Theater Five and Author’s Playhouse

Summary

The Relic Radio Show: Theater Five and Author’s Playhouse Release Date: January 14, 2025

Overview

In this episode of The Relic Radio Show, hosted by Fred Foy from RelicRadio.com, listeners are treated to a fascinating journey through two classic old-time radio dramas: "The Arithmetic of Honor" from Theater Five and "Cry for the Hunted" from Author’s Playhouse. Both stories delve into themes of espionage, identity, and the psychological toll of being hunted, set against the backdrop of post-war Berlin. This detailed summary captures the essence of each play, highlighting key discussions, insights, and notable moments.

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1. "The Arithmetic of Honor" – Theater Five

Synopsis

“The Arithmetic of Honor” navigates the tense atmosphere of a divided Berlin, focusing on Hans Bauer, an East Berlin truck driver with a hidden past as an electronics engineer. After surviving a violent encounter with robos (paramilitary enforcers), Hans attempts to navigate his identity and relationship with Maria, a local woman who becomes entangled in his quest for freedom.

Key Plot Points

• Initial Encounter (00:11 - 02:00): The play opens with Hans Bauer being questioned by authorities after an attempted robbery. His careful navigation through questions about his identity reveals his complex background and lack of familial ties in West Berlin.

  Evelyn Juster (Maria): "He tried to explain, but no one would listen to her. It was like talking to a wall." [00:40]

• Developing Relationship (03:37 - 08:13): Hans and Maria’s interactions deepen, showcasing Hans's charm and Maria's growing affection. Hans proposes a trip to West Berlin, promising Maria a glimpse of freedom and a break from her monotonous life in Selburg.

  Fred Foy (Hans): "What we need is some time together. Some real time to get to know each other." [06:06]

• Crossing Borders (08:19 - 15:45): The couple successfully crosses into West Berlin, only to reveal Hans’s true intentions. He has orchestrated an identity theft, assuming Maria Schmidt's identity to infiltrate East Berlin and confront the Volkspolizei (secret police).

  Fred Foy (Hans): "I smashed through that barricade... Today I want to go back there as a free man." [09:11]

• Betrayal and Capture (15:11 - 18:44): As Hans executes his plan, Maria (now Trudy) becomes suspicious of his actions. The tension culminates in their arrest when the authorities uncover Hans’s deception.

  Evelyn Juster (Maria): "I didn't know you were Carl Rendler. And you're not German, are you?" [37:07]

Notable Quotes

• Maria: "Am I loved? Or am I just dizzy from all the attention? I don't know." [05:07]
• Hans: "I love you more than anyone in the world. Even Mama and Papa." [08:04]
• Maria: "We are going to East Berlin." [07:32]

Themes and Insights

• Identity and Deception: The play explores the complexities of assuming another’s identity for a greater cause, highlighting the moral ambiguities involved.
• Love vs. Duty: Hans’s commitment to his mission contrasts with his genuine feelings for Maria, illustrating the personal sacrifices often demanded by espionage.
• Freedom and Oppression: Set against the Cold War tensions, the narrative underscores the relentless pursuit of freedom amidst oppressive regimes.

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2. "Cry for the Hunted" – Author’s Playhouse

Synopsis

“Cry for the Hunted” presents the psychological unraveling of Robert Knowles, an English intelligence officer haunted by his past missions. As he grapples with amnesia and obsession, his deteriorating mental state becomes the focal point of a desperate effort to regain his sanity through unconventional therapy involving hunting.

Key Plot Points

• Introduction to Knowles (22:02 - 24:18): Dr. Danny Ako introduces Robert Knowles, whose traumatic experiences have left him with psychosis and fragmented memories. Knowles fixates on vague locations and names, such as a "dark forest" and "Kata."

  Danny Ako: "Knowles is obsessed by what happened to him... He keeps rambling on about a dark forest somewhere." [22:28]

• Therapeutic Intervention (25:05 - 27:21): Dr. Ako attempts to treat Knowles by encouraging him to engage in hunting, believing that facing his fears directly may help him overcome his psychological barriers.

  Danny Ako: "I want you to go down into that forest and bring back the bird. If you've got the guts to go in there alone and hunt that bird down, I say you've got a chance to cure yourself." [27:10]

• Climactic Confrontation (33:12 - 45:59): As Knowles embarks on his therapeutic hunt, he encounters Connie Lemke (Katie), who helps him reveal his true identity as Robert Knowles, an English spy. Their attempt to escape together leads to a tragic finale where both are hunted, culminating in a poignant realization of Knowles's regained self-awareness.

  Knowles: "I love you, Kita. It wasn't part of my job. I tried not to, but there was nothing I could do." [37:50]

• Resolution (46:46 - 50:16): The play concludes with Knowles's ultimate act of kindness — releasing the hunted bird, symbolizing his reclaiming of freedom and humanity after a year of being pursued.

  Knowles: "For once I was hunted and somebody gave me my freedom... That's why I let the bird go." [49:32]

Notable Quotes

• Dr. Danny Ako: "Sometimes I stand for hours at the window and watch the birds flying." [25:05]
• Knowles: "I love you, Kita. It wasn't part of my job." [37:50]
• Knowles: "For once I was hunted and somebody gave me my freedom." [49:32]

Themes and Insights

• Psychological Trauma: The narrative delves deep into the effects of war and espionage on the human psyche, portraying Knowles's struggle with memory loss and identity.
• Redemption and Humanity: Knowles's journey from being hunted to hunting symbolizes a quest for redemption and the restoration of his humanity.
• Love and Sacrifice: The relationship between Knowles and Katie highlights themes of unconditional love and the sacrifices made in the face of adversity.

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Conclusion

This episode of The Relic Radio Show masterfully showcases two compelling radio dramas that not only entertain but also provoke deep reflection on themes of identity, love, trauma, and the relentless quest for freedom. Through rich storytelling and memorable dialogues, “The Arithmetic of Honor” and “Cry for the Hunted” offer timeless narratives that resonate with the enduring spirit of old-time radio.

