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The Beast with Five Fingers (1947) is a classic mystery-horror starring Peter Lorre. Set in an old Italian mansion, the film tells the eerie story of strange happenings that unfold after a reclusive pianist passes away. With its haunting atmosphere, suspenseful storytelling, and unforgettable performance by Lorre, The Beast with Five Fingers remains a standout in vintage supernatural cinema.
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00:00:00The End
00:00:30The End
00:01:00The End
00:01:30The End
00:01:59The End
00:02:29Are you looking for a match?
00:02:38Si, senor.
00:02:39Grazie.
00:02:40Thank you very much.
00:02:41You desire?
00:02:42Two coffees and a couple of sandwiches.
00:02:44Salami.
00:02:45Not salami.
00:02:46I beg your pardon.
00:02:48I know this place very well.
00:02:49I would not recommend salami.
00:02:50But the cheese isn't bad.
00:02:53Two cheese sandwiches and some coffee.
00:02:55And as for me, a double brandy, Orazio.
00:02:59Mind if I sit down for a moment?
00:03:02It's so nice to meet people from the States.
00:03:04You speak English very well.
00:03:06Are you a native?
00:03:07I mean an Italian.
00:03:09No, I'm an American.
00:03:10Have you been in Italy long?
00:03:11No, we just arrived from Switzerland.
00:03:13Nice little country, Switzerland.
00:03:15Yes.
00:03:15It would not be so little if they could only flatten it out.
00:03:19That's a good one.
00:03:20I'll have to write that to the boys.
00:03:21If they could only flatten it out.
00:03:22But how could they ever...
00:03:24La Signora likes Italy?
00:03:28I think it's wonderful.
00:03:29It's our first treat.
00:03:30There are many treasures in these little towns.
00:03:32But you have to get off the beaten path.
00:03:34They are hard to find.
00:03:35What do you mean?
00:03:36I happen to be a collector.
00:03:38I find things in private homes, for example,
00:03:40that are of great value.
00:03:41One can buy them for a song.
00:03:43Only this morning, as it happens,
00:03:45I came across cameos.
00:03:48Of the finest, most minute workmanship.
00:03:50And absolutely authentic.
00:03:5215th century, mostly.
00:03:53Could we see them?
00:03:55I love cameos.
00:03:56They are not often as beautiful as this.
00:03:58I was most fortunate.
00:04:00Oh, forgive my appearance.
00:04:01But that is so they do not take me to be wealthy.
00:04:04You see, I buy foliere and sell in London and New York
00:04:06for pounds and dollars.
00:04:09It is not so much the money that interests me.
00:04:12It is the pleasure and difficulty of the search.
00:04:14Do let us see them.
00:04:17Oh, they're lovely.
00:04:19They knew how to make these things in the old days.
00:04:21Now, this one is really a museum piece.
00:04:24Feel the sharpness of the relief,
00:04:25the smoothness of the model's surfaces.
00:04:28That is a portrait of Savonarola.
00:04:30You've heard of Savonarola?
00:04:31Oh, yes.
00:04:34Yes, yes, of course.
00:04:35I'm thinking of having it mounted into a ring.
00:04:38Or perhaps as a pendant.
00:04:39Two small diamonds.
00:04:40Oh, yes, as a pendant.
00:04:43Oh, permit me, if you will.
00:04:44Put it on my bill, Razzio.
00:04:46Could I ask you how much you'd have to pay
00:04:48for a thing like that?
00:04:50I'm almost ashamed to tell you.
00:04:52About 50 lily.
00:04:54That's around $10.
00:04:55But these people know nothing of values.
00:05:08Would you sell it?
00:05:09Of course.
00:05:10I'll send it to my brokers in London.
00:05:12No, no.
00:05:12I mean a quick turnover.
00:05:13I'll give you 50 for it right now.
00:05:15But, carasignore, that is exactly what I paid for it.
00:05:17Oh, wait a minute.
00:05:18$50 gives you plenty of profit.
00:05:20Did you say dollars?
00:05:21That's what I said.
00:05:22It's not the money, I assure you.
00:05:26But I find it hard to bear a lady's disappointment.
00:05:28There you are.
00:05:29Edward, you darling.
00:05:32It is sometimes more important to bring happiness
00:05:34into the world than to make money.
00:05:36Oh, thank you.
00:05:37Au revoir.
00:05:39What a charming young man.
00:05:47Señor comrade.
00:05:49Oh, Ovidio.
00:05:50And how is a commissario of police?
00:05:52Oh, I am well.
00:05:53I am very well, thank you.
00:05:54But, senor Conrad, I must remind you again
00:05:57that it is unlawful to sell anything here
00:05:58without a license.
00:05:59You mean the American?
00:06:00Yes.
00:06:01But you could not call that selling.
00:06:03After all, I paid 50 for it and received 50 for it.
00:06:0550, well, that is a fair exchange.
00:06:07Very fair.
00:06:08But, of course, you are aware of the law
00:06:09that forbids the export of authentic antiques
00:06:12without a special permit.
00:06:13Ma certo, commissario.
00:06:15I am well aware of every law,
00:06:17and I would not dream of dealing in authentic antiques.
