Little Visitor by Quiet, Please

Summary

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Podcast Summary: "Little Visitor" (Quiet, Please)

The Horror! (Old Time Radio) – Episode aired June 27, 2026
Host: RelicRadio.com
Original Story Air Date: January 1, 1948
Writer: Willis Cooper
Featured Voice Actors: Ernest Chappelle (Ulysses/Jeffrey), Michael Artist (Young Jeffrey), Audrey Christie (Marjorie), Charmaine Allen (Aunt Nellie)

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Episode Overview

In this atmospheric tale from Quiet, Please, titled "Little Visitor," we follow the haunting journey of Ulysses "Sniff" Smith, a locksmith with amnesia who’s grappling with the loss of his childhood and identity. His ordinary life with his wife Marjorie is upended by supernatural encounters with a mysterious boy who intrudes upon his late-night work, ultimately forcing Ulysses to confront the darkness in his past and within himself.

The episode explores themes of memory, regret, identity, moral ambiguity, and self-haunting, all wrapped in the chilling familiarity and ghostly nostalgia signature to old time radio horror.

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Key Discussion Points & Insights

1. The Protagonist's Amnesia and Search for Self

• Ulysses/Jeffrey's Amnesia:
  • The main character cannot remember anything before a train accident 20 years ago (01:44).
  • "Amnesia, they call it... Only when it happens to you. It's very rough not having any childhood to remember." (04:02 – Ulysses)
• Struggle with Identity:
  • He received his current name "Ulysses" from a sentimental doctor who saw him as a wanderer seeking home, paralleling the Greek myth (05:00).

2. Domestic Strain and Yearning for Childhood

• Relationship with Marjorie:
  • Ulysses' marriage is marked by dissatisfaction and economic hardship (08:24–09:15).
  • Their inability to have children adds emotional tension:
    • "I wish we had a kid." (10:15 – Ulysses)
    • "Well, I'm glad we haven't. One big lummox around here is plenty." (10:17 – Marjorie)

3. The Mysterious Visitor – A Reflection of the Past

• First Encounter:

  • Late at night, a strange boy appears in Ulysses' locked shop, raising questions about reality and memory (07:13–08:03).
  • The boy is dressed in old-fashioned clothes, which Ulysses notes but questions his own ability to recognize, given his amnesia (09:46–10:11).

• Recurring Appearances:

  • The boy, who later names himself "Jeffrey Briggs," seems uncannily familiar and comfortable discussing theft and childhood pranks (13:37–14:28).
  • "My name's Ulysses."
    "Ain't either." (13:43–13:46 – Ulysses and Jeffrey)

4. Temptation and Moral Descent

• The Safe and the Money:
  • Ulysses is tasked to open a safe, which he does with "Jeffrey’s" almost supernatural encouragement; they discover $53,000 inside (14:53–15:07).
  • Ulysses chooses to lie and keep the money, rationalized by the boy's innocent approval:
    • "You can keep it, can't you?" (15:42 – Jeffrey)
  • Ulysses' internal conflict about the theft mirrors the boy's casual attitude to mischief (15:15–15:45).

5. Consequences and the Collapse of Self

• Theft Discovered:

  • Ulysses' wife Marjorie discovers the cash and, due to her honesty, becomes a direct threat to him (18:09–18:37).

• Fatal Resolution:

  • Urged by an almost devilish Jeffrey ("Why don't you stab her?...I stabbed an Indian once. Made him dead." 20:15–20:28), Ulysses murders Marjorie with a knife given to him by the boy (20:30–21:00).

6. Revelation and the Full Circle of Memory

• Return to Kalamazoo and the Truth:

  • Fleeing to a town that feels eerily familiar, Ulysses is recognized as Jeffrey Briggs and is reunited with Aunt Nelly, triggering the full return of his memory (22:10–22:53).
  • He realizes the boy who haunted him was himself, and his actions have led him to become "a thief and a murderer" (23:22–23:40).