Credits and Acknowledgments

• "The Arithmetic of Honor"

  • Written by: Raphael David Blau
  • Directed by: Warren Somerville
  • Cast: William Redfield (Hans Bauer), Evelyn Juster (Maria), Louis Van Ruten, Connie Lemke, Danny Ako
  • Music: Alexander Vlastenko Orchestra under the direction of Glenn Osser

• "Cry for the Hunted"

  • Written by: Frederick J. Lipp
  • Directed by: Albert Cruz
  • Cast: William Redfield (Robert Knowles), Geraldine K. (Katie), Maurice Copeland, Sydney Brace, Kurt Kupfer, Norman Gottschalk
  • Music: Roy Shield, Orchestra conducted by Joseph Galicio

Notable Quote from Host

Fred Foy: "Visit relicradio.com for more from Theater Five, Author’s Playhouse, this podcast, and all of the other Relic Radio shows." [19:21]

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For More Episodes and Content: Visit RelicRadio.com to explore additional shows, stream via Shout Cast, and support the preservation of old-time radio entertainment.

Transcript

[Fred Foy]

This is the relic radio show. Old time radio entertainment still standing the test of time from relicradio.com welcome back to the relic radio show. This week's hour of radio drama begins with theater five.

[William Redfield]

We'll hear the arithmetic of honor from October 5, 1964.

[Fred Foy]

After that, its authors playhouse and cry for the hunted. That story aired September 22, 1944.

[Evelyn Juster]

He tried to explain, but no one would listen to her. It was like talking to a wall. Yes, that wall. The most terrifying wall in the world. You'll hear the whole story as Theater 5 presents the Arithmetic of honor. They should get their own.

[Fred Foy]

Man. He stole the bar.

[Evelyn Juster]

Is he hit? Is he hit?

[Fred Foy]

No, he's getting the toxic all right. I think so. Officer, please, to make sure if you were hurt, I will immediately take you to the municipal hospital. No, I. I am shaken up, officer.

[William Redfield]

But I believe I will be all.

[Fred Foy]

Right in but a few minutes. Please, everybody, stand away. Stand away. Do not touch this man's cloth. Thank you, mister. You are kind to be patient with me. We hope we are not barbarians like the robos who shot at you as you try to escape. Oh, no. You know, my friend, you were very lucky. There's a bullet hole in the cab not three centimeters from your head. Ah, I thought I heard some lead r through the air the few seconds I was stuck on the barrier. I'm glad their aim is as bad as their politics. Erratic and slow. I'm much better now. May I proceed? In a little moment I must make the incident, and then you go to the bureau of registration. After all, you have just crossed the border and there are technicalities and questions. But of course. And I'm glad to be alive to answer them. Now, what is your name? Hans Bauer. Hans Bauer. Your address? It was 45B Mullerstrasse, East Berlin. Your age, Herr Bauer? 26. Occupation electronics engineer. But I have been working as a truck driver for the East Berlin municipality. The truck would be confiscated and returned. Oh, I have no further use for it. Let them repair the bullet hole. Well said. Herr Bauer, do you have any family in West Berlin or West Germany? Regrettably, I do not. One more question. Are you married or single? Yes. Please, sir, I asked you, are you married or single? Oh, well, I'm single. I'm single. I'm not married. I have no wife. You know, Maria, when they sent me here for Selburg from West Berlin, it was the loneliest town in all of West Germany until I found you.

[Evelyn Juster]

Please, Hans, you will make me blush.

[Fred Foy]

Oh, you will only be the Prettier. Maria, time to stop dancing and start drinking.

[Evelyn Juster]

Wonderful idea. Well, I will have another beer, if I may.

[Fred Foy]

Oh, I thought perhaps to try an American cocktail.

[Evelyn Juster]

Hans, you know I have not permitted such a. My next birthday, perhaps, when I am 19. Oh, Papa would be so shocked to hear he would even offer a cocktail. He thinks you are so proper.

[Fred Foy]

But I am.

[Evelyn Juster]

Yes, Hanson, you are sometimes too proper.

[Fred Foy]

Are you complaining? No.

[Evelyn Juster]

I am wondering. Hans, I always wonder. You say the most flattering things. You make me blush. You confuse me utterly. But when you kiss me, sometimes I. I feel it is because you have to.

[Fred Foy]

Of course. Of course I have to. You have never been a man for which I'm most grateful. But if you were, you would know that when a man is with a girl as pretty as you, ask to kiss her.

[Evelyn Juster]

That's not exactly what I meant. And besides, there are many girls in S prettier than I am. Chance, you know, you puzzle me. Here you are an engineer, graduate of a technical college with a degree. You read books all the way through that. I can hardly read the title. And I am an ordinary Calvin girl.

[Fred Foy]

A very extraordinary girl, Maria. A girl I spent months looking for ever since I smashed through the Wall to West Berlin. Ah, Maria.

[Evelyn Juster]

You are just mysterious, Hansen. The girls at the factory all think I am your mistress already. But they can't imagine your sort of men courting a girl like me honorably. And I can't either.

[Fred Foy]

But you know me, sensei. Do not.

[Evelyn Juster]

Ah. Do I know you? All I know is that three months ago you walked along the assembly line with the head director. You see me working with my soldering gun, minding my own business. And I have hardly a moment to think since I never had a boyfriend for more than six weeks at a time. Have become like. Like Cinderella. Why, Hans, I am so confused.

[Fred Foy]

Is it so confusing to be loved?

[Evelyn Juster]

Am I loved? You never say it straight and simple. And do I love you? Or am I just dizzy from all the attention? I don't know.

[Fred Foy]

Poor darling Maria. I didn't realize that I had set you spinning. You know, Liebchen, what we need is some time together. Some real time to get to know each other.

[Evelyn Juster]

Oh, we do, Hans. I would like that.

[Fred Foy]

Next Wednesday I would like to take a trip with you. Yes?

[William Redfield]

Where?

[Evelyn Juster]

Life. I'm not sure. Where do you wish to go, Hans?