00:06:19And now, if you'll forgive me,
00:06:20I'm expected at the Villa Francesco.
00:06:22Oh, yes, yes.
00:06:23I presume it is to say goodbye to signorina Julia, huh?
00:06:27Julie?
00:06:28Is she going away?
00:06:29Oh, yes.
00:06:29She asked me for her exit permit a few hours ago.
00:06:32Oh, I hope I have not given away a secret, huh?
00:06:35No, no, not at all.
00:06:37She would have told me.
00:06:38Good day.
00:06:39Good day.
00:06:41Give senor Ingram my fondest regards.
00:06:44Good day.
00:07:14Good day.
00:07:15Good day.
00:07:16Good day.
00:07:17Good day.
00:07:18Good day.
00:07:19Good day.
00:07:20Good day.
00:07:21Good day.
00:07:22Good day.
00:07:23Good day.
00:07:24Good day.
00:07:25Good day.
00:07:26Good day.
00:07:27Good day.
00:07:28Good day.
00:07:29Good day.
00:07:30Good day.
00:07:31Good day.
00:07:32Good day.
00:07:33Good day.
00:07:34Good day.
00:07:35Good day.
00:07:36Good day.
00:07:37Good day.
00:07:38Good day.
00:07:39Good day.
00:07:40Good day.
00:07:41Good day.
00:07:42Good day.
00:08:13It's Bruce Conrad, Mr. Ingram.
00:08:20You asked him to come up today.
00:08:23Oh, yes, I remember.
00:08:37Hello, Julie.
00:08:43Ah, Sr. Ingram, you're looking exceptionally well today.
00:08:50No, Bruce, not with me.
00:08:52Save that for the tourists.
00:08:53But I really mean it.
00:08:54You are looking well.
00:08:55And it's reflected in your playing.
00:08:57I've been listening.
00:08:58You played masterfully.
00:09:00You think so?
00:09:01Now that all my strength, all my will is concentrated in these fingers.
00:09:05Exactly.
00:09:06The power, the tonal quality, the prodigious technique.
00:09:09You have suffered no loss and the world has gained another miracle.
00:09:12Yes.
00:09:14Perhaps you're right.
00:09:17Julie, since you came, I found new life.
00:09:21A new source of energy.
00:09:22A stronger ambition to live.
00:09:25And enjoy.
00:09:25I've only tried to take care of you, Mr. Ingram.
00:09:27No.
00:09:28You've done much more than that.
00:09:30You've brought beauty before my eyes.
00:09:34The beauty I've always loved.
00:09:37And always saw it.
00:09:38You wanted to see me, Mr. Ingram.
00:09:43To see you?
00:09:45Oh, yes, of course.
00:09:46You'll have dinner with us.
00:09:47I shall be delighted.
00:09:49I'm expecting Jufrax, my lawyer from Rome.
00:09:52You must meet him.
00:09:53I want Hillary to be present, too.
00:09:55Shall I tell him?
00:09:56Yes, but...
00:09:57Don't leave me alone too long.
00:10:00Mr. Conrad will stay with you.
00:10:04I'll still be alone.
00:10:06I'm always alone with everyone.
00:10:08Except with her.
00:10:11Do you understand?
00:10:12Except with Julie.
00:10:15I need her, Bruce.
00:10:18How about a game of chess?
00:10:22You want to take the money away from me again?
00:10:25The money doesn't matter.
00:10:26But just to make it interesting,
00:10:28how about ten leery a game?
00:10:38What's the matter?
00:10:58What's the matter? Don't you feel well?
00:11:05Just tired.
00:11:07It's very demanding, isn't it?
00:11:09But Julie, I know he has to go to Milano to see his doctor.
00:11:12You're going with him.
00:11:14Change will do you good.
00:11:16While you're there, you can take in the opera and meet new people.
00:11:21That won't help very much.
00:11:23What I need is a complete change.
00:11:25Hillary, I've been thinking seriously of going home.
00:11:30No.
00:11:31Please don't.
00:11:33If you go, what will happen to my work?
00:11:36What is my going away to do with your work?
00:11:38Don't you see, Julie, since you begin looking after him,
00:11:42he's forgotten about me. I've had time for my studies.
00:11:44But if I go, he'll have another nurse to look after him.
00:11:47No, if you leave, he won't let me out of his side.
00:11:50I need every minute of the day for my work.
00:11:52I have to stay right here in his library.
00:11:55And his books and his shelves are the great secrets I'm after.
00:12:01Key to the future, it was known only to the ancient astrologists.
00:12:06It's been lost since the burning of the Alexandrian library.
00:12:10And now I, I am about to rediscover them.
00:12:15If I'm left alone just a little while long, I have it.
00:12:19Please stay. You must stay till I find it.
00:12:22Hillary, you know I'd like to help you, but...
00:12:24Julie! Julie!
00:12:26There's Mr. Ingram calling.
00:12:33Oh, I nearly forgot.
00:12:35He wants you to have dinner with us tonight.
00:12:36When did you decam this wine, Antonio?
00:12:55This afternoon, Senor Ingram.