• Haunted by Self:

  • "I guess I am the only man in the world and was haunted by himself." (23:40 – Ulysses/Jeffrey)

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Notable Quotes & Memorable Moments

• On Memory and Loss:

  • "It's very rough not having any childhood to remember. You just think about that for a minute. Think how dull your life would be if you hadn't any school days to remember..." (04:09 – Ulysses)

• The Boy’s Nonchalance About Theft:

  • "I spent it." (14:10 – Jeffrey, about two dollars taken from his grandfather’s box)
  • "He didn't know it was there..." (14:26 – Jeffrey, rationalizing the theft)

• Supernatural Overtones:

  • "I could have sworn that boy was standing alongside the bed in the half dark. But when I turned on the light, there was nobody there." (11:33 – Ulysses)

• Moral Corruption and Influence:

  • "Well, why don't you stab her? What? I stabbed an Indian once. Made him dead..." (20:15–20:28 – Jeffrey egging Ulysses on)

• The Final Revelation:

  • "And I turned and walked up the steps of a house there on Davis Street. And I opened the door and I said, hello, Aunt Nelly..."
  • "Why, Jeffrey Briggs, you haven't changed a particle." (22:53 – Aunt Nelly recognizes Ulysses as his former self)

• The Closing Haunting Realization:

  • "I guess I am the only man in the world and was haunted by himself." (23:40 – Ulysses/Jeffrey)

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Key Timestamps for Important Segments

| Timestamp | Segment | |-----------|---------| | 01:44 | Ulysses details his amnesia and lost childhood | | 07:13 | First supernatural encounter with the boy (Jeffrey) in the shop | | 08:24 | Marjorie’s discontent and marital tension | | 13:26 | Second arrival of Jeffrey; conversation about boxes, theft, and names | | 15:04 | Ulysses finds the safe filled with money; Jeffrey's influence grows | | 18:09 | Marjorie hints at discovering the money | | 20:15 | Jeffrey provokes Ulysses’ violent impulse; gives him a knife | | 22:10 | Ulysses’ arrival in Kalamazoo; the memory returns, full circle | | 22:53 | Aunt Nelly recognizes Ulysses as Jeffrey Briggs | | 23:22 | Acceptance: Ulysses admits to being a thief and a murderer, haunted by himself |

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Tone and Style

The entire episode is permeated by melancholy, longing, psychological horror, and the eerie interplay of nostalgia with self-damnation. Through first-person narration and dialogue laced with regret and childlike innocence corrupted, Willis Cooper crafts a haunting meditation on memory, moral choices, and the specter of one's own worst impulses.

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Final Thoughts

This story remains one of Quiet, Please's most profound, focusing less on external scares and more on the psychological terror of being haunted by who we once were—and the irreversible consequences of choices made under that haunting. For listeners, "Little Visitor" delivers a uniquely unnerving blend of supernatural suggestion and human tragedy.

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Transcript

[Ulysses (Ernest Chappelle)]

Oh, stories.

[Marjorie]

Weird stories.

[Ulysses (Ernest Chappelle)]

And murders too. Turn out your legs. Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous? For ethical car, I think. Restored, we are meant to call from out of the past. Stories, strange and weird. Tales of mystery and terror by radio's masters of the macabre. Stories of the supernatural, the supernormal dramatized fantasy, the mystery of the unknown. We tell you this, Frank Franklin. So if you wish to avoid the excitement tension of these magic, play ladies our way. Seriously, turn off your way now.

[Podcast Host / Narrator]

Welcome back to the Horror. Thanks for joining me. Once again, we're going to hear from Quiet, Please this week. Series that debuted on June 8th of 1947 over the Mutual Broadcasting System, where it aired until September 13th of 1948. It moved to ABC Radio and aired until June 25th of 1949, producing 106 episodes in all, created and written by Willis Cooper, who also created and wrote for Lights out before Arch Oblor took over that series. Our story Today is episode 31 from January 1st, 1948. Here's little visitor.

