The Monkey’s Paw by Theater 10:30

Summary

Podcast Summary: The Horror! (Old Time Radio) Episode: "The Monkey’s Paw" by Theater 10:30 Date: March 7, 2026

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Episode Overview

This episode of The Horror! revisits a classic tale of supernatural terror: "The Monkey’s Paw," originally penned by W.W. Jacobs in 1902. The audio drama, adapted by Theater 10:30 (CBC, 1968–1971), explores terrifying themes of fate, unintended consequences, wish fulfillment–at a steep price. The episode immerses listeners in a chilling domestic tragedy, raising timeless questions about fate, human desire, and the perils of tampering with the unknown.

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Key Discussion Points & Story Breakdown

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Setting the Stage (00:06–02:31)

• The episode opens with atmospheric narration summoning listeners into the uncanny: “Stories, strange and weird. Tales of mystery and terror by radio's masters of the macabre. Story of the supernatural, the supernormal, dramatized…” [A, 00:13]
• The host contextualizes the story as a modern adaptation of a classic—unusual for the show’s lineup of older pieces. [B/A, 01:06–01:26]

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The White Family’s Ordinary Evening (02:31–05:22)

• Mr. and Mrs. White and their adult son Herbert engage in playful conversation and a game of chess, replete with family banter and light teasing:
  • “What a joke that would be.” [A, 04:11]
  • “Just now my dynamos at the plant don't leave me much time for lovemaking.” [A, 04:51]
• The family is revealed as humble, with a mortgage and modest ambitions.

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The Arrival of Sergeant Major Morris and His Warnings (05:22–11:55)

• Sergeant Major Morris, an old friend, arrives and shares stories of his time in India. He introduces the legendary monkey’s paw:
  • “There are things in India it's best for a man not to know about.” [A, 08:45]
  • The paw, we learn, has had a spell placed on it by a fakir — “to show that people was ruled by fate,” and to grant three wishes to three people, but “those wishes were granted, those three people would have caused to wish they hadn't been.” [A, 10:31]
• Morris tries to destroy the paw, urging the family to let it burn: “Let the infernal thing burn, I tell you. Not if I can.” [A, 12:04]
• Despite the warnings, Mr. White retrieves the paw, intrigued by the tales.

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The First Wish: £200 (11:55–16:36)

• The Whites banter over frivolous and practical wishes. Eventually, Mr. White, prompted by Herbert, wishes for £200—the precise sum needed to clear their debt:
  • “I wish for £200.” [A, 15:16]
• A strange sensation accompanies the wish: “The paw twisted my hand like a snake.” [A, 15:31]
• Herbert, leaving for work, jokes about the wish, unworried by the supernatural.

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Ominous Consequences Unfold (17:32–22:26)

• The next morning, the Whites jest about the paw and the unlikelihood of magic, until a man from Herbert’s company arrives with grim news.
  • The man delivers the tragic message: Herbert has died in a workplace accident—ironically, while relaying the story of the paw to his coworkers—and the company offers £200 in compensation:
    • “The company disclaims all responsibility. But in consideration of your son's services, they wish to present you with a sum of money. Compensation... £200.” [A/B, 23:38]

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Grief and Desperation: The Second Wish (24:09–26:30)

• A week later, the family is shrouded in mourning. Jenny (Mrs. White) fixates on the paw, realizing two wishes remain:
  • “We'll wish our boy alive again.” [B, 25:47]
• Despite Mr. White’s horrified protests, she forces him to use the paw:
  • “I wish my son alive again.” [B, 26:30]
• The house fills with dread, but nothing immediately happens.

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Climax: The Terrible Truth (27:02–29:06)

• Strange noises escalate—knocking at the door, Herbert’s mother convinced their son has returned:
  • “It’s Herbert. It’s Herbert at the door!” [B, 27:47]
• Horrified at the prospect of seeing his son returned from the dead, Mr. White desperately scrambles for the paw. As his wife attempts to open the door, he makes the third and final wish:
  • “I wish my son dead and at peace. Herbert... there’s no one here. There's nothing.” [A/B, 28:41–28:49]

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Notable Quotes & Memorable Moments

