Original subtitles

("Alfred Hitchcock" theme music)

- Good evening.

(hypnotic horn music)

I'm sorry, I was under the impression

this was to be a smoker.

This jar was built in this shape especially for me.

The jars come in one other shape.

It is 76 inches, 38 inches, and 75 inches.

When he uses that jar, he doesn't have to use his flute.

He just whistles at it.

This evening's story does not take place in India,

but it has its beginnings there.

Before our friend the snake charmer

would allow me to take part in this charade,

he insisted that my venom be removed.

Oh, I continue to strike out at the commercials,

but my insults are no longer lethal.

Here comes a commercial now.

Boring, repetitive, noisy, tedious, soporific.

You see, I'm completely harmless.

Juvenile, dull, ridiculous.

(dramatic instrumental music)

(rattling instrumental music) (speaking foreign language)

- Oh, yeah, you say it, mother!

(rattling instrumental music) (speaking foreign language)

Mm hmm, amen, mother!

(speaking in foreign language)

- [Guest] Gayle.

- I'm with it.

- Now what is that poor creature talking about?

- Black magic, Bob Rob.

And you'd better believe it.

- Do you?

- I believe in me.

I'm better than that tired out gypsy.

I'm a boss witch! (laughs)

- Shut up, Gayle.

- I never shut up, Selina.

Never.

For nobody.

(laughing)

(rattling instrumental music) (speaking foreign language)

- Are you enjoying yourself, Mother?

- Oh, it's all so foolish.

(rattling instrumental music) (speaking foreign language)

- Can't hear you, Fleming.

Either speak up or phone me back.

Now look, it took me four hours to place this call.

Yes, yes, that's better.

Now, just what does your cable mean?

You said last week that...

Oh, yes, yes, Anne's fine.

Yes, we were right to come down here

for Howard's racing tour.

Yes, very nice.

Yes, Howard's fiancee is letting us use

one of her houses while we're here.

Yes, it's the same number I gave you, yep.

You watch the papers.

Next race is day after tomorrow.

And he'll win it, that boy is coming on.

Now listen, Fleming, Fleming, about the money,

we can't need that much.

What do you mean I need it?

But we're partners, what are you doing?

And you had to wait until I was out of the country, huh?

Behind my back.

How much?

All right, all right, you'll find out what I can do.

Just a minute.

Anne, please, don't stand there.

I'm trying to deal with this crook.

- Is he forcing you out?

- No.

I'm throwing him out.

- How much money?

- I'll tell you later.

- How much, Paul?

- $150,000.

Look, Fleming, can you hear me?

Now I'll get the money.

By when?

But that's impossible.

And you know that's impossible!

- When?

- Will you please let me finish this call alone?

Look, Fleming, Fleming, can you hear me?

Now you have got to give me a reasonable time.

Can you let me have two weeks?

One week then?

Please.

(rattling instrumental music)

(shouting and clapping) (rattling instrumental music)

(speaking foreign language)

- Gayle!

(fleshy smack)

Leave her alone.

It's my party, I paid for her.

At my party, we have fun, fun, fun!

Sing!

- Throw out the old baggage.

- It's (speaks foreign language) you fraud.

(speaking foreign language)

- She's setting us up.

It's part of the act.

(speaking foreign language)

- She's gotta be kidding.

(laughing)

(speaking foreign language)

- (speaks foreign language), mother dear.

(speaking foreign language)

The mother says doom and death for one!

Now I say doom and death, but I say it better.

(speaks foreign language) for everybody.

(speaking foreign language)

- (speaks foreign language) what's that?

- Who's that?

- Well, I guess it's you and me, darling.

(laughing)

- Well why won't she say who?

- Perhaps if we pay her more money, Mrs. White.

Gayle, give her this.

Ask her who for Mrs. White.

- It's too much, sweetie.

(speaking foreign language)

- Who is it?

Who is it?

(speaking foreign language)

- Who is it?

(speaking foreign language)

Who?

How do you say it in Spanish?

(speaking foreign language)

- [Gayle] Man, she doesn't know!

Look at her!

Who is it that dies, mother?

(speaking foreign language)

- [Robin] What are you saying, Gayle?

- Baby, mother is a liar!