[Ulysses (Ernest Chappelle)]

Quiet, please. Quiet, please. The Mutual Broadcasting System presents Quiet, Please. Which is written and directed by Willis Cooper and which features Ernest Chappelle. Quiet, please. For tonight is called Little Visitor. All I know is there was a train wreck. I don't even remember the train wreck. But they told me about that afterward in the hospital 20 years ago. Seems a long time when you just say it. But after all, it was only 1928, wasn't it? The year after Lindbergh flew the Atlantic? Remember? I don't remember. Of course, I don't remember anything before the train wreck. Amnesia, they call it, just like they have on the radio and the soap operas. Only when it happens to you. It's very rough not having any childhood to remember. You just think about that for a minute. Think how dull your life would be if you hadn't any school days to remember. If you didn't have any memories of your kid friends. Oh, I've heard you talk about him. Comparing notes with other people, laughing, sometimes being very sad when you think of somebody you knew in the eighth grade. And maybe he died in Guadalcanal or someplace. Maybe some of my kid friends did too. When you get to talking about your childhood memories. And all I can remember back to is the hospital with my head hurting and a lot of people asking me questions that make it hurt worse. So I walk away and sometimes I cry a little. Grown man crying grown man. I don't even know how old I am. I don't know who I am really, though I'm not full of self pity all the time. I try to take it in my stride, but a thing like this leaves scars worse than the one on the back of my head. The name I use is Sniff. The doctors at the hospital gave me that name. They gave me my first name too, which I don't especially like. But the fellow who suggested it was friendly and good to me. So I go through life carrying Ulysses for a first name. Well, the doctor was a sentimental budget or something, and he was thinking about the old Greek Ulysses who had to wander so far before he finally found his home. Well, I'd want it too, he said, and maybe it'd be a lucky name because old Ulysses finally got home. Maybe I get home someday too. So I'm Ulysses, and I haven't found home yet. I've made a home. Of course, Marjorie and I were married two years ago and it's all right. But I'd like to find my real home sometime and remember I'm a locksmith by trade. They taught me at the hospital. I'm not a very good one, just a journeyman. Of course, you don't really have to be such a high powered expert like Courtney that died the other day was to get by in this trade. Most of the work you're called on for is simple. Making a key, unlocking somebody's luggage, things like that. When a job's too tough for me, there are other locksmiths in town. I get by then there's a lot of time to think and try to remember. I keep thinking about kids, the ones I must have played with when I was a kid. This time of the year I get to thinking about coasting on a hill somewhere. And I do my best to remember a hill and remember who was with me. But it's always the same. I can't remember. Last Thursday night. I was working in the shop on a late job. A fella left a little safe with me. He'd lost a combination. He wasn't sure what was inside it and he was going away and wanted to get it open. So I put in a little overtime. Fellow said he didn't mind paying for it. So I was all alone. It was close to 12 and I was pretty tired. A long day. I thought I heard somebody at the door and I looked around. There wasn't anybody. I looked at the clock bin and saw what time it was and the safe had turned stubborn on me. So I decided to call it a Day. I knew Marjorie would be having fits anyway at me being at the shop so late. I was just slipping into my coat when the door opened. Shirt was locked, but it opened, and there was a kid standing in the doorway grinning at me.

[Marjorie]

Hi.

[Ulysses (Ernest Chappelle)]

How'd you get that door open, son?

[Marjorie]

Just opened. Why?

[Ulysses (Ernest Chappelle)]

I locked it.

[Marjorie]

It opened. Whatcha doin'?

[Ulysses (Ernest Chappelle)]

Well, what are you doing this time of night?

[Marjorie]

Nothing.

[Ulysses (Ernest Chappelle)]

Had you better be home.

[Marjorie]

Nah.

[Ulysses (Ernest Chappelle)]

Your mother will be looking for you.

[Marjorie]

Haven't got any mother.

[Ulysses (Ernest Chappelle)]

Your father?

[Marjorie]

Haven't got any father. Eat.

[Ulysses (Ernest Chappelle)]

You get along home.

[Marjorie]

What you doing?

[Ulysses (Ernest Chappelle)]

I was trying to open the safe. Scram.

[Marjorie]

Now. Just full of money.

[Ulysses (Ernest Chappelle)]

I don't know what's in it. Go on, beat it, son. I'm gonna turn out the lights and close up.

[Marjorie]

All right.

[Ulysses (Ernest Chappelle)]

Want me to walk down the corner someplace with you?

[Marjorie]

Which way?

[Ulysses (Ernest Chappelle)]

You go that way.

[Marjorie]

Nah, I don't go that way.

[Ulysses (Ernest Chappelle)]

Well, you get along home.

