All language subtitles for The.Alfred.Hitchcock.Hour.S02E27.The.Sign.of.Satan.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

- Good evening.

Welcome to the planet Mars.

My getting here was not as
remarkable as our finding a wire

long enough to reach back to
earth.

This remote broadcast is a first

but since there is absolutely
nothing up here to talk about,

I'm not sure the trip was worth
it.

We found no trace of life.

In fact, no trace of
anything except this item.

This may seem like irrefutable
logic,

but from what I can observe,

if you actually did live here,

you would have moved away long
ago

to some place with a
better view, more prestige,

awesome oxygen.

That last item rules out the
scene of tonight's drama,

Hollywood California.

Our story concerned some doings,

which would be considered rather
peculiar,

even in that bizarre town.

For purposes of contrast,
however,

we first present one minute
of sanity and solemnity.

(dramatic music)

(ominous music)

- [Kitty] What did you say his
name was?

- Jorla.

Karl Jorla.

- He gives me the creeps.

- That's exactly what he's
supposed to do.

- I mean personal creeps.

(ominous music)

(film reel reeling)

- Hold it a minute, will you,
Dave?

Karl Jorla.

That's good name.

He's good too, very good.

- There's something
about him I don't like.

- Kitty, I've been searching
for someone like this

for months and I think I may
have my man.

Now if you feel you don't
want to play opposite him,

you don't have to.

- Oh, yes I do.

I want the money.

I didn't mean to annoy you,
darling.

- Dave, did you tell me that
film's never been released?

- Oh, it's been shown but not
extensively.

It was made in Austria,
financed by a religious group,

or more aptly, a non-religious
cult.

- [Max] What else has
this Karl Jorla done?

- Nothing of consequence.

This is the first picture he
made.

He's not well known, Max,

he's just a good competent stage
actor.

- He's a natural actor, Dave.

He had my hair standing on end.

- [Dave] Obviously that's
why they picked him.

He looks the part.

- How much more have you got on
him?

- Two clips, both short.

I put them on the same reel.

I figured you wouldn't want

to see the whole picture
tonight.

It seems to be a legend
about some devil worshipers,

they resurrect him from the
grave, you just saw that.

Next they install him as
their arch priest head man.

They use ritualistic candles,
black wine,

the sign of Satan on the
altar, the whole bit.

In the first clip they
brought him back to life.

But in the final scene,
they kill him again.

You ready, Max?

- Go ahead.

- I suppose he can speak
English.

- Very good English I'm told

(film reel reeling)

(ominous music)

(chanting in foreign language)

(ominous music)

(speaking foreign language)

(ominous music)

(speaking foreign language)

- Right here they're reciting
a sort of litany to Satan.

They're saying oh protector
of those driven from paradise,

take pity on us.

(chanting in foreign language)

And now they're chanting
their praises to Satan,

saying they want to be near him.

(chanting in foreign language)

And now we jump to the end of
the picture.

(ominous music)

(speaking foreign language)

(ominous music)

(chanting in foreign language)

(dramatic music)

All right, that's it

- Don't confuse his screen
personality with a real man,

he's probably very charming.

- You're not going to do
anything
like that chanting scene,

I hope.

- No, no, no, mine's going to
be nothing but just another

scary money-making monster
picture.

Let's have a drink.

Where is this Karl Jorla now?

- He's hiding out somewhere.

- Hiding out?
- That's right.

When I was in Vienna,

a great many people knew about
this film,

but no one seemed to know the
whereabouts of Karl Jorla.

So I kept nosing around until
I finally located the man

who directed the film.

Funny part of it was,
he was hiding out too.

In Paris.

- What have they been up to?

- I have no idea.

It's no concern to the police
though.

I checked the French devoir to
make sure.

- Something peculiar
behind this isn't there?

- [Dave] Undoubtedly.

- Thanks.

- Karl Jorla is not an ordinary
man.

- That's what makes him so
striking.

It comes through on a screen.