We're gonna live forever.

She's crazy!

- (speaking foreign language) crazy woman.

(speaking foreign language)

- You found her, sweetie.

Get her outta here.

(speaking foreign language)

- What gift?

(speaking foreign language)

- It's for her.

It has a spell on it by a holy man.

(speaking foreign language)

The monkey's paw will give you three wishes,

but the last wish will be for death.

- What are the first two?

(speaking foreign language)

- [Gypsy Man] Anything.

(groaning)

- This is no fun anymore.

Get them out of here, Howard.

(speaking foreign language)

- We don't want your sort around here.

- [Gypsy Man] No one wants three wishes?

(speaking foreign language)

- No!

(dramatic instrumental music)

No!

Don't burn it.

- [Anne] Paul, Paul, stand up!

Well you don't believe that!

- [Paul] You don't know what I believe.

- [Howard] Then it's yours, Dad, you deserve it.

- [Anne] Let go of it!

- It's just a memento, Mother, you know Dad.

(percussive instrumental music)

- How do I get what I want?

How do I get what I want?

(speaking foreign language)

(mysterious instrumental music)

- It's absurd, Paul.

It's ridiculous!

Pretending to believe that gypsy woman,

in front of all those people!

- I don't pretend to believe, I do believe.

- And what sort of a belief is that?

Three wishes on a monkey's paw, it's sickening.

Believe in yourself, Paul, in your own ability.

Did you see Selina's face when you were

poking around the fire like a monkey after chestnuts?

- Did you see my face when I hung up that phone?

Five days is what I have, no more.

- [Anne] Then do something about it.

Don't just sit there staring at a monkey's paw

as though you were demented.

- I've placed every phone call I can think of,

Los Angeles, London, New York.

There's gonna be quite a phone bill

for Selina to pay.

- We're Selina's invited guests.

- For a month, Anne, not permanently.

(knocking)

- May I interrupt?

- [Anne] Come in, dear.

- Now don't let a monkey's paw come between us,

or money or no money.

Now, I'll fix that, day after tomorrow.

$8000 for first place,

and, Dad, half of that is yours if you can

persuade Mom to watch my time trials tomorrow.

I want a solid cheering section behind me.

- [Anne] No, I can't watch your races.

- Oh, Mother, it's not the real race.

It's for qualifications and starting position.

- [Anne] Well, Selina will be there.

- Well, now I love you both, I love everybody,

especially when I'm at 130 miles per hour.

So be there, both of you.

Bring her to the pit, Dad.

- [Paul] We'll be there, early.

- Howard. - Yes, Mother?

- Take this.

- I don't need it, Mom.

- Oh, take it away, take it out of this house.

(ominous instrumental music)

- Let Dad keep it.

I believe in charms, we all do,

though not necessarily monkey paws.

- Good night, dear.

- I'm off.

(sinuous instrumental music)

- All I'm trying to say is that in Africa and India,

I've seen things that--

- Were not dreamt of in our philosophy.

- Yes, that's right, black magic, sorcery, demons.

- Goblins and devils and ghosties.

I don't believe any of it.

- Well a holy man once told me in India

that these things actually exist.

That gypsy woman, she seemed to have a power

that was real,

and maybe she did put a spell on that monkey's paw.

- Oh, Paul, it's simple, it's quite simple.

You and I and our son,

we'll start over again, far from here,

very far from here.

- No need to.

- Good night, dear.

- Good night.

- Oh, Paul?

- [Paul] Yes, dear?

- Will you get me a drink of water?

- Oh, yes, of course.

(ominous instrumental music)

I wish,

I wish for $150,000.

(dramatic instrumental music)

(Paul grunts)

- Paul!

Paul, what is it?

Paul, what happened?

- The paw.

It moved.

I wished for $150,000.

It squirmed in my hand like,

like a snake.

(dramatic instrumental music)

(car revs)

- [Announcer] Your attention, please.

Will the spectators please remain off the track

during the time trials.

Thank you.

- Any instructions, chief?

- Now you must increase your speed 1.8 seconds per lap

over yesterday's practice time.

- Only 1.8 seconds?

- Aye, that will be enough.

- I'll give you two seconds more, just ask me.

