Original subtitles

- 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)