ANNCR:

CBS Radio presents the CBS Radio Workshop. Dedicated to Man's imagination. The theatre of the mind.

ELLIOTT:

This is Elliott Lewis. I believe there's a place for experimental drama in Radio. CBS Radio also believes this, hence the Radio Workshop. The play you're going to hear is such an experiment. It's debatable whether it's too personal an experience--I don't think it is. And CBS Radio has been kind enough to give me the time to find out.

Some of you may be offended; some revolted, some excited by the sharing of this experience. At all events, since it is an experiment, and since we'll be dealing with those strange depths in a man's mind called his subconscious, we ask your attention.

The play is called "Nightmare".

MUSIC:

WISTFUL, BECOMES OMINOUS, ENDS ON OMINOUS CHORD

RUTH:

Are you all right, Johnny? Johnny?

JOHNNY:

(BREATHING A BIT HEAVY. EXHAUSTED) Tired... I'm so tired.

RUTH:

Well, what was it? Are you all right?

JOHNNY:

Fine. Just felt a little sick. Tired.

RUTH:

I'll call Dr. Rogers.

JOHNNY:

No, it's late. Let the poor man sleep. Call him in the morning if I don't feel better.

RUTH:

You sure?

JOHNNY:

Sure. I just wanna sleep.

RUTH:

I'll call him.

JOHNNY:

Please. It's all right.

RUTH:

Well, come to bed then. You can't sit here all night.

JOHNNY:

I'll-- I'll be in in a few minutes. I'll just sit here for a while.

RUTH:

I'll stay here with you then.

JOHNNY:

No need. I'll just... get a little rest.

RUTH:

I'll stay here.

MUSIC:

OMINOUS, PIERCING, UNDER

JOHNNY:

So tired... Tired...

RUTH:

(ECHOEY, FADING) I'll stay with you. I won't go away. I won't leave you. I'll stay right here.

MUSIC:

OMINOUS, STABBING CHORDS, RISING TO FRENZIED STABBING CHORDS, THEN OUT SUDDENLY

SFX:

STADIUM AMBIENCE, CHEERING CROWDS, UNDER

JOHNNY:

(CALLING THE GAME) Number eighteen it was, on a wide-end run. The opposing tackle, in black trunks, finally downed him on the nineteen-yard line. And this is a good time to remind you that this is Johnny Scott, bringing you the annual gridiron classic-- That this is Johnny Scott--

That's very odd, ladies and gentlemen. There's a man sitting on the far side of the field, whose face-- He seems to be smiling at something. Perhaps you all know him. He's a tall man, wears a black moustache, has black hair parted in the centre and well and carefully combed. He's smoking a cigarette. Perhaps you all know him.

SFX:

CROWD ROARS

JOHNNY:

Oh, there's the play! It's number eighteen again, this time diving through his own left tackle-- This boy is really tremendous! There! There, just now, the opposing tackle grabbed number eighteen from behind. The man with the black moustache is applauding.

SFX: CROWD REACTS TO THE ACTION, AS HE DESCRIBES IT, UNDER

JOHNNY:

Oh no! The players on both sides have jumped on number eighteen, and they're hitting him with their fists! The crowd is going wild! This is horrible! People are jumping from their seats into the field to join in, but they're all on one side! All striking number eighteen, who's lying face-down on the beautiful green sod of this lovely stadium! It's a lovely autumn day here in Newt Falls, and over eighty thousand screaming fans are pounding and kicking player number eighteen!

MUSIC:

BAND UNDER

JOHNNY:

The man with the black moustache--I'm sure you all must know him! The man with the black moustache is standing in the centre of the screaming mob! He seems to be directing their efforts! I've never seen anything like this, ladies and gentlemen! There doesn't seem to be anything anyone can do to save number eighteen! There! Just now, the man with the black moustache picked up the quiet form of my father! He's slung my father over his shoulder! He's making his way through the crowd! Why is he carrying my father away? Where is he taking my father?

SFX:

CROWD SCREAMS

MUSIC:

OUT

SFX:

OCEAN WAVES, "OCEAN LINER AT SEA" AMBIENCE, UNDER

CAPTAIN:

Mr. Scott?

JOHNNY:

Pardon? Oh, yes, Captain.

CAPTAIN:

We shall be pleased to have you at our table tonight.