[Fred Foy]

Have you ever been to West Berlin?

[Evelyn Juster]

West Berlin?

[Fred Foy]

Sure.

[Evelyn Juster]

Well, I have never been more than 50 kilometers from Selburg in my whole life.

[Fred Foy]

Would you like to go?

[Evelyn Juster]

Oh, I would love if Papa And Mama will let.

[Fred Foy]

Oh, I think they will give you permission. They will do anything you ask. No one can resist. Not even your parents.

[Evelyn Juster]

And if I ask you to take me some other day, will you do what I ask? Hank?

[Fred Foy]

No. No. It must be next Wednesday. This is the time I can make the trip to west ber.

[Evelyn Juster]

You know, Hans, you puzzle me. Why Wednesday?

[Fred Foy]

Please trust me, Maria. I have my reasons. And soon you will know them.

[Evelyn Juster]

When, Hans.

[Fred Foy]

When we are there, darling. When we are there.

[Evelyn Juster]

Oh, Hans. Never in my life have I had such a day of excitement. And now this. And some music.

[Fred Foy]

Oh, I knew that you would like it. But this is only the beginning, Hans.

[Evelyn Juster]

Oh, Hans. Of doubting and wandering has disappeared.

[Fred Foy]

Good.

[Evelyn Juster]

I love you more than anyone in the world. Even Mama and Papa. And I love them for giving me permission to go with you today.

[Fred Foy]

And I love them too, for that. Now, here. Do you know where you are now?

[Evelyn Juster]

Where I am? Why, I am in West Berlin, of course.

[Fred Foy]

Right. And do you know what we are going to do next?

[Evelyn Juster]

Well, I. I haven't known that all day. It is one surprise after another.

[Fred Foy]

And this is to be the greatest one. We are going to East Berlin.

[Connie Lemke]

To East.

[Fred Foy]

Yeah.

[Evelyn Juster]

No, no, Hans, I couldn't. I don't want to. I would be scared.

[Fred Foy]

There's nothing to be frightened of, my darling. You have your best German identity. No, but Hans, there will be no trouble getting back. Of course, you've got to be careful not to lose the. Or the Volkspoly dive would put you in jail.

[Evelyn Juster]

No, I. I have my car, darling. You know I always carry it. But I don't want to cross the border. It is too much of a risk.

[Fred Foy]

The risk is little compared to what I have known. Maria, remember last week I told you that I wanted to make this trip on this particular Wednesday?

[Evelyn Juster]

Oh, yes, I remember. And you promised to tell me why.

[Fred Foy]

So I did, and I will. Now, look. Just one year ago, I smashed through that barricade right there and nearly lost my life to get my freedom. Today I want to go back there as a free man. Hook back to West Berlin with all the proper identity cards. And I want you to be with me when I look the Vopo straight in the eye and think that perhaps this Vopo is the same swine who turned on the machine gun that almost killed me. Maria, will you come with me?

[Evelyn Juster]

Hans, My Hans. I would be proud to go with you anywhere, anytime.

[Connie Lemke]

Just across the street.

[Evelyn Juster]

But it seems like a different world.

[Fred Foy]

It is a different world.

[Evelyn Juster]

So gray. So dress. So empty. Of joy and hope.

[Fred Foy]

Yeah. Now you will understand why we had to leave.

[Evelyn Juster]

We?

[Fred Foy]

I mean, why I had to leave. Maria, did you put your identity card away?

[Evelyn Juster]

I think I did. I usually keep it in my purse. You have me worried.

[Fred Foy]

Huh? You had better check to be certain. Let's sit down at this cafe and rest and have a drink. Sit here, my dear.

[Evelyn Juster]

My identity. Carter. I was sure I had put. Ah, here it is, Hans. I was looking right at it. It was here in my purse. Just why I always keep it. Ah, there, I feel much better.

[Fred Foy]

No, wait. Are you putting it back in the purse?

[Evelyn Juster]

Of course.

[Fred Foy]

No, no, no, no. Not say. If you put your purse on the table, you look away for a moment and poof, it's gone.

[Evelyn Juster]

Oh, that would be awful. Yes.

[Fred Foy]

Perhaps you'd better let me take care of it for you. Here, give it to me.

[Evelyn Juster]

Well, if you think it would be safer.

[Fred Foy]

Of course it would be. Now look, I've put your card right next to mine in my wallet. And my wallet goes in my pocket.

[Evelyn Juster]

Thank you, Hans. I know I can always depend on you.

[Fred Foy]

You will not be alarmed if I excuse myself for a few minutes, Maria?

[Evelyn Juster]

A few minutes? Well, of course not, darling.

[Fred Foy]

In this neighborhood lives a person who helped me escape.

[Evelyn Juster]

Oh, who is he?

[Fred Foy]

Oh, no, no, no. You don't want to know such a thing. In case you were ever questioned.

[Evelyn Juster]

You are right, dearest Hans. And so sensible.

[Fred Foy]

And only right to take this moment to express my gratitude.

[Evelyn Juster]

Ah, you won't be there long, will you?

[Fred Foy]

Oh, no, a few minutes only. You order some drinks and wait. I'll have beer or lemonade.

[Evelyn Juster]

I will wait right here. And you be careful, Hans. It wouldn't hurt a bit if you kissed me before you left.

[Fred Foy]

That presents no problem. Goodbye, Kleinschen. You even know how happy you have made. A was there the one you are expecting?

[Connie Lemke]

I wasn't she in the door. Come in quickly.

[Fred Foy]

Oh, Trudy, Trudy, Trudy, my dear, dear wife.

[Connie Lemke]

Oh, Hans, I cannot believe that you.

[Fred Foy]

Are here at last. One year. The longest year of our lives. Forget my messages, Sam.

[Connie Lemke]

Then weeks would go by without words and you understood. Not very much. I expected that you would come today.

[Fred Foy]

Well, I'm here, but I did not understand the sentence.

[Connie Lemke]

We would take a nice long walk to the censer.

