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A
From Geico Subconscious News, I'm Tammy Racing thoughts tonight. You just left for work and had a non specific feeling that something was happening to your place. And it wasn't good, Dan.
B
Exactly, Tammy. It could be smoke damage, theft or just too much caffeine, but you can't stop thinking about it.
A
But with renters insurance through geico, your stuff is covered so you don't have to worry.
B
And that's great, because the weekend is coming up and it's chock full of social obligations that are ready to fill that void.
A
Oh boy, will they, dad. It feels good to worry less. It feels good to Geico.
C
Every door has a key. There's a key to every situation.
D
Behind every unopened door there is a mystery. And the opening of this door introduces us to another in the series the Key.
E
Elena, look who we have here. Look who has come to visit us.
F
Alexis. Alexis Chernofsky.
C
My dear Elena, how good it is to see you again. How very good.
F
But Alexis, you did not say you were coming. You did not give us warnings.
C
I couldn't, I had so little time. These things happen suddenly.
E
Trouble.
C
Yes, trouble. Much trouble. I will tell you about it.
E
Here, let me take your coat. Alexis, your hat.
C
Oh, thank you, thank you.
E
But you should have told us you were coming.
C
You could have had a bed.
E
You could have stayed with us.
C
You are too kind, Herzog, too kind. But I have arranged to stay elsewhere. I know you do not want to be troubled with another. It is hard enough for us to make our own living in a new country.
E
What nonsense.
F
Where have you been, Alexis? We have not seen you since. Oh, for so long. You have been in England always.
C
No, no, Elena, I arrived here but
E
a few weeks ago. Sit down, sit down, Alexis. Here, here by the car.
C
Most kind, most kind of you. And how have you been, Elena? How have you both been?
F
Oh, we are well, we are happy in a way. But you, you have just arrived. How are things there?
C
Not good, not good. We have labor troubles and we have troubles with ourselves.
E
We have trouble with other people too.
C
But you know about that. When you left, the country was, oh, how shall I say it was unhappy, unsettled. You left my friends. I think you were wise to leave.
E
If we had not, we would have never left. My friends. Friends who came out afterwards. They tell me that as we left by the back door, the police were coming in at the front.
C
So I believe for myself, well, I had more time.
E
Time?
C
Here, talk, my friend. At one time I was in the government party, which may we be Forgiven? Thought that you were unworthy to live. Now I know better. Now another government party thinks that I am unworthy to live. So here we both are in England.
E
Full circle, Alexis. Mistakes in the past have nothing to do with the future.
D
Political feelings run high in our country,
E
shall we say? In the heat of the moment, you thought I was wrong.
C
Now, in cooler headed times, I think perhaps you were right.
F
Right or wrong, it does not matter. We are friends again. But what is this about a new government party? We have not heard of any government changes.
C
Oh, perhaps I do not explain myself well, Elena. The party to which I belong has not changed. It is I who have changed. My views are now different from the party in power. And it is safer to change one's views outside our country than inside. That is why I'm here.
F
Oh, then you have the same views as my husband now?
C
Precisely. The party to which I belonged made many grave errors. People were killed. There was suppression and confiscation of property, imprisonment. So I think to myself, a government making itself so hated cannot be a good government.
E
Ah, it is over. It is finished. We will discuss it no further.
D
We understand.
E
Politics make no difference when old friends meet. And what are you doing here, Alexis? Have you got a job?
C
A job is not so easy.
E
Oh, but you smile, speak excellent English.
C
I will find work to do later.
F
Of course you will, Alexis.
C
It takes time to settle down in a new country. Things are different here. The government in power does not need to suppress the other party in order to exist.
E
It is what they call muddling through.
C
Not like our country. There, there we plan. If things go wrong, we stick to our plan. No matter how stupid circumstances make it seem. As your party did her son. They were determined. And determination always is its own destruction. For human beings resist another's determination. Ah, well. It is no good crying for what is past it. Like that book of yours, Hetzel book.
E
My political books are forgotten now.
C
The one I am thinking of is not. When they searched your house after you had left, they found it.