00:12:57It's cloudy.
00:12:58You haven't eaten anything since this morning, Mr. Ingram.
00:13:07You take good care of me, Julie.
00:13:09You notice everything.
00:13:11Everything.
00:13:13But I don't need food.
00:13:14You may wonder why I asked you to have dinner with me tonight.
00:13:20It's because this is a special occasion.
00:13:23And a very important one.
00:13:26Hillary, do you know why you were here?
00:13:29No, I don't.
00:13:31Some anniversary, perhaps?
00:13:33No.
00:13:33No such a thing.
00:13:35I merely want your testimony
00:13:36that I am not insane.
00:13:41It's very important to me to be certain
00:13:43that not one of you thinks I'm of unsound mind.
00:13:46Bruce, you are an artist, a musician.
00:13:53You've been with me a long time.
00:13:55You have been with me constantly.
00:13:57Therefore, you are in a position to speak.
00:14:00Are you convinced
00:14:01that there is nothing wrong with
00:14:04with my mental balance?
00:14:09Your mental balance is equal to mine.
00:14:11And while I consider that a tribute to your sanity,
00:14:14there are certain people in San Stefano
00:14:15who consider me slightly eccentric.
00:14:18Perhaps they're right.
00:14:21Hillary, you have been my secretary
00:14:23for the last 20 years.
00:14:25Could you testify
00:14:26that I was always thinking rationally?
00:14:29There's no question about that.
00:14:31Julie,
00:14:33you, of all people, know me well.
00:14:36I engaged you to look after me.
00:14:39And you have become my friend.
00:14:41Have you ever heard me say anything irresponsible?
00:14:45Think.
00:14:46No, Mr. Ingram.
00:14:48If you had to swear to it.
00:14:50I don't think that question would ever be asked.
00:14:52Answer me.
00:14:54Yes, Mr. Ingram.
00:14:55I would swear to it.
00:14:57Mr. Duprex,
00:14:58you have just listened to the people
00:15:00who have known me best.
00:15:02Now your testimony
00:15:04is of the greatest importance.
00:15:06What's your impression of me?
00:15:08I have no doubt
00:15:09that you're able to think as clearly
00:15:11as anyone in this room.
00:15:14None of us have ever doubted
00:15:16your mental health, Mr. Ingram.
00:15:19I'm glad you all agree with me.
00:15:21Dooprex.
00:15:26Bruce.
00:15:28Henry.
00:15:29I want you to sign this document
00:15:31as witnesses.
00:15:39You first.
00:15:41What is it?
00:15:42I'd like to read it before signing.
00:15:45It's my will.
00:15:47My last will
00:15:48and testament.
00:15:52I hope my signature
00:15:53doesn't spoil its validity.
00:16:00Will you kindly sign, please?
00:16:03Make a will is to think of death.
00:16:06And to think of death
00:16:07is to anticipate the end.
00:16:08Don't be alarmed.
00:16:10Though I think of it,
00:16:11I don't anticipate it yet.
00:16:14Julie,
00:16:15will you be kind enough
00:16:16to take me into the hall?
00:16:18Yes, Mr. Ingram.
00:16:23Come with me.
00:16:25All of you.
00:16:35All of you.
00:17:35So you're going away, Julie?
00:17:37Yes. How did you know?
00:17:40There are three kinds of communication.
00:17:42The telegraph, the telephone, and the commissario.
00:17:45The commissario, of course, is the fastest.
00:17:56Didn't you want me to know?
00:17:58Yes, I would have told you, but until I'd spoken to Francis...
00:18:02Why speak to Francis?
00:18:04I don't understand.
00:18:06Go abruptly, suddenly, without warning, without goodbyes.
00:18:11But I couldn't do that.
00:18:13It isn't fair.
00:18:15Fair?
00:18:18Has he been fair to you?
00:18:20Yes, he's been fair.
00:18:22But that isn't why I'm leaving.
00:18:24I know, Julie. You're afraid.
00:18:33He's holding you with his pain and his helplessness.
00:18:35He draws his energy from your life.
00:18:37He'll never let you go.
00:18:38But I must go.
00:18:39But I can't leave without telling you.
00:18:42It's your only chance.
00:18:44He's had his life.
00:18:45You have the right to yours.
00:18:47But I thought you were his friend.
00:18:49Yes.
00:18:50But I'm thinking of you.
00:18:52For him, I have only pity.
00:18:55For you, something quite different.
00:18:57You might not even believe me.
00:18:59Tell me.
00:19:01I love you, Julie.
00:19:04Why shouldn't I believe you?
00:19:06Perhaps because I don't believe in myself.
00:19:09Because I'm urging you to go.
00:19:12Away from him and away from me.
00:19:14And you'd stay here.
00:19:16Yes.
00:19:17When I first heard Francis Ingram in his New York recitals,
00:19:20long before I ever came to know him,
00:19:22he'd sit down and play a group of compositions
00:19:24and the audience would cheer.
00:19:25Then I found out that you'd written them.
00:19:27It was you I was listening to.
00:19:29It's you I hear now when Francis plays your music.
00:19:32There's genius in it.
00:19:34Genius.