[Fred Foy]

That is exactly what we are going to do. We are going to walk right through to West Berlin when we leave immediately. Hans.

[Connie Lemke]

Hans, how am I going to walk through to the West?

[Fred Foy]

Here is your identity card. Maria Schmidt.

[Connie Lemke]

Yeah, but that's not my photograph. I never owned a dress like that in my life. Like a little shop girl's.

[Fred Foy]

No.

[Connie Lemke]

No style, no flair, so. But the face is mine. Or nearly. A bad photograph, that.

[Fred Foy]

Trudy. Take off your wedding ring. Wear a glove to cover the mark. You are Maria schmidt. You are 18 years of age and single. My parents are Heinrich and Rosa Schmidt. Your father is a baker.

[Connie Lemke]

Heinrich and Rose Baker. Where do I live?

[Fred Foy]

134 Grossovstra, Selburg, West Germany.

[Connie Lemke]

134 Grosshostra, Sehellberg.

[Fred Foy]

My name is Hans Bauer, not Hans Barker. Bauer? Yeah.

[Evelyn Juster]

Oh, I. I hope I remember it all well.

[Fred Foy]

Very likely they will ask you no questions. Just check your identity card. Look at the photograph.

[Connie Lemke]

A photograph?

[Fred Foy]

The photograph, yeah.

[Connie Lemke]

Something about this photograph bothers me, Hans. It is me, and yet it is not me. Where did you get it?

[Fred Foy]

Oh, Trudy, we have no time to discuss.

[Connie Lemke]

I'll not move till you tell me.

[Fred Foy]

It took me months to find a girl who looked at all like you. Then more months to get to know her and get her to come with me to East Berlin.

[Connie Lemke]

I understand there is a real Maria Schmidt, and she is here today in East Berlin. And you have stolen her identity card.

[Fred Foy]

Not stolen. She gave it to me to keep for her.

[Connie Lemke]

You made love to her, Hunt.

[Fred Foy]

Oh, but aura is with you in mind, Trude.

[Connie Lemke]

While I rotted in the stingy room, you charmed this cheap little tree girl. Tricked her into trusting you. Kissed her, caressed her.

[Evelyn Juster]

What disgust.

[Fred Foy]

There was no other way.

[Connie Lemke]

Where is she now?

[Fred Foy]

In the cafe around the corner, sitting with two steins of beer and waiting for me.

[Connie Lemke]

And what happens to her?

[Fred Foy]

She will wait until the beer has flapped the stupid goose. And then she will start whimpering that the Volkspolizei have captured her gentleman friend. But by that time, we will be across the border and free.

[Connie Lemke]

Will we, Hans? Last year you earned your freedom. This year you are swindling mine.

[Fred Foy]

I gave you my word that I would get you out unharmed. I have kept my word.

[Connie Lemke]

Yes.

[Evelyn Juster]

Your word.

[Connie Lemke]

To me, not to that.

[William Redfield]

That girl.

[Fred Foy]

Oh, Trudi, this is no time for Sunday school arguments. Will you come with me or won't you?

[Connie Lemke]

I will come, but not proudly.

[Evelyn Juster]

Oh, Hans, how can we be happy.

[Connie Lemke]

When we think of the misery you are bringing down on Maria Schmidt? But it's impossible. This is the arithmetic of on.

[Danny Ako]

M.

[Fred Foy]

Tell me, there is something perhaps wrong with your. Your beer?

[Evelyn Juster]

Oh, no, sir. Not at all. It is very good. The best beer I have ever tasted anywhere in my whole life.

[Fred Foy]

How do you know when you haven't tasted it. Oh, well, relax, for I don't try so hard. I'm not one of them. I know. The beer is like anything else. Not as good as it was, but it can be drunk.

[Evelyn Juster]

I will drink it as soon as my friend returns.

[Fred Foy]

Friend? My friend. There was no one with you when you order the beer?

[Evelyn Juster]

She was just walking away as you came over to the table.

[Fred Foy]

Oh, this is your friend? Well, yes. I see.

[Evelyn Juster]

You see what?

[Fred Foy]

I'd rather not say.

[Evelyn Juster]

Has something happened to him?

[Fred Foy]

Oh, I know nothing about anything.

[Evelyn Juster]

Must tell me. He said he would be back in a few minutes. And it is almost an hour.

[Fred Foy]

Yes, yes. That's too bad.

[Evelyn Juster]

Has he been taken by the book? Bullet eye?

[Fred Foy]

I know nothing about that. Please, please.

[Evelyn Juster]

I'm worried sick about him. I begged him not to come to East Berlin, but he insisted.

[Fred Foy]

Take my advice, Frohla, and don't wait any longer. Go back through the checkpoint yourself.

[Evelyn Juster]

But I couldn't leave if my fiance is in trouble.

[Fred Foy]

Fiance is in trouble?

[Evelyn Juster]

Just about.

[Fred Foy]

I couldn't.

[Evelyn Juster]

I couldn't. And besides, I could leave anyway. He has my identity card.

[Fred Foy]

Oh, no, Folia.

[Evelyn Juster]

Well, you see, I was nervous about losing it. So he has taken care of it. I can't go until he comes back with it. Oh, I hope he's all right.

[Fred Foy]

He's all right.

[Evelyn Juster]

You know, you. You're not just calming me.

[Fred Foy]

I know he is safe. It's you who are in danger. I saw him 10 minutes ago hurrying up the back alley toward the Friedrichstrasse checkpoint with another woman.

[Evelyn Juster]

You must be mistaken. Not, not.

[Fred Foy]

I was unfortunately not mistaken. The woman looked almost the same as you. Now you know why he took your identity card.

[Evelyn Juster]

Now. Now I know everything except what I.

[Connie Lemke]

Am going to do now.

[Fred Foy]

May I suggest, Fraulein, that the time has come to drink the beer. Both sides. Then turn yourself over to the Volkswagen. See, Trudy, how simple it all was. Less than an hour and we are in Selborg, safe and free at last.

[Connie Lemke]

It was simple Hunt and we are safe.