E
But I had no hidden books.
C
The one with all the names in it.
E
The names?
C
The names of all your party. At least I think it was that. We examined it, but it did not make sense.
E
Oh, that book.
C
That book.
F
What book was that?
A
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F
Let's talk. When you said they would be coming for us, we destroyed everything. I remember.
E
Oh, it was a book. A book I thought they would not find to be true. I did not bother about it.
D
It was a code. No, not a code.
E
A cipher.
D
It is called
C
a cipher. One that cannot be decoded unless the one who would decode it has a key. Usually a sentence in a book or something like that.
E
And that one was impossible to decode without the key. So it does not matter if they did find it.
C
But not your children. There. Your mother. If, say, the authorities were to find that out, surely they would use it to make you give them the key. I mean. Ladies can have their property confiscated. They can become the charge of the state and be taken. Treated accordingly. And children. Children can be sent to state institutions. Those institutions we know about Eherto.
F
I should.
C
I should think about it, if I were you.
E
They have forgotten the key.
C
Have you? Then I should remember it an exis.
E
You have not changed your politics, have you?
C
Oh, yes. My party has disowned me. I do fly. That is why here in England, they have welcomed me.
E
They sent you here. You have come to get the key to that cipher.
C
You wrong me, Hetzog. Of course. If I had the key, then I could inform them of it. That would only be a duty.
E
And the children?
D
My mother for them?
C
I cannot say. If the government were able to decode that book, I'm sure they would be grateful. They might even see to it that your mother and the children were given exit permits and allowed to travel to England.
F
You bargain. You come to our house as a friend and then you bargain.
C
My dear Elena, there's a bargain about it. I am quite sure the government would take. What steps do you think necessary in regard to the children? After all, they have been abandoned. They are now children of charity. The government's charity, of course. I really do not want to look on the black side or cause you unnecessary alarm, but the government be quite within their rights. If the children were confined to the institution that.
F
He won't do it. You can't. My children have no political meaning. They are children.
C
The sins of the father.
E
You will go. You will go before I kill you.
C
Pause. My dear Herzog, consider the position. Although you are in England, we consider you are still subjects of our country. In the event of my demise and your absence from home, it might be legal for us to punish the children in place of you. And if it isn't? We will pass a law making it. So it is easy for us to pass laws. I see you get the point.
E
There's something I can do. There must be. I will explain to the authorities here. I will go to the United nations, my dear. I will denounce you. They will arrest you. I will tell them you are spy, that you are still of the government in power.
F
Do so by all means.
C
Unfortunately, though, my government has already publicly decided in the face of what I think, the authorities here will not believe you.
E
There are thousands of us here.
C
There are a hundred free men within
E
50 miles of here. I will call them together. If we cannot think of some way to defeat you, we will try you ourselves and have you put out of the way of the dangerous beast you are.
C
Certainly. Certainly. Oh, while you're about it, my dear Herzog, tell them, remind them, impress upon them that they themselves have so many relations and friends at home. Their dear ones, sisters, brothers, uncles, aunts, mothers as you have. And I doubt they will be so militant as you. And if you do not like to remind them, I will.
E
Somehow, somehow I will beat you. Somehow I will kill you.
C
Threats. Ah, me. So many empty threats. Well, I really must be running along. As an ex member of the government, I have many calls to make, many people to see. It is amazing how eager they are to confide in me now that I have fallen from grace.
E
They will not be. Not after they hear what I have to tell them.
C
Oh, yes, I meant to tell you. If you should spread any vicious lies about me to them, I shall have to instruct the Home Government to remove your mother to some safe place. For her own protection, of course. Well, goodbye. Goodbye, then. I'll call back about this time tomorrow. Think over what I've said, won't you? Parents and children are such a responsibility, aren't they?
F
What do we do? Herzog? He can't mean what he says.
E
He does, though. I don't know. I don't know. Everywhere I think, everywhere my mind goes, he's there.
F
He shall go back. We will have to go back for
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them to have us as well as our children.
F
We can't leave them alone, not alone. Not now.
E
No. No, I will go to them.