• On Fate and Danger:
  “That there paw has had a spell put on it… to show that people was ruled by fate. That everything was cut and dried from the beginning…” – Sergeant Major Morris [A, 09:49]
• Morris’ Dire Warning:
  “If you keep it, don't blame me for what happens. But if you have any sense, you'll fetch it back.” [A, 12:13]
• Herbert Joking About the Wish:
  “You’ll find the £200 tied up in the middle of your bed, I expect, dad. And a monkey hanging by his tail from the bedpost…” [A, 16:13]
• The Price of a Wish:
  “He was laughing about it, and not paying attention, and the machinery caught him... the company wishes to present you with a sum of money… £200.” [A, 22:51; A, 23:39]
• Desperation Overcomes Fear:
  “We'll wish our boy alive again.” – Mrs. White [B, 25:47] “Oh, God, forgive me. I wish my son alive again.” – Mr. White [A, 26:30]
• Horrifying Realization:
  “I wish my son dead and at peace. Herbert... There’s no one here. There's nothing.” [A, 28:41–28:49]

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Important Timestamps

• 00:06: Atmospheric introduction and set-up
• 05:22: Sergeant Major Morris’ arrival
• 10:31: The legend of the monkey’s paw explained
• 15:16: The first wish is made
• 22:26: The company rep delivers tragic news
• 25:47: The second wish—bringing Herbert back
• 27:47: The knocking—“It’s Herbert at the door!”
• 28:41: The final wish—Herbert returned to death
• 29:06: Aftermath; somber conclusion

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Final Thoughts

The adaptation remains faithful to the classic short story’s chilling themes: the futility of fighting fate, the dangers in unchecked desire, and the profound cost of tampering with forces we do not understand. The episode's tight pacing, naturalistic dialogue, and evocative sound design effectively build suspense, culminating in a finale that is as heartbreaking as it is terrifying.

Standout Moment:
The sequence in which Mrs. White races to open the door for her resurrected son, while Mr. White desperately wishes him dead once more, is both the story’s emotional and suspenseful peak—a haunting, cautionary tale executed with disturbing restraint and period authenticity.

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This episode is a powerful reminder:

“Be careful what you wish for—you may receive it.”

Transcript

[A]

Oh, stories. Real stories. And murder, 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 that you can come if I tell you a story. 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. Story of the supernatural, the supernormal dramatized the mystery, the unknown. We tell you this, Franklin, so if you wish to avoid the excitement tension of these meds, play to turn off your. This is the horror. Thanks for coming around again for another exciting horror story.

[B]

We'll Hear from Theater 1030 this time, a CBC series that aired from 1968 to 1971.

[A]

Not as old as we usually hear,

[B]

but the story they're adapting is based on the W.W. jacobs story, first published in 1902. Here's the monkey's paw from Theater 1030.

[A]

Theater 1030 takes pleasure in presenting in Encore Mystery Theater. BBC presents Mystery Theater, a series of strange tales of the supernatural and the unforeseen of chills and thrills and adventures selected from the classics. Here then, the story of the Monkey's Paw by W.W. jacobs in radio version by John Bethune. Heavens, what a knife.

[B]

Herbert.

[A]

Yes, Mother?

[B]

You better wear your muffler when you go off to work. I will never get your galosis. It's been raining cats and dogs since suppertime in the roads of.

[A]

Jenny, please.

[B]

What's the matter?

[A]

We're trying to play chess. How can we concentrate if you keep chattering?

[B]

I'm sorry.

[A]

All right then. Now, where were we? It's still your move, Dad. I know that, but what was I going.

[B]

Oh, yes.

[A]

There. Got you this time, me boy. Yes, you're a deep one, all right.

[B]

Don't tell me your father's finally beaten you, Herbert.

[A]

No, not yet. He's overlooked his king. Oh, I see it. Here, let me have that back. Not on your life. Why not? All rules of the game, Dad. I don't hold with your scientific rules. You determine what ought to be an innocently nice face.

[B]

Oh, don't talk about much, John. How can Herbert concentrate if you keep chat with him?

[A]

It's all right, Mother. No, listen that win, would you? I'm listening. I should hardly think. Sergeant Major Morris has come tonight or he'll turn up. Can't say I blame him if he don't. That road out there is like a bog check. That's how worth a living. Way out here your friends can't even come to call Nate Lovers Lane, Fulham. Of all the miserable out of the way places to live, this one takes a bun.

[B]

Now, John.

[A]

It's a disgrace, I tell you. What's the county council thinking of? That's what I want to know. Just because this is the only house in the that's occupied, I suppose it don't matter if nobody can get near it. Never mind, dear.

[B]

Perhaps you'll win tomorrow.