00:19:35All I did was transcribe Bach.
00:19:37It gave him a chance to play again.
00:19:39It gave him new hope.
00:19:42It was a trick, a stunt for a one-handed pianist.
00:19:46Don't say that.
00:19:47It's beautiful.
00:19:48It's inspired.
00:19:49And it must have been my last inspiration.
00:19:51I haven't been able to write anything since.
00:19:53Look what I've become.
00:19:55A court jester to a cripple dependent upon his charity.
00:19:58A dealer in modern antiques.
00:19:59You must find yourself again.
00:20:02You say that you love me,
00:20:04yet you want me to go away alone.
00:20:07I do love you, Julie.
00:20:09But what if I'd offer you?
00:20:11Have I asked for anything?
00:20:13I have something to offer you.
00:20:15Hope.
00:20:16Courage.
00:20:17Devotion.
00:20:18A new life.
00:20:24Julie!
00:20:25Julie!
00:20:26Julie!
00:20:29Julie!
00:20:33Julie!
00:20:34Did you call Mr. Ingram?
00:20:35Anything I can do?
00:20:36Julie.
00:20:37I want Julie.
00:20:38Where is she?
00:20:39Don't you know?
00:20:40I know where she is.
00:20:41Well, tell me, where is she?
00:20:42She's in a garden.
00:20:43She's not alone.
00:20:44Mr. Conrad is with her.
00:20:45Bruce?
00:20:46Yes.
00:20:47Look, Mr. Ingram.
00:20:48They're going away together.
00:20:49I'm afraid she will leave you.
00:20:50Hillary.
00:20:51Why do you lie to me?
00:20:52I'm not lying.
00:20:53I'm telling you the truth.
00:20:54No.
00:20:55The truth is that you don't want anybody around here close to me.
00:20:57I heard what they said in the garden.
00:20:58I couldn't help but hear them.
00:20:59You are a liar.
00:21:00I am not a liar.
00:21:01I am not a liar.
00:21:02You are a liar.
00:21:03You're afraid to hear the truth.
00:21:04Go away.
00:21:05I won't listen to you.
00:21:06You must listen to me.
00:21:07I even remember what they said.
00:21:08He said he's had his life.
00:21:09You have the right to yours.
00:21:10And she said, yes.
00:21:11I'll have to go.
00:21:12He took her in his arms.
00:21:13And he kissed me.
00:21:14He kissed me.
00:21:15And he kissed me.
00:21:16You were a liar.
00:21:17I'm not lying.
00:21:18I'm not lying.
00:21:19I'm telling you the truth.
00:21:20No.
00:21:21The truth is that you don't want anybody around here close to me.
00:21:24I heard what they said in the garden.
00:21:25I couldn't help but hear them.
00:21:26You are a liar.
00:21:27I am not a liar.
00:21:28You're afraid to hear the truth.
00:21:29Go away.
00:21:30I won't listen to you.
00:21:31You're a liar, I can't help but hear you.
00:21:33You're a liar.
00:21:34I'll give you an answer.
00:21:36You're a liar.
00:21:37All right.
00:21:38No, no.
00:21:39No.
00:21:40No.
00:21:41No.
00:21:42No.
00:21:43Julie!
00:21:44Julie!
00:21:45Help!
00:21:46I can't hear you Hilary.
00:21:47She's out in the garden, isn't she?
00:21:48She's out in the garden with Bruce Conrad.
00:21:54She couldn't hear me.
00:21:55How can she hear you?
00:21:57How can she hear you?
00:22:01Mr. Ingram, Mr. Ingram, Mr. Ingram.
00:22:12Get out of my house.
00:22:15I never want to see you again.
00:22:18Get out!
00:22:31I never want to see you again.
00:23:01Well, thank you, Antonio. I think you can go to bed now.
00:23:05He seems to be resting quietly.
00:23:07Good night, senorina.
00:23:09Good night.
00:23:31Good night.
00:23:55I had to wake till Mr. Ingram fell asleep.
00:23:59He really did hurt you.
00:24:06His fingers, they're like claws.
00:24:10I'm sure if you hadn't come here, it would have killed me.
00:24:13How did it happen?
00:24:17I don't know.
00:24:19He asked for you.
00:24:20He said you were in the garden.
00:24:23He started choking me.
00:24:26I am told to get out of his house.
00:24:29He didn't mean what he said.
00:24:30I'll talk to him in the morning.
00:24:31I'll talk to him in the morning.
00:24:34Lisa Wooden.
00:24:35He's going to be there.
00:24:36Yes!
00:24:38Judy!
00:24:39Hello.
00:24:40You're welcome.
00:24:41Are you standing here?
00:24:42Yes.
00:24:43Go on.
00:24:44Go on!
00:24:47Julie!
00:24:49Go on.
00:24:51I'm standing.
00:24:52Go on.
00:24:53You're standing.
00:24:54I'm standing.
00:24:56Julie!
00:25:01Julie!
00:25:06Julie!
00:25:26Julie!
00:25:56Julie!
00:26:01Julie!
00:26:26Julie!
00:26:31Julie!
00:26:33Julie!