F
I too. Unless, perhaps you give him what he wants to know.
E
Even if I do, there's no guarantee the children will be safe. I must go alone. I must somehow bring them here to England.
F
We will go back together.
E
No, Alone. I might be able to do something. If you come, it will mean that they have us all in their hands.
F
You could. Alexis. I will give you The. Whatever it is he wants. If you will bring the children here,
E
he would never agree. He would say, give me the key to this cipher and then I will send your children to you. I will think about sending them. He has the upper hand. Whichever way you think or look at it, he has the upper hand.
B
It.
E
Passport, visa. Yes. Some money and clothes. Yes, that's everything. Elena, I leave you now.
F
You must come back. You will?
E
Of course I will come back.
C
Darling, what is this sadness? I'm going to my home.
E
I will see my mother again and I will see the children. I will not only see them, I will bring them back here.
F
You will? I'm sure you will.
E
Of course. Now the bright smile, the confidence. We have had troubles, but we have lived. And we will live again, all of us.
F
You said Alexis would be here for. Will you go with him? Is it wise to go with him?
E
He wants the key to the cipher. If I give it to him here, we will never see our children again. But if I go home with him and then give him the cipher, I have a much better chance of getting him away.
F
But then we'll have you there. They will try you and find you guilty.
E
There is hope.
C
There is life.
E
Now it is all etched. Alexis comes here. We go back together. It is a triumph for him. He has me. He will have the cipher. Perhaps they will be lenient and let me have the children. But those names, the names of my friends. It will be another blood piece.
D
Elaine.
E
I cannot do it. I say to myself, in this world, one must be tough. One must take advantage of things. So long as we are happy, what matters? The rest. That is the modern creed.
C
No.
E
No, I cannot do it.
F
The children.
E
A man cannot sell his own soul, not even for children. One moment I think yes, and then I think, no, I. I'm going crazy. I. Alexis, I will tell him. I will tell him.
C
No.
E
No, I cannot do it. The passport, the tickets, they have gone.
D
Go on.
E
I tell him now. I. I cannot do it. I cannot do it.
D
My dear old boy. Do what? Oh, I say, confusion. What mistakes.
E
Who are you?
D
I thought you were European. Oh, boy. No, you were Scotch. Still, I'm very well.
E
I'm sorry I kept it drift. But I do not understand.
D
My dear boy, isn't that the way with all of this? I'm Brown. Not Sam Brown or Brown Dog, but
E
Brown of the Home Office.
D
Don't you know the British Home Office? I'm a public servant, you know, like the village pump. Anybody can use me. And they do, old boy, they Do.
E
Oh, won't you come in?
D
Oh, thanks, thanks. Drafties down, you know. Oh. How do you do?
F
How do you do?
E
My wife, Mr. Brown. Now, will you please explain? I. I am getting used to the British way of life. But not to the British themselves.
D
Well, it's perfectly simple. We heard you'd applied for a passport and a visa to visit your old home, so I tottered along to find out what it was all about. Not that you have to tell me. We're curious, that's all.
E
I. I wish to return for private reasons.
F
Mr. Brown, you are English, so you would not understand.
D
Well, being English means that I'm pretty dumb. But being dumb doesn't mean you can't understand. I understand a fellow called Alexis Chernobysky called on you.
F
Him?
E
He has nothing to do with England.
D
Oh, he has, old boy, he has. Matter of fact, we've been sort of chasing after him, using the fox as a hound.
E
Please, I do not understand. We wish to be alone.
D
Look, I know it's a frightful cheek of mine, poking my nose into your business, but you've got a couple of children in your own country, haven't you?
E
Yes.
D
Ah. Always travel there. Give them a leave out. Well, I mean, after all, if you're here, you're sort of under our protection, aren't you?
E
There's no protection. There's no.
F
Just a moment, Hetsuk. Go on, Mr. Bart.
D
Well, we happen to know that Chornofsky bird. He's a bit of a rat. Confused in my metaphor. I know, but you get the general trend.
F
Yes, yes, go on.
E
He's here.
D
Under two flags, pretending to be the one, really the other.