[A]

I said, what do you mean? You know what I mean. So don't pretend.

[B]

Shouldn't we wait till the sergeant Major Morris comes?

[A]

Ah, he won't come. Even an ardent old soldier like him would think twice before slogging his way out to a God forsaken spot like this. Oh, come on now, dad. It's not such a bad place. Leastways it's not one of them stucco villas. In fact, it's one of a few old fashioned houses left near Lond. Home, like I call it home, and so do you, or you wouldn't have bought it. And a nice job I made of that too. £200 still owing. Oh, don't worry. I'll work that off in no time. Matter of three years, I'd say it. With the rise they promise me.

[B]

Then don't get married.

[A]

Oh, not me, mother. Not that sort. Oh, I wish you would, Herbert.

[B]

A good lad like you with a steady job of the electrical works.

[A]

Lots of time, mother. Sufficient for the day, as the saying goes. Just now my dynamos at the plant don't leave me much time for lovemaking. Dynamos, I know. Sometimes I lay awake at nights and I think if Herbert took a nap on the job and let them dynamos of his run down, all Fulham would be in darkness. What a joke that would be. Joke? Some joke. I get sacked on the spot. Oh, no, it must be Morris after all. I never thought he'd make it. I wonder what yarn the old boy's got for us tonight.

[B]

Don't slam the door, John.

[A]

Well now, good evening. Come in, old friend. Come in. Sit now. Can't hold this door much longer. That's right. Oh, here, let me take your coat. All that wind. Enough to blow the air off your head. Why, it's about all right. The mile up the road farther cemetery, it's even worse. Here's Sergeant Major Morris. Jenny.

[B]

Good evening.

[A]

How are you, ma'?

[B]

Am? Oh, I'm well enough, thank you. But you must be frozen. Come sit here by the fire.

[A]

Ah, thank you kindly, ma'.

[B]

Am.

[A]

Good evening, sir. Well, laddie, as yourself. Not on duty, I see. Day, week, eight no, sir. Night week. There's half an hour yet.

[B]

Oh, hand me the kettle, will you, Herbert?

[A]

All right. This is more like it.

[B]

We were afraid you wouldn't come in all this rain.

[A]

Oh, you don't know me, ma'. Am. This is nothing to what I've seen in India. Really, sir, I. In the trenches at chitro. What a time we had of it there, sitting in a puddle with the natives taking pot shots at us and the rain pouring down in buckets.

[B]

Didn't you have umbrellas?

[A]

Umbrellas? That's a good one to hear, that wife. Umbrellas, she says. Umbrel galoshes are not water bottles. Eh? Explain. To see you is never in the army, ma'.

[B]

Am.

[A]

Mother spoke out of kindness. Well, I know it, laddie. No offense intended, ma', am, for the hardship is the soldier's lot. Aye, Starvation, fever, and get yourself shot, that's the way of it. And all I've got to show now is one arm and a blooming medal. Cheer up, Boris. Here, try some of this. What have we got here? Put your nose in it. You'll see.

[B]

Hot whiskey with sugar and a slice of lemons.

[A]

Well, now, I don't mind if I do. Here's to another thousand a year. Same to you and many of them. Oh, that's the stuff they give the troops, dear. Laddie, ain't you going to join us? No, thanks. My work don't go with whiskey. Not even a drop? No, sir. I've got to keep a cool head and a steady eye. And us two hands. If I don't, the flywheel might gobble me up.

[B]

Don't say such things.

[A]

Ah, you electricians, sort of magicians, you are. Light, says you, and light it is. Power, says you, and the trams go whizzing. Knowledge, says you, and the words go humming to the ends of the world. It fair beats me, it does. And I've seen a bit in my time, too. Indian magic, you mean? Aye. Facky is. I've seen him do things you wouldn't believe. Really? Such as what? Well, I've seen a toad with no more clothes on than a baby, if you know what I mean, Ma, I've seen him take an empty basket. Empty, mind you, and tie it all round with rope. Oh, you mean a basket trick. That's just a fake. Fake you call it. I tell you, I've seen it. So have I, and I've read how it's done. Why, I could do it myself with a bit of practice. Good. You know. Well, what do you say to an old fakir chucking a rope in here in the air, mind you, and swarming up it the same as if it was hooked, then vanishing clear out the sight. But that's impossible. I've seen it with my own eyes. Oh, come on. You mean to say you doubt my words? No, no. The lad's only taking you off all in fun. But it's true, I tell you. And that's not all. Why, if I chose, I could tell you things. But no, you don't get any more yarns from me. Nonsense, old friend. You're not gonna get shirty about a bit of fun.

