 From Hollywood, the NBC Theatre presents... There's assignment. Production, trade wins. Director, Tay Garnett. Star, Frederick March. Hollywood screen directors present a merry mixture of murder and romance. Trade wins, starring Frederick March and introducing the director of the film, Tay Garnett. First motion picture job taken by tonight's guest screen director, literally put him head and shoulders above everyone else. In fact, he was several thousand feet above them, creating thrills as a stunt pilot. And when he came back to Earth, he went right on creating thrilling entertainment as a writer and director. His expert direction ornament such standout films as Mrs. Parkington, Valley of Decision, The Postman Always Rings Twice, and tonight's story, Trade Wins. Ladies and gentlemen, Mr. Tay Garnett. Thank you. Shortly before we made Trade Wins, I had an idea for filming some unusual motion picture backgrounds. The plan called for someone to take a small boat and cruise the world with a camera. Sailing the South Seas, the Tropics, the Orient. But how could I ask a man to tear himself away from Hollywood and do a thing like that? I just couldn't. So I did it myself. It was quite a sacrifice. But we came back with much of the background for Trade Wins and with the story itself. Now here it is, Trade Wins, starring Frederick March as Sam Y., the role he created, with Lorraine Tuttle as Kay Kerrigan. Many of you will remember the Kay Kerrigan case in San Francisco last year. How can you forget it? I was on it. Kay Kerrigan, a very palatable dish, visited the apartment of Tommy Broome II the second and notorious playboy. The following morning, Tommy Broome II was discovered to be a cadaver with a neat bullet hole in the base of his brain. Kay Kerrigan disappeared. She disappeared so thoroughly that the police commissioner finally decided to send for me bloodhound that I am. There you are, Sam, the suspect's handbag with all the identification in the world and these black antelope gloves. Ms. Kerrigan left the scene of the crime in a hurry. She left everything but a signed confession. Where do I come in? You've got your own detectives and the very talented they are, parameters. Kay Kerrigan happens to be a very beautiful woman. Oh, now I know why you need me. Last we heard of her, she'd pawned a ring in Honolulu, running low on dough. But if she's beautiful, she couldn't kill anybody. Look, Sam, look, Tommy Broome broke her kid's sister's heart. Kid's sister commits suicide in the bay. Kay goes gunning for Tommy. Kay leaves calling cards all over the place. But just because she's an attractive dish, you call her innocent. Commissioner, this is a democracy in America. I know, I know, a man is innocent until he's proven guilty. That I know. Now look, Sam, look, do you want the case or do I put George Faulkner on the trail? George Faulkner. Who's George Faulkner? A better man than you are, Gungadin. Sam Wise, the name, who are you? I ask you a question, Sam. Do you want the job? What's this matinee idol got that I haven't got? Who are you? George Faulkner. Never heard of you. Faulkner always gets his man. Kay Kerrigan is a woman. That's the only reason I prefer you on this particular case. You're a very shrewd judge of talent, Commissioner. I accept the job. Excuse me while I telephone my office. Sam, why, private investigation? Gene, honey, I'm off to the Orient to bring back Kay Kerrigan. Oh, swell, when do we leave? I'm going alone, solo, by myself, solitaire. And leave me here to stall the landlord? Oh, no, you don't. You think I'm leaving you because I want to? Or because there's dough in it? Don't you realize, baby, that a girl like you happens only once to a man? Only once may he reach up and touch the stars, and you are that once for me. Don't you know that, Genie? I'm sorry. Of course you are. And don't forget to stall my tailor, too. You heel! Bye-bye, Genie. You even con that poor secretary of yours into liking you, being a cad as a full-time operation. Now, Sam, there's just one more thing about this Kay Kerrigan. She loves the piano. Chopin played badly, great son and a... That's the lead. Who plays Chopin worse than I do? So long, Commissioner. I cable you from Honolulu. Dear Commissioner, having a fine time, wish you were her. Who is her? What gives? Reply at once. Sorry, correction, having fine time, wish you were here. Where is Kerrigan? Oh, her! Kerrigan, leaving Honolulu tonight for Singapore, under name of Mary Holden, will remove Hawaiian babe from my lap at once and dash off after Kerrigan. Worshipfully, Sam White. Some place you'll pan like that again. Hello. I thought everyone but me had gone to the state rooms. I heard you play, if I may call it that. I had to stop it. I'm glad. Why? You've made something happen to me. Only once may a man reach up his hand and... Go on. Sam White, my name is Sam White. I'm Mary Holden. Hi. Hello. Do you mind if I show you how that prelude ends? It's only fair to present Chopin's side of the argument. But I'll need my right hand. And you still have it? I need it too. Please. You see, this happens only once to a man. Only once may he reach up his hand and touch the stars. That, I believe, is known as a line. Yes, it is. You speak it as though you've rehearsed it a lot. On every possible occasion. At least you're honest about it. Tell me, where will you stay in Singapore? The Raffles Hotel. Things to do in Singapore? The places, the faces, the races? See you in Singapore? The Raffles Hotel. Mary, she's coming up all right. Sam, who's that horrible big horse ahead of her? Well, that's Sahib. He's a long shot. I hate Sahib. I hate Sahib. Sahib? She hates you, so there. Vanishing Lady Stumper. She's down. Sahib! You mean that much to you, Mary? If you only knew. And I'm glad I placed your money on Sahib. You put my money on Sahib? Yes, ma'am, Sahib. Ah, Sam. Switch your bet at the last moment. Oh, I don't know what to do in a case like this. Just send me flowers. No, really. It means so much to me. Well then, dinner at eight, and let's hold hands in the moonlit jungle patio, hmm? Yes, ma'am. What can I do for you? Beautiful out here, Sam. Moonlight becomes you. Beautiful and eerie. Unearthly. Makes everything seem far away. Sad things seem gone. Only the lovely things are here. They are for me. Line? Gospel. Peace, sanctuary, and a good friend. Thank you, good friend. Sam. Mary. I must tell you something. No, perhaps you'd better not. Yes. I needed money to go away, desperately. Not yet. Sam, promise me that we'll take every moment in treasured. All we can hope for is a few great moments, and then goodbye. When I go, let me go. No regrets. And promise me you won't try to follow me. You're asking a lot. Sam, the moment is slipping away. Oh, okay, darling. Sam, what did you just call me? What? You used a name. You said... I think I heard you say... I said, uh, okay, darling. Okay? Okay, darling. Okay, come in for a minute and a nightcap, Sam. I don't mind if you don't mind. Yeah, let me unlock it. No, thanks. No, I've got it. Oh, the lights are on. Jeanette must be up. Jeanette? Yes, my somewhat French maid. I just hired her today. Jeanette? When Jeanette comes in, tell her what you want, Sam. I'll change to something more comfortable. Madam will you listen for me, yes? Oh, no. Jeannie, what are you doing in Singapore? Oh, I'm training K. Kerrigan. What are you? K. Kerrigan is in the Casablanca. You want a wager? Well, she's running a shooting gallery in the Casbah. Look, Sam, I'm your secretary, and I know all your tricks. All right, Jean, what do you want? $50,000. I'll give you five. What are we talking about? Tommy Broome's father has offered $100,000 reward for K. Kerrigan. Wow. I get half. I'll give you ten. Five. All right, I'll raise your salary. Half, and that doll in there is K. Kerrigan. All right, Jeannie, you win. Well, thanks, bud. And now I will get him for you the beverage. Oh, no. In one minute, we'll be this stock. Oh, Jeannie, please. Work fast, Sam. Why work fast? I want to send a cabogram. Hurry. Jeannie. Yes? Rye for me, please. What do you say, Mr. Rye? Rye, please. Merci. Hello. This goes to Chief of Det... Oh, Chief of Detective San Francisco Police. Have captured K. Kerrigan single-handed. $100,000 payable to me only. Love and kisses, Sam, why? Yeah. Yeah. Just charge that to the San Francisco. What do you mean? Isn't the city of San Francisco good for a lousy few bucks? All right, I'll come down and pay you. Mary. Yeah? I'm going down for some cigarettes. All right, Sam. I'll be right back, honey. Cable office, please. This is Jean Flannery, Mr. Samwise Secretary. For my records, what was that message he just sent to the San Francisco police? Heal the double-crossing heel. I'll murder the bum. May we? You are listening to the Hollywood Screen Directors' presentation of Trade Wins, starring Frederick Marsh with Lorraine Tuttle and introducing the director of the film, Tay Garnett. Slee, advice to take a powder. Take a powder? But I feel fine. Look, this Samwise personality is not whom you think he is. He is a detective. A detective? The poor man's Hillary queen, and he's after you. Oh, I can't believe it. You've got to believe it. I'm his secretary, and I know. But I'm on your side now. We women have just got to stick together. Also, there is 100 Gs on your head, and Sam is gobbling the whole reward. I've got to get away. Well, you can fly, but he's awfully good at finding people. I'll go to Colombo. Oh, no. They've got cops in Ohio, too. I mean Colombo Ceylon. I'll go with you. Why? I don't know. I guess it's just because I want to help you. Why are you crying? Oh, it's such a beautiful gesture, giving up 50 grand for a friend. I knew it was you when I heard your steps. You're a confirmed healer, a grand chancellor, the head of the lodge. I can't hate you. Oh. Hold me in your arms. Darling. Hold me tight for a moment. And then take me back. I don't care. I do, darling. Oh, darling. And now let's see you put up your hands. Hey. All I wanted was your shoulder gun, you cheap flat foot. You wouldn't shoot me. Oh, yes I would. I shot Tommy Broome, didn't I? And you're too of a kind. Don't move, Kay. I've heard that one, too. Don't move, darling. I want to remember you always, just the way you are. Listen to me, Kay. I know how you feel about me, but you've got to believe in me unquestioningly in the next few moments. As you value your life, Kay, don't move. Why? What's the matter? Don't turn around to the piano again. Don't raise your voice and make any sudden motion and very carefully, very, very carefully lower that gun and drop it on the floor in front of me, or I can pick it up without moving a step. I'll give you back the gun. Ridiculous. Do as I tell you, Kay. And in Heaven's name, don't turn around because there's a king cobra behind you coming out of the piano and he can't decide whether he should bite you or not. But if he does strike, you get you in the back of your neck and you won't live 30 seconds. So easy does it, Kay. Perhaps the drone of my voice will keep him steady. How do I know you're not lying to me? How do I know it's not just another trick? Maybe you've got to take your chances either with me or with the big, ugly, brute weaving back and forth behind you. Now lower the gun, I say, slowly, slowly. That's it. Slow, slow. Now drop it. Don't throw it. Drop it. All right, but if it's a trick... Good girl. Now stand perfectly motionless while I stoop and try to pick up the gun because besides being the deadliest snake in the East, the hooded cobra is absolutely an hysterical creature. Flies into a frenzy over nothing and then watch out. That's all, watch out. And I've got the gun now. Get straightened up and again. I've got to keep on talking. I don't know what to say anymore except maybe four score and seven years ago her father's bought forth and this continent's steady girl. I think I can get a beat on its head past your left ear. A new nation received in liberty. He's weaving, he's weaving, he's weaving and dedicated to the proposition, don't move. And I'm waiting for my chance stilling and I've got to keep on talking, keep on talking. And it came to pass that when they were in the field, that Cain rose up against Abel, his brother and slew him steady honey and the Lord said unto Cain, where is Abel my brother? And he said, I know not. I know not. Am I my brother's keeper? Famous. It's all right now. You can turn around. Oh, it passed through. Eight feet of murder, Cain. Oh, horrible. Eight feet of death with his head shot off. Oh, Sam darling, hold me, hold me. I'm so afraid. Oh, don't. I'm so afraid. It's over now, dear. You'll never have to be afraid again. We're going away together, Cain. You and I, we lose ourselves from men and their man hunts away from everything. Just you and I. I shot a man, Cain. I killed a man. You killed a snake, too. You can't justify murder, Sam. I shot him. I tell you, I shot him in the heart. The heart? The heart. But Tommy, the home was shot in the... Don't throw your life away from me. Listen. Listen, we'll drift together. Peacefully drifting down the trade winds of the east together. You and I. No, Sam, no. Let's have three months together. Three months of perfect happiness, Sam. It's more than most people have in their entire lives. It's more than I deserve. It's a lot more than you're going to get, Sam. Who the... Faulkner. Faulkner. Headquarters yanked me off their narcotics job I was on. They said something smelt funny around here. They were right. Oh, Sam, don't let him take me. He won't, baby. You represent $100,000 on the hoof. And it's all mine. And, Cuff, Sam... 100 grand, Kay. Bound to me by loops of steel. You're doing this for money. Look, baby, I'm losing you in any case. You can't expect me to pass up that reward, too. You are vile. Thanks. Let's go, girl. San Francisco. You coming, Faulkner? Carrigan and captor arrive from Orient. Self-styled heel claims big reward. Curely still out. Carrigan fate uncertain. Carrigan guilty. Drum shoe heel celebrates with party. Who miserable hound? Miserable blood hound, are you? Oh, you're funny, aren't you? Kay is guilty and you're throwing a big party in the late Tommy Broome's apartment. That does it for me. I quit. No, no, you can't quit, Jeannie. I need you. Then if you won't do anything for me, do something for Kay Carrigan. I smell a rat, brat. Oh, now this is square. Take this pair of gloves to Kay. Gloves? To handle people like you with? These are the gloves that were left in Tommy Broome's apartment the night he was killed. So? Take these gloves to Kay and herself and then join me at Tommy Broome's apartment tonight. Why? Just do as I tell you. Okay, Cad. Hand me the gloves over a pencil. I don't want to come in contact with you. Big party, Mr. White. It hasn't arrived yet. And what about the gloves? To begin with, Kay says they aren't even hers in the second place. I knew it. I knew it. That clenches it. Clenches what? Look, Kay has always admitted that she killed Broome, but she thinks she shot him in the heart, whereas we know he was shot in the head. But she says these aren't her gloves. She admits the murder. She has nothing more to hide. So why deny the gloves? The answer is they aren't hers. Some other woman left these gloves that night and did shoot Broome in the head. After Kay left... Kay, this gets to be like the radio. Comes a crystal clear explanation for Mr. District Attorney. I don't get it. I'm stupid. Now listen. There were six women playing around with Broome at the time he was murdered, and these gloves belonged to one of them. The one who nailed Tommy Broome. All six of those women have been invited here tonight. I'm going to put these gloves in the dressing room table, and you're going to hide in the next room and see what happens. Well, there's the first for the frolic. Keep your fingers crossed. With you, I've got them double crossed. Sam. Do you know that Bartlett woman, the sex boat? Yeah, yeah. She didn't touch the gloves. Sam. Yeah? Been casing that kitty utter back on the gloves. Go on, go on. Uh-uh. Nothing. No. Sam. Yeah? Got a nibble. Which one? A taffy holiday. You know, the strip teaser. She picked up the gloves. She did? Put them back again. Oh, great. Yeah. What does she want with clothes? This is Cornell. It's not going to work. Cornell took the gloves. Cornell? Yeah, man. You took the gloves? What gloves? The ones you just slipped into your purse. Oh, I thought they were mine. I'm sorry. They are yours. No, no, really. Although they did look like a pair I lost months ago. They are the pair you lost months ago in Tommy Broome's apartment. This apartment. No. I didn't kill Tommy. I didn't say you did. But I was going to. It's a lie. I didn't shoot him. I was there, but I didn't kill him. Walter, my husband, found me there. Go on. Walter killed him. No, no. If Walter didn't kill him, you did. All right. Walter shot him. I never admit that to anyone else. After Kay Kerrigan left, Walter came in and found me with Tommy and shot him. You've been darling so far. Can you help me out on one more thing? What makes Kay Kerrigan think she killed Tommy? Oh, what a word Tommy Broome really was. He had a revolver loaded with blanks that he'd give to women who threatened to kill him. He'd always cool them off. But not Kay. She pulled the trigger on him. He had to fall down just to make it look good. It was, he surprised. Satisfied? Too bad you haven't a witness to all this. Yes, yes, isn't it? Jean. Jeannie. Jeanette. Han-Dec, Monsieur. Did you get it all? Got it all. Why you? Good girl. My arm, Mrs. Cornell. Shall we go down to the courthouse and simply wow the customers? We need sales with captor on honeymoon today. Yes, Sam. Kay. You're in a rut. Yeah, it's awful. I have only two moods. Either I'm shooting a line or I can't talk at all. When I'm sincere and feel something very richly and deeply, darling, I can't say a word. When I know it lasts, that this happens only once to a man. That only once may he reach up his hand and touch the stars. Line. See what I mean? Yes, Sam. Kay. Yes, Sam. Kay. Yes, Sam. Now you're talking. Next week, the NBC Theatre proudly presents a motion picture drama based upon one of America's most distinguished short stories, Ernest Hemingway's hard-hitting tale, The Killers. And our stars will be Burt Lancaster and Shelley Winters. The NBC Theatre extends cordial seventh anniversary birthday greetings to the Armed Forces Radio Service, which each week broadcasts our program on 60 overseas stations to an audience of thousands of American service personnel and millions of foreign listeners. Now, here again are tonight's stars Frederick March and Lorraine Tuttle and screen director, Tay Garnett. You must have seen some amazing sights on that cruise you made around the world. Oh, I did. There was one native village in the Fiji Islands with a kind of ceremonial hut in the center. Women kept going in and out. What's amazing about that, Tay? Something awfully powerful must have been happening inside. They came out with the darndest, dreamiest expressions I've ever seen. Did you ever find out what went on in that hut? I did, and I was profoundly shocked. Well, what was going on? A Frederick March movie. Oh, well, that's really nothing. You know, Miss Tuttle, I had a friend once who had an even more shocking experience than Tay's. What was it, Mr. March? Well, he was stranded beside a cave on a desolate island, and every night a strange, eerie noise would come out of the mouth of the cave. What was that, a Tay Garnett picture? No, it was Tay Garnett. Well, what was he doing in there? Probably trying to figure out a way to top Freddie March on his story. Don't you believe it, Miss Tuttle? When it comes to stories, Tay is one of the most brilliant men in Hollywood, whether he's writing them or directing them. Thanks, Freddie. But after a compliment like that, I think I'd better get back to my cave. Good night, everyone. Good night. And good night to you, Frederick March, Queen Tuttle, and Tay Garnett. Craig Wins was presented through the courtesy of United Artists. Frederick March will soon be seen with his wife Florence Eldridge in the new film Christopher Columbus. Tay Garnett is currently preparing the picture of White Jade. At his latest film is the Paramount Technicolor production, a Connecticut Yankee in King Arthur's Court starring Bing Crosby, Rhonda Fleming and William Bendings. Included in tonight's cast are Gigi Pearson, Wally Mayer, Betty Moran, Jim Nusser, and Dan Riss. Tay Garnett was heard by transcription. Trade Wins was adapted for radio by Milton Geiger, and original music was composed and conducted by Henry Russell. Production was under the supervision of Howard Wiley, Associate Producer Bill Karn. Your announcer has been Frank Barton. Listen again next week when the NBC Theatre presents Screen Directors' Assignment, Production, The Killers, Director, Robert C. Audmack, Actors, Bert Lancaster, Shelly Winters. The NBC Theatre came to you from Hollywood.