- Whatever the trouble is, Max,

I don't think it'll affect you
in any way

if you really want him.

Just the same,

if he wasn't so good, and if
you didn't need a man so badly,

I'd say pass.

- Why?

- I'm inclined to agree with
Kitty.

The whole thing is weird.

It's rather eerie, peculiar
type film, peculiar people.

- How did you get hold
of a picture like this?

- I bought it in Paris when
the director Fritz Ullmann

for cash, the poor fella was
broke.

I have a hunch it might have
been pirated from the cult

that owns it.

Ullmann warned me to be
careful where we show it.

- Why is that?

- It seems the cult never
intended it to be seen publicly.

Now if they hear it's
being shown around...

- You mean I can't even show
it in my own living room

if I want to?

Let them sue me.

- According to Fritz Ullmann,

they might do more than that,
Max.

Anyway,

what do you think of Karl Jorla?

- Dave, I want him.

How soon can you get him over
here?

And will he come over?

- He'll come, I'm sure of that.

All I have to do is make a call

to a telephone number in Paris.

I have a feeling he's not far
from there.

If he catches a jet right away,

we could have them here in
Hollywood inside of 24 hours.

(ominous music)

(laughing)

(chattering)

(ominous music)

- There he is, Mr. Rubini.

Can't mistake him, can you?

(ominous music)

- Hold it boys, hold it.

Sorry, Mr. Jorla.

I forgot you aren't
accustomed to flash bulbs.

This is Mr. Ed Walsh,
our assistant director.

- [Ed] Glad to know you Mr.
Jorla.

I hope you had a nice trip.

- And Kitty, Kitty may I
present Mr. Karl Jorla,

this is Ms. Katherine
Frazier, your leading lady.

- Welcome Mr. Jorla, so
nice to have you here.

- That's enough, boys.

- Dave, they just want a
few more publicity shots.

- Publicity, you mean
advertisement that I'm here?

- That's right, sir.

We're going to need a great
deal of publicity about you.

- But I don't want that at all.

- It's very important for
the picture Mr. Jorla.

- Please, Mr. Rubini, where is
he?

- Mr. Jorla,

I'm Max Rubini, how do you do?

Sorry the boys were so eager

but don't let it trouble you.

- No, of course not.

It's just that I don't
want any publicity, please.

I don't want anyone to know
anything

about my private affairs.

- That's all right, you probably
have a very good reason.

All right, boys, that's enough.

Thank you, knock it off.

Come on over here and have a
drink.

You probably need one.

- Thank you, no.

I'm still slightly bewildered.

You understand from the
plane journey and everything.

- Of course, I understand.

Let's walk over to my
office where you can relax.

Oh Dave, bring Kitty along
in a minute or two, huh?

Come along.

(ominous music)

- That film was made only to be
shown

to others like themselves.

The story of course, is a
legend.

But the ceremony that you saw,
the chanting, the candles,

the sign of Satan on the
altar, that was a black mass.

- Mr. Yola, that was nothing but

an ancient piece of mockery.

Something out of the middle
ages.

- Whatever you may think, sir,

the spirit of evil does exist.

The worship of it is spreading
all over Europe today.

It is here, it is here
even in your own country.

Its power, the greatest of
power,

Centers in Paris, in
Budapest, in Vienna and Munich

and Florence, it is growing.

Once you become aware
of the sign of Satan,

you will find it is all around
you.

You will find it in the
tongue of a serpent,

in the shape of certain trees.

You will find it in a pair of
scissors.

Sometimes in a flower,

in the footprints of animals,

in the marks made by their
claws.

This emblem of evil is in every
single pair of human hands.

The symbol of Satan,
(speaking foreign language).

Present everywhere.

- If you think about it,

so is the sign of the cross Mr.
Jorla.

- Mr. Jorla, this is all very
interesting,

but I still don't understand
why you object to publicity.

You're the first actor I've met

who doesn't seem to appreciate
its value.

I think you should consider Mr.
Rubini.

After all, you are doing his
picture.

You're doing the leading role.