JOHNNY:

Oh, thank you, Sir. At your table.

CAPTAIN:

Of course. Had you forgotten?

JOHNNY:

No, Sir. Of course not.

CAPTAIN:

Very well. At fifteen bells.

JOHNNY:

Yes. Thank you, Captain.

CAPTAIN:

Good. Good work, my boy!

SFX:

CAPTAIN WALKS AWAY

JOHNNY:

(TO HIMSELF) Hmm. Mustn't forget. Dinner at fifteen bells.

MOTHER:

Master Scott?

JOHNNY:

Hm? Oh, hello, Miss Simpson! I'm glad to see you again!

MOTHER:

Really?

JOHNNY:

Oh, of course I am! I always liked you, Miss Simpson. Just because I can't do my algebra doesn't mean I don't like you.

MOTHER:

Take your seat please. Can you remember where your place is in this room?

SFX:

CLASS LAUGHS

MOTHER:

Class!

SFX:

2 ECHOEY HITS ON DESK WITH YARDSTICK

MOTHER:

It seems strange to me that a young man would forget the location of his desk.

JOHNNY:

It seems strange to me that you should be holding your classes on board an ocean-going vessel.

MOTHER:

An ocean-going vessel? Really. Rogers?

DOCTOR:

Yes, Miss Simpson.

JOHNNY:

You???

DOCTOR:

Good afternoon, John.

JOHNNY:

Weren't you just at the football game?

DOCTOR:

Football game? I've been here in class since first bell. I shall stay here until fifteen bells.

JOHNNY:

Miss Simpson?

MOTHER:

What is it, Master Scott?

JOHNNY:

I'd like to know why this student sitting here next to me has a black moustache and denies being at that football game this afternoon.

DOCTOR:

I object, Miss Simpson. I couldn't have been at that football game this afternoon, when it is now only morning. This afternoon, in fact, has not yet arrived. Therefore, I move this entire case be dismissed.

MOTHER:

Master Scott?

JOHNNY:

Oh, I have-- I have nothing to say. His argument sounds logical, but I saw him hit number eighteen at the football game this afternoon! I know I saw him! He hit my father, and then carried him away!

DOCTOR:

Miss Simpson, it is obvious to me that, since this is morning, this morning to be specific, it is impossible that this young man--John--could have seen me this afternoon at anything this afternoon, since this particular afternoon won't be here until after this morning is over. Right?

SFX:

CLASS SAYS, "RIGHT!"

MOTHER:

Master Scott?

JOHNNY:

He's trying to trick me! He's just saying words. He always does that. And I won't stand for it!

DOCTOR:

(CALMLY) You're going to hit me?

JOHNNY:

I am going to hit you! I'm gonna bloody your nose for you!

DOCTOR:

(CALMLY) Then hit. Then strike. Then flay. Then pound. Then attack. Then beat. GO!

JOHNNY:

(STRUGGLING) Let go of my arms, and I will.

DOCTOR:

(CALMLY) I am not near your arms. I won't touch your arms.

JOHNNY:

(STRUGGLING) Let go of me!

DOCTOR:

(CALMLY) I am not near your arms. I won't touch your arms.

JOHNNY:

(STRUGGLING) Then let go of me! (CRINGING) Don't hit me! Please!

SFX:

VICIOUS, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN)

MUSIC:

PIERCING NOTE, UNDER

JOHNNY:

(WHIMPERING) Why? Why did you hit me?

SFX:

VICIOUS, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN)

MUSIC:

PIERCING NOTE, UNDER

JOHNNY:

(WHIMPERING) Stop hitting me.

DOCTOR:

I'm not near your arms.

JOHNNY:

(STRUGGLING) You've got... to let... go of me!

DOCTOR:

I'm not hitting you, John.

JOHNNY:

(BREAKS FREE) There! Now you can't hit me! (GASPING FOR BREATH, UNDER)

SFX:

VERY SLOW PLODDING STEPS

JOHNNY:

I've-- I've got to run faster! (GASPING FOR BREATH)

SFX:

"SHIP AT SEA" AMBIANCE, UNDER

SFX:

14 DINGS ON A DESK BELL

JOHNNY:

I think this is when I'm to have dinner with the Captain.