00:26:35Julie!
00:26:37Julie!
00:26:39Julie!
00:26:56Judy.
00:28:28Tell me, Senor Conrad, in a case like this, whom does one condone?
00:28:33To whom does one express his grief and sympathy?
00:28:36To me.
00:28:38I made a very fair living playing chess and gambling with him, eating his food, drinking his wine. Now that he's gone, I'm without doubt the chief mourner.
00:28:47Well, he had no family. He left no one?
00:28:50Yes, there's a brother-in-law and a nephew who just arrived from England. You'll find them in the library.
00:28:55Well, that is better. Present to me, if you please, that I may offer proper consolation.
00:28:59Of course. This way to the grief-stricken relatives.
00:29:02Sorry to interrupt, gentlemen. This is Senor Ovidio Castanio, commissario of police.
00:29:18Mr. Raymond Darlington and his son, Donald.
00:29:22Police?
00:29:23Please, Senor Conrad, explain that I'm here merely to express my heartfelt sympathy, my profound regret, my deepest condolences on this unhappy occasion.
00:29:34I think you've expressed it very well yourself.
00:29:37Thank you very much.
00:29:39Do you expect other members of the family to arrive?
00:29:42We are his only relatives. Francis was married to my sister.
00:29:46Ah, you are American?
00:29:48Yes. Living in England.
00:29:52What on earthly noise is that?
00:29:57The professional mourners. They've been hired to chant until sunrise. Unless you care to extend the time.
00:30:02You mean they'll keep that up all night?
00:30:05It is an ancient custom, Mr. Arlington. Your brother-in-law was a man of great eminence in this community.
00:30:11It is only natural his passing should be attended by a certain amount of lamentation.
00:30:17Our grief, as you see, is very great. But having known Francis well, I'm sure he would have preferred that the lamentation be somewhat less vocal.
00:30:27In a word, Senor Commissario, ask those witches to stop howling.
00:30:32As you say, Senor, I shall merely explain your desolation is very great. And under the circumstances you would prefer quiet and solitude.
00:30:45The Commissario does have a way of putting things, doesn't he?
00:30:48Her chest is a chest of bulls and three swords.
00:31:02Yes, but it belonged to one of the Borgias.
00:31:03Gorgeous, eh?
00:31:03That chest will bring at least 300 pounds at Christie's.
00:31:07It's a small fortune in these books and antiques.
00:31:11If you gentlemen are really interested in authentic antiques...
00:31:13Look, Roma, 1743, La Vita de Lorenzo Borghese.
00:31:19This is worth 100 pounds to the British Museum.
00:31:25History of the Constellation, Florence, 1603.
00:31:30I wish you'd keep your hands off my books.
00:31:34Your books?
00:31:35Yes, they are mine.
00:31:38You're part of the estate, and until the wheel is red...
00:31:40No, they belong to me.
00:31:42All of them.
00:31:43I want you to keep away from them.
00:31:45How did you get them?
00:31:46How do you have salary?
00:31:47He bought them.
00:31:49For me, they are mine.
00:31:50You leech.
00:31:51You've lived on Francis' charity for years.
00:31:55Now you'll have to get out, you and your theories.
00:31:57You won't live on my charity.
00:31:59The stars should have told you that.
00:32:01Perhaps they told me more than you know.
00:32:04Gentlemen, don't you think the discussion is somewhat premature?
00:32:08I don't want him to touch my books.
00:32:09For your information, Hillary,
00:32:11I'm going to close this place as soon as Francis Will has been read.
00:32:15All this stuff will be shipped to England,
00:32:17including, of course,
00:32:19your books.
00:32:21Julie.
00:32:42The gentlemen downstairs are waiting for us.
00:32:51But I have nothing to do with it.
00:32:52I don't belong to the family.
00:32:54Please tell them to go ahead without me.
00:32:56What's wrong, Julie?
00:32:57It's only reading of the will.
00:32:59For some reason, Mr. Duprex wants you to be present.
00:33:02I can't face Mr. Arlington again.
00:33:05It wouldn't have happened if I'd only stayed with Mr. England.
00:33:07Why do you blame yourself?
00:33:10Nobody expected him to crawl out of bed.
00:33:13In a way, I'm glad it happened while you were here.
00:33:16Suppose he had died after you'd left.
00:33:18You'd never forgiven yourself.
00:33:21It's all in the way you look at things, isn't it?
00:33:24I suppose so.
00:33:27I'm going to send Stefano tomorrow to get my exit visa.
00:33:30You decided to leave with me?
00:33:32Yes.
00:33:34I wish we could get away from here right now.
00:33:37It won't be long.
00:33:38Only a few days.
00:33:40In the meantime, keep your chin up.
00:33:42Why?
00:33:43So that I can kiss you.
00:33:55Well, it's about time.
00:33:57I beg your pardon.
00:33:59Please, please be seated.
00:34:01I've called you together for the reading of the will and testament of Francis Warren Ingram.
00:34:06It was witnessed by Hilary Cummins, Bruce Conrad, in the presence of Francis Ingram and myself.