- Two points.

- [Chief] 1.8 seconds will be enough, Howard.

- I love you, Howard.

- [Announcer] Here is the official qualifying time

for the (speaker drowned out).

- [Howard] What do you think so far, Mom?

- I think it's very interesting.

- Well, the best is yet to come.

- [Announcer] 22.9 seconds.

- I don't believe I'll be able to watch.

- Oh yes, you will, when he gets started.

- [Announcer] Will the Marcy and Megan's entry

(speaker drowned out).

- Howard, Howard.

- Remember, Howard, I love you forever and ever.

- I love you, too.

- [Official] On the track, please.

- Don't let Mom worry, Dad.

- Oh, she'll be all right, but you be careful.

Here, this will make you two seconds faster.

There you are.

- Well, how can I lose?

- Howard, Howard, Howard, please don't race,

don't go today, Howard, don't.

- Dad! - Don't race, Howard.

Please, don't go today Howard.

Please, no, stay, Howard. - He has to, dear.

- No, Howard, don't go today!

- Howard, a-go-go!

Howard, go, go!

- [Crowd] Go, go, go, go, go, go, go, go,

go, go, go, go, go, go, go, go, go, go, go,

go, go, go, go, go!

- I'll have a brandy and Miss Royce

will have a Stinger, please.

- Your mother can't bear to hear

about your driving, can she?

- No.

- Mercy, must be awful to be frightened.

Your mother's afraid to see you race, isn't she?

- Mother worries, but she's not afraid.

- If she really wanted to know you,

she'd watch you race.

That's when I see you,

see you the way you really are.

Vroom!

Darling, tell me you're gonna win tomorrow.

- I have a chance.

- Tell me.

- I think I'll win.

- You know.

Tell me.

- Yes, Selina, of course I'll win.

- Yes.

Howard, you must go faster,

faster than ever before.

You must be first.

- I'll be first.

Miss Royce will have the Stinger, please.

- Thank you.

And you'll be first from now on.

You're not afraid, are you?

- I'm too busy to be afraid except--

- No.

You're not afraid.

You are never, never afraid.

That's what I love about you.

Because I'm not afraid, either.

You know, when you're on that track,

I never take my eyes off you for an instant.

There's nobody on that track but you.

- I'll remember that.

- And then the faster you go,

the faster you go,

the closer you come to death.

That's what makes you live so beautifully.

Oh, Howard,

win for me tomorrow.

Win for me.

Win.

- Yes, yes, this is Mr. Paul White speaking.

Yes, operator, yes, I'll wait on the line.

- Dad.

- [Paul] Oh, yes, son?

- I've gotta go now, it's a 12:30 start.

- Come here.

Hello?

(Paul sighs)

- How much trouble are you in, Dad?

- Yes, operator, I am still waiting on the line.

It's just a difficulty, son, it's not trouble.

Hello, hello!

It's just circumstances.

They'll change.

- Can I help, Dad?

- Yes.

You're a winner.

I know that.

Your mother, Selina, your friends, they know that.

Now, you be a winner for the rest of the world.

You be first from now on.

Never look back.

You make everybody know who you are.

- I will, Dad.

- Oh, if I could only talk your mother into going,

even for the start of the race,

but between her feelings and these telephone calls, I.

- Good luck to both of us, Dad.

- Oh, you and Selina, you come back,

you tell us all about it.

- If you'll put a hex on the Italian team.

- That's done.

Hello?

Oh, Ewing, yeah, this is Paul White here.

Yeah, I'm down in the Islands,

and I've had a little difficulty in New York.

- [Anne] Howard.

- Yes, Mother?

- I want you to wear something for me.

- Your colors, Mom.

- It's my favorite scarf.

Oh, now hold still, I know you're nothing

but speed these days.

It's not very decorative, is it?

No wonder you wanna cover it up.

- Well it pleases Dad for me to wear it.

- Your father had his day of pleasure yesterday.

Now it's my turn.

- I could wear it with your scarf.

- You look beautiful, Howard.

- Not dashing, Mother?

- Brave.

- Howard, we were dressed just alike,

that was the whole fun of it.

- I'm sorry, Selina, I haven't any other scarf like it.

Would you care to wear this instead?