SFX:

WALKS TO DINING ROOM, OPENS DOOR

MUSIC:

ORCHESTRA PLAYS A DISCHORDANT VERSION OF "SUNNY SIDE OF THE STREET", UNDER

SFX:

CLOSES DOOR

CAPTAIN:

Ah, Mr. Scott! Welcome to our little Captain's Dinner, which we have on board ocean-going vessels every night for invited guests of the Captain. I am the Captain.

JOHNNY:

May I remark, Sir, about your very fine orchestra?

CAPTAIN:

You may.

JOHNNY:

They're very fine.

CAPTAIN:

Thank you. Now, if everyone will please be seated. Miss Simpson, over there.

MOTHER:

An apple! For me?

CAPTAIN:

Rogers, on her left.

DOCTOR:

Right.

CAPTAIN:

Mr. Scott, Senior, over there.

FATHER:

Thank you.

JOHNNY:

Hello, Dad!

FATHER:

Hi, Johnny! Don't bolt your food, now.

JOHNNY:

I won't, Dad.

CAPTAIN:

And our guest of honour, John Scott, Junior, at the head of the table, opposite me.

JOHNNY:

Thank you, Sir!

CAPTAIN:

Ready? On your mark... Get set... Go!

SFX:

FRANTIC RUSH TO GRAB CHAIRS AND SIT DOWN

SFX:

RUTH RUSHES IN

RUTH:

Oh, I'm sorry I'm late. I hope I didn't worry anyone.

CAPTAIN:

Uh, Miss Vincent. You, uh, may sit next to Mr. Scott, Secundus, at the opposite head of the table.

RUTH:

Thank you.

SFX:

SHE GOES TO END OF TABLE. SCRAPE OF CHAIR

RUTH:

Oh! Thank you.

JOHNNY:

Pleasure.

SFX:

SCRAPE OF CHAIR

RUTH:

Are you enjoying the cruise, Mr. Scott?

JOHNNY:

Yes, very much, thank you. And you?

RUTH:

Very much, thank you.

SFX:

GUESTS CHAT, AND EAT DINNER, UNDER

JOHNNY:

Are you hungry?

RUTH:

No. I'm not.

JOHNNY:

Neither am I. Besides... I hate oatmeal.

RUTH:

Would you like to go outside?

JOHNNY:

Thank you, I would.

RUTH:

They won't notice.

SFX:

SCRAPE OF CHAIRS. THEY WALK AWAY, OPEN DOOR, WALK THROUGH, CLOSE DOOR

SFX:

DECK ATMOSPHERE (SHIP'S ENGINE, GULLS, WAVES)

RUTH:

You don't think this is forward of me?

JOHNNY:

Of course not.

RUTH:

I've never left a dinner table with a young man before.

JOHNNY:

I'm sure you haven't. And I don't at all think it's forward of you. I think it's very admirable of you.

RUTH:

Thank you.

JOHNNY:

There's a man in there--the man with the black moustache--he's not a good man, or a kind man. This afternoon, he almost killed a football player during the big game. And then, he grabbed me, and hit me in the chest!

RUTH:

Doesn't he like you?

JOHNNY:

I don't remember him. I seem to know him... Do you know him?

RUTH:

No, I don't. I don't think I do. What's his name?

JOHNNY:

The Captain called him Rogers.

RUTH:

The name is familiar.

JOHNNY:

I seem to remember him.

RUTH:

Kiss me.

JOHNNY:

Thank you, dear.

RUTH:

I love you so much, Johnny.

JOHNNY:

And I love you, Ruth. I love you, Ruth.

RUTH:

That's good. How long have we been married, Johnny?

JOHNNY:

Four years, seven months, and... uh, twelve days.

RUTH:

Correct!

JOHNNY:

But I've only known you ten minutes.

RUTH:

Correct.

SFX:

METAL DRAGGING IN GRAVEL

JOHNNY:

Do you hear that?

RUTH:

Oh, yes.

JOHNNY:

It sounded as though we'd scraped bottom.

SFX:

METAL DRAGGING IN GRAVEL

JOHNNY:

There! There it is again.

RUTH:

We're going up a river.

SFX:

FLOWING RIVER, UNDER

JOHNNY:

Isn't there enough water in the river?

RUTH:

They had to let it out. There was a need for it elsewhere.

JOHNNY:

Oh, I see.