00:34:13I, Francis Warren Ingram, being of sane mind and in full possession of my mental powers,
00:34:19herewith declare my last will.
00:34:21I leave all my worldly goods, cash, properties, and valuables of whatever nature
00:34:26to Miss Julia Cecilia Holden, my companion and friend,
00:34:31as an inadequate compensation for her kindness and devotion to me.
00:34:34I wish my body to be interred in the ancient chapel adjoining the Villa Francesco,
00:34:38so that I can be near to her and therefore rest in peace.
00:34:43That is all.
00:34:44No word about me?
00:34:46None.
00:34:46We shall contest that will.
00:34:48On what grounds, may I ask?
00:34:50This will was made in consideration of her kindness and devotion, his very words.
00:34:55But it was her duty to stay with him and take care of him.
00:34:57And if she had done so, Francis Ingram would be alive at this moment.
00:35:00This is an insult to Miss Holden.
00:35:02These are not insults, they're facts.
00:35:04This woman is responsible for Francis' death.
00:35:06You'd have a hard time proving that in a court of law.
00:35:09That's a criminal charge.
00:35:10I have no desire to place Miss Holden in a position of jeopardy.
00:35:13But I shall do all in my power to have this so-called will thrown out of court.
00:35:19I think you're needlessly alarmed, Mr. Arlington.
00:35:22You haven't asked Miss Holden of her own desires in the matter.
00:35:24As far as I know, she hasn't the slightest intention of accepting any part of this magnificent bequest.
00:35:31Is that true, Miss Holden?
00:35:34Are you willing to resign your rights to the entire estate without further litigation?
00:35:38In view of the circumstances of my uncle's death, that might be a very wise procedure.
00:35:43I'm afraid Mr. Conrad has misled you.
00:35:45I accept the legacy.
00:35:47And furthermore, I intend to remain here in this house.
00:35:50Yes, and my books remain here too.
00:35:59Oh no, this thing isn't over yet.
00:36:01Let me go.
00:36:08What's the matter with him?
00:36:09What's happened to his throat?
00:36:11I believe that Francis Ingram tried to choke him.
00:36:14Oh, that's interesting.
00:36:16Why?
00:36:16It seems that Mr. Ingram resented...
00:36:19Go on.
00:36:19Well, it's almost as if he suspected some kind of a conspiracy between Hillary Cummings, Miss Holden, and Mr. Conrad.
00:36:26What kind of a conspiracy?
00:36:28You think he felt himself threatened?
00:36:30It's hard to say.
00:36:32Conspiracy.
00:36:33That would explain who pushed Francis down the stairs.
00:36:37No luck, Arlington.
00:36:38There's no evidence that it was not an accident.
00:36:40I wouldn't be so sure.
00:36:42Mr. Conrad's quite right.
00:36:43The idea's absurd.
00:36:45But even Mr. Conrad stated that Francis Ingram's behavior was eccentric.
00:36:49Did I?
00:36:49When?
00:36:50At the dinner table.
00:36:51I don't remember.
00:36:52But I do.
00:36:53Excellent.
00:36:54If my brother-in-law was not in full possession of his mental powers.
00:36:58Don't count on me as a witness.
00:37:00He won't have to.
00:37:01Luckily, there were others present.
00:37:03I'm sure you gentlemen will excuse me.
00:37:05You're quite right.
00:37:10We don't need Mr. Conrad's testimony.
00:37:12The things I saw during my short stay in this house would certainly be conclusive for any judge.
00:37:18It breaks you or a man of extreme perception.
00:37:20As it happens, I know the existence of a former will, which names your son's sole heir.
00:37:25Only a few months ago, Francis Ingram changed his mind.
00:37:28I have the impression that he acted under a neurotic obsession, which certainly affected his willpower.
00:37:34Then it would be simple to have this will known.
00:37:36It would take a certain amount of handling.
00:37:39Would you like me to represent you in the matter?
00:37:41Of course.
00:37:42What would my share be?
00:37:45Share? You mean your fee?
00:37:46I said share.
00:37:48What do you want?
00:37:49The participation. Let us say one-third.
00:37:52You understand, I would offer my services to Miss Holden under the same circumstances.
00:37:56You mean you'd help her instead of us?
00:37:58I'm on the side of those who engage me.
00:38:01All right.
00:38:02Will you take the case?
00:38:05Tomorrow the will shall be broken.
00:38:07There's a light in the mausoleum.
00:38:32Santa Teresa, protect us.
00:38:37Strange.
00:38:57How long here?
00:40:37Of course I did.
00:40:42Hillary, who's playing?
00:40:44I don't know. I... I didn't see anybody.
00:40:47The piano was closed when I went upstairs.
00:41:05Yes, it's been locked since the day Mr. Ingram died.
00:41:09There. There.
00:41:13Don! Donald!
00:41:15It's Mr. Ingram's ring.
00:41:17He always put it there.
00:41:18What are you trying to say?
00:41:21I don't know.
00:41:23I don't understand.
00:41:25The music, it...
00:41:26It was his style, his technique.
00:41:29I couldn't be mistaken.
00:41:32What's the matter?
00:41:33Dad. Come down here.
00:41:48Dad! Dad, quick!