[Marjorie]

Okay. So long.

[Ulysses (Ernest Chappelle)]

Well, I was naturally a little concerned about a kid of that age. He looked to be about 8, running around the streets at midnight. So I snapped the lights off quickly and stepped out the door to catch up with him. When I got outside, there wasn't a sign of him. Well, I got to worrying, but what could I do? So I walked on home. And just like I thought, Marjorie was sore.

[Marjorie]

I don't see why you can't get some kind of work that doesn't keep you up all night. Here you come in night after night at all hours.

[Ulysses (Ernest Chappelle)]

This is the first night I've worked since the week after Thanksgiving.

[Marjorie]

Well, I don't see why you have to work nights at all.

[Ulysses (Ernest Chappelle)]

I don't like it either, dear, but my man's got to make a living.

[Marjorie]

Yeah, and a fine living it is, too, isn't it?

[Ulysses (Ernest Chappelle)]

It's the best I can do, dear.

[Marjorie]

Next thing you know, you'll be asking me to go back to work again.

[Ulysses (Ernest Chappelle)]

Now, Marjorie, you know better than that.

[Marjorie]

Well, I don't see any other way of getting any decent clothes.

[Ulysses (Ernest Chappelle)]

I'm sorry, dear.

[Marjorie]

Oh, sorry.

[Ulysses (Ernest Chappelle)]

You go on to bed, dear. Did you leave me anything to eat?

[Marjorie]

I went to the restaurant.

[Ulysses (Ernest Chappelle)]

That's fine, dear. Did you have a good supper?

[Marjorie]

If you think I'm going to stand around and cook and slave for you all day long, and then half the night on top of that, well, you've got another thing coming.

[Ulysses (Ernest Chappelle)]

Of course, dear. You know, the funniest thing happened tonight.

[Marjorie]

Yeah? For instance?

[Ulysses (Ernest Chappelle)]

Well, I was just getting ready to come home, and a little boy opened the door.

[Marjorie]

Sure it wasn't A little girl about 18.

[Ulysses (Ernest Chappelle)]

It was a little boy about 8 years old.

[Marjorie]

Well, what did he want?

[Ulysses (Ernest Chappelle)]

Nothing. He just stood there a minute.

[Marjorie]

Oh, you'd think people could keep their brats off the streets.

[Ulysses (Ernest Chappelle)]

Yeah, that's what I thought. You know, he was the strangest kid. March.

[Marjorie]

How?

[Ulysses (Ernest Chappelle)]

Well, I'm not sure.

[Marjorie]

Make up your mind.

[Ulysses (Ernest Chappelle)]

Well, he. The clothes he wore, they were, you know, kind of old fashioned.

[Marjorie]

How would you know?

[Ulysses (Ernest Chappelle)]

That's right, Marjorie, I wouldn't know. I don't ever remember seeing any old fashioned clothes. But I've seen pictures of him, I guess, or something. Anyway, he didn't look like other kids.

[Marjorie]

Love. You and your kids. That's all you think about.

[Ulysses (Ernest Chappelle)]

I wish we had a kid.

[Marjorie]

Well, I'm glad we haven't. One big lummox around here is plenty. There's a can of salmon in the cupboard. I'm on the bed.

[Ulysses (Ernest Chappelle)]

I don't like salmon very well. But don't get me wrong. I love Marjorie. I know it's tough on her being married to a guy that just barely gets by at his trade. And I make allowances. Only I. I wish she'd be sweet just once in a while like she used to be when we were first married. I couldn't get that kid off my mind. I went to sleep and dreamed about him. I guess it was a Sam. I dreamed about him getting run over by a streetcar, falling in that ditch there, digging down to the powerhouse. Sound like an old woman, don't I? But, well, you see, when you got the thing wrong with you that I have that blackout, you see. Anyway, I remember how the dream ended. Well, I saw the kid standing in front of me in those funny old fashioned clothes. And he spoke to me.

[Marjorie]

Don't you worry about me, Ulysses. I'll be seeing you.

