Suspense and Screen Directors Playhouse

Summary

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Podcast Summary: The Relic Radio Show

Episode: Suspense and Screen Directors Playhouse
Date: January 14, 2026
Source: RelicRadio.com
Theme: Exploring iconic dramas from the “Golden Age” of American radio, spotlighting Suspense (“The Peralta Map”) and Screen Directors Playhouse (“Pitfall”).

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Episode Overview

Relic Radio unearths two radio drama gems, both brimming with tension, moral tests, and classic performances. First, Suspense delivers a haunting tale of greed and danger deep in Arizona’s Superstition Mountains, starring Raymond Burr. Next, the Screen Directors Playhouse adaptation of “Pitfall” stars Dick Powell and Jane Wyatt, presenting a noir saga of suburban malaise, temptation, secrets, and consequences.

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Key Segment 1: Suspense – “The Peralta Map” (00:11 – 29:00)

Premise

Raymond Burr leads as a fortune seeker obsessed with finding the legendary Lost Dutchman Mine. Navigating both treacherous terrain and shifting loyalties, two partners—Willis and Cracker—enlist local loner Ol’ Lonnie as their reluctant guide by dangling the “Peralta Map.”

Key Discussion Points & Plot Moments

• Setting the Scene: The forbidding Superstition Mountain background and local legends gripping the American Southwest. (00:11)
• The Confrontation: Willis and Cracker debate showing Lonnie their precious map, highlighting trust and suspicion.
• Meeting Ol’ Lonnie: They find Lonnie at his isolated gas station; he’s lured with money, stories, and ultimately, the promise of a share in the mine. (04:41)
• Desert Lore: Lonnie recounts tales of Peraltas, Apaches, and previous deadly attempts to find the mine—including real-life Adolph Ruth, whose fate becomes an omen for the group. (06:43–13:01)
• Mounting Tension: The three men traverse the wilderness. The atmosphere grows increasingly suspicious and ominous with tales of mysterious killings and a legendary “guardian” of the mine.
• Greed & Betrayal: Injuries and infighting break out as they near their prize. The partners leave the injured Willis behind. (21:00)
• Climax: The mine is found, but violence and betrayal erupt. Lonnie vows to cover the mine rather than let more blood be spilled. The mountain’s curse claims yet more victims—or perhaps mere human nature does.

Notable Quotes

• “You ever read how many men have been killed hunting for the lost Dutchman?” – Lonnie (09:20)
• “Being partners ain’t got nothing to do with it. Well, what has for a couple of fellows after the lost Dutchman? You sure don’t know much about it, do you?” – Lonnie (10:18)
• “They were shot through the back. Then their heads were chopped off.” – Chilling account of previous seekers’ fates, Lonnie (15:31)
• “I may be a desert rat, but I’m a live one.” – Lonnie’s philosophy on survival (09:16)
• “We found it. Listen, old man—we’re billionaires. You hear me?” – Cracker’s greed triumphs (24:01)

Memorable Moment

• The “Ghost” of the Mine (23:23–24:13): At the climax, the act of literally unearthing the mine triggers hysteria and violence instead of triumph, showing the price of human obsession.

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Key Segment 2: Screen Directors Playhouse – “Pitfall” (29:43 – End)

Premise

Insurance man John Forbes (Dick Powell) is mired in routine suburbia. When a claim investigation leads him to the alluring Mona Stevens, his quiet life unravels, drawing his family and himself into a web of temptation, deceit, and violence.

Key Discussion Points & Plot Moments

• Domestic Ennui: Introduces John’s family and his restless dissatisfaction. (30:25)
• The Case: John is assigned to recover gifts purchased with embezzled money for Mona. Initial interactions bristle with wry banter and mutual sizing up. (33:32)
• Flirtation and Guilt: Sparks fly between John and Mona—meals, confessions, and a dangerous attachment blossom.
• Threatening Outsider: McDonald (Raymond Burr), a private detective smitten with Mona, becomes both rival and menace. His presence escalates, foreshadowing disaster. (37:09)
• Family Fractures: John’s inner turmoil spills into his marriage, as secrets boil over. (44:36–45:03)
• Stalking and Violence: With Smiley (Mona’s ex), fresh out of jail and egged on by McDonald, the threat becomes real. John is forced to shoot Smiley in self-defense—but everything unravels. (47:10–49:20)
• Moral Reckoning: Guilt drives John to confess to his wife and the police, testing love, truth, and the cost of a single lapse. (51:23–55:27)
• Bitter Aftermath and Hope: With the family broken but not destroyed, John and Sue contemplate their future. (55:45)

Notable Quotes

• “You're a little man with a briefcase. You go to work every morning and do what you're told…” – Mona to John, dissecting his suburban persona (34:28)
• “That's the trouble with your generation. You don't appreciate the things you have.” – John to his son, irony-laden (40:33)
• “Conscience? You make it sound like a dirty word. You worry about your filthy little conscience. But I’ve got our son to think about.” – Sue to John after his confession (52:06)
• “If a man has been a good husband except for 24 hours, how long should he be expected to pay for it?” – Sue, weighing forgiveness (55:16)

Memorable Moments

• The Confrontation (48:42–49:20): Smiley arrives armed; John’s desperate defense ends in death and shatters all facades.
• Sue’s Ultimatum (52:06–52:23): A raw, emotional confrontation encapsulating the series’ focus on consequence and marital loyalty.
• Resolution (55:45): A scene of resilience—portraying the hardship of rebuilding trust and moving forward despite a broken past.

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Timestamps for Key Segments

• Suspense – "The Peralta Map"

  • The Legend & Journey Begins: 00:11
  • Meeting Lonnie: 04:41
  • The Map & Negotiation: 06:00–09:04
  • Desert Lore & Danger: 12:03–15:31
  • Reaching the Canyon: 18:07–20:56
  • Betrayal & Consequences: 21:00–24:47
  • Aftermath: 27:00

• Screen Directors Playhouse – "Pitfall"

  • Domestic Routine: 30:25–31:32
  • First Meeting with Mona: 33:32–36:13
  • Love Affair: 36:46–40:41
  • Guilt & Family Turmoil: 44:36–45:44
  • Climax (Shooting): 47:10–49:20
  • John’s Confession: 51:23–52:23
  • Aftermath & Themes of Forgiveness: 55:02–55:47

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Tone & Style

• Suspense: Draws on classic Western and horror motifs, featuring hard-bitten dialogue, atmospheric menace, and cautionary storytelling. Stories are told with laconic dryness and an undercurrent of dread.
• Pitfall: Noir-inspired, alternating between biting banter, world-weariness, and emotional intensity. Modern themes (for the era) of alienation, integrity, and the cost of moral compromise come to the fore.