[Fred Foy]

But we will never be free.

[Evelyn Juster]

Ladies and gentlemen, please be sure to take all your belongings when you leave the place. Belongings?

[Connie Lemke]

The coat on my back.

[Fred Foy]

There will be many coats. Come, Trudy. Huh?

[Evelyn Juster]

Look.

[Connie Lemke]

Coming up the steps. A policeman.

[Fred Foy]

Herr Bauer. Ah, yes. Officer. Please to come with me. You are under arrest. You are charged with the theft of a document of the West German Republic. The identity card of Fraulein Maria Schmid. Theater 5 has presented the Arithmetic of Honor written by Raphael David Blau and directed by Warren Somerville. In the cast, William Redfield, Evelyn Juster, Louis Van Ruten, Connie Lemke and Danny Ako. Audio engineer Neil Pulse. Sound technician, MC Brock. Script editor Jack C. Wilson. Original music by Alexander Vlastenko Orchestra under the direction of Glenn Osser.

[Danny Ako]

Executive producer for Theater 5, Edward A. Byron.

[Fred Foy]

We invite your comments right to Theater New York 23, New York. This is Fred Foy speaking. This has been an ABC Radio Network production.

[Danny Ako]

Author's Playhouse.

[William Redfield]

Once I was hunted and somebody gave me my freedom. You couldn't possibly understand that. What it's like to be hunted. Or what it's like to be free again. But I can.

[Danny Ako]

This is the story of a man whose mind snapped and of how he.

[William Redfield]

Came back to the world he had.

[Danny Ako]

Once known and cherished. It is a tale, too, of a.

[William Redfield]

Woman'S love for this man. Author's Playhouse presents Frederick J. Lipp's story.

[Danny Ako]

Cry for the Hunted. Well, Doctor, here's the case record. I want to see him again. Of course. Did he talk very much? A little. Not enough to help us any. Do you think he'll pull out of it? I don't know. He's been through a very terrible experience. Something that took him very close to the mine's border.

[William Redfield]

What was it?

[Danny Ako]

I don't know. Knowles isn't the type to crack up over the usual things. He was one of the best intelligence men we had in France after Dunkirk. And they say he laid the groundwork for the San Jose show. Not exactly the flighty sort. No. Whatever the experience was, it must have been rather bad. Knowles is completely lost in this thing. I've had him up before the examining board. Time after time. The results are always the same. Indications of amnesia here and there. Nothing serious. No structural changes in the brain tissue. We're dealing with a case of psychosis. And like all such cases, peculiar in its own way. Knowles is obsessed by what happened to him. And the rotten part of it we can't get to him. And there's nothing that might give us a clue. No evidence of any sort. Nothing to speak of. He keeps rambling on about a dark forest somewhere. The church. He gives the German word Kirche for it. And then he keeps calling for someone named Kata. That's all these same things over and over.

[Fred Foy]

Poor devil.

[Danny Ako]

Then there's nothing we can do? No, I'm afraid not. Let him be outdoors as much as possible. Sunlight, fresh air. Nature has a healing way with cases like this. See that he gets out as much as possible. Because the last thing he said to me Was. Sometimes I stand for hours at the window and watch the birds flying. Oh, hello there, Knowles. It told me you were out here in the garden.

[William Redfield]

Good morning, doctor.

[Danny Ako]

How are things getting on?

[William Redfield]

Quite well, thank you.

[Danny Ako]

Nurse told me you've been spending a lot of time here these past weeks.

[William Redfield]

Yes.

[Danny Ako]

Ever done any grouse shooting, Knowles?

[William Redfield]

Yes, at one time.

[Danny Ako]

I say, why, that's perfectly great. Because I'm going for a weekend of shooting beginning tomorrow. I tell you, go along. Even if we don't raise a bird, we're getting some rare stalking.

[William Redfield]

No.

[Danny Ako]

I beg your pardon?

[William Redfield]

No, I don't want to go.

[Danny Ako]

Why, Knowles? Why don't you want to?

[William Redfield]

I don't want to, that's all.

[Danny Ako]

But I want you to, Knowles. I'm your doctor. I say, it'll be good for you to go with me. I want you to put in a weekend of heavy tramping. It'll be good for you. Besides, you're fond of birds, aren't you, Knowles?

[William Redfield]

Yes, I like birds.

[Danny Ako]

So do I. That's why you best come along. The mallards and wild geese are heading down their flyaways now. It's the best time of the year to be out.

[William Redfield]

I don't want to go.

[Danny Ako]

Of course you do. We'll have a grand time. I've got a beautiful 12 boar I'll let you take. You love it. You'll have a few days of hunting you'll never forget. And I won't take no for an answer. Look at them go. Nos beating downwind. The perfect rock of them.

[William Redfield]

Trifle shot. No, they're too high.

[Danny Ako]

Fireman. It's perfect range.

[William Redfield]

No.

[Danny Ako]

Then I will.

[Connie Lemke]

Winged him.

[William Redfield]

Beautiful.

[Danny Ako]

He's dropping down into the woods.

[William Redfield]

You've only hurt him. He's trying to fly.

[Danny Ako]

He won't get away, though. We'll run him down. Why didn't you shoot Knowles?

[William Redfield]

I. I couldn't. I can't tell you why.

[Danny Ako]

For two days now, you've been refusing shots. I've seen you. What's the matter, Knowles? Are you gun shy?

[William Redfield]

Stop it.

[Danny Ako]

The bird is coming down the woods. I want you to get it. Knowles.

[William Redfield]

No.

[Danny Ako]

I want you to get him. Mark.

[Fred Foy]

Where?

[Danny Ako]

He's coming down that grove of ash trees, see? I want you to get that bird, Knowles. Hunt him down and bring him back here.

[William Redfield]

I can't. I can't do it.