F
If you know that, why don't you arrest him?
D
Difficult old thing. You know, being more or less a free country means it's free for one type and it must be free for another. After all, this Chornomsky is not actually breaking any of our laws. Visitors aren't prohibited, you know.
E
Please. Please. You talk, you talk, you do nothing.
D
But he would help us if you tell us what he's really up to.
E
Elena, you know what he can do if we tell this man? You know what can happen to our children.
F
One cannot fight threats by doing nothing.
E
All right, tell him.
F
He came here. He wished to find out a.
E
A key to a cipher.
F
A key to a cipher. At home they found the book. They could not read it unless they had this key, which only my husband knows. It contained the names of his friends, men whose lives are not saved, should they be known. Chanowski said if my husband did not give him this key, our children would suffer. My husband thought then he thought he would go to our country with Alexis. Perhaps he would be able to save our children. And then he decided he could not do this to his friends. When you came, he had decided not to go.
D
I see. It reminds me of the war.
C
We had quite a neat gimmick. Quite simple.
D
We had a code, of course, a
C
cipher and a key.
D
But this key was a cut above others. Matter of fact, it had three separate outcomes. Enemy would bash their brains out trying to break it. When they did, there'd be three messages, all saying different things.
E
I do not see what this has got to do with us.
D
Just chatting. War memories, you know, Bit of manipulating. And you can do it with any code, especially if you have one to work on. I'll take your cipher.
E
What's the key? You expect me to tell you?
D
Well, I hope you might. Well, never mind. There's any old key. D, I, P, S, L, P, X, T, O, J. Pronounced dipso.
E
B. Mr. Brown, we. We have great troubles. We. We have everything happening to us. Please, please go. We. We have no time for English jokes.
D
No joke, old boy. And, lady, it just so happens that Dipso, what have you is the key to a cipher. I just made it up. It's mathematical. You take one letter less in the Alphabet for each letter. So D becomes C, I becomes H. And if you go right through, you'll find it spells Chernowski, Chovnarsk, Alexis Chernofsky. Yes. And if you take your key and the first siphon, even your book, and rearrange your key a little, you can make that Chernobysky. And that, you know, would embarrass the rat. Oh, well, I'll have to be running along. If I see you later when you come back. Toodle pip. Remember, all you need for a bigger rat is a bigger trap.
E
That man is mad.
F
Mad, yes. But madness is its own sense.
C
The book, Hetzog. All the names. Now we'll go in next door where the public prosecutor and some of my colleagues are waiting.
E
My children, my mother. If I give you the key, are they at liberty to live with me?
C
Of course. Of course.
E
You will do nothing to stop us?
C
Do you mistrust me?
E
Yes.
C
Why should you? Give me the key to the cipher of this book and you are at liberty to walk away.
E
You will get it. Good.
C
You sure?
E
Say, when we leave my children and my mother, you, my dear Herzog, are
C
not in a position to bargain. You are in the country, your home, to be sure. But you are no longer a citizen of it. Beyond that door are guards. Your children are still here. Unless I have the key now, you will be shot. And your children will never know freedom.
E
I knew I couldn't trust you. The key, written on pieces of paper and enclosed in envelopes, now awaits in a town just across the border. I have given instructions should I not return by tomorrow, those envelopes are to be post.
C
But you know the key. You have it in your head. And we have methods to get it out of your head should you feel disinclined to reveal it.
E
The envelopes are addressed to the President and to all members of the council. So we might be able to stop one or two reaching the destination. But a number of those envelopes would get to the people. I wish to get them.
C
My dear Herzog, I detect a certain amount of threat in your tongue.
E
I am threatening. When my children and my mother and I are across the border, I will give you the key.
C
You will give it to me now?
E
You insist?
C
I do.
D
Very well.
E
Alexis Chernowski. You make squares on a piece of paper like this, as though it were a crossword puzzle. So. Now, here you write these letters at the top. And here you write Figures 1 to 26 diagonally across. You write the Alphabet from corner to corner, very elaborate, so you could not break it. You take the first word in the book, the first name.
C
Eh. Excalcimus.
D
Good.
E
E is the fifth letter of the Alphabet. We take five here, E at the top, and they meet at C. C is the first letter in that name.
D
Perhaps you would like to do the next.
C
X is the 19th. 19th.
D
Next.
C
They meet at 8.
E
Oh, very clever. You are a pupil. The name starts with Ch.
C
Go on. C is the third three. And C. Give on.
D
Excellent. Excellent.
E
Ch.
F
Go on.
C
Next one is R. Sure. Go on. John, you have got so far.
E
You might as well finish the name off for yourself. Important names, Chernowski. Enemies of your state. Names of men you have sworn to liquidate.
C
Chernovit. Ki. Chi.
E
Well, Alexis, do we go through and tell the President, the Public Prosecutor?
C
I have never been an enemy of this government.
E
Perhaps not, but this book says so. The key to the cipher I gave you says so. Now, about my children. If you give orders for them to be rushed to the border with my mother and then myself, you will be in time to have those envelopes stopped. If not, you have a hard time explaining your name in this book.
C
Herzog, I never had any intention of stopping you or your family.
F
No?
D
No.
E
Of course not. Well, either you agree, or I take the book and decipher next day gone.
C
I agree.
F
Oh, here you are.
E
The he, the children and mother will be here soon. Oh, now, this is not a time for crying.
C
Elena.
F
Let me hold you.
E
And Lena and Pietro? They're all safe. They will be coming soon.
F
That Jonowski the decided.
E
It's me, the crazy, wonderful Englishman Brown. We have him to thank. At first, Chanowski would not let me see the children and mother. So I showed him one key which would decipher our code and it put his name at the head of the list. He then agreed it would be best if I just had my family by me. I promised him then he could have the real key. He came back across the border with us and I gave him another key. Useless, of course. But Chernofsky, he will still find his name on the list under the heading of underground courier. So the rat is now a runner.
F
Oh, you are safe. The children are coming. Nothing else matters now.
C
Oh, Elena.
E
The English do not kiss with the doors open.
F
Close the door. Close it quickly.
D
A closing door finishes a story. Next week another key will open another door to another story.
E
Mystery, romance or adventure.
D
All stories when a door is unlocked by the key.
Podcast: Harold's Old Time Radio
Episode: The Key - Alexis
Date: June 18, 2026
Host: Harold's Old Time Radio
This episode of Harold's Old Time Radio features a classic radio play from the Golden Age, titled “The Key – Alexis.” The play explores the dangers and moral dilemmas faced by political refugees from an unnamed totalitarian country who have settled in England. The central conflict revolves around the threat of exposing the identities of underground resistance members encoded in a cipher book, as government agents seek the key in exchange for the safety of the protagonists' children and elderly mother left behind.
“Mistakes in the past have nothing to do with the future.”
— E, [04:19]
“Determination always is its own destruction. For human beings resist another's determination.”
— C, [06:13]
“You bargain. You come to our house as a friend and then you bargain.”
— F, [09:58]
“There is hope. There is life. Now it is all etched.”
— E, [15:37]
“A man cannot sell his own soul, not even for children.”
— E, [16:16]
“Remember, all you need for a bigger rat is a bigger trap.”
— D (Mr. Brown), [21:32]
“He has the upper hand. Whichever way you think or look at it, he has the upper hand.”
— E, [14:15]
“Mad, yes. But madness is its own sense.”
— F, [21:38]
The drama is suspenseful, emotionally charged, and layered with postwar cynicism, paranoia, and dry British humour (especially through the character of Mr. Brown). The dialogue is direct, pointed, and evocative of the era's political anxieties, with moments of warmth and triumph as the protagonists rely on wit and integrity to protect their loved ones and ideals.
This episode is a powerful example of mid-20th-century radio storytelling, highlighting the desperate measures of exiles and resisters, the moral cost of political repression, and the triumph of cleverness over tyranny. The interplay between psychological tension and sharp wit keeps the listener engaged, while the ultimate message is one of resilience, loyalty, and outsmarting those who wield power unjustly.