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Conclusion

This episode exemplifies Relic Radio’s mission—resurrecting not merely stories, but a style of storytelling where every voice, silence, and shiver in the night matters. “The Peralta Map” is a taut morality play about greed and survival; “Pitfall” is a cautionary tale of the destructive power of temptation, told with sharp wit and resilient humanity.

For fans of classic radio, suspense, or timeless drama, this installment is a masterclass in atmospheric, character-driven storytelling.

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Transcript

[A]

This is the Relic Radio show, Old Time Radio Entertainment, still standing the test of time from relicradio.com. SUSPENSE and the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. East of Phoenix, Arizona, off to the left of the old Spanish Trail squats Superstition Mountain, a glowing, forbidden mass of black granite whose canyons and buttes keep well the secret of the deaths of many men. 400 years ago, the Conquistadores searched here for the legendary Seven Cities of Cibola, which were supposed to be built of pure gold. The search has never been totally abandoned, for modern legend tells us that Superstition Mountain guards the fabulous lost Dutchman Mine. But no one can be sure, for no man who has gone searching for it has come out alive. The facts you are about to hear are true, the story imaginary, since none of the characters involved lived to tell it. Listen then, as Raymond Burr stars in the Peralta map, a tale well calculated to keep you in suspense. How much further, Willis? Huh? What do you keep looking back for? You afraid somebody's following us? No. Just checking the trailer. Sun's getting mighty hot on the horses. It's gonna get hotter. Think we ought to stop and water them? Wait till we get to Lowney's. Okay. How far is it? You see that big mountain sticking up over there on the left? Yeah. Well, that's Superstition Mountain. His place is on the road right opposite it, about, oh, another four or five mil. You sure he'll be alone? He lives alone. Anybody else is there? It'll just be somebody who's pulled in for gas. They won't stay long. They'd have to be crazy to stay long out here. Yeah, I wonder why he does. Takes all kind, I guess. Bartender I talked to in Phoenix, fella that's done some prospecting himself, he said Olani'd rather have coyotes for neighbors and people. Looks that way, Cracker. How much you planning on telling him? Just enough to get him hooked. I supposin he ain't interested. Then we make him interested. What do you mean by showing him the map? If that's the only way, yeah, we'll show him the map.

[B]

But I thought we said we wasn't going to show the map to nobody.

[A]

I'm not going to argue with you. I can turn around right here, take the horses and the trailer back to Phoenix. Forget the whole thing. You want me to. Now look, Crack. Then we do it my way. He wants to see the map before he makes up his mind. I'll show it to him. I suppose he doesn't believe it's a real thing. Suppose he thinks it's a fake? He won't. Not if he can read mechs and knows the country like you said he does. It ain't only me that said it was the people. I told Apache Junction. They told me nobody really knows Superstition Mountain. But Ol. Lonnie knows it as good as the next guy. He'd better. Cracker. Suppose after he sees a map and he knows it's no fake, he still won't take us in. We'll look for somebody who will. And leave him knowing where the mine is? He might try to beat us too. Don't worry so much. He'll go in with us, I guarantee.

[B]

Morning.

[A]

Morning.

[B]

Still up for you?

[A]

No, thanks.

[B]

The way you're headed, there ain't another station for 50 miles.

[A]

Yeah, that's what I heard. You alone here?

[B]

Yeah, alone everywhere since my wife died.

[A]

Morning, Mr. Lonnie.

[B]

Morning.

[A]

What's the matter? Don't you remember me? I stopped in here a few days ago. I asked you some questions about the mountain over there.

[B]

Oh. Move around so's the sun's not my okay. Oh, yeah, sure.

[A]

Mr. Lonnie, I'd like you to meet a friend of mine, Henry Cracker.

[B]

Howdy.

[A]

How are you? Mr. Cracker's got a proposition that ought to interest you, Mr. Lonnie.

[B]

Oh, well, I ain't got no money to invest.

[A]

You won't need any money. We got everything we're gonna need right in the trailer.

[B]

That's all.

[A]

You gonna water the horses or. Sure, sure. I'll do it right now.

[B]

Water troughs behind you'll find it.

[A]

We get out of this Sunday to do some talking.

[B]

Sure. Come on inside. Don't get much company out here. Hardly ever get a chance to visit with folks, so my place ain't usually fixed up. Hope you ain't finicky.

[A]

No.

[B]

Got some beans and coffee on the stove. You hungry?

[A]

I could use a cup of coffee. Fine.

[B]

You sit down anywhere.

[A]

Thanks.

[B]

Yeah, that canned cream.

[A]

If you'll take it, drink it black.

[B]

Me too.

[A]

Now then, Lonnie, how much do you know about the lost Dutchman mine?

[B]

Well, like I told your young friend as much as anybody else around these parts.

[A]

You really believe it's there in the mountains?

[B]

Sure I do. Seen too much evidence not to believe it.

[A]

What kind of evidence?

[B]

Well, where the Mexicans had their ore shoots and where they had furnaces to melt the gold down into bars.

[A]

You ever looked for the mine?

[B]

No, not exactly.

[A]

But you been on the mountain?

[B]

Well, a long time ago, I used to go deer hunting up in some of the box canyons around Weaver's Needle, where it's supposed to be at.

[A]

What's the name Peralta mean to you?

[B]

Well, they're the ones that owned the mine years ago, long before the Dutchman found it. Apaches killed most of them off when one of their mule drivers got mixed up with an Indian squaw. After that happened, the Apaches didn't want anybody coming in working the mine again, so they hid it, covered it over with brush and dirt.

[A]

How'd the Dutchman find it?

[B]

Well, one of the Peralta's who'd been away from the mine when his paw got killed. He got in a saloon fight one time, Dutchman hauled him out of it, and this Peralta gave him a map out of gratitude. Leastways, that's how the story goes. Dutchman, he was supposed to have murdered a couple of fellows, including his partner, back in the mountain. But he died before anybody ever found out for certain.

[A]

You know what happened to the mine after that?

[B]

No. Nobody knows, except they know it's lost.

[A]

Not gonna stay lost, huh? What do you want? To guide us back in there?

[B]

I figured you was getting to that.

[A]

Well, what's your price?

[B]

Ain't got none.

[A]

We'll give you $300.

[B]

That's a good bit of money, all right, but I. I can't leave the station.