[Danny Ako]

I said you can and you're going to. Knowles, there's nothing wrong with you. I'm telling you that as your doctor. There's nothing wrong with you but fear. I've Watched every move you've made, every expression that's crossed your face. And I know this. Whatever you're afraid of is tied up in some way with hunting and with the woods. That's why I want you to go down into that forest and bring back the bird. If you've got the guts to go in there alone and hunt that bird down, I say you've got a chance to cure yourself. You're the only one who can do it. Now. Will you do it? Answer me. No. Will you do it?

[William Redfield]

Yes. Yes, I'll go. Somewhere near the ash trees. And that's where he came down. He was hit. He couldn't have gone far. Must be deeper into the forest yet. What was that? Oh, something moved. Over there in the wild thorn. It's moving again. It's the bird, all right. He's alive. But I saw him fall. He was shot and falling. But there's. There's not a mark on him. And he's warm and alive and struggling. He must have been stunned. That's all he must have been. What's that? No. No, not again.

[Fred Foy]

Not. He went that way. No, this way.

[Connie Lemke]

He's down in the pants.

[Fred Foy]

He's making for the river. Stop me before he gets to the river. He's here in the forest somewhere.

[William Redfield]

Hunt.

[Fred Foy]

I know.

[Connie Lemke]

Right out your wind fight from the woods.

[Fred Foy]

He'll never get through.

[Connie Lemke]

We'll take him like a rabbit.

[William Redfield]

They're coming for you, Knowles. Do you remember how they came that day in November when they found you out? That day when the roads were blocked and each field had to watch her. When you were a hunted thing, twisting, turning, dodging from alley to alley. Crouching in sewers while the hunters tramped over you. Do you remember? The heart shrunken, the breath gone sick in the lungs. The voice on the radio crying without mercy.

[Fred Foy]

Citizens of Warburg. An English spy, known to some of you as one car rental or bookseller is at large in the area of your city. This man is cunning, treacherous, an avowed enemy of the Third Reich. He must be hunted down to prevent.

[William Redfield]

More mischief being done among you. Report at once to your local SA.

[Fred Foy]

Headquarters and aid in his capture. Be on the lookout for a person answering to this description. Height, medium weight, around 160.

[William Redfield]

They're hunting new Noles. They're hunting you down like a wild bird. The stones of the street cry out against you. Wherever you turn, eyes are watching. Twist down the back alleys. Creep from corner to corner. Hug the shadow of the buildings. Keep going, Ghols. They're hunting you. No time for rest. No time for food. No time for sleep. They're hunting you. Hunting you.

[Danny Ako]

There's nothing here. No.

[Connie Lemke]

Please.

[Fred Foy]

Find him. Too high. Search the place anyway. These warehouses have odd corners.

[Danny Ako]

Don't miss a spot. Has any stranger passed this way?

[Fred Foy]

No one, sir.

[Danny Ako]

Sure?

[Fred Foy]

No one, sir. Only Hammer and his apprentice. Oh, a half hour ago. Very well.

[Danny Ako]

Keep your eyes sharp until we find a spy.

[William Redfield]

Herr Hitler.

[Danny Ako]

Trust one of your men.

[Fred Foy]

At each bridge leading from town. And take three others and search every ditch, every culvert in the area. Shoot to kill. It's dangerous. Hello? Yeah, yeah. Very good, sir. I'll have it done immediately.

[William Redfield]

Heights.

[Fred Foy]

Yes, sir. Heinz, take as many men as you need. Secure every boat along the river.

[Danny Ako]

Scouts, rowboats. Don't miss a thing.

[Fred Foy]

If the spy should cross to the other side, he might be harder to take.

[William Redfield]

Where to, Knowles? Where to? Crouch in the alley, Shadow. Hear the footfalls coming behind you. Hear the voice of the pack gaining on you. Crouch in the alley, Shadow. Look this way. Look that a guard at the end of the street. What's that? Moved in the courtyard. The footsteps are louder. They're getting closer. Where will you go, Knowles? You'll have to run again. But where? Where, Knowles?

[Fred Foy]

Where?

[William Redfield]

Where is there rest in this city? Where is Sanctuary? Sanctuary? Remember the church, Knowles? A block down, through the little courtyard. There's darkness there. Perhaps a worshipper too. But Sanctuary, yes, there's Sanctuary there. And Cater. Even Cater might be there. Try for it, Knowles. It's your only chance.

[Connie Lemke]

Carl.

[William Redfield]

Who is it? Out of the dark, so I can see you.

[Connie Lemke]

Carl.

[William Redfield]

Oh, k. Take my arm.

[Connie Lemke]

Quickly. Be quiet. Take my arm. Do as I say. Now walk to the altar rail with me. When we get there, kneel. There'll be others, but don't worry. They haven't noticed. You will be an ordinary couple going to Vespas. That's all. Do you understand me, Carl?

[William Redfield]

Yes.

[Connie Lemke]

Then come quickly, Kata.

[William Redfield]

I want to.

[Connie Lemke]

Please, not now. I don't want to hear.

[William Redfield]

Why are you here?

[Connie Lemke]

What does it matter?

[William Redfield]

Why are you here? Kate?

[Connie Lemke]

Quiet. Carl. Please be quiet. At the altar, please. Kneel with me.

[William Redfield]

Yes.

[Connie Lemke]

Pray if you can. If you can't, pretend like you were, don't look around. Two police have just come in there, walking this way. Katan, listen to me. Keep kneeling. Keep your face hidden in your hands and don't look up.

[William Redfield]

I can make a run for it. They won't shoot in here.

[Connie Lemke]

Don't run, darling. Keep kneeling.

[William Redfield]

Keep coming. Now.

[Fred Foy]

Frulein, you are too pretty to be Wasting your time in here. Ah, but I suppose your friend.

[Danny Ako]

What a pious dog he is.

[Fred Foy]

With his head in his arms and not even looking off. Is he always this way, Frulein?

[Connie Lemke]

He is my brother. He comes here to find rest of the work.

[Fred Foy]

A pint of good strong lager would be better.

[Danny Ako]

Rest.

[Connie Lemke]

Please go.

[Fred Foy]

Have you been here long?

[Connie Lemke]

Yes.

[Fred Foy]

Seen anyone come in quick, like he was being chased?