00:41:50What is it?
00:41:52Doobricks.
00:42:01He's dead.
00:42:03No.
00:42:04Don't touch him.
00:42:06What?
00:42:07Sent for the police.
00:42:08The fingerprints on the key that lock the piano do not match any of your signorina, signore, or any of the servants.
00:42:27That we have proved beyond a doubt, thanks to my colleague, Monsieur Bertillon.
00:42:33To eliminate a possible clue is almost as good as finding one.
00:42:37You mean you suspected one of us?
00:42:39No, I do not suspect, Signor Conrad.
00:42:41I am here merely to investigate.
00:42:43Signore, please, a little closer.
00:42:47Now, let us be methodical, huh?
00:42:50A murderer must have a motive.
00:42:53Who would have gained by Mr. Duprecht's debt?
00:42:57Why don't we tell him, Dad?
00:43:00Tell what?
00:43:01Duprecht's could have proved that my uncle was insane.
00:43:04And also that a former will exists, which was made while he was still in his right mind.
00:43:08Somebody in this room is just lucky he died so suddenly.
00:43:12I could scarcely strangle a man.
00:43:14And I don't play the piano.
00:43:15Because nobody's ever heard you, doesn't prove you can't play.
00:43:19If you remember, I was upstairs when we heard the music.
00:43:22So you were.
00:43:23But Duprecht's must have been dead by that time.
00:43:25Fine reasoning, Arlington.
00:43:27And how did the ring get on the piano?
00:43:30He'd probably have an explanation for that, too.
00:43:32Of course.
00:43:34Anybody could have taken the ring off Francis' hand and placed it on the instrument.
00:43:38Yes.
00:43:39And the marks on his throat.
00:43:41Just like the ones I have.
00:43:43I can still feel his fingers.
00:43:46And it was Ingram playing that night.
00:43:48How about that?
00:43:49I am not enough of a musician myself to recognize Francis' technique.
00:43:54But this man is.
00:43:56In fact, he is himself an expert pianist.
00:43:58Thank you for the compliment.
00:44:00But unfortunately, I wasn't here at the time.
00:44:03Can you prove it?
00:44:04Horatio can.
00:44:07He put me to bed at the inn.
00:44:09But don't worry, commissario.
00:44:11The whole mystery is easy to solve.
00:44:13Huh?
00:44:14You see, Francis' ghost not won his will contested.
00:44:16So he murdered Duprecht.
00:44:18And to leave a clue for the police, he played the piano.
00:44:21But there are no such things as ghosts, Senor Conrad.
00:44:24I...
00:44:25In all my life, I've never seen one.
00:44:28For that matter, neither have I.
00:44:31But one can never be sure, can one?
00:44:33I'm sure the ghost would respond to a bullet between his ribs.
00:44:36Somebody very much alive went into that vault last night.
00:44:38We saw a light.
00:44:40And who entered the mausoleum, Senor Donal?
00:44:44I don't know.
00:44:44If I knew, don't you think I'd have told you?
00:44:46Maybe.
00:44:47But sometimes the people tell me things after it's too late.
00:45:03Senor, you did not have to come down here.
00:45:05For me, this is merely a matter of routine.
00:45:07Do you wish to reconsider?
00:45:09We are just as anxious to know as you are, commissario.
00:45:11And we are just as brave.
00:45:13As you wish.
00:45:14After you.
00:45:17I'm sure it wasn't.
00:45:45The glass was smashed from the inside.
00:45:49And yet, no one could possibly climb through a jagged little opening like that.
00:45:52Somebody's been here.
00:45:54The lid's been moved, huh?
00:45:55What did I tell you?
00:45:56That's how the ring was stolen.
00:45:58Let's make sure.
00:46:00Give me a hand with the lid.
00:46:02Horrible.
00:46:11He cut off his own hand.
00:46:14A corpse?
00:46:15Very likely indeed.
00:46:16Yes, a corpse.
00:46:17Dr. Scudermilor was positive he was dead when they buried him.
00:46:21There's no doubt about it.
00:46:22And even if he wasn't, his right side was paralyzed.
00:46:24There's fingerprints on the glass.
00:46:40We'd better take it with us.
00:46:42If you take it, I might drop it.
00:46:49A knife.
00:46:51No blood on the blade.
00:46:54A keen observation.
00:46:56Make a note of it.
00:46:58Let us see if there are some other pieces of glass in the garden.
00:47:01There aren't any footprints.
00:47:18No.
00:47:24The print of a hand.
00:47:31It broke the window and it climbed through.
00:47:37And walked away.
00:47:45Anna, Teresa, go in the house, quick.
00:48:01If you look at her, you will be cursed.
00:48:22They've turned their eyes away.
00:48:24All of them.
00:48:25They believe that evil spirits can only be evoked by people who are yet to Tauri.
00:48:29And whoever lives at the Villa Francesco may possess the evil eye.
00:48:38I don't want to stay here any longer.
00:48:40Don't show them you're afraid.
00:48:42That will convince them.
00:48:43You're hurting me.
00:48:44Oh, I'm sorry.
00:48:45I guess I'm a bit rattled myself.