- No, thank you, Mrs. White.

It's terribly sweet of you.

What on earth are you gonna do with it?

- Mother, you're getting to be like Dad about that thing.

- I'm returning it to my husband since he dotes on it.

Strange, isn't it, what some people

become violently attached to?

- Come along, Howard.

- We really must go, Mother.

- No, your father will want to say goodbye to you.

- I said goodbye to him already.

- [Anne] Then I'll see you on your way.

- Goodbye, Mrs. White.

- Selina, you can call her Anne or, if you like, Mother.

- Good bye, Mother.

(Selina laughs)

- Goodbye, Mother.

- Oh, Howard.

(somber instrumental music)

(car revs)

(somber instrumental music)

Oh, God.

- Baby. - Oh, Paul.

Don't make me go to the races.

Please, stay with me.

- I'll stay with you.

- Oh, I'm so frightened, dear.

Paul!

- We're together.

We'll spend all day together.

We'll walk into town, we'll do anything you want.

Howard will be back before you know it,

and I will have made the right phone call to New York.

- Oh, how will you know?

- I know.

I believe.

- [Anne] I don't believe in anything.

- You must, Anne.

You must believe.

Everything will be all right.

Everything will be all right.

Everything will be all right.

(ominous instrumental music)

- I do believe, Paul.

I do believe.

(somber instrumental music)

- Yes, operator, I realize it's very difficult

to get a clear connection from here to Los Angeles.

(ominous instrumental music)

(car revs)

- Howard?

Son.

(ominous instrumental music)

- Yes, yes, I'll hold on the line.

(suspenseful instrumental music)

- What is it?

What's the matter?

Selina, why are you here?

Tell me, what's happened.

- Anne?

Oh, oh, is that you?

Yeah, I thought I heard you talking to someone.

What is it?

- Paul, Paul, they were here.

They all came to tell me something, just a second ago.

- Who?

- Well didn't you see them?

- No.

- Well they were here,

they were there.

- I was asked to call.

You are Mr. and Mrs. Paul White?

- Yes.

- I come from Marcy and Megan's.

- What's the matter?

Is it about Howard?

- I'm sorry.

- Has something happened to Howard?

Is he hurt? - How badly?

- Near the finish line, there was an accident.

- An accident, yes?

- Marcy and Megan's, the firm whose car your son drove,

wished me to convey their sincere sympathy

for your great personal loss.

I beg that you understand, I'm only their servant.

I'm merely obeying orders.

I am to say that your son's fiancee, Miss Selina Royce,

had the foresight to obtain insurance

in the event of your son's death,

payable to you, his parents.

I'm very sorry for your loss.

- It's for $150,000.

(jittery instrumental music)

- Vacuous, absurd, insidious.

I'm exhausted, and here comes the biggest target of all,

the station break.

At its conclusion, hopefully in a short time,

our story shall continue.

- [Guest] I wonder how much she charges for one of these.

- I figured out something I would like to tell you.

I'm too intelligent to be in love.

I feel ugly in love.

- Well, I think it's marvelous of Mr. and Mrs. White

to have asked us here for the seance.

- You know, I had a feeling about the race.

I get premonitions about things.

I had a feeling.

There was death in it.

- I think there's something splendid about speed.

- Howard died a hero's death.

- His car going around the curve,

and it became something else, a sheet of flame.

- A funeral pyre.

But I don't see what good this seance is going to do.

- Well, it should be some fun, huh?

- Howard was a very pretty boy,

but he's not coming back.

- Oh, I think our gypsy lady is a witch.

Anything can happen.

(mysterious instrumental music)

- Are you strong enough for this, dear?

- Oh, yes, yes.

You sit by me and together, we...

Thank you, Selina, for finding her,

for bringing her here,

and for asking Howard's friends to join us.

- I felt we had to come.

I wanted to explain why we turned away from the garden

just after Howard was killed

and why we weren't at the funeral.

I was frightened.

- Frightened?

- I guess it was because of the way it all started.

The way somebody said it was the paw, the monkey's paw.

After the race, when we came into the garden,

we were afraid to say how sorry we were.

It was that paw.

- Mrs. White, I wanna help today.

- Do you?

Oh, yes, you do.