[B]

Yeah. Let me fill your glass.

[A]

Ah, thank you kindly, ma'.

[B]

Am.

[A]

You know, I'd like to go to India myself someday. Just look round a bit, See them fakirs and jugglers and old temples and things. You're better off where you are, white. There's things in India it's best for a man not to know about. What was that you started telling me about the other day? About a monkey's paw or something? Nothing at least weighs nothing worth hearing. A monkey's paw. Hi. Come on, Morris, tell us about it. No, it's nothing. Don't go on about it. You said you always carried it with you. So I do, for fear of what might happen.

[B]

Here's your car, Sergeant Major.

[A]

Thank you, ma'. Am. What's the monkey's paw forza? You wouldn't believe me if I told you. Oh, yes, I would. Have you got it with you now? Of course. Can we see it? Nothing to look at. Just an ordinary little paw dried up into a mummy. Here you are.

[B]

Oh, it's dirty.

[A]

Give us a look. Oh, it's all dried up. I said so. And what might there be special about it? That there Paul has had a spell put on it.

[B]

Oh, dear. Give it back to him, John.

[A]

Ahoy. Yeah, yeah. Take it. Who was it put the spell on it? An old fakir. A very old man he was. Used to sit all doubled up in one spot. Sat like that for going on 15 years, thinking of things. And he wanted to show that people was ruled by fate. That everything was cut and dried from the beginning, as you might say. That there weren't no getting away from it and that if you tried, you'd catch it off. Don't say so. He put a spell on this bit of a paw. Why a monkey's paw? Oh, it might have been anything else, but he took the first thing that came. Andy. Ay. He put a spell on it and made it so that Three people could each have three witches.

[B]

But.

[A]

But mark you, though, those wishes were granted, those three people would have caused a wish they hadn't been. But how could the wishes be granted? You didn't say. If it all happened so natural, you might think it was just a coincidence. Mr. Disposed. Why haven't you tried it, sir? I have. Oh, you've had your three wishes? Yes.

[B]

Were they granted?

[A]

They were as anybody else wished. Yes. The first owner had his three wishes. Oh, yes, yes, he had his three wishes, all right. I don't know what his first two were, but the third was for death. That's how I got the pause. Well, it seems you've only got to wish for things that can't have any bad luck about them. Ah, you don't understand, laddie. Maurice, if you've had your three wishes, it paused. No good to you now. What'd you keep it for? Fancy, I suppose I did have some idea of selling it, but I don't think I will. It's done enough mischief already. Besides, people won't buy. Some of them think it's a fairy tale, and some want to try it first and pay after.

[B]

Well, if you could have another three wishes, would you?

[A]

I don't know. I don't know. No. No. I'm damned if I would. I've had my fill of this cursed pot. It's time the world was rid of it. And not in the fire. Yes, in the fire. There.

[B]

No, here.

[A]

I'll get it out. Don't be a fool. Let it burn. Let the infernal thing burn, I tell you. Not if I can.

[B]

Oh, got it.

[A]

Here we are. Is it burnt? No, it's just singed a bit. Chuck it back again, man.

[B]

No.

[A]

If you don't want it, give it to me. Not I. Not I. My hands are clear of it. I threw it on the fire. If you keep it, don't blame me for what happens. But if you have any sense, you'll fetch it back.

[B]

Yes, do as he says, John, please.

[A]

No, I'm going to keep it. Now. What do you say, Abbott? I say keep it if you want to. Stuff and nonsense anyhow. Stuff and nonsense. Yes, I wonder. I wish I. Stop. What? Mind what you're doing. That's not the way. What do you mean? I mean that's not the right way to wish. What is the right way?

[B]

Oh, don't have anything to do with it, John.

[A]

That's what I say, ma'. Am. But if I don't tell him what to do, he might go wishing for Something he didn't mean to by accident. Look, you hold the paw in your right hand first, then wish aloud. But I warn you, White. I warn you.

[B]

Don't slap me away.

[A]

What shall I wish for, Jenny?

[B]

Well, let me see. You might wish for me for pair of ants through my house.

[A]

All right you are. Here we go.

[B]

I wish.

[A]

Stop it. Stop it.

[B]

What's the matter?

[A]

If you must wish, wish for something sensible. All right, suppose I wish. No, no, no. Wait, wait. I can't stand this. Where's my coat?

[B]

You're not going.

[A]

Yes, ma', am, I must. My nerves aren't up to this. Get my coat, will you, laddie? Well, if you wait a bit, sir, I'll come along with you. I'll go your way. Thank you, lad, but I can't stay any longer. Not even for another glass of. Not for anything. I don't want to be here when you wish and wish you will, as soon as my back is turned. What makes you think. Because I know. I know. Pitch it in the fire. Here's your coat, sir. Thank you. Now, mind. I warned you, White. I warned all of you. Remember? Yes, yes. Don't worry about us, old friend. Here. Here. What's this? That the monkey's pork. No, no. I'll take no money for it. Oh, yes, you will. Well, good night, all. Good night, monkey. What do you make of that poor old sergeant major? If there's no more in this monkey's paw than there is in his other stories, we shan't make much out of it.

[B]

John, did you give him something for us?

[A]

Oh, just a trifle.

[B]

Well, you shouldn't have, throwing your money about.

[A]

I wonder. Wonder what? I wonder whether we haven't better chuck it back on the fire. What for? Why, we're all going to be rich and famous and happy.

[B]

Throw it on the fire. Indeed. When you've given good money for it.

[A]

Wish to be an emperor, dad. Then you can't be impact anymore.

[B]

That'll be enough of that, young man. You be quiet.

[A]

You know, when I stop to think of it, I don't know what to wish for, and that's a fact. I seem to have got all I want. If only you'd cleared the debt on the house, you'd be perfectly happy. Eh, dad? Oh, that's right. Well, go ahead. Wish for the £200 I was just doing. Ooh. Shall I?

[B]

Course.

[A]

Here's the port. Take it in your right hand and wish.

[B]

No, don't, John. Don't have anything to do with it. Go on, dad.

[A]

Go On. Yes, by Jove, I will. I wish for £200. What is it?

[B]

It moved as I wished.

[A]

The paw twisted my hand like a snake. Nonsense. Here, let me see. Why, it's as stiff as a bone. I tell you, it moved.

[B]

No, it was just your something.

[A]

No. Well, I don't see any money anywhere and I bet I never shall. Thank God there's no harm done. But that give me a shock and no mistake. Oh, Half past eleven. Time I was off, mind you.

[B]

Take your colossus.

[A]

I don't.

[B]

And you won't be late for breakfast, will you?

[A]

Not if I can help it. But I'll be walking home, you know.

[B]

Walking? Why?

[A]

Well, I can't take my bike in this weather, so don't wait for me after nine.

[B]

All right. Have you got your scarf?

[A]

All set. Good night, mother.

[B]

Good night, dear.

[A]

You'll find the 200 pounds tied up in the middle of your bed, I expect, dad. Don't joke about it, son. And a monkey hanging by his tail from the bedpost, watching you count your golden sovereigns. Her a bit, yeah. Nothing. Nothing to a nightmare, boy. Night, dad.

[B]

What's wrong? Top bolted again.

[A]

There. I must get Herbert to look at it in the morning.

[B]

Well, I'm off to bed. Will you see the fire? Yeah.

[A]

It's all right. Hey, Jenny.

[B]

Jenny. What's the matter? John, what is it?

[A]

Nothing. It's nothing. I. I just saw faces in the fire.

[B]

Oh. Well, come along to bed, dear.

[A]

John.

[B]

Breakfast ready.

[A]

Right you are. No sign of Herbert yet?

[B]

No. He hasn't got his bicycle. He said not to wait after nine.

[A]

Oh, yes, I'd forgotten. Well, he's got a fine day for walking home. Cleared up nicely. Oh, by the way, where did you leave the monkey's paw last night?

[B]

On the mantelpiece. Still there. Silly dirty things. Spells indeed.

[A]

Oh, Morris and his yarn. I suppose all old soldiers are the same.

[B]

The idea of our messenger. Such nonsense. How could wishes be granted nowadays?

[A]

Doesn't seem likely, does it?

[B]

And all the rubbish about its making you unhappy. If you wish one granted.

[A]

Aha. You've been thinking about it, have you?

[B]

No, of course not. But how could 200 pounds hurt anyone?

[A]

Well, I suppose it might drop on your head in the lump. Don't see any other way. So mind you, Morris said it would happen so naturally that she might take it for a. A coincidence if so disposed.

[B]

Well, it hasn't happened. That's all I know. And it isn't going to. What's that?

[A]

Postman, of course. Yes, there's a Letter in the box.

[B]

A letter? Oh, John, suppose.

[A]

What?

[B]

Suppose it's the £200.

[A]

Eh? Yeah. Don't talk nonsense. What's got into you?

[B]

Nothing. I just thought.

[A]

Not a bill I expected.

[B]

No, it's not. It's quite thick. It's got something crisp inside. Who.

[A]

Who's it for?

[B]

You.

[A]

Yeah.

[B]

Let me see.

[A]

Hey, that's odd.

[B]

Go on.

[A]

All right, don't get excited.

[B]

Take care. Don't tear it. Banknote.

[A]

Banknotes. Fat shop.

[B]

Oh. Looks like some kind of document.

[A]

Ah, and a slip of paper.

[B]

What does it say?

[A]

It says, sir, enclosed please find receipt for interest on the mortgages of £200 in the ore house. Duly received.

[B]

Well, that comes of listening to tipsy old soldiers.

[A]

What does?

[B]

You thought there was banknotes in it.

[A]

I did not. I said all along how Herbert will

[B]

laugh when I tell him.

[A]

You're not going to tell him. You're going to keep your mouth shut. That's what you're going to do.

[B]

Cool.

[A]

I never hear the last of it. They served your right to try to

[B]

frighten us last night.

[A]

What do you mean?

[B]

Saying the paw moved when you wished.

[A]

But he did. It did move. Now that I'll swear you thought it did. No, I say it did. There was no thinking about it.

[B]

What was mine? How would you be here by now, walking or not? He's off at 8.

[A]

Ah, but he has to change and wash before he leaves the plant, dear.

[B]

It shouldn't take him all this time. I'll look and see if he's coming down the road.

[A]

Your sausages are getting cold.

[B]

See Em? No, but there's a man by the garden gate. Look. Look to be a gentleman.

[A]

What about him?

[B]

He's looking at the house. He wants to come in. He can't really make up his mind.

[A]

Oh, go on. You're full of fancies this morning.

[B]

No, he's going on. No, he's coming back.

[A]

Well, don't let him see you peep in, John.

[B]

He looks like a sort of lawyer.

[A]

What of it?

[B]

You know. But suppose. Suppose he's coming about for £200.

[A]

Ah, nonsense. Come and eat your breakfast. Where is he now?

[B]

At the gate again. He's coming. Oh, dear. And me all. I'm tired.

[A]

What's the matter? He's made a mistake. Come to the wrong house.

[B]

Oh, I'll go. And I'll go too. You'll do that. Is this Mr. White? Yes. Come in, sir.

[A]

Thank you.

[B]

Please step in. You must overlook me. Do so. I'm tired.

[A]

Good morning, sir. Good morning. My name Is Sam.

[B]

Won't you please be sea.

[A]

Thank you. No, I think not. I. You wanted to see me, sir? Oh, yes, yes. I. I come from the electrical work.

[B]

Oh, then it's our son Herbert you want to see. He'll be home soon, if you care to wait.

[A]

No, no, I. I was asked to call. That is, the company sent me to.

[B]

Is anything the matter?

[A]

Yes, I'm afraid so.

[B]

Herbert, what's happened? Is he home?

[A]

Now, now, mother, don't jump to conclusions. Let the gentleman speak. You've not brought bad news, sir, I'm sure.

[B]

Well, I'm.

[A]

I'm sorry, Mr. White. There's been an accident at the plaque.

[B]

Husband. He's been hurt yet?

[A]

I'm sorry.

[B]

Oh, John.

[A]

Badly answered? Yes, very badly. Is he in pain? No, no, no, he's not in pain.

[B]

Oh, thank God. Thank God.

[A]

But if he's bad, the other.

[B]

Good God, he can't mean.

[A]

Yes.

[B]

My boy, my boy. Oh, no, no, no, no.

[A]

What happened? He was telling his mate the story. Something that happened here last night. He was laughing about it and not paying attention, and the machinery caught him. I see, I see, I see. The company wished me to convey their sincere symphony with you in your great loss. Yes. And I was to say further. He was our only child. Please understand, I'm. I'm only the company's servant. I'm only obeying orders. Yes. Machinery courting. I was to say, the company disclaims all responsibility. But in consideration of your son's services, they wish to present you with a sum of money. Compensation. Ah, great law.

[B]

Hey, how much?

[A]

£200.

[B]

Oh, no. 200.

[A]

Oh, this boat gets different

[B]

night.

[A]

There. Well, that's better. Time we got to bed. Jenny. Jenny.

[B]

What?

[A]

I said it's time for bed. What you doing at the window?

[B]

Looking up the room.

[A]

What for? You can't see anything.

[B]

Yes, I can. The moonlight so bright you can almost see the cemetery.

[A]

Oh, Jenny, please come away from there. You'll get cold.

[B]

Colder where he is.

[A]

Aye.

[B]

Aye.

[A]

Is it only a week since we laid him there?

[B]

I don't know.

[A]

We don't take much account of time now, do we?

[B]

Why should we? He'll never come home again. There's nothing to think about now or to talk about. He took all our hopes with him.

[A]

And our wishes.

[B]

Ay, and all our. John.

[A]

What on earth the matter?

[B]

The paw. The monkey's paw.

[A]

What?

[B]

A bat. Where is it? What happened to it?

[A]

I don't know.

[B]

Why you haven't done away with it.

[A]

I haven't seen it since.

[B]

Well, Find it. Find it.

[A]

Well, it was here on the mantelpiece the last time I. Oh, yes. Here it is.

[B]

Oh, thank God. Why didn't I think of it before? Why didn't you think of it?

[A]

What are you talking about?

[B]

The other two wishes.

[A]

What?

[B]

We've only had one.

[A]

Wasn't that enough, Jenny?

[B]

No, we'll have one more. Don't you see? We'll wish our boy alive again.

[A]

Good God, woman, are you bad?

[B]

We had our first wish granted for another second.

[A]

Jenny, you don't know what you're saying. He's been dead for more than a week. When they showed him to me, I. I only knew him by clothing. If you weren't allowed to see him then how could you bear to see him now?

[B]

I don't care. Bring him back. Take the pawn. Wish.

[A]

No, I daren't touch it.

[B]

You must. Here, take it. Now wish, Jenny, please. Wish.

[A]

Wish.

[B]

Wish.

[A]

Oh, God, forgive me.

[B]

I wish my son alive again. What's happened? I can't see. Kendall's gone out. But how could it?

[A]

I didn't.

[B]

Wait. Kitchen.

[A]

Kenny, where are you?

[B]

At the window.

[A]

What do you see?

[B]

Nothing.

[A]

Oh, thank God.

[B]

Nothing at all. Along the whole length of the road, there's not a living thing. It presents our lives.

[A]

We still have each other and our memories. Memories. Fair? Now, dear. Now don't take on so. Here, I'll light the candle and then we'll go up to bed.

[B]

There.

[A]

That's better, eh? Come along now. Mother.

[B]

I'm no longer a mother. Oh, Herbert. Herbert. What's that?

[A]

Nothing. Just. Just a rat in the wall.

[B]

It's Herbert. It's Herbert. It at the door.

[A]

Here.

[B]

Stop.

[A]

What are you going to do?

[B]

I'm going to open it.

[A]

No.

[B]

For God's sake, let me go. Why you got to hold me.

[A]

I beg you, don't open the door.

[B]

I must. Let me go. What we might see. Do you think I'm afraid of me, old cow? Let me go.

[A]

No.

[B]

I'm coming. Herbert. No. No, Jenny, don't do it.

[A]

The poor. The monkey poor. It's one wish left.

[B]

John, come and help me. I can't. I can't. Over top. Where is that?

[A]

Oh, where did I drop it?

[B]

Come help me.

[A]

Quick. Where is that thing? In God's name, where did it fall?

[B]

I tried to open. It's moving. Here it is.

[A]

I wish my son dead.

[B]

I wish him dead and at peace. Herbert. Herbert. There's no one here. There's nothing.

[A]

Thank God. Thank God. Mystery Theater has presented the Monkey's Paw by WW. Jacobs in radio version by John Bethune Production and direction Gene Bartels in the cast, Cosette Lee as the mother, Alan King the father and Jim Bradford Herbert the son. Glenn Morris was heard as Sergeant Major Morris and Gilly Fennec Samson, the man from the electrical company. Sound effects were by Alex Sheridan and technical Operation Henry Durda. This is Bill Lauren speaking. This was a Theater 1030 Toronto presentation.

[B]

Ram. Ram.