SFX:

METAL DRAGGING IN GRAVEL, UNDER

RUTH:

Do you mind very much?

JOHNNY:

No, I don't mind.

RUTH:

That's good. You'll get used to it.

JOHNNY:

Isn't it hard on the bottom of the boat?

RUTH:

Perhaps.

SFX:

RIVER AMBIENCE OUT

SFX:

GRAVE BEING DUG, UNDER

RUTH:

I'm sorry about your father.

JOHNNY:

Yes.

RUTH:

So young to die.

SFX:

CHURCH BELL TOLLS SLOWLY, UNDER

JOHNNY:

My poor dear mother. To lose her love.

RUTH:

What will you do now, Johnny?

JOHNNY:

We can't get married, Ruth. Not yet.

RUTH:

All right.

MOTHER:

(SOBS, UNDER)

RUTH:

Poor lady.

JOHNNY:

Oh, that's not my mother. That's my algebra teacher, Miss Simpson.

RUTH:

Poor, poor lady.

JOHNNY:

Good afternoon, Miss Simpson.

MOTHER:

The class... is dismissed. You may all go home. Thank you for being so kind. (LITTLE SOB) Please excuse me. (SOBS, FADING OFF MIKE)

DOCTOR:

Where were you?

JOHNNY:

What do you want?

DOCTOR:

Where did you go? Why did you go outside? Did you ask me whether it was all right for you to go outside?

JOHNNY:

Don't touch me!

DOCTOR:

I won't touch you. I just want to give you something.

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN) Don't! Please don't!

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN) Don't hit me again. (CRYING) Please don't hit me again! Ruth! Ruth!!! Please come here!!! (SOBS) Please come here, Ruth! Where did you go? Ruth! Please, Ruth!!!

SFX:

DOOR CLOSES

JOHNNY:

(CRYING SOFTLY) Don't hit me again. Please don't hit me again.

MUSIC:

DISCHORDANT, EERIE, UNDER

FATHER:

What did you say, Johnny?

JOHNNY:

Oh, hi, Dad.

FATHER:

Hello, Son.

JOHNNY:

I thought someone had hit me. The man with the black moustache.

FATHER:

What man is that?

JOHNNY:

He was having dinner with us, at the Captain's table.

FATHER:

Oh, yes.

JOHNNY:

The sky looks nice through the trees.

FATHER:

That it does.

JOHNNY:

What are we gonna do this afternoon, Dad?

FATHER:

Would you like to see a baseball game?

JOHNNY:

I'd love to.

FATHER:

Then, we'll go see a baseball game, and eat hot dogs and peanuts and Cracker Jack. I don't care if we never come back. Cause we'll root--

JOHNNY:

And it's all right if we spoil our dinner?

FATHER:

I'll tell Mother to have dinner late tonight.

JOHNNY:

Dad?

FATHER:

Yes, Johnny?

JOHNNY:

Could I have the car tonight? I'll be careful.

FATHER:

Got a date with Ruth?

JOHNNY:

Yeah.

FATHER:

I like her, Johnny. So does your mother. She's a wonderful girl.

JOHNNY:

Do you really like her?

FATHER:

You bet I do.

JOHNNY:

That's good. I wanna marry her, Dad.

FATHER:

That's good, Son. That's good, Son.

JOHNNY:

I want Ruth and I to be married and have a fine life, and kids, and a big house, and a garden. (PAUSE) Dad?

FATHER:

What is it, Son?

JOHNNY:

You're... dead.

FATHER:

Me? Not a chance!

JOHNNY:

But you are! I remember the day you died. You were so sick. And you died, very quietly. I remember the funeral, and how proud we all were, because so many people--fine people--came to pay their respects.

FATHER:

I didn't die, Johnny.

JOHNNY:

I remember!

FATHER:

That must have been a dream, Son. This is real, right now.

JOHNNY:

Is it, Dad?

FATHER:

Of course it is, Son. That was a dream. This is real.

JOHNNY:

I can't hear you, Dad. What'd you say?

FATHER:

(SLIGHTLY OFF MIKE) The Yankees are playing today, you know.

JOHNNY:

I can't hear you, Dad. Is something wrong with me?

FATHER:

(FAR OFF MIKE) I'll tell Mother to have a late supper.

JOHNNY:

(CALLS) Dad?