You love Howard.

He'll talk to both of us, won't he?

Because we love him.

He won't just talk to one of us, will he?

Will you ask her?

- I think we should begin.

- Does she know what I want?

- Yes, I told her.

- I don't want messages or secret writings.

I want to hear my son.

I want to hear Howard's voice.

She must make him speak to me.

She can do that, can't she?

(speaking foreign language)

- It's possible if there are enough strong believers.

- I believe, isn't that enough?

(speaking in foreign language)

Please, bring me my son.

- She doesn't understand you, dear.

- She does, she knows.

- Maybe he'll speak.

- Only maybe?

Oh, Paul, don't you believe?

Don't you want to hear Howard?

- All right, everybody.

(people laughing)

Come on, everybody in for the seance.

True believers, move up front.

- Ooh, wow, it's stuffy in here.

I sure hope Howard shows quickly before I suffocate.

- Sit down and you don't chatter.

Mrs. White, she wants you on her right.

- [Anne] Paul.

- I'll be right next to you, dear.

- Am I too late? - No, join the group.

(speaking in foreign language)

(knocking)

(speaking in foreign language)

- What?

What?

- Someone in the distance.

(speaking in foreign language)

Shape of a motorcar.

(speaking in foreign language)

On the road.

(speaking in foreign language)

- What?

- The car's going very fast.

(engine revving)

- I can hear it.

- Please, please.

(speaking in foreign language)

What?

(speaking in foreign language)

- Wait.

(engine revving)

- Is it Howard?

(engine revving)

Does she see Howard?

Ask her.

(speaking in foreign language)

- Car is going faster.

(engine revving)

(speaking in foreign language)

It's moving away.

- No!

No, bring him back!

Make him speak to me, bring me Howard's voice!

(speaking in foreign language)

- She can't.

(sad instrumental music) (sobbing)

- I've done the best I could.

We almost heard him.

- Dear, I am so terribly sorry.

- Are you sure you didn't hear anything more?

- No, it was something like a car.

- It was his car.

- Yes, it could've been.

- I know it was Howard.

Why didn't he speak, why?

- I don't know.

- He was so close.

- Anne, dear, Anne, come to bed.

- No.

I wanna stay up.

- [Paul] But, dear, we need the rest.

- I can't rest.

Why couldn't we have tried again?

- Please, dear, if you could only get some sleep.

We can't ask Selina to arrange another seance.

- Don't say that.

- We can't.

- You're denying Howard.

You're denying the dead.

Oh.

- Anne, Howard is dead.

Now, please, you've got to accept that sooner or later.

I know you didn't see him, but I did,

in the hospital before the casket was closed.

- No casket.

Yes, he's dead.

All right, is that better?

You say you saw him, Paul.

I believe you.

But, listen, dear.

- What is it?

- The paw.

- What?

- The monkey's paw!

Where is it?

- Why?

- I want it, that's all.

You didn't destroy it?

- [Paul] No.

- I'm so glad, I'm so glad!

Now tell me where it is.

- It's in the desk in the study.

- Oh!

- No, Anne!

Anne!

No!

No!

No!

- Oh, don't you see, don't you understand what we can do?

- No.

- I thought of it during the seance.

That's what came into my mind.

- Thought of what?

- Why, the other two wishes, dear.

We've only had one.

Now where is it?

Tell me where it is, where is it?

We only had one wish.

- It killed our son.

- But you can make three wishes on the paw.

We've only had one.

Now where did you put it?

Tell me where it is.

Where is it, tell me.

We've only had one.

- Yes, one.

I thought I was wishing for money.

(dramatic instrumental music)

- You got the money, didn't you?

The wish came true.

The paw is true.

Do it.

- I can't.

It's madness.

- Howard's death was madness.

Make one more wish.

Oh, my darling, do it.

Wish our son alive again.

Wish.

- I wish,

I wish our son alive.

(knocking)

- Howard!

Howard! - No!

- Howard!

Howard.

- May we come in?

Come on, Robin.

I'm sorry to drop in on you unannounced,

but I wanted to talk to you.

- Won't you sit down?

- No, thank you.

I realize you're both under a great strain,

and I'm terribly sorry that the seance this afternoon

didn't offer you more satisfaction.

- We were close, weren't we?

- I don't know.

- Oh, speaking for Anne and myself,

we certainly do appreciate all the help and kindness--

- I'm glad you've had some help.

I was just wondering if I could do anything else for you

before you leave.

- Leave here?

- You've used it.

You've wished on it, haven't you?

Mr. White,

this is my house.

I'll expect you to leave as soon as possible.

- Of course, Selina.

We'll pack tonight and leave in the morning.

- [Selina] That'll be fine.

- No!

- Tomorrow morning.

- I'm not leaving.

- Mrs. White, I'm going to rent this house,

starting tomorrow.

Robin wants it.

- I'll stay in my own place.

- Robin, dear, you said you wanted

to rent the house from me.

- No, I don't want to,

not when they've wished on the paw.

- I, uh, didn't wish.

- You did!

Oh, Paul, tell them how you wished.

- You wished Howard alive.

- Yes.

Wouldn't you wish that?

Wouldn't you wish for Howard?

Don't you want him here so that you can tell him

how much you love him?

That's what we want.

We love Howard.

We want him back.

- No, he can't come back.

- He'll walk through that door,

and I'll be standing here, waiting.

But you won't be here.

You were Howard's friend, his girlfriend.

You said you loved him, he believed you.

He loved you.

Since you're leaving him now, forgetting him,

I want him back, everything he gave you,

every ounce of love you took from him.

Give him back to me.

- (laughs) You wanna know what I took from Howard?

No, you're not ready for that yet, Mother.

But I'll tell you this,

he was beautiful.

He was the most beautiful man I ever saw.

And the best part of it

is when you looked at him up close,

I mean really close,

he still had the most beautiful face in the world.

- Selina, we'll go in the morning

if you leave us alone now.

- That'll be fine.

Come on, Robin.

- [Anne] Aren't you going to wait for him?

Aren't you going to wait for Howard?

- Robin.

- Selina,

did you ever love my son?

- I want you both out of here tomorrow morning.

Goodbye, Mother.

- What about Howard?

Do you want him out of here, too?

You only said that to get them out of this house.

That was very good of you, dear,

very understanding.

You know how much I wanna be alone

with Howard.

(ominous instrumental music)

- I'm almost finished with the packing, dear.

- You haven't packed Howard's things.

I can do that while I wait for him.

- Anne, his things are already packed.

- Oh?

- In crates.

- My son's clothing in crates?

- Yes.

- Then I shall unpack them.

He'll be here, you'll see.

(engine revs)

(suspenseful instrumental music)

(car door slams)

Was that a car?

Paul, did I hear a car?

Why are the lights out?

- I-- - It was a car.

- There's nothing. - Howard!

- There's no one, now wait! - It was Howard, I knew it!

- Anne, listen to me! - I'll see him,

I'll see my son! - You will not see him.

The accident, his car turned over.

He was trapped for an hour before they could cut him free.

I saw him in the hospital, Anne, I saw him.

(knocking)

- He's here! - No, no,

you can't look at him.

He was crushed by the car.

He has no face.

- Howard, I'm coming.

I'm coming, Howard!

(knocking)

- [Paul] Please, please, don't come in!

(tense instrumental music)

- Howard, I'm coming!

Howard!

(knocking)

(exciting instrumental music)

- The paw!

- I'm here, Howard.

(exciting instrumental music)

Oh!

(exciting instrumental music)

(knocking)

(exciting instrumental music)

I'm coming, Howard!

(exciting instrumental music)

(knocking)

- I wish my son dead.

(dramatic instrumental music)

(wind moans)

(melancholic instrumental music)

- Oh.

Oh.

Oh.

Oh.

Howard.

(melancholic instrumental music)

- That concludes the fictional portion

of tonight's entertainment.

Next week, we shall return with another story.

Our original plans called for me to make my exit

by scrambling up this rope and disappearing.

The rope, however, seems to have other ideas.

I don't intend to remain here and be insulted.

I shall disappear in the conventional way.

By the way, during this program, our sponsor

was granted three wishes.

Here is the last of them.

(door slams)

("Funeral March of a Marionette" by Charles Gounod)

(brassy instrumental music)