- The leading role?

- [Kitty] It's the biggest
part in the picture.

- But I don't understand at all.

I thought it was a small
part, extremely heavy makeup.

I did not wish to be advertised,

otherwise I would not have come.

Of course, it was a great
opportunity

for me to come from Europe and
I'm extremely grateful to you

for giving me the chance.

- Oh, Karl, you'll be marvelous.

And I'm delighted that we've got
you.

- We only want a few
pictures, a few personal--

- No, no, please, no, no.

- Well, Max, if he's going
to object this vividly.

- We'll simply have to
call it off, that's all.

All right, Mr. Jorla, but
tell me, why do you object?

- In Europe, my life was in
great danger

because of this film,

this satanic cult, devil
worshipers as you call them

for whom we made this film.

They could cause trouble
for me and my friend,

Fritz Ullmann.

A great deal of trouble.

Prints of that film went out
on circulation by mistake,

and they blame Fritz and me for
this.

This film contains things that
they don't

want anyone to see nor anyone to
know.

I'm glad to be here and out of
their way.

And when your film is
finished, Mr. Rubini,

I shall be even further away.

Your story stories about me to
the press,

they will tell everybody where I
am.

They would follow me

and they would kill me.

- I think maybe you
exaggerate a little, Karl.

After all, you're thousands
of miles from there,

they won't chase you all that
distance

for a little thing like that.

Anyway, hold off his publicity
for the time being, Dave.

Karl, we're putting you
up at the Beverly Savoy.

- That's right, Karl.

And I've arranged a car for you.

There'll be a driver to
get you back and forth

to the studio.

- Thank you, that won't be
necessary.

I am perfectly capable of
driving myself.

- Just as you like.

But we'll be wanting you
early tomorrow morning

for a consultation on makeup and
wardrobe.

How would you like to
see your dressing room?

It's a bungalow, you know.

- A bungalow?

- Dave, why don't you walk him
over?

- Sure thing.

Shall we go now?

(ominous music)

- Excuse me.
- Ed, take his hat and coat.

- Well, what do you think of
him?

- Very strange, isn't he?

But I like him somehow.

Very good casting, Max.

- Oh, he'll be tremendously
effective.

He has a rich personality.

But all that malarkey
about his being followed,

we might have known with that
face

and the weird quality he's got,

he was bound to be a nut about
something.

(ominous music)

(ominous music)

Okay, Ed, what have you got
there?

- Karl Jorla as Baron Noma,
opening scene.

- Mm, that's good.

Very good.

I'd like him to look at these.

Oh we oughta check his
opening scene makeup.

Give him a call at the hotel,
ask him to come in, Dave.

- All right.

You know he'll come on the
run if he thinks he's needed.

- Very cooperative, everyone's
enthusiastic about him.

- That figures.

He hasn't been exposed
to Hollywood protocol.

He's not nearly as spoiled as
some of the

so called talents of,
Mr. Karl Jorla, please.

What's that?

Give me the desk.

Max, he's checked out.

My name is Dave Connor.

I'm inquiring about Mr. Karl
Jorla.

Your switchboard operator
informs me he checked out,

would you verify that?

What time?

Do you have any idea where he
went?

All right.

Thank you.

He checked out all right.

Nine o'clock last night.

They don't know where he's gone.

- Well, that's the darnedest
thing I've ever heard.

Check the front gate,
see if he's on the lot.

- I'm dialing that now.

Charlie, Dave Connor here.

Did you check Karl Jorla
onto the lot this morning?

Good.

What time?

Thank you, Charlie.

He came in at 8:30.

- Well, then he's probably on
stage 29,

going over the new opening with
Kitty.

- Bring those sketches along.

I wanna talk to him.

- Supposedly I've inherited
the medieval castle.

I've been looking it
over and now I come here

to see the wall to wall very
normal.

- [Karl] Yes.

And he's buried in there?

- Yes.

This was his altar, I used
to make sacrifices on it

and fool around in the black
arts.

- You...