DOCTOR:

How do you do, young man? Nothing to worry about.

JOHNNY:

(FEARFUL) What do you want?

DOCTOR:

Nothing to worry about, young man. I have an appointment with your father.

JOHNNY:

You leave my Dad alone!

DOCTOR:

Now, don't be nervous. Nothing to worry about.

JOHNNY:

Leave my dad alone, I said!

DOCTOR:

Here now, step back. Back.

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN)

MUSIC:

PIERCING STING

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN)

MUSIC:

PIERCING STING

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN)

MUSIC:

PIERCING STING

JOHNNY:

(PANTING WITH TERROR)

RUTH:

(SLIGHTLY OFF-MIKE, ECHOEY) John?

JOHNNY:

(ECHOEY GASPING. GROAN)

RUTH:

(ECHOEY) John?

JOHNNY:

(ECHOEY GASP, GROAN) What?

RUTH:

(ECHOEY) John?

JOHNNY:

(ECHOEY, TRYING TO SOUND CALM) I'm... all right, Ruth. I'll be all right. It's just, (CRIES) I'm lonely.

RUTH:

(ECHOEY) Johnny?

JOHNNY:

(ECHOEY) Don't go away, Ruth! Please don't go away! (CRYING) I don't wanna be alone here.

MUSIC:

DISCHORDANT, BUT STRANGELY ROMANTIC, UNDER

MOTHER:

Master Scott?

JOHNNY:

What? Oh. Miss Simpson.

MOTHER:

Aren't you going to ask me for the next dance? You'd better hurry. My programme's almost filled. See? I only have eighteen empty spaces.

JOHNNY:

Miss Simpson, may I have the honour of the next eighteen dances?

MOTHER:

Why, Master Scott! What have you said? I should be delighted!

JOHNNY:

My arm?

MOTHER:

Thank you.

JOHNNY:

(PAUSE) You waltz beautifully, Mother.

MOTHER:

They really knew how to waltz when I was a girl. When I was a girl.

JOHNNY:

You're hardly more than a girl now.

MUSIC:

WISTFUL, ROMANTIC, HAUNTING PIANO WALTZ

MOTHER:

That's sweet.

JOHNNY:

And very true.

MOTHER:

When I was a girl, I never had many empty spaces in my dance programme. Young John Scott filled out my programme for me at all the dances. We had a dance every Saturday night, and young John Scott was my escort. He was a very dashing young man.

JOHNNY:

Was he?

MOTHER:

We were married, you know. I was Mrs. John Scott, instead of Miss Simpson.

MUSIC:

WALTZ TURNS WISTFUL, WITH VIOLINS & PIANO

JOHNNY:

I know, Mother.

MOTHER:

He died, you know.

JOHNNY:

I'm sorry.

MOTHER:

He just... died. No one knew why, or how. (TEARFUL) Your father... just died. (SOB) May I borrow your handkerchief, Master Scott? (SOB) I seem to have left mine in my purse.

JOHNNY:

Certainly, Miss Simpson.

MOTHER:

Thank you. You may take me back to my chair now, Master Scott. And thank you for a lovely dance.

JOHNNY:

It was a pleasure.

MUSIC:

OUT

SFX:

FOOTSTEPS, UNDER

JOHNNY:

I hope I may have the pleasure again.

MOTHER:

Thank you. The pleasure was all mine.

DOCTOR:

Good evening.

MOTHER:

Good evening, Rogers.

JOHNNY:

(CONFRONTING HIM) What are you doing here?

DOCTOR:

I was practising my samba.

MOTHER:

I have always held that dancing the samba to a waltz is more interesting than dancing a samba to a samba. Don't you agree?

DOCTOR:

Quite.

JOHNNY:

(TERSELY) Please excuse me.

DOCTOR:

I'll join you.

MOTHER:

Thank you for a lovely evening.

MUSIC:

SAMBA, UNDER

DOCTOR:

This way!

JOHNNY:

Where are we going?

DOCTOR:

We've moved the office. There are some papers on your desk I think you should look over.

JOHNNY:

What kind of papers?

DOCTOR:

Oh, various triplicates, duplicate copies, a few scattered originals, and eighteen photostats.

JOHNNY:

Oh, I'd better clear my desk then. I don't like to have a cluttered desk.