[Ulysses (Ernest Chappelle)]

And I woke up with a start. And I could have sworn that boy was standing alongside the bed in the half dark. But when I turned on the light, there was nobody there. Marjorie says repeat's sake. If I can't sleep, at least let her sleep. That was on a Thursday. I got to thinking the next morning about the boy. The way he seemed so real in my dream. But he didn't show up. I guess I wasn't very surprised at that. The safe turned out to be a much tougher job than I expected, and I couldn't pry it open. I worked till about 10, and I know now why I did. I was expecting the kid to pop in. The ideas a fella gets, I stay away from talking to kids, you see. Because I don't know how to talk to them. I can't talk their language. I don't know it. But this little devil, there was something about him that made me feel we could sort of talk, brother, talk to each other. Something familiar about him, if you see what I mean. I kind of felt that I really knew him. Well, he didn't show up Saturday. I worked all day. No luck with the safe? The man was getting pretty impatient because he was leaving town the following Tuesday. Wanted to see what was in it. You know, in this business, you run into people like that, a closed door or a locked strongbox. They got more curiosity than that cat. Well, he said, keep on. So I did. I figured even if Marjorie didn't like my being away at the shop all the time, she'd feel better when she saw the overtime money the job was gonna pay. So I worked Sunday. I don't know how he got in. Maybe I did leave the door unlocked. But there he was, grinning at me.

[Marjorie]

Haven't you got it open yet?

[Ulysses (Ernest Chappelle)]

What are you doing here?

[Marjorie]

Can I watch it?

[Ulysses (Ernest Chappelle)]

Well, you sure you ought to be here?

[Marjorie]

Sure.

[Ulysses (Ernest Chappelle)]

What's your name?

[Marjorie]

Jeffrey.

[Ulysses (Ernest Chappelle)]

Jeffrey what?

[Marjorie]

Jeffrey Briggs.

[Ulysses (Ernest Chappelle)]

My name's Ulysses.

[Marjorie]

Ain't either.

[Ulysses (Ernest Chappelle)]

Sure it is.

[Marjorie]

You made that up. Oh, it's my name okay, but I bet it ain't.

[Ulysses (Ernest Chappelle)]

Well, it is, all right.

[Marjorie]

Haven't you got that thing open yet?

[Ulysses (Ernest Chappelle)]

It's a harder job than I thought.

[Marjorie]

I used to open boxes and things.

[Ulysses (Ernest Chappelle)]

You did? You bet.

[Marjorie]

I opened one once. It had a lot of money in it.

[Ulysses (Ernest Chappelle)]

Good.

[Marjorie]

$2.

[Ulysses (Ernest Chappelle)]

What'd you do with the $2?

[Marjorie]

I spent it.

[Ulysses (Ernest Chappelle)]

What kind of box was this, Jeffrey?

[Marjorie]

It was green kind of tin. It was my grandfather's.

[Ulysses (Ernest Chappelle)]

And he had you open it for him?

[Marjorie]

Oh, no, he didn't know it.

[Ulysses (Ernest Chappelle)]

Oh, I see.

[Marjorie]

And he didn't know the $2 was in it.

[Ulysses (Ernest Chappelle)]

Well, don't you think it was bad to take your grandfather's money?

[Marjorie]

Why? He didn't know it was there. Well, you know how I opened the

[Ulysses (Ernest Chappelle)]

box, how I hid it. Well, you can't open a safe that way, Jeffrey.

[Marjorie]

I bet you can.

[Ulysses (Ernest Chappelle)]

No, you can.

[Marjorie]

I bet you.

[Ulysses (Ernest Chappelle)]

I'll show you.

[Marjorie]

You see? You see? Oh, look what's inside. It's money. It's money. It's a million dollars. Hey, does the man know the money's in there?

[Ulysses (Ernest Chappelle)]

I know, son. He doesn't.

[Marjorie]

Oh, goody, goody. Then. Then you can keep it. Can?

[Ulysses (Ernest Chappelle)]

The boy's eager eyes followed every move I made. There was $53,000 there was an old notebook and a half a dozen letters. That was all, I guess. I sat there quite a while holding the big pile of bills and thinking. And Jeffrey's eyes never left my face. He didn't say a word, but he didn't need to. I heard him once.

[Marjorie]

You can keep it, can't you?

[Ulysses (Ernest Chappelle)]

And then the telephone rang. Hello? Oh, hello, Mr. Murphy. Yes, I just got it open. Yes, you can come over and pick it up whenever you want to. What? No, no, there. There wasn't anything in it except an old notebook and some letters. No, not a thing. And then I put down the phone and I turned back to Jeffrey. Jeffrey wasn't there. But from somewhere not far away, I heard him laughing. Fidicule. I was surprised how easy it was. Mr. Murphy never questioned me. He paid me and I took my pay home and gave it to Marjorie. And she bought a new dress. She. She even kissed me. But the $53,000 that I put in my bottom bureau drawer under my shirts. I don't know what I intended to do with it. Maybe I was going to give it to Murphy. Maybe not. I don't know. Really I don't. I know what I did. Of course, you come to that. As a matter of fact, what I thought about most was Jeffrey. An innocent kid. And he led me into this. He didn't see anything wrong about it. What kind of man is he going to grow up to be? Oh, yes, I dreamed. I dreamed lots of things. But mostly about a small boy in old fashioned clothes who taught me how to be a thief. Jeffrey didn't come to the shop again. And it was the following Wednesday, last Wednesday, that I discovered the money was gone. I thought at once of the boy. If he could get into my shop, why couldn't he get into the house? He'd stolen $2. What I'd taken was just more money to him. But I discovered what had become of the money at breakfast.

[Marjorie]

I think you ought to have some new shirts. U lessees.

[Ulysses (Ernest Chappelle)]

And my heart nearly stopped. That was all she said. That was all. But it was enough. I don't think my face gave me away. Or maybe it did because she said one more thing just as I was leaving.

[Marjorie]

Is there a reward for stolen money? You messi.

[Ulysses (Ernest Chappelle)]

So it was Marjorie, of course. And I knew what would happen. Whatever Marjorie's fault, she was honest. Straight laced, fiercely honest. She wouldn't hesitate a moment to turn me in if she thought I'd stole it. Well, I had stolen. I'd thought about giving the money back to Murphy, as I told you. But now it was too late. If I confessed to Marjorie and asked her for the money to give it back. Well, in Marjorie's mind, the crime had been committed. She'd see that I was punished for it. The only thing that prevented her now was the fact that she didn't know where it had come from. If she found out. When she found out there was no way out. And head down, thinking furiously, I was unaware for a moment of the 8 year old skipping gaily by my side.

[Marjorie]

Hey, where you going?

[Ulysses (Ernest Chappelle)]

Why, hello, Jeffrey.

[Marjorie]

Hi.

[Ulysses (Ernest Chappelle)]

Where'd you come from?

[Marjorie]

I was just walking along. You gone to your shop?

[Ulysses (Ernest Chappelle)]

I guess so.

[Marjorie]

You know where I'm going? Where? I'm going coasting.

[Ulysses (Ernest Chappelle)]

Jeffrey, listen. Why, Jeffrey, you know the money.

[Marjorie]

You still got it?

[Ulysses (Ernest Chappelle)]

No.

[Marjorie]

Who's got it?

[Ulysses (Ernest Chappelle)]

I think my wife has.

[Marjorie]

Yeah, it's bad, isn't it?

[Ulysses (Ernest Chappelle)]

Yes, it is.

[Marjorie]

I wouldn't let anybody take my money.

[Ulysses (Ernest Chappelle)]

I didn't want her to take this money.

[Marjorie]

Well, I'm going coasting. So long.

[Ulysses (Ernest Chappelle)]

Wait a minute, Jeffrey.

[Marjorie]

I can't wait. The kids are waiting for me up on Normal Hill. Where On Normal Hill? Hey, did she really take it?

[Ulysses (Ernest Chappelle)]

I'm afraid she did.

[Marjorie]

Well, why don't you stab her? What? I stabbed an Indian once. Made him dead.

[Ulysses (Ernest Chappelle)]

An Indian?

[Marjorie]

Oh, it was only my sister's doll, but I played. It was an Indian. I stabbed it. Stab, stab, stab.

[Ulysses (Ernest Chappelle)]

Well, so long, Jeffrey.

[Marjorie]

Here, you take my pocket knife.

[Ulysses (Ernest Chappelle)]

What for?

[Marjorie]

In case you want to stab her. You'll make her dead.

[Ulysses (Ernest Chappelle)]

Goodbye, Jeffrey. Wait.

[Marjorie]

I'll see you up on Normal Hill, huh?

[Ulysses (Ernest Chappelle)]

I keep wishing Marjorie hadn't come to the shop that afternoon. I wish he hadn't seen the safe lying there on the workbench where Murphy had left it, because it was useless. I wish he hadn't accused me point blank of stealing that money because maybe I wouldn't have stabbed her and made her dead. But I did. And I left her there in the lock shop with Jeffrey's pocket knife alongside her. And I went home and I turned the house upside down looking for the money, but I couldn't find it. I didn't have very much of my own. But I bought a ticket and I got on a train. And finally I got off. I didn't know what to do. I had breakfast and I started to walk around the town of Kalamazoo, Michigan. I don't know why I got off the train. There, you see, I just got off. I walked down Portage street and that name seemed so familiar. I saw a Man crossing a street. And I said to myself, that man's name is Harry Oswald. How did I know that? I walked along a lot of streets. And then I was on a street called Davis street and kids were coasting down a big high hill on the other side of the street. And I felt funny all of a sudden. I called one of the kids and I said, hey, kid, what's the name of that hill? And the kid came closer and it was Jeffrey.

[Marjorie]

And he said, hi, mister, you came home, huh?

[Ulysses (Ernest Chappelle)]

And I said again, what's the name of that hill?

[Marjorie]

Well, that's Normal Hill, mister, where I said I'd meet you. Don't you rem.

[Ulysses (Ernest Chappelle)]

And I turned away. And suddenly everything was familiar to me. I knew where I was. I remembered Normal Hill and the West Street Hill where we used to go sometimes and riding a bobsled hitch down to Britt McElroy's old Rio. And I turned and walked up the steps of a house there on Davis Street. And I opened the door and I said, hello, Aunt Nelly. And Aunt Nelly jumped up and spilled her crocheting on the floor. And she said just what I knew she was going to say.

[Marjorie]

Why, Jeffrey Briggs, you haven't changed a particle.

[Ulysses (Ernest Chappelle)]

And then she fainted. Well, it took a lot of explanation how I'd lost my memory and all that. And she told me about the time

[Marjorie]

you broke open your grandfather's strong box

[Ulysses (Ernest Chappelle)]

and about the other time when you

[Marjorie]

stabbed your sister's doll and came and told us you'd made her dead.

[Ulysses (Ernest Chappelle)]

And we had a nice visit together. And then I came away. Yes, I'm going back and give myself up. What else can I do? Aunt Nelly had never know that Ulysses Smith was once, I said I'd wondered what kind of a man Little Jeffrey would grow up to be. Well, how do you know now? He grew up to be a thief and a murderer. I guess I am the only man in the world and was haunted by himself. You have listened to Quiet, Please, which is written and directed by Willis Cooper. Ulysses, the man who talked to you was Ernest Chapel. And Michael Artist was Young Jeffrey. Audrey Christie was Marjorie. And Aunt Nellie was played by Charmaine Allen. The accompanying music for Quiet, Please is composed and played by Albert Berman. And now for a word about next week's Quiet, Please. Here is our writer director, Willis Cooper. Next week I have a story for you called the Room where the Ghosts Lived. That is, if ghosts do live. Maybe we'll find out next week, Sam. And so, until next week at this time I am quietly yours Ernest Chapman Quiet Please comes to you from New York. This is the Mutual Broadcasting System. Stay with us for and now with John Gambling, which follows station identification. Leading personalities of the Republican Party will hold a national radio rally over WOR at half past eleven tonight. Republican plans for 1948 will be discussed by Senator Robert A. Taft, speaker of the house Joseph Martin Jr. And many others. Hear the national Republican radio rally tonight at half past eleven WO R New York.

[Podcast Host / Narrator]

You can find more Old time radio@ Relicradio.com More from Quiet Please, the Horror and all of the Relic Radio podcasts. If you'd like to help support this and all of the shows, you can do that through the website as well. Visit donate. Relicradio.com or click on one of the support links. You make all of this possible and have since 2007. My thanks as always to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with Strange Tales and next Saturday with our next episode of the Horror.