Read inscription that is
putting on this altar?

- I read a translation out loud.

It's more than just an
inscription.

It's an invocation.

That's when you come into it
and things start happening.

Max had this whole new opening
especially written for you,

even had that symbol
copied from your film.

Do you like it?

(ominous music)

Karl?

(ominous music)

- What's he doing?

- When he saw that symbol, he
started behaving strangely.

(ominous music)

- Karl?

(dramatic music)

Good morning, Karl.

- Good morning.

- What were you doing?

- I saw the devil's eyes there.

- [Max] What was all this
business with the hands?

- A kind of protection.

Protection against...

- Oh, I see.

Karl, I understand you left the
hotel.

I thought you liked it there.

Where'd you move to?

- I don't wish to tell you that.

- Well, Karl, we have to
know where you're living.

- It won't be necessary.

I shall be here early every
morning.

- Karl, what's gone wrong?

- They are following me.

- [Max] Who's following you?

- The cult of Beta.

Worshipers of the devil.

(dramatic music)

- You were saying that they
follow you because of that film?

- You think I've told you
a lot of lies, don't you?

Well, I told you that film was
made

only for private display
in our own circles.

Let's sell him a narrative

so that you sought to set a
mockery,

the worship of the devil,
the terrible black mass,

it was real.

Real.

And if you think that Satanic
prayers have no power,

you should look over your
shoulder when you say that

because it could be wrong.

And if that film is seen by
those who do not belong to us,

it could put me in a very
bad light with my friends.

- Your friends?

Don't tell me you belong to that
cult.

- How else do you suppose I
was able to make that film?

I was the arch priest.

Consecrated.

They have good to kill me

- Karl, we'll get your police
protection.

- No, no.

They have associates everywhere.

When a man is condemned as I am,

he's surrounded by hunters,
avengers,

they are completely out there,

they are devils.

- While you're on this lot,

you are our responsibility.

Ed, I want you to arrange
to have a studio policeman

stay by Karl all the time he's
here.

- All right, Mr. Rubini.

- Karl, Mr. Rubini wanted you to
see these

wardrobe sketches, especially
this one.

- Mr. Rubini, here the
scenes, the revised scenes.

Mr. Jorla, somebody left this
for you at the main gate.

- Thank you.

- Karl.

Karl, I want you to look at
these.

And remember, we have an
appointment at makeup at 4:30.

- Yes, sir.

I'll rest in my bunker.

- Kitty.

This is the dress you prefer,
isn't it?

- Well, yes, it's very pretty,
but it should be shorter.

- Well, we're not going to
feature your feet, darling,

it's just the face.

(ominous music)

Karl?

What do you have there?

Fritz Ullmann was found
dead this morning in Paris

in an attic in the Le Rigoletto.

- Fritz Ullmann?

He's a friend of yours, isn't
he?

The man who directed the film?

- He was strangled, body
branded.

No signature, no return address.

Karl, who might have sent that
to you?

- It was just to let
me know that I am next.

Now perhaps you understand why

I don't want to go to a hotel.

I don't want to leave an address

where somebody can come
and strangled me too.

(dramatic music)

- Nobody here but you, sir.

- Thank you.

(dramatic music)

(dramatic music)

- Throughout the country,

there are hundreds of
men standing eagerly by,

waiting breathlessly for
this moment, their moment,

their chance to announce the
call letters

of their station.

It is a thrilling experience,

and I wouldn't want anyone to
miss it.

Our story will continue at the
conclusion

of this important event.

(dramatic music)

(glass shattering)

(grunting)

(dramatic music)

(glass shattering)

(grunting)

(dramatic music)

- [Policeman] Do you know him,
sir?

- [Karl] No, no.

- [Policeman] How did he get in
here?

- I don't know.

(dramatic music)

Look at his hands.

The sign of Satan.

Everything he does is in
the service of the devil.

That bungalow, all windows
locked,

all doors barred, but
there was someone there.

Someone hidden in a place
no one knew even existed.

