and that there are such things as gang wars in which criminals fight each other, it is well constantly to remember that like any military organization, America's army of criminals has one basic target, to profit from another's labors. That could mean you. Tonight's file continues at the local FBI field office the following morning. Morning, Jim. Oh, morning, Tommy. How's the eye? They feel better if we could locate George Black. Oh, I checked with the Crenshaw studios. He was fired from the picture they're making here. I know. I wired Washington last night to see if they had anything on him. Heard anything yet? Yes, and if he's got a record, it's not under the name of George Black. I got a couple of pictures of Black from the studio publicity man here in town. I sent them along to Washington too. Pardon me, Tommy. Oh, sure, Jim. Especially, Jim Taylor speaking. Yes, that's right. You have where? When? Thanks very much. That was Memorial Hospital, Tommy. They just brought in George Black. A friend again last night. Which friend? The actor. Where? At Pete's joint. Nice shot. He was around there looking for us. Oh? Yeah, Pete was given only I never saw you before as when I walked in. So, what happened? He spotted me. Wanted me to go to cops with him. Remembered you that good? Yeah, so I belted him out again and dumped him in an alley. No, you shouldn't have done that already. You think I should have gone to cops with him? No, you should have played a dumb like Pete. I couldn't. Look, Artie, this guy's a lush bucket. We see him again, we don't know him. You'll think maybe he drew a blank. They could have worked. But don't, we'll tap him out again. This time for good. Mr. Black? Look, if you've got more pills, give them to the guy next door. I'm a special agent of the FBI. You're my credentials. Oh, I suppose now I stole the plans to Sandy Hook. I'm afraid there isn't much to be funny about, Mr. Black. I ain't trying to get laughs. Mind if I ask you some questions? Go ahead. The gun that was used in the hold up here yesterday morning was also used two years ago in Los Angeles to kill a jeweler. It's possible that you were in both of these holders. Look, mister, I did comedy and vaudeville, not a shooting act. This killing took place just about two years ago. Are you in Los Angeles then? Two years ago. That's right. Yeah, yeah, I was laying off at Santa Anita. You, uh, you're on a luger, Mr. Black. Look, I'm no crook. I don't even know any crooks except my agents. Then why weren't you willing to go to police headquarters yesterday with Detective Adams? Because I know a frame when I see one. And this one is so big, you could have stuck Whistler's mother in it. Oh, who do you think is framing you? There are two guys who belted me out night before last and took my hat and my wallet. And all the names are? Yeah, one guy's name is Ben, the other guy's Artie something. I don't know their whole tags. Where'd you meet them? In a saloon on Water Avenue near 15th Street. I don't know the name of the joint. The bartender's name is Pete. Can you give me a description of them? Not a good one, but I'd know them if I saw them again. Tell me, did you go down to this saloon last night after slugging Detective Adams? Yeah, the bartender said he never saw me before. Then this Artie character walked in. I told him to come on down to the cops with me. And the next thing I know, I'm laying here inhaling pills. What made you think you could solve this whole thing by yourself? I played a detective in a picture last year. Well, that's the movies, Mr. Black. It's a little more difficult in real life. Well, I found that out. Well, I'm not saying that I believe your story, but I'm going to go out and check it. Okay. And until I get back here, you're technically under arrest. You get to see George Black this afternoon, Jim? Yeah. What does the story sound like? Well, he told me he got into this whole jam because he got drunk at a bar with somebody named Ben. You know something, Tommy? You might be right. You mean he convinced you to? Partially. This Ben could be a petty larceny thug named Ben Hamilton. How do you know him? I dug up records of everybody named Ben. I sent the pictures down to the hospital and Black identified this Hamilton. Does he think Hamilton's trying to frame him? That's it. He went back to the saloon after he slugged you and the bartender denied seeing him before or knowing Hamilton. All right. Where do we go from here, Jim? Well, I've got a call in for the saloon where Black claims he was hit. You think the bartender will talk on the phone? He may. Hamilton was arrested once with a hoodlum named Rocky Thompson. Well, he's in jail now, out west. He may be able to get someplace using that name. Oh, pardon me, Tommy. Sure, Jim. Hello. Oh, fine. Hello. Pete, the bartender there. This Pete? Pete, this is a friend of Ben Hamilton's. No, no, you don't know me. Rocky