[A]

Oh, don't give me that, Lonnie. You don't do that much business in a month. Why, sometimes you got cobwebs in the gas pump. And look at you. When did you get a new pair of overalls?

[B]

That's not the point. I just don't want to go back up in there.

[A]

500.

[B]

No, ain't the money. So you needn't offer me any more.

[A]

Well, nay. All you gotta do is take us onto the mountain. Help us find certain landmarks that are on a map we have.

[B]

Map? Hey, you know how many maps I've seen in the past 20 years? All of them guaranteed to show how to find the lost Dutchman. If I had a silver dollar for ever one, I wouldn't be able to lift them. I'm mad.

[A]

It's the Peralta map or a copy of it.

[B]

Oh, sure, sure. They're either the Dutchman's or the Peralta's. A map.

[A]

When you're through laughing, you can take a look at it.

[B]

Peralta map. Here.

[A]

Take a Good. Look, I've been waiting all my life to come across something this good. Knows a desert rat's gonna sit and laugh at me when I do. Now, you study this thing. Feel it. Run your hands over the ink. You can read mechs, can't you?

[B]

Yeah.

[A]

And you're supposed to know landmarks. Are they phony?

[B]

Huh?

[A]

All right, Lountie. You still feel like laughing?

[B]

Can't laugh at somebody I feel sorry for.

[A]

What do you mean by that?

[B]

You see.

[A]

You going with us?

[B]

Nope, I ain't.

[A]

What's the matter with you? You like living this way? You like being a desert rat?

[B]

I may be a desert rat, but I'm a live one.

[A]

So?

[B]

You ever read how many men have been killed hunting for the lost Dutchman?

[A]

Who cares?

[B]

Me. I don't want to add to the total.

[A]

That for you?

[B]

Yeah.

[A]

Don't answer it.

[B]

What? Now, just wait a minute, mister.

[A]

Sit down.

[B]

Sure. You don't have to hold no gun on me.

[A]

Crack it up. Hey, is he going with us? He is or he's not going anywhere. That right, Lounty? What'd you say you'd give me 500?

[B]

It ain't enough.

[A]

Why, you chisel.

[B]

It ain't enough for risking my life.

[A]

Now, what do you want?

[B]

As long as I'm gonna die, I might as well die rich. I want a third.

[A]

Third of the mind. Okay, you got it.

[B]

Now, wait a minute. There's no.

[A]

You can stop worrying, Loun. Nothing's gonna happen to you now that we're partners.

[B]

Being partners ain't got nothing to do with it. Well, what has for a couple of fellows? After the lost Dutchman? You sure don't know much about it, do you?

[A]

We know enough.

[B]

No, you don't. But you will. Yes, sir, you sure will. This canyon's a good place to bed down, Mr. Cracker.

[A]

Any water in it?

[B]

Supposed to be right up ahead. All right. Hold it up, Willis. Make our camp here. Oh, yeah. Oh, yeah. How far away from where the mine's.

[A]

Supposed to be at? About a mile away, I figure it that right, Lonnie?

[B]

If the map's right.

[A]

You know it is.

[B]

I seen a lot of wrong UN's before. Look just as good.

[A]

Well, this one ain't wrong.

[B]

Where'd you fellas get it?

[A]

I got it. I got it off an old Mexican Sonora.

[B]

He gave it to you? Yeah. Yeah, you.

[A]

You might say he did. Will this. You take the horses down to that water and.

[B]

Now, look. How come you haven't done nothing but give orders ever since we started? Ain't you ever gonna do any work?

[A]

Make a fire lounge? Give me those reins. Well, I'll be jig swigered.

[B]

Never thought I'd see you stand up to him.

[A]

Well, why not? He's my partner, he's not my boss.

[B]

I'm a partner too. Yeah.

[A]

Yeah, I know you are.

[B]

Well, now, let's see if we can find something to make fire. You know what they call this canyon?

[A]

How'd I know? I ain't seen my map since I gave it to him.

[B]

It's West Boulder where old Adolph Ruth camped.

[A]

Yeah, who's that?

[B]

Ruth? Oh, he's a fellow come out of Washington, D.C. back in 1931. Had a Peralta map, too.

[A]

Yeah, well, not a good one. He didn't find the mine?

[B]

Well, some say he did, some say different. No.

[A]

Well, what did he say?

[B]

Nothing. Wasn't till six months later that they found his body. Rifle bullet in his back. Well, there's a nice hunk of dried mesquite. It smells like hickory when it burns. Now, the way I figure it, Ruth must have found the mine.

[A]

What makes you so sure?

[B]

Well, when they found him, the map was gone. But inside his vest was a piece of paper with his writing on it. It said, veni, vidi, visi. That's Ratner. Mean and I were successful.

[A]

Who killed them? Do they know?

[B]

Well, sure they know. Same person or persons who killed just about everybody. What's ever got closer to mine?

[A]

Mr. Lonnie, you trying to scare me?

[B]

Of course not, boy. Just trying to tell you what we might be up against.

[A]

Me and Cracker got rifles we can take care of ourselves.

[B]

Oh, sure, sure. Same as that fella last month. He come in looking for the mine. Sheriff's posse brought him out.

[A]

Dead?

[B]

Yep. Rifle, bulletin. Him too. Oh, yeah. There's a old dried up century plant might burn.

[A]

Could be some hunter thought he's a deer, you know.

[B]

Yeah, could be. But that ain't the way folks figure it.

[A]

No? No.

[B]

Let's look over there. They figure that he was shot by the same person. What's been doing the other killings?

[A]

How many is he supposed to kill?

[B]

Oh, 50, maybe a little over.

[A]

That's quite a story.

[B]

Who made it up? Newspapers. Sheriff's office don't think it's a story. Bullet they took from him and Ruth and some of the others all come from an old type army rifle.

[A]

Anybody ever see the. Whoever it is that's supposed to be doing the garden?

[B]

Not sure they could recognize him. But they're Sauk, an old Indian fellow. Named Fat Dog. Lives over in Mesa. He's supposed to have seen him one time.

[A]

How'd he know it wasn't just a hunter?

[B]

Well, he couldn't be sure, but what got his eye in the first place was the thing this man was carrying was that it looked like an old US Cavalry saver. Troops used to chase the Apaches back up in here. Yeah, well, Fat Dog, he did. He didn't stay around after that, and he ain't been back since.

[A]

Well, how close a look did he get?

[B]

Wasn't too close. Not too far neither. He could hear the spurs this fellow was wearing.

[A]

I can understand a guy wearing spurs in this country, but why? To carry a big old cavalry saber around? That doesn't make sense.