- Somebody knew.

Karl said there are associates
everywhere

and I'm starting to believe it
now.

- Mr. Rubini, this morning 6000
miles away

a friend of mine was strangled.

And now here I am attacked.

- Captain Hartzell, were you
able to get

anything out of that prisoner?

- No, sir, he won't even speak.

- And even if he did,
it would only be lies.

- Karl, listen,

I have a starting date coming up

and I can't take any chances
with you.

- So, you're proposing to
give the part to someone else?

I'm already too much trouble to
you.

- No, no, no, that thought
never occurred to me.

The thing is that I have to
satisfy myself

that you will be here on
the lot every morning.

If we start with you in this
picture,

we have to finish with
you in this picture.

- I've told you.

I have promised you,

I will be here early every
morning ready to work.

- Your good intentions
alone are not enough, Karl.

That's why I want you to
know Captain Hartzell,

he's on a special police
division.

- We cover the whole city Mr.
Jorla.

Anything urgent out of the way
we move in.

- And instead of you taking
off on your own every evening,

the studio wants to put your
somewhere

where we will all know that
you are absolutely safe.

- We can arrange escorts, sir.

Out and back.

Complete protection at
night and during the day.

- Yes, and if I place myself
in your hands, I'm a dead man.

Every moment they know where to
find me.

They are enjoying planning to
get at me.

I'm no longer my own master.

I'm completely controlled by
others.

I am safer when I alone
am in charge of myself.

- I don't know how you
can say that Mr. Jorla.

You weren't safe this afternoon.

- No because they knew where to
find me

but this way they cannot find
me and nor can anyone else.

They don't know where I sleep at
night.

I don't even know myself until
after I leave the studio.

- Karl, I can't force
you to accept protection

outside the studio, but I wish
you'd take

Captain Hartzell's advice.

- I'm sorry, no.

Mr. Rubini, you have a picture
at stake.

I have my life at stake and
I don't wish to lose it.

I've told you, I will be
here early every morning

ready to work.

(dramatic music)

- [Max] Well, that's good.

That's good.

Fine, thank you.

That's fine, thanks.

Thanks.

Let me take a look at that.

Mhm.

All right, roll them.

Put your slate in, huh?

- [Man] Scene!

- [Max] All right now pull back.

Come on, pull back.

Give us a little profile.

A little profile.

Good, I wanna see the tiara.

Good, hold it that way, now.

- Thank you.

Has Max been able to find out

where Jorla goes at night?

- Never happen.

He leaves the studio a
different way every evening.

Favorite trick is using rented
cars.

- I mean you can abandon them
anywhere.

- That's right.

He's a clever man, Ed.

I haven't succeeded in following
him yet.

And believe me, I've tried.

Thank you.

Oh, that's strange.

Who'd be sending Jorla a
special delivery letter?

Ostensibly, he doesn't know
anyone here.

- Hm, mailed today, city mark.

No return address.

- [Max] All right, cut it.

- Karl.

- I won't need you anymore
today, Kitty, thank you.

Nor you, Karl.

- Oh, thank you.

- This is for you.

- Would you open it and
read it for me, please?

- Oh, it's in french.

Copy of a coroner's report.

Autopsy on Fritz Ullmann.

Did it a week ago.

- What does it say?

About Fritz.

- Evidently they want you to
know what they did to him.

Shall I read it?

- Please.

- We know he was strangled.

The body was, shall we
say, considerably ill used.

It was branded in black
with that sign of Satan.

Corner goes on to state
specifically he died

(speaking foreign language),

very slowly and with great
anguish.

- That settles it.

Karl, now you're going to have
to take

the proper precautions about
yourself.

You owe it to us.

We start shooting in three days.

If anything happens to
you anytime after that,

this picture's a total loss.

- I don't wish to be killed

and have that sign branded on my
body.

Your way, too many people
know where I am at night.

My way, only I know.

In the morning again.

(dramatic music)

- Dave.

(dramatic music)

(dramatic music)

- Nothing?

Nothing at all?

No message of any sort?

No report from Captain Hartzell?

I know there's a search going on

but it doesn't help me if
they haven't found him.

Do you realize it's been three
days

since we reported him missing?

All right, look,

if anything comes in, call me.

Thank you, Chief.

Nine o'clock right on a button.

- He should have been
hit by eight to be ready.

- I know, I know, Ed, I know.

Like a foolish man, I've
been hoping against hope.

But he's not here.

- Are you going to shoot around
him?

Close down.

- Well, I'm not gonna
give up hope entirely.

But if I don't start shooting
today,

I'm under heavy financial
penalties.

(chattering)

All right.

We should run.

If we don't hear from him by
tonight,

we'll close down until we can
replace him.

- All right, everybody
we're going to shoot.

- Kitty, wanna rehearse that
again?

- No, I'm ready.

Let's shoot it.

Good luck.

- Thank you.

All right.

We'll play everything just as
planned.

Right up until when Karl
Jorla enters the scene.

- There's a whole day
left, he might still show.

Good luck, Max.

- Thanks.

All right, let's go.

Quiet down, everybody, quiet
down.

Let's move now.

Whenever you're ready, Kitty.

- I'm ready.

- All right, let's run.

Speed.

- [Max] Action.

- Oh Satan, Prince and King.

Come and be here.

I salute thee and thy unholy
angels,

mighty Astaroth and great
behemoth

and all thy devil
legions, come and be here.

By every black and evil art,

restore life to the body
of thy servant, Ulma.

I conjure thee.

Raise him up.

And for this I promise to
satisfy thee

in the name of Satan, Prince and
King.

Raise him up.

(dramatic music)

(speaking foreign language)

(dramatic music)

(speaking foreign language)

(dramatic music)

(speaking foreign language)

- Cut!

(dramatic music)

It was Karl, I saw him.

There must be a way out of here.

We all saw him, he was
standing right there.

You put that film to the lab
right away.

Tell them to rush it and
close everything down

'till we got a chance
to look that last shot.

(dramatic music)

All right, Dave.

- Anytime you're ready

- Speed!
- Action.

- Oh Satan, Prince and King.

Come and be here.

I salute thee and thy unholy
angels.

Mighty Astaroth and great
behemoth

and all thy devil
legions, come and be here.

By every black and evil art,

restore life to the body
of thy servant, Ulma.

I conjure thee, raise him up.

For this I promise to satisfy
thee,

in the name of Satan, Prince and
King.

Raise him up.

- What happened?

Where's Jorla?

- Something's wrong with that
film.

He was there.

We all saw him.

- And I heard his voice, it
wasn't on the soundtrack.

Didn't you hear it?

- I heard something, didn't make
sense,

but I took it down as best I
could.

- Well, read it, read it.

- Well, he kept repeating.

(speaking foreign language)

- I thought I heard some
numbers.

- Yes, always in the same
sequence.

It sounded like 17259.

(speaking foreign language)

- Try it this way, Topanga.

- Topanga?

Is it possible Topanga Canyon?

- Max put those numbers in front
of it,

you'd have an address, wouldn't
you?

- Call the police, Dave,
get Captain Hartzell.

17259 Topanga Canyon.

(dramatic music)

(chattering)

(dramatic music)

- Snuff 'em out, boys.

(dramatic music)

Karl Jorla's under that
cloth, he's been murdered.

The deputy corner here says...

- Now come on, come on.

- He says Jorla has been
dead at least three days.

(dramatic music)

- The killers of Karl Jorla,

method actor and devil worshiper

were eventually brought to
justice.

By the way, the proceeding
was not an expose

of American burial customs,

at least I sincerely hope it
wasn't.

Next week we should return to
Earth

and present another story.

I cannot express the keen
disappointment I've felt

in not finding any life here on
Mars.

I would have liked nothing
better than to be the first

to discover life here.

Perhaps I shall have
better luck another time.

Goodnight.

(dramatic music)

(dramatic music)