00:48:47Horacio.
00:48:49Senor Conrad.
00:48:52Bring me some brandy and a coffee for La Signorina.
00:48:54You wanted proof?
00:49:00Tomorrow the bakery will be closed to us.
00:49:02The butcher will have no meat.
00:49:03They'll try to starve us out of town.
00:49:05And if we don't leave...
00:49:06I can't believe the people could be so superstitious.
00:49:09It's their folklore.
00:49:10They've been brought up on it for centuries.
00:49:12I have been looking for you and the Signorina.
00:49:19What's the bad news, commissario?
00:49:22The fingerprints on the piece of glass we picked up at the mausoleum correspond with the imprint on the piano key.
00:49:28You mean it's the same hand?
00:49:29Precisely.
00:49:30Then it was Francis' hand that unlocked the piano and played?
00:49:34Can you give me a better explanation, Senor Conrad?
00:49:37That I will be only too happy to accept it.
00:49:41I found the fingerprints of my identical pattern in the library, in the hall.
00:49:47Even on the window pane in your room, Signorina.
00:49:50Fingerprints not older than a day.
00:49:52Are you sure of it?
00:49:54In my mind, there is no doubt the hand is walking around.
00:49:58You don't believe in things like that.
00:50:00Unfortunately, for the peace of our souls,
00:50:02one cannot explain everything logically that happens in this world, Senor Conrad.
00:50:07So,
00:50:09even the commissario is afraid of getatura.
00:50:12Horatio.
00:50:15Where's my drink?
00:50:16I'm sorry.
00:50:17It might be better if you were served elsewhere.
00:50:26Here's the money I owe you.
00:50:27Now bring us something to drink.
00:50:28I have the right to refuse service to anybody.
00:50:30Let's get away from here, Bruce, please.
00:50:33You're right, Signorina.
00:50:34It would be much more comfortable in my office.
00:50:36Please come.
00:50:38What for?
00:50:39Merely to ask a few questions, Senor Conrad.
00:50:49May I be so bold as to ask where you got all of that money?
00:50:53Francis Ingram gave it to me.
00:50:54Oh, he did.
00:50:55Why?
00:51:00I asked him for it.
00:51:02After all, he owed it to me.
00:51:05Sometimes I cannot help but wonder
00:51:07why a man of your education and background
00:51:09chooses to bury himself in our little village.
00:51:12Well, you can stop wondering, commissario.
00:51:15I was just on my way to get an exit visa from you.
00:51:24Signorina, after Signor Ingram was stricken in New York,
00:51:28he brought you along to take care of him?
00:51:31Yes.
00:51:32Mr. Ingram had the choice of many nurses.
00:51:34I am not surprised that he chose you, Signorina.
00:51:37I would have done the same, believe me.
00:51:40But recently, Signorina asked for her exit permit, too.
00:51:43And now she seems to change her mind.
00:51:46No, I've decided to leave here as soon as possible.
00:51:50I see.
00:51:55Did you know that the Signorina,
00:51:57after a little more than a year in Signor Ingram's service,
00:52:00would have the good fortune of inheriting all of his wealth?
00:52:04Of course not.
00:52:05Then why do you want to leave with her?
00:52:07Has this something to do with her sudden inheritance?
00:52:12What's the reason for these questions?
00:52:15Well, when a man picks up his living,
00:52:17as you do collecting so-called antiques,
00:52:19one is naturally a bit curious.
00:52:22Is that not so?
00:52:23Si.
00:52:24Have you a match, please.
00:52:31Where were you going to have the accident, Signor Conrad?
00:52:34I told you.
00:52:35Oratio can testify that I was at the inn.
00:52:39And the night the lawyer was a murderer?
00:52:41In bed.
00:52:42Oratio brought me a hot drink.
00:52:51May I have your passport, Signorina?
00:52:57What does that mean?
00:53:04It is merely a routine.
00:53:06In the meantime, I suggest that you stay at the villa.
00:53:09I shall be there too.
00:53:10I have no doubt we shall see a great deal of each other.
00:53:13Please come.
00:53:13I have no doubt we shall see a great deal of each other.
00:53:15I have no doubt we shall see a great deal of each other.
00:53:16I have no doubt we shall see a great deal of each other.
00:53:17I have no doubt we shall see a great deal of each other.
00:53:18I have no doubt we shall see a great deal of each other.
00:53:19I have no doubt we shall see a great deal of each other.
00:53:20I have no doubt we shall see a great deal of each other.
00:53:21I have no doubt we shall see a great deal of each other.
00:53:22I have no doubt we shall see a great deal of each other.
00:53:23I have no doubt we shall see a great deal of each other.
00:53:24I have no doubt we shall see a great deal of each other.
00:53:25I have no doubt we shall see a great deal of each other.
00:53:26I have no doubt we shall see a great deal of each other.
00:53:27Still working, I see.
00:53:54Sure, sand.
00:53:56Well, it's after midnight.
00:53:58Why aren't you asleep?
00:54:00Tell me, Hillary.
00:54:03Just what do you expect to find?
00:54:05The law that changes the conception of unknown fate into very predