["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 k*lled
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 k*lled 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]
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