[B]

There are lots of things on this mountain don't make sense. Lonnie. You're gonna start the fire so we can eat or you're gonna talk all night. Fixin to start now.

[A]

Hey, Cracker. You ever hear about a fellow named Ruth? Got killed up in here? When was that? 31, over 20 years ago.

[B]

Yep. But another fella, fella named Cravey, he had a helicopter fly him in just a couple years back. They found him nine months later. Same type gun did it? Well, I don't mean the same person did it. There must be a lot of old.

[A]

Army rifles around in this country.

[B]

Suppose so. But both Ruth and Kravy had maps. Good ones, I reckon. And both of them were killed the same way.

[A]

You mean both of them were shot?

[B]

Well, a little more than that. They were shot through the back. Then their heads were chopped off.

[A]

Cracker. Yeah, Cracker. This place began to get on my nerves. What's he doing? Oh, he's just laying there looking up at the stars. Got that rope on him tight? I got it on him so tight I'm gonna have trouble getting it off of him in the morning. Say, Cracker.

[C]

Yeah?

[A]

You don't think there could be anything to what he's been telling us, do you? You crazy. He's just been trying to see if he can scare us. Yeah, I guess so. You go hit the sack. We got a big day ahead of us. Yeah, I know.

[C]

Well?

[A]

Nothing. What's the matter, Willis? Something been eaten at you since we started up here?

[B]

Well, I think you should have asked.

[A]

Me before you gave him a third of the mine. I haven't given him anything. Well, you said you would have. We found it yet? Now you know we ain't. Then so far he's got a third of nothing. That right? Yeah, but. Well, when we find it, if we find it, it'll change all our lives, won't it? Well, sure change his too. Permanently, you know. See what I mean? Yeah. Yeah. You are listening to the peralta map, starring Mr. Raymond Burr. A tale well calculated to keep you in suspense.

[B]

Cracker wish. Better hold up that pink Weaver's Needle. That's it.

[A]

From here on, we go east.

[B]

Come on.

[A]

According to the map, it's somewhere up in one of those box canyons.

[B]

Yeah, but which one? There's five or six of them. We gotta get up high. Look down on him. No, no, no, no. Hold him, Willach. Country's getting too rough for horses. We leave them here and go in on foot. All right, let's stop and take a look. If the map's true, it should be somewhere right below us, right? Yeah, that's right. Let's see the map. Meteor east, eh?

[A]

Southeast. Which way is it off?

[B]

Here. Willis. Yeah? Can you see Weaver's Needle from where you are?

[A]

Yeah.

[B]

You. You be careful on that ledge, Willis. Aye. Now face the north to your right. That's it. Now hold it. You see anything about a mile off? Yeah. Yeah, a kind of a hill. Got a flat top? Yeah. Turn to your left. Easy. That's it. Easy. That's enough. Mine should be in a canyon right below where he's standing. Willis, what's below you? Huh? What's right below you? Canyons. There's two of them. Buckshurs. Yeah.

[A]

Both of them should then be, uh.

[B]

Huh. The wrong canyon's got three swallows growing at the entrance to it. Willis. Yeah? Willis, you got a million dollars below you. You hear me? Right below you. What? Willis, come back here. Willis. Crazy fool's gonna break his neck running down that ledge.

[A]

Wet him.

[B]

What?

[A]

We don't need him to find the mine.

[B]

Well, you don't need me either.

[A]

Sure I do. Lonnie. How'd I find my way down this mountain without you?

[B]

Winners. Winners. Cracker.

[A]

Cracker, what happened to you? Help me.

[B]

That ledge up there.

[A]

It'S all shale. It went out from under me.

[B]

Well, here, let me see. Hey, Lonnie. Out. His leg's broken.

[A]

Lonnie, what do you call those funny looking things sticking up over there, huh?

[B]

Oh, swarrows.

[A]

The mine's over behind that bluff, about another four or five hundred yards.

[B]

Cracker, you can't think about that mine.

[A]

You gotta get me out to a doctor.

[B]

Yeah. He's right, Mr. Cracker.

[A]

All the doctors I know, they say a man with broken bones shouldn't be moved What? They say you should just cover him with a blanket.

[B]

Cracker, you.

[A]

You stop talking like that. Where's your rifle, Willis? I dropped it back up there when I fell. Cracker. Crack. You're gonna carry me out here, ain't you.

[B]

Cracker? Lonnie, we'll carry aboard. I want it.

[A]

I want to hear him say, go on, Cracker. Lonnie, we got maybe three, four more hours of daylight if the mine's in that canyon. It's covered with brush, Cracker. It'll take us at least that long to clear it away.

[B]

Cracker, look, we can't leave him here.

[A]

Please. We'll come back for you on our way out. No, no, don't. Don't leave me. Please. Cracker. Please. Huh?

[B]

I could carry him.

[A]

No. You're gonna need your strength to help me. Now, let's go. No.

[B]

No, wait, Cracker. Look, Cracker, I'll give you my share. You hear me? Cracker? Get in my shirt.

[A]

Please.

[B]

Please. I'll be back for you, boy, soon as I can. Come on, Lolly.

[A]

Yeah.

[B]

Here, you take my canteen. Now make it last. Cracker. Please. Cracker.

[A]

You find anything under these bushes? Anything that could be a sign?

[B]

No.

[A]

Let's measure it off again. Supposed to be 20 paces south of the entrance to this canyon. Only there's no hill there. No way for them to have put in a shaft.

[B]

Now, wait a minute. Could be a glory hole.

[A]

A what?

[B]

A mine. Don't have to angle into any hillside glory hole. It goes into flat ground. Yeah.

[A]

All right. I'll count off the paces again, then we'll dig straight down. Come on, Lonnie.

[B]

Keep on digging.

[A]

What's the matter? What are you quitting for?

[B]

I'm tired. And it's dark. Can't. Can't see what I'm doing.

[A]

Moon will be up soon. I'll keep digging.

[D]

Come on, Digit.

[B]

Cracker. Cracker, you struck wood. Yeah, I hear it. That's it. That's it. The door to the point to you now, don't it? We found it. We found it. Listen, old man, we're rich. You hear me? We're billionaires. You hear me? Loudly.

[D]

Billionaire.

[A]

Can you see down in there?

[B]

No, too dark. I clean forgot about Willis. Don't you think we ought to get him out to a doctor?

[A]

Until I see what's in there?

[B]

Well, would it be all right with you if I was to just take him back to where the horses are? No, but I could somehow get him on a horse and then he might be able to make it back Alone?