Thompson. Yeah, that's right. Yeah, we were away together. Yeah. Look, where do you think Ben will be in? No, no, just on my club. Okay, thanks, Pete. Well, that part of George Black's story checks they know Ben Hamilton around the place. Now, if we get a... Hey, wait a minute. Huh? Tommy has, uh, Courtney's jewelry store got descriptions of those unset diamonds that were stolen. Sure, Jim. Why? Well, George Black can leave the hospital tonight. Let's give him a chance to prove his own innocence. Yeah, Ben. Give Artie me another pair, huh? Okay. You want something, mister? No, don't tell me you still don't remember me. Hiya, Ben. Artie? I think maybe we better go someplace else. That's okay with me. Hey, don't go, boys. I got something in my kick you'll want to see. Pete, this guy leaves. We'll come back. Uh, look, Ben. The diamonds from Courtney's. Where'd you get them? I went up to your apartment and took them. I figured as long as I was taking the rap, I might as well have the loot. Ben, how'd he get into your joint? Shut up. Well, that kind of spills it, don't it? Maybe. But it ain't gonna do you much good. Have I got to build them again? Yeah. This time, go for big casino. Ben, not in here, huh? Artie, take him out in the alley. Oh, now wait, I'm dead. You heard him, doc. This gun says start moving. Okay. How you doing, man? Drop it. Put your hands up. Good to see you, Jim. Hey, what is this? I think you can guess. Well, thanks for the cooperation, Mr. Black. You did some very convincing acting. Mr. Taylor, if acting in saloons counted, I'd be the yearly winner of the Academy Award. John Hamilton and Archie Melrose were returned to the West Coast to be tried on the charge of murder. They were both convicted and executed. Their accomplice, Pete Morgan, was sentenced to 20 years as an accessory to their crime. One call to Pete the bartender made by Special Agent Taylor is what convinced him that George Black was probably telling the truth about having been framed. However, there was still the problem of proving that Ben Hamilton and his friend had committed the crime of robbing Courtney's jewelry store. Taylor, therefore, went to the store and had a set of glass duplicates of the stolen diamonds made up and wrapped as the real diamonds had been wrapped in the safe. George Black was then called upon. It was his job to convince Hamilton and his accomplice that the pieces of glass were really the diamonds and that he had gone to Hamilton's apartment to get them. Special Agent Taylor and Detective Tommy Adams were outside the alley door listening to the conversation and were prepared to enter if George Black needed help in sight. The gun which Archie Melrose was pointing at Black as they came through the alley door turned out to be a luger, the luger with which the jeweler in Los Angeles had been killed. And so another case from the files of the Federal Bureau of Investigation was closed. And closed as 97% of all FBI cases are with the conviction of the arrested criminals. In just a moment, we will tell you about next week's exciting FBI file. Now one last word on the Equitable Society's plan for men and women on the way up. It's a plan for the man who knows that some Valentine's Day, he'll come home with this kind of present for his wife. Honey, you get that fur coat after all. The boss just made me district supervisor. If you're that kind of man, then the sooner you get in touch with an Equitable Society representative, the better. Ask him for full information on the Equitable Society's life insurance plan for men and women on the way up. Or send a postcard care of this station to the Equitable Life Insurance Society. Next week we will dramatize another case from the files of the Federal Bureau of Investigation. A fact will recount of the activities of a ring of international Jewel thieves. It's subject, smugly. It's titled, Package of Death. The incidents used in tonight's Equitable Life Insurance Society's broadcast are adapted from the files of the Federal Bureau of Investigation. However, all names used are fictitious. And any similarity thereof to the names of persons living or dead is accidental. Tonight the music was composed and conducted by Frederick Steiner. The author was Jerry D. Lewis. Your narrator was William Woodson and special agent Taylor was played by Stacey Harris. Others in the cast were Herb Ellis, J. C. Flippen, Ed Gargan, Edmund MacDonald and Carlton Young. This is your FBI is a Jerry Devine production. This is Larry Keating speaking for the Equitable Life Insurance Society of the United States and the Equitable Society's representative in your community. And inviting you to tune in again next week at this same time when the Equitable Life Insurance Society will bring you another thrilling transcribed story from the files of the Federal Bureau of Investigation. Package of Death on this is your FBI. This is ABC, the American Broadcasting Company.