SFX:

GOES TO OFFICE, OPENS DOOR, WALKS IN, CLOSES DOOR WITH AN ECHOEY SLAM

(ECHO CHAMBER EFFECT THROUGHOUT)

 

DOCTOR:

Too drafty for you?

JOHNNY:

No, not at all. The air feels good. It was stuffy at the dance.

DOCTOR:

Respiration is bad. Bad respiration.

JOHNNY:

That's very strange.

DOCTOR:

What is?

JOHNNY:

I think you said that before to me. Or were you going to say it?

DOCTOR:

Respiration?

JOHNNY:

Have you ever said that to me?

DOCTOR:

It's entirely possible. It's a form of greeting I use. Most people say, "How are you?" when they meet you on the street. I never say, "How are you?" when I meet people on the street. I always remark concerning their respiratory tract.

JOHNNY:

Oh, of course. I see.

DOCTOR:

Does the noise of all the typewriters annoy you?

JOHNNY:

No, I can't hear them.

DOCTOR:

That's good. Will you... sit down?

JOHNNY:

Thank you.

DOCTOR:

If you'll sit on that typewriter, I'll let you ride back and forth while I make out this report.

JOHNNY:

Oh, that's very kind of you.

SFX:

ECHOEY SOUND OF HUGE HAND SAW, SAWING A LOG, UNDER

JOHNNY:

This is very enervating.

DOCTOR:

Just keep your arms out of the way. If you get your arms too near to me, I shall drive this spike through them. It's a hobby of mine.

JOHNNY:

I'll be careful. I promised Ruth I'd be careful.

DOCTOR:

You're a very fortunate man, being married to Ruth.

JOHNNY:

I think I am.

DOCTOR:

Don't you know you are?

JOHNNY:

Of course I know I am.

DOCTOR:

Then why did you say you thought you were?

JOHNNY:

Oh, it was just a figure of speech.

DOCTOR:

If you don't stop using figures of speech, I shall have to insist that you stop riding on my typewriter carriage.

JOHNNY:

I'd just as soon get off anyway. I feel quite dizzy.

DOCTOR:

Wait til I disconnect the super-heterodyne.

SFX:

2 LOUD CLICKS. SAWING SLOWS TO A STOP. 1 LOUD CLICK.

DOCTOR:

I'll help you off. Your arm?

JOHNNY:

Thank you. (IN PAIN) Don't! Please! Let go of my arm!

DOCTOR:

Sorry, didn't mean to hurt you.

JOHNNY:

(ANGRY) What's wrong with you?

DOCTOR:

I said I was sorry. What can I say after I've said, "I'm sorry"?

SFX:

CLICK OF COIN IN JUKEBOX

MUSIC:

HOKEY, DISCHORDANT JUKEBOX VERSION OF "WHAT CAN I SAY AFTER I'VE SAID I'M SORRY", UNDER

DOCTOR:

Is that your song?

JOHNNY:

No.

DOCTOR:

You didn't write that song?

JOHNNY:

No.

DOCTOR:

Hmmm. Very well.

SFX:

LOUD CLICKS OF JUKEBOX BEING TURNED OFF

MUSIC:

JUKEBOX OUT

DOCTOR:

Then we can get down to the business at hand. Will you sign those papers on the desk?

JOHNNY:

Are we allowed to do that?

DOCTOR:

I wouldn't ask, otherwise. Your duty is plain. Do it!

JOHNNY:

All right.

SFX:

CHALK SCRIBBLING ON BLACKBOARD, UNDER

JOHNNY:

This is a strange fountain pen.

DOCTOR:

It's the newest model. It's made like a piece of chalk, so that it can be erased.

SFX:

CHALK OUT

JOHNNY:

Oh, that's an excellent idea.

DOCTOR:

Now, these photostats.

JOHNNY:

I've never signed a photostat.

DOCTOR:

Just use this camera.

JOHNNY:

Oh, that's a good idea!

DOCTOR:

At the bottom. Where the coffin is.

JOHNNY:

(PAUSE) Where did you get these?

DOCTOR:

I made them out, kind sir.

JOHNNY:

These are Death Certificates.

DOCTOR:

Very well written, I think.

JOHNNY:

These are my dad's Death Certificates.

DOCTOR:

Life carries with the joy, so many harsh blows.