[A]

You know better than that.

[B]

Well, then let me help him. I'll come back.

[A]

Oh, I want to find out about this tonight. I want to be sure we've opened up the Dutchman. You go get some of that brush we cleared off. We'll set fire to it and drop it down in there.

[B]

You sure?

[A]

Then hurry it up.

[B]

All right. Who's out there? Who is he?

[A]

Lounging. Lonnie.

[B]

Mother in heaven. Willis. Boy. You.

[A]

You stay right there. Lonnie.

[B]

Oh, boy. You. You crawled all that way?

[A]

More than that. I found my rifle. Now I'm gonna use it.

[B]

Now, listen, boy. We found the mine. You hear? We found it.

[A]

Is that what happened to you?

[B]

Well, he wouldn't let me go.

[A]

Are you sure? Or did you go and make a deal with him? Two of you split my share.

[B]

You know better than that. No. Let me help you. No. Now, you.

[A]

Where is he?

[B]

That's a mine.

[A]

Where's that?

[B]

Over here, behind that brush.

[A]

You just call him out here. Go ahead.

[B]

Mr. Cracker. Mr. Cracker. What's taking you so long, Willis? What? Willers is out here. You want to help me carry him in? Holly? What are you talking about? Where are you, Lounty? Mr. Cracker.

[A]

He won't answer you, Lonnie. No?

[B]

Don't guess you will. Well, come on, boy. I'll get you back to our camp and go for help.

[A]

Now, you hold it.

[B]

You put your arm around my neck. That's it. Now drop a rifle, boy. Just hold on to me. All right, that's it. Now, let's go.

[A]

On. Here. I'm not gonna forget you for this. You're a good man. There ain't many men who'd carry me out like this, you know. Most of them, they'd just leave me to die. Get back later. Claim the mine for the cells. What? What's the matter? What you stopping?

[B]

I'm going back to the mine.

[A]

For what?

[B]

Cover it up. What? When we get out of here, I'm gonna have to tell the sheriff everything that's happened. He'll send the posse in to get Cracker's body. Now, there's no sense in them finding the mine.

[A]

No, I guess, sir.

[B]

Of course, that's ours now. You wait here for me. Lonnie. Yeah? You remember, I'm dependent on you. Don't worry, boy. Don't worry. I'll be back in five minutes. Willis. Who's out there? Can't be Willis. He's too far off. Who is it? Who's there? It. Ronnie brownie.

[A]

Suspense in which Mr. Raymond Burr starred in William N. Robeson's production of the Peralta Map by Charles B. Smith. Listen. Listen again next week when we return with Frank Lovejoy in the Outer Limit, another tale well calculated to keep you in suspense. Supporting Mr. Burr in the Peralta map were Stacy Harris as Willis and Junius Matthews as Louney.

[C]

Screen director's playhouse stars dick powell jane wyatt production pitfall director andre de tot. The Hollywood screen directors present a play on human frailty, the motion picture drama Pitfall, starring Dick Powell and Jane Wyatt in their original roles of John and Sue Ford.

[D]

Johnny.

[B]

Johnny.

[C]

All right, all right, all right, all right, I'm coming.

[D]

Your breakfast is on the table, dear.

[C]

Where else would it be?

[D]

What?

[C]

Where's Tommy?

[D]

He's already left for school. Better hurry, Johnny. You're late this morning.

[C]

So what if I am late?

[D]

Hey, you're in a sweet mood.

[C]

You think the Olympic Mutual Insurance Company would go out of business if I didn't walk in that door at exactly.

[D]

9Am you never can tell. Come on, eat your breakfast.

[C]

Oh, honey, I was voted the boy most likely to succeed. You were voted the prettiest girl in the class. Something should happen to people like that.

[D]

Well, something did. We got married. So now you've got a family to support. Oh, I know, dear. You've been reading Tommy's geography books again. You've got the wanderlust. Glamorous Borneo, Dusky Danes.

[C]

Sounds a lot better than Glamorous Olympic Mutual. Oh, I'm sorry. I'm not hungry.

[D]

Oh. What time will you be home tonight?

[C]

Now, why do you ask that? You know to the second what time I'll be home? 6:55. Just like last night, the night before the night.

[D]

Old man routines really got you down, hasn't he? How about trying to work up a better mood and you come home.

[C]

Yeah, sure. Well, I'll see you at 6. 55. Right on the nose.

[D]

Good morning, Mr. Forbes.

[C]

Anything particularly good about it?

[B]

Well, I really hadn't thought.

[D]

That weird private detective is waiting for you in your office.

[C]

McDonald?

[D]

Mm. You know, they ought to put that guy's eyes in jail.

[C]

Oh, Hello, friend. Hello, Mac. What do you want?

[A]

Just a kind word and a pat on the back for a job well done.

[C]

What job, Smiley?

[A]

Embezzlement case. I've located about 4,000 bucks of the money he stole.

[C]

He had it well hidden. Where? Mona Stevens, 427 Stockton. Did you talk to it? Yeah, I wasn't too busy looking at her.

[A]

You know, I don't blame this guy Smiley. For robbing his company.

[C]

Does this morning Stevens have the cash? Oh, nothing so crude, friend.

[A]

Smiley bought her little pretties a fur coat.

[C]

Things like that. You know, I'll bet you never thought.

[A]

Of me as a man who could fall in love.

[C]

You'd be surprised how little time I've got to think about you at all. Mack, if you want me to, I'll.

[A]

Have another talk with this Mona Stevens today.

[C]

I intended to anyway. Your part of the job is finished, Mac. The company will handle it from here. What's the matter with me handling it? You'd string it out just to keep seeing the girl? What business is that of yours? Look, our company is liable for 10,000 of the DOE smiley embezzled. We hired you to track it down. You located a girl who's wearing part of it. I will handle it from here. You wanted more jobs in this company, you'll leave it that way. I get it. You want to handle this babe personally. Get out.

[A]

Mac, you don't mind if I see her on my own time, do you?

[C]

Not at all. Now get out. Okay, okay. But just remember, Johnny, I saw her first. Uh, Ms. Stevens, I'm John Forbes, Olympic Mutual Insurance Company.

[D]

Oh, that was a cute kid you sent over to see me yesterday.

[C]

Oh, MacDonald. Oh, well, he isn't with our company. He's a private detective we use sometimes.

[D]

He shouldn't be let out without a keeper. He's got more hands than any man I ever met.

[C]

Well, I'm sorry if he annoyed you.

[D]

I suppose you're after the present Smiley gave me.

[C]

Well, I'd like a list of the articles, if you don't mind.