[Connie Lemke]

No one has come in. Sure I'd have seen him if he had.

[Fred Foy]

Well, even a spy has better sense than to hide in a church. It takes a sorry specimen like your brother to get his fun in such places. Although you around? Well, say a prayer for me, Frulein. I must be going.

[Connie Lemke]

They are gone now. There's no one here but the organist, and he's too busy practicing. We can go now, Carl. We'd better go.

[William Redfield]

No, wait. Wait a moment. I. I'm awfully tired. I haven't rested for four days, it seems. Just let me wait a moment.

[Connie Lemke]

All right. Carl.

[William Redfield]

You won't go away?

[Connie Lemke]

No. No, I won't go.

[William Redfield]

Okay.

[Connie Lemke]

What's the matter, darling?

[William Redfield]

I don't know where to go anymore. They're after me, and I don't know where to go.

[Connie Lemke]

I can't take you to my place. Someone might recognize you.

[William Redfield]

All afternoon I hid it in a little tool shed back of the warehouse. They were all around me, looking, pulling things to pieces. I almost gave myself up. I. I can't go on this way much longer.

[Connie Lemke]

Car.

[William Redfield]

Yes?

[Connie Lemke]

It's true then, isn't it? What they're saying?

[William Redfield]

Yes.

[Connie Lemke]

You're not Carl Rendler. And you're not German, are you?

[William Redfield]

No, kid. I. My name is Robert Knowles. I'm English. I. I want to say something to you, Kater, but I don't know how. If you'll just give me a little time.

[Connie Lemke]

You're a spy.

[William Redfield]

Please.

[Connie Lemke]

I don't want to make a scene. I just want to know. This. All that we've been through together, you and I. Is it real? Or was it part of. Of your work? Please tell me, Carl. No matter what you say, I won't give you away.

[William Redfield]

You know, don't you?

[Connie Lemke]

I think I know. But I want you to say it.

[William Redfield]

I love you, Kita. It wasn't part of my job. I tried not to, but there was nothing I could do. I knew this might happen sometime or that I might have to leave, but I couldn't help it. I've meant everything I've ever said to you. I came here tonight. I don't know why, except that I knew somehow I'd find you here. I never doubted.

[Connie Lemke]

When I heard about it, for a moment, it was like a little death inside me. You were a stranger suddenly, someone I loved, but who I didn't even know. And then when they were hunting you, when I thought of you out there somewhere, frightened, running, being hurt. Oh, my darling, I. I came here because we had both come here so much. It was the only place I could find you again.

[William Redfield]

Katie, the organist is leaving. If we could hide in the shadow of the pillar, I could stay here all night and rest. And in the morning I'd have a better chance. Will you stay with me, Kata?

[Connie Lemke]

Yes, I.

[William Redfield]

He's going now. Down the far corridor. There goes the last lamp out. We're safe now till morning.

[Connie Lemke]

Where will you go?

[William Redfield]

I don't know yet. If I can get to the forest, I'll have a better chance. And perhaps I can get across the river. There's a fellow on the other side, one of our underground agents. If I can get to him, I'll have a better chance.

[Connie Lemke]

Darling, your chivalry.

[William Redfield]

Oh, it's all right. I'm just a little tired. Running, sleeping out, hiding. Three days. Or is it four? I don't know. I can't think anymore.

[Connie Lemke]

Your face is so hot, almost as if you had a fever.

[William Redfield]

No. No, Katie, I'm just tired. Just stay by me. If you're here, everything will be all right.

[Connie Lemke]

I won't leave you.

[William Redfield]

I lay in the sewer one day, the water running over me, and I could hear them pounding overhead, shouting and cursing. I was freezing. And I wanted you then. I wanted you like I wanted rest and food and water. But I wanted you more than them. And then I knew that I would never see you again. Never dare see you. I didn't care whether they took me or not. I gave up caring.

[Connie Lemke]

Don't talk, Carl. Just rest.

[William Redfield]

In the morning, you'll be gone, and I will, too. But right now I'm glad we're together here in this place. I'll never lose you now.

[Connie Lemke]

Hush, darling. Just rest and be still. No one's going to take you.

[William Redfield]

And in the morning, she was gone. And you left, too, stealing from the church while the streets were gray with morning and the stars hung cold in the sky. Your cheeks were burning and your body ached at every. You couldn't think anymore. You followed your instincts like an animal. Your instincts said, build a shelter covered with fallen boughs until it resembles a brush heap. Pick the last wild berries, eat, then rest. And you lay there in the forest how they hunted you. How they beat the brush and trampled ground above your head. You lay there a day, two days more. Who knows? And the fever rolled over you like a hot tide. Washing the flesh from your bones. And then one night.

[Connie Lemke]

Break your head. Carl. Here, darling. Swallow this.

[William Redfield]

Kata.

[Fred Foy]

How.

[William Redfield]

How did you get here?

[Connie Lemke]

Don't worry, darling. I know this forest.

[William Redfield]

How long? How long have I been here?

[Connie Lemke]

It was four days ago that I left you in the church. I didn't want to go, darling, but I had to. There were so many things to arrange for.

[William Redfield]

Arrange for food for you.

[Connie Lemke]

Different clothes, blankets for you here in the woods. Medicine. Oh, my darling.

[William Redfield]

Have you been here before this?

[Connie Lemke]

Every night. I found you because you were crying out in your fever. It was lucky no one else heard you.

[William Redfield]

Are they still after me?

[Connie Lemke]

More than ever. But I think they're convinced you're not here. Now, darling, listen to me carefully. There's bread and concentrated soup and chocolate beside you. Right here. Darling. Fear. You're bundled up and I think your fever is about gone. Just rest and be quiet now. I'll be back tomorrow night again.

[William Redfield]

Katie.

[Connie Lemke]

Yes?

[Fred Foy]

Be careful, please.

[Connie Lemke]

Don't worry, darling.

[William Redfield]

I love you so. You know that, don't you?

[Connie Lemke]

Yes, I know. Goodbye. Karl. Karl.

[William Redfield]

Kato.

[Connie Lemke]

I think someone saw me. I'm not sure, but you'll have to go. Both of us. They'll turn over every leaf now. Help me up here, darling. Take my arm. Lean on me.

[Fred Foy]

They've spotted us.

[William Redfield]

Kata. You can get away. Please go.

[Connie Lemke]

Hurry, Carl. To the river. I know where there's a boat.

[William Redfield]

Kate. Go away, please. I don't want them to find you with me. Please, Kate. To go.

[Connie Lemke]

No. They'll take us both if you don't hurry. I'm not going to leave you. And that's all that is to it. Lean on me, Carl. You're too weak to walk by yourself down this little path. It leads to a point on the river. Hurry now.

[William Redfield]

We'll make you know what will happen if they take me.

[Connie Lemke]

I know. Please hurry. It's just a little way more. Here we are.

[Fred Foy]

Darling.

[Connie Lemke]

The boat.

[Fred Foy]

It's gone.

[Connie Lemke]

What will we do?

[William Redfield]

Too late to go back. There's no other place to hide. This is it, Katie.

[Connie Lemke]

No, it isn't. You can swim if I can help you. Together we can get across.

[William Redfield]

They'll pick us off in the water.

[Connie Lemke]

They won't see us. It's too dark.

[William Redfield]

They've got lights though, darling.

[Connie Lemke]

It's our only chance. I know you're weak, but if you can just kick A little. I'll be able to help. Help you cross.

[William Redfield]

All right, Katie, let's go.

[Connie Lemke]

Don't struggle when you get in. Just let me hold you up. Are you all right?

[Fred Foy]

Yes.

[William Redfield]

I can make it alone, I think.

[Connie Lemke]

Hold on to me. I'm going to lose your strength.

[William Redfield]

They're on the bank. Don't think they can see us.

[Connie Lemke]

Just swim. Car.

[William Redfield]

They're bringing a light on us.

[Connie Lemke]

Too fast for me, darling. They are almost there.

[William Redfield]

Kata, duck under. They're going to shoot. Cater. Are you all right? Just a little more, kids. Almost there. We've made it. Keep locator. Don't stand up.

[Danny Ako]

You're Knowles, aren't you? British intelligence?

[William Redfield]

Yes. I'm Livesbock.

[Danny Ako]

I've been waiting here for the past week.

[Fred Foy]

Thought they got you.

[William Redfield]

No.

[Danny Ako]

Who's the woman?

[Fred Foy]

Oh, I get it. Germany.

[William Redfield]

Yes.

[Danny Ako]

Afraid there's nothing you can do. Those slugs got her across the back.

[Fred Foy]

Okay, sir, you'd better come along. They'll be sending a parole across any minute now.

[William Redfield]

I can't leave her here like this.

[Fred Foy]

Snap out of it, man. She's gone. There's nothing you can do.

[William Redfield]

All right.

[Fred Foy]

Hurry, man. I wish they got time.

[William Redfield]

I'm coming. You left her lying there, Knowles. Do you remember? There was nothing you could do. No final act of tenderness. No final word to speak. Her long, bright hair so quiet now you placed across her eyes. And then you went away. But you kept remembering. And the remembrance of her hair was like the warmth. Warmth of bird wings in your hands. A wand that never went away.

[Fred Foy]

No.

[Danny Ako]

No. I say. I've been chopping my head off for an hour. Where have you been?

[William Redfield]

Right here, doctor. I'm sorry. I didn't hear you.

[Danny Ako]

I. I see you found the bird.

[William Redfield]

Yes, I found him. It isn't wounded, you know. Just done. See how it's struggling to be free?

[Danny Ako]

I'd have sworn I winged him.

[William Redfield]

No.

[Danny Ako]

Well, knock him on the head. Let's be on our way.

[William Redfield]

Doctor?

[Danny Ako]

Yes?

[William Redfield]

You said I'd find something if I came back in here.

[Danny Ako]

Yes, I said that. Did you?

[William Redfield]

I don't quite know how to put it, but. But I've gotten out of a mental corner I've been in for. For a long time. You know better than I do what I mean. Hunting the bird down, I believe. Living something over again. While I was hunting it down, I. I've come back to myself again. That's why why I'm letting him go.

[Danny Ako]

Why did you do that? What did you let the bird go?

[William Redfield]

For once I was hunted and somebody gave me my freedom. You couldn't possibly understand that. What it's like to be hunted or what it's like to be free again. But I can. That's why I let the bird go. For the first time in over a year, I've come back home again to someone who. Who was very close to.

[Danny Ako]

You have just heard Frederick J.

[William Redfield]

Lip's Author's Playhouse adaptation of his own story, Cry for the Hunted. Direction was by Mr. Albert Cruz.

[Danny Ako]

Mr.

[William Redfield]

William Everett and Ms. Geraldine K. Were heard as Knowles and Keita. Others in the cast of Author's playhouse tonight were Mr. Maurice Copeland, Mr. Sydney Brace, Mr. Kurt Kupfer and Mr. Norman Gottschalk. The musical score was composed by Dr.

[Danny Ako]

Roy Shield and the orchestra was conducted.

[William Redfield]

By Mr. Joseph Galicio. Next week, same time, same station, Author's.

[Danny Ako]

Playhouse will bring you a classic story by one of America's master writers, the.

[William Redfield]

Late Stephen Vincent Benet. Johnny Pye and the Fool Killer. Your American made radio is a wonderful thing.

[Danny Ako]

It works. At the turn of a dial, the.

[William Redfield]

Push of a button, you can sit in your favorite chair and listen to the programs you like best over NBC and its affiliated independent stations.

[Fred Foy]

That's the Relic Radio show for this week. Visit relicradio.com for more from Theater5, Author's Playhouse, this podcast and all of the other Relic Radio shows. There's a Shout Cast stream there as well and our donate button button if you'd like to help support this and all of the shows. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery on Case Closed. Next Tuesday with our next episode of the Relic Radio Show.