JOHNNY:

Who ARE you? You're so familiar. Yet, I can't--

DOCTOR:

Just... lie back, now. Don't struggle.

JOHNNY:

Who are you??

DOCTOR:

That's it. Easy does it.

JOHNNY:

Put that hammer down! What are you doing with that hammer?

DOCTOR:

If you'll just bare your chest.

JOHNNY:

Please don't hit my chest! Please!

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN, GASPS FOR BREATH)

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN, GASPS FOR BREATH)

SFX:

VIOLENT, ECHOING PUNCH

JOHNNY:

(GROANS IN PAIN, GASPS FOR BREATH)

MUSIC:

PIERCING STING, SUSTAINED UNDER

JOHNNY:

(IN PAIN) I've got to get up. I've got to run away. (STRUGGLING) Up... Get up... (WHIMPERING) Why did everyone go away? Why did they all leave me? I wish I knew where I was. I've got to get home. This is such a dark place. (SOBBING) And I'm afraid of the dark! Ruth! Ruth! I'm afraid of the dark! It's dark, and I'm alone! Ruth! Please come and help me.

DOCTOR:

(WEIRD MECHANICAL VOICE) All right.

JOHNNY:

(GASPING FOR BREATH) Maybe... Maybe there's a door down there. Down at the other end. Why is it so hard...to walk?

DOCTOR:

(WEIRD MECHANICAL VOICE) He'll be all right.

JOHNNY:

I've got to walk. That'll do it. (STRUGGLING) If I can walk, I can get out of here.

MUSIC:

LABORIOUS, PLODDING, UNDER

SFX:

VERY SLOW, LABORIOUS, PLODDING FOOTSTEPS, UNDER

RUTH:

(WEIRD MECHANICAL VOICE) Hello, Johnny.

MUSIC:

BECOMES DRAMATIC, STIRRING, UNDER

JOHNNY:

(GASPING FOR BREATH, STRUGGLING TO WALK) It's so far to the door! Maybe... someone's moving the door away from me. (SOBBING) Why do they do that? Don't they know I have trouble walking? Don't they know it's hard for me to walk? (KEEPS SOBBING, AS HE STRUGGLES TO WALK)

DOCTOR:

(WEIRD MECHANICAL VOICE) Struggle. Don't struggle.

JOHNNY:

(SOBBING) I've got to get to the door! I got to get... to the... door!

MUSIC:

PLODDING FASTER, THEN SLOWS TO SUSTAINED NOTES, UNDER

(ECHO CHAMBER EFFECT OUT)

 

DOCTOR:

All right. He'll be all right.

RUTH:

Oh, thank God!

DOCTOR:

This is a strange thing for a doctor to say, I guess.

MUSIC:

WISTFUL STRINGS

DOCTOR:

But I just couldn't let him die. You see, I was the doctor when his father passed away.

RUTH:

Oh, I didn't know that. I never knew his father.

DOCTOR:

I haven't seen him since. I've always felt that he bore me a grudge because of his father. Families very often do that, you know.

RUTH:

Are you sure he's all right now?

DOCTOR:

Yes. He's all right. A few months of bed rest.

RUTH:

He won't be... disfigured? Crippled?

DOCTOR:

I can promise you, he won't be. Strange.

RUTH:

What?

DOCTOR:

He struggled against me. Fought me so hard. You'd almost think he'd been conscious through the whole seizure.

RUTH:

Oh, I don't think he was. He didn't even know me at the time his eyes were open.

DOCTOR:

You'd better get some sleep now. I'll stay with him until morning. Then we'll get him to the hospital. He'll be all right. Don't worry about him.

RUTH:

All right, Doctor.

DOCTOR:

It is strange, though. The way he fought me. Strange.

MUSIC:

FINAL SUSTAINED DRAMATIC CHORD, THEN OUT

ANNCR:

As with all dreams, Elliott Lewis, who played Johnny Scott, also produced, directed, and was the author of tonight's "Nightmare".

The music was composed and conducted by Fred Steiner.

Ruth Scott was played by Mary Jane Croft. Edgar Barrier was Doctor Rogers. Paula Winslow and Herb Butterfield were Mother and Father Scott. And Barney Phillips was the Captain.

The CBS Radio Workshop is produced in Hollywood, by William N. Robeson.

MUSIC:

CLOSING THEME