[D]

Oh, you would? Okay. I've got a fur coat. It's not much good. New car. He made the down payment. Few dresses and this engagement ring. It's not a very good diamond. It's the first engagement ring I've ever had. I'm sort of fond of it.

[C]

I'm sorry to have to do this.

[D]

I don't think you are.

[C]

Well, believe me, I don't enjoy this sort of thing.

[B]

No?

[D]

No, I don't suppose you do. In fact, I don't imagine you like it or dislike it.

[C]

What do you mean?

[D]

You're a little man with a briefcase. You go to work every morning and do what you're told. Today they said, go recover some stolen goods. Tonight, when you're having a beer with the boys, you'll say you ought to see the babe I met today. Not bad. But you know me. Strictly business. When I'm on the Job?

[C]

Is that the way you've got me sized up?

[D]

That's the way.

[C]

How should I be?

[D]

If you were a nice guy, you'd cry a little bit with me before you took the ring.

[C]

Come on, I'll buy you a drink.

[D]

At this time of day? Why? According to statistics, Insurance men drink 1¾ highballs every day. But only after sundown.

[C]

You know, if I thought I was turning into the sort of guy you just described, I'd. I'd shoot myself.

[D]

I've even got the gun.

[C]

Let's try the drink first. If that doesn't work, I'll make a deal with you on the gun. Come on, let's go. I know a little place down the corner here. How did you happen to get mixed up with a cheap crook like Smiley, Ma?

[D]

Just lucky, I guess. Maybe he's cheap, but he's not really a crook. He was just too much in love with me. Wanted to get me things he couldn't afford.

[C]

Are you in love with Smiley?

[D]

He was nice to me. It means a lot. Why do you ask?

[C]

Oh, just curious, I guess.

[D]

That's flattering.

[C]

I didn't mean it that way. Oh, I guess I'm a little out of practice when I jump out of my briefcase.

[D]

I'm sorry I laid into you like that at the apartment.

[C]

If I'm like the guy you described, I had it coming.

[D]

It's funny. You don't seem like that now.

[C]

Maybe the change has something to do with you.

[D]

You keep looking at your watch. Do you have to be someplace for dinner?

[C]

No. No, I don't have to be anywhere. What are you going to do?

[D]

Have dinner with you, if you want.

[C]

I want. Here's to dinner.

[A]

Hello, Johnny.

[C]

What. What are you doing in my garage? Mac? It's 2am Johnny. You've been at Mona's all evening. Don't tell me you were talking insurance. Stay out of my business, Mac. I will, as long as it doesn't interfere with mine. I told you I like that girl. I don't care what you like. Quit meddling in my life and don't ever let me catch you prowling around my home again.

[A]

You won't, Johnny. You won't.

[C]

Think. When I make up my mind. I want something, Johnny.

[A]

I'll do anything to get it.

[C]

Remember that. This will help you remember. There. That tape will make the ribs feel a little better. Thanks, Doc.

[A]

Stay home in bed here all day.

[C]

And we'll see how you feel by tomorrow. How much did they get, anyway? Oh, well, I was. I was only carrying about $20.

[D]

Well, there were two of them, or he could have handled him. Couldn't you, dad?

[C]

Yeah. Yeah, I suppose so.

[D]

I don't know why you don't let me call the police. It frightens me to think that those two men could be waiting for you right in your own garage.

[C]

Well, they won't be back soon.

[D]

Well, maybe if they come back, you and I could get them, dad. Tommy, why don't you show the doctor to the front door? Okay.

[C]

Come on, Tommy.

[A]

Let me know how things are in the morning.

[D]

Is there anything I can get for you?

[C]

Yeah, some boxing lessons.

[D]

Johnny, what really happened?

[C]

Oh, I'll be up in a day or two, Sue. There's nothing to worry about.

[D]

All right, Johnny. All right.

[C]

Thanks for meeting me here, Mona.

[D]

How are you feeling?

[C]

Oh, much better. I. I've been laid up a day or two.

[D]

I know.

[C]

I caught sort of a cold.

[D]

Yeah, Mac told me about him. Oh, you don't think he'd overlook the chance to play hero in front of me, do you?

[C]

I didn't come over here to talk about Mac.

[D]

All right, what shall we talk about?

[C]

A couple of things I should have mentioned before and didn't.

[D]

Like your wife and little boy, I.

[C]

Yes, I. I'm sorry, Mama.

[D]

I rather imagine you are.

[C]

I wish I could make it up to you some way.

[D]

Can you?

[C]

Why, no, I guess not. What's gonna happen to you?

[D]

What do you care, really? Honestly, Johnny, aren't you a little relieved to get out of it this easily? I could be nasty, but I'm not going to be.

[C]

Mona.

[D]

Why do guys like you do it? Johnny, if I had a nice home like you do, I wouldn't take a chance with it for anything in the world.

[C]

I'll do anything I can, Mona.

[D]

Will you really? All right, Go home. Stay there. Do me a favor, Johnny. Go home and stay there. Gee, you sure know how to build model planes, dad. This one only took you three nights. Your father knows just about everything, Tommy. In fact, I'd say he's a genius.

[C]

You know, I'm. I'm forced to agree with you.

[D]

Dad, are we gonna take a trip this year?

[C]

Trip? I don't know, Tommy. Why?

[D]

I get tired of the same old town all the time.

[C]

What's the matter with this town? People all over the world would like to live here. That's the trouble with your generation. You don't appreciate the things you have.

[D]

Well, if you aren't the strangest man I ever married. What brought all this on?

[C]

Contentment. That's the Secret of happiness. And don't you forget it.

[D]

All right, I won't.

[C]

Now, come on, I'll take you both to the movie.

[D]

Oh, boy. I'll get my car. You know, you were sounding like a man who sold on his home, Johnny.

[C]

Well, maybe it's taken me a little while to find out what I've really got here. The security and the. Oh, I get it. Hello?

[D]

This is Mona. Johnny, I've got to see you. It's terribly important. Could you meet me at that bar tomorrow noon?

[C]

Why?

[A]

All right.

[C]

Yeah, I'll see you then.

[D]

Something the matter?

[C]

No, no. No sewers. Just. Just a business call. What were we talking about?

[D]

Well, you were saying some very fine things about home, family and security, as I remember.

[C]

Oh, yeah? Well, come on, let's go to the movies.

[D]

I wouldn't have bothered you unless it was necessary, Johnny.

[C]

I know that. What is it, Mona?

[D]

It's Mac. I don't know what to do about him.

[C]

McDonald's? What has he done?

[D]

He won't leave me alone. He comes to my apartment all the time.

[C]

Why haven't you told me before?

[D]

I thought I could discourage Mac. I even threatened to call the police. He said if I did, he'd go to your wife. He knows I don't want to cause you any trouble and he holds it over my head.

[C]

Oh, so that's it. I'm glad you told me. Don't worry about Mack, Mona. He won't bother you anymore. He can depend on it. He won't bother you again. Okay, okay, I'm coming. Johnny.

[A]

Yeah.

[C]

Johnny. This is just a warning, Mac. If you're smart, you'll take it seriously. Leave Mona alone. If I ever hear that you've threatened to do anything about my friend family again, I'll kill you. Mac. You are listening to the screen director's playhouse presentation of pitfall. Starring dick powell and jane wyatt. With raymond burke as McDonald. You've been sitting in this jail for three months, Smiley getting out tomorrow. So I thought you had a right.

[A]

To know what's been going on.

[C]

What are you trying to do, McDonald? I don't know you. Why'd you come down here to the jail to see me anyway? It's like I say, friend doesn't mean a thing to me. I just don't like to see a man get a raw deal.

[D]

Who's getting a raw deal?

[C]

And.

[D]

And who's this guy?

[C]

Johnny Forbes. Forbes is the insurance man who took back all the stuff you bought for your girlfriend, Mona. What? He's a nice looking guy. I guess Mona took a fancy to him. What are you trying to tell me, McDonald? Calm down. Smile. How do you know so much about everything? I didn't mean to get you riled. And how do I know you're telling the truth? I guess I better go, pal. I was just trying to give you a break. Say, his name is Forbes. Johnny Forbes. Look, you're getting out tomorrow. Smiley be waiting for you outside. We can talk about it some more then.

[D]

You know, Johnny, I don't mind your reading the paper in bed, but there's no point in just staring at it for half an hour.

[C]

Sorry, Sue. I'll. I'll put out the light.

[D]

No, wait a minute. Something's been bothering you for weeks, Johnny. Don't you think I know? Look, either it's a marriage or it isn't. If you've got problems, they're half mine.

[C]

Maybe you wouldn't want half of them.

[D]

Whether I want them or not, I. I have a right to them.

[C]

I. Oh, I guess you do it that. Sue, I. I don't know how to tell you this. Daddy.

[D]

Mom, it's Tommy.

[C]

Come on.

[D]

Honey. Honey, what is it?

[B]

I don't know. Someone's coming after me.

[D]

Probably had a nightmare. He's ringing wet. I saw it.

[C]

Where, sonny?

[B]

I don't know.

[D]

Maybe the window.

[C]

Oh, nothing was coming in the window. See? There's nothing here. You just had a bad dream. Hey, wait a minute. Is this what you were reading before you went to sleep?

[D]

Yes.

[C]

Well, no wonder he has nightmares. Reading those comic books. Where does he get them?

[D]

His grandma sent them. I'll burn them tomorrow.

[C]

While you're at it. Send her a little, too.

[D]

Love to, darling, but it so happens it was your mother this time.

[B]

Oh, well.

[C]

Everything okay now, Skipper?

[D]

I guess so. What makes dream, Daddy?

[C]

Well, the mind, mostly. It's like a very wonderful camera. You know how a camera works?

[D]

Sure. It takes pictures.

[C]

That's how the mind works too. It takes pictures and stores them away. Now and then, one of them comes loose in our sleep and that becomes a dream. So the trick is to take only good pictures, and then we'll have only good dreams.

[D]

I think he's asleep, Johnny. He'll be all right now. You know, sometimes I'm awfully proud of myself.

[C]

Why?

[D]

For giving Tommy such a wonderful father. He thinks you're the greatest guy in the world, Johnny.

[C]

He could be wrong.

[D]

My son is never wrong. What were you about to tell me before Tommy's nightmare?

[C]

Oh, just something concerning the office. We'll talk about it. I'LL get it. Hello?

[D]

This is Mona, Johnny. Has Smiley been there?

[C]

Smiley?

[D]

Yes. He got out of jail today. Max been buying him drinks all day and gave him a gun. He ran out of the apartment a little while ago and I can't find him anywhere. He's coming over to kill you. I don't want him hurt, Johnny. And I don't want him thrown in jail again.

[C]

I'll take care of it.

[D]

I'll come right over. I know how to handle him.

[C]

You can't come over here. My family's upstairs.

[D]

Don't let Smiley in, Johnny.

[C]

I won't. I'll call you after I talk to him.

[D]

Who was it, dear?

[C]

Nobody.

[D]

Nobody? What do you mean?

[C]

Well, it was just a business call, honey. Don't come downstairs. I'm coming up. How'd you and Tommy like to go to the movies?

[D]

What?

[C]

Get him up and dress him.

[D]

Are you out of your mind? It's nine o'. Clock.

[C]

You can catch the last show.

[D]

Johnny, what's come over you? I'm not going to any show tonight. Neither is Tommy. He's sound asleep. What's the matter with you?

[C]

Well, there's. There's a. There's a man coming from the office. I wanted to talk to him alone.

[D]

Well, we've got more than one room in this house. You can talk to him downstairs.

[C]

All right, dad.

[D]

Tommy, I just wanted to tell you that I heard you and Mother talking. Whenever you want me to go to the picture show with you, I'll be glad to.

[C]

All right, Tommy. All right, sonny. Now go on back to bed.

[D]

Okay, dad. Where'd you get that gun?

[C]

Well, I. And the army, sir. Now, go on, hurry.

[D]

All right, Dad. G'. Night.

[C]

Come on, Forbes. Open up, Smiley.

[B]

I know you're in there.

[C]

This is a gun, Smiley. Turn around and get out of here. Are you Forbes? I'll talk to you tomorrow. Why not now? You're drunk. Give yourself a break. Beat it. I'm not kidding. Did Mona call you and tell you I was coming? Smiley, I mean it. Get moving.

[A]

All right.

[C]

And don't come back. I'm coming in, Forbes. Don't do it, Smiley. Don't do it.

[B]

I'm coming in.

[D]

Johnny. Johnny. Johnny, where are you? What happened?

[C]

I'm over here, Sue. Turn on the lights. You better call the police. Sue. I just killed a man. Oh, hello, Mona.

[D]

I thought it was Smiley.

[A]

Smiley's dead.

[D]

Please. What?

[C]

Johnny shot him.

[D]

Oh, no. No.

[C]

Worked out better than I thought Smiley did.

[D]

Johnny, wait a minute. How do you know these things?

[C]

I was around well, come on, Mona. I'll help you pack.

[D]

Pack?

[C]

Sure.

[A]

There's nothing for you around here anymore.

[C]

I thought we'd take a little trip. Now, let's see.

[A]

Let's put a few of your things in the bag.

[D]

Smiley wasn't a bad guy, really. He was a nice guy.

[C]

It wasn't enough.

[D]

Enough for whom?

[C]

Me. People were born to have certain things. I was born to have you. So I arranged things that way. You'll get used to me, Mona.

[A]

You learn to love me, Mona.

[C]

I really loved you.

[D]

Johnny.

[C]

Huh?

[D]

Johnny, it's almost midnight. You've been sitting in that chair for an hour.

[C]

Well, I.

[D]

Now the police are all gone. They said there'd just be some routine questions and then the inquest. I know how terrible you must feel about this, but you couldn't help it. He was a prowler trying to break in. You did what you had to. You've got to try and forget it.

[C]

Sue. Sue, I want to talk to you. I've got to get this thing off my mind before I go crazy. This man I killed tonight, he wasn't a prowler.

[D]

I don't understand.

[C]

I knew he was coming. He had a good reason for wanting to kill me. Better reason than I had for killing him.

[D]

But why should anyone possibly want to kill you?

[C]

Because of his girl. Somebody told him a lot of things about her and me.

[D]

Were they true?

[C]

Yes. I wanted to tell you about it. I tried to tell you. I. Oh, sue, please say something. There's a man dead. I killed him. I can't go around with that on my conscience.

[D]

Conscience? You make it sound like a dirty word. You worry about your filthy little conscience. But I've got our son to think about.

[C]

I thought about that too. But I ended up covering one lie with another. Now a man is dead. I can't lie anymore. I wanted you to know before I went to the police.

[D]

You're not going to the police. You lied before. You found it easy. Now you've got to lie. If you drag this family's name through the dirt, Johnny, I'll never forgive you. Never.

[C]

Then Mona phoned me. Smiley was on his way. I. I didn't know what do to. I. I stopped in front and chased him away. But he broke in. I knew he had a gun and so I shot him. I see. I walked the streets all night trying to decide what to do. I finally made up my mind to go to the police and, well, here I am. I had to kill him. You wouldn't have had to if you'd come to the police in the first place. I've explained to you the reasons why I couldn't. Now that a man's dead, those reasons don't seem very important, do they? If you can find Mona Stevens, she'll verify everything I've told you. We don't have to find her. We've got her right upstairs. Of What? She shot McDonald last night. Can I see her? No one can see her. What'll happen to her? If he lives, it's one thing. He dies, it's another. What do you want me to do? Go on, get out of here. I can't hold you. Although I'd like to legally use shot in self defense. Smiley was coming to kill you. Just a simple phone call and this whole rotten mess could have been prevented. No. You had to take things in your own hands. And now a man is dead. That isn't a very pleasant thought to live with the rest of your life, is it? Or don't things like that bother you? Go on, get out of here. Sue. How'd you know I was down here?

[D]

Soon I called. I've taken Tommy out of school. Johnny?

[C]

Yes. I guess that's best. How much does he know? About everything?

[D]

You can't expect to keep too much from a boy his age. I think you should ask for a transfer to some other town.

[C]

So, are you sure you don't want a divorce?

[D]

I thought about it. There's no use kidding you. I've thought about it a lot. I'd almost made up my mind, and then I got to thinking. If a man has been a good husband except for 24 hours, how long should he be expected to pay for it?

[C]

I don't know, Sue. I suppose some people would say the rest of his life.

[D]

There's no use pretending it's ever going to be the same. Not for a long time, anyway. Maybe never. But we've weathered other things. Maybe we can handle this. That's of course, if. If you want to try.

[C]

You know I do.

[D]

All right, that's what we'll do then. We'll.

[C]

Dick Powell and Jane Wyatt will return in just a moment. Next week, the Screen Director's Playhouse is proud to present one of the most remarkable love stories ever filmed. Love Letters. And with it, the original team of director and star, William Dieterle and Joseph Cotton. Now, here again are tonight's stars, Dick Powell and Jane Wyatt. Jane, we've got some introducing to do.

[D]

You mean telling the audience about the director of Pitfall?

[C]

Right. Ready?

[D]

Ready. Ladies and gentlemen, here's the man who has made us work nights.

[C]

Here's the guy who made us get up at dawn.

[D]

The fellow who's directed such swell films is Ramrod.

[C]

The Other Love.

[D]

None shall esc. Our director, Andre Detour.

[A]

Thank you, Dick.

[C]

Jane was really wonderful the way you put Pitbull through the air.

[A]

But I don't know why you complain about the long hours.

[D]

Why not?

[C]

Who's directing who here?

[A]

Well, think of the time you'd get to get up in the morning if.

[C]

You worked on my farm. You're a farm. What does a director know about farming? Well, I learn it at home. At home?

[D]

And where is home?

[C]

Well. You mean my accent doesn't give me away? Well, not exactly, Andre. That's strange, because I'm from Texas.

[D]

Texas? But I heard you were from Hungary.

[C]

He is. Well, when I came to this country.

[A]

I picked a new birthplace.

[C]

But Andre, why Texas of all places? Partner, smile by him. Say that. Well, besides being a Texan and a farmer, Andre, you're a director. And one of the very best. Both Jane and I want to see how much we depended on your help and guidance. And Pitfall.

[D]

Thanks, Andre, for everything.

[C]

Thanks, Jane. Thanks, Dick. Good night, Andre and Jane. Good night, everyone.

[D]

Good night.

[A]

Good night to you.

[C]

Dick Powell, Jane Wyatt and Andre Duke. Powell co stars with Evelyn Keys in the soon to be released film Mrs. Mike, a regal production for United Artists. Jane Wyatt may currently be seen opposite Gary Cooper in the Warner Brothers production task force. Andre de Tot's current 20th Century Fox release is Slattery's Hurricane. Included in tonight's cast were Virginia Greg, Raymond Burr, Rita Lynn, Sam Edwards, Jeffrey Silver, Ralph Moody and Dan Riss. Pitfall was adapted for radio by Bob Wright and original music was composed and conducted by Henry Russell. Screen Director's Playhouse is produced by Howard Wiley with dramatic direction by Bill Carr. Jimmy Wallington speaking. Listen again next week when we present Screen Directors Playhouse production Love Letters Director William Dieterly. Star Joseph Cotton. An all star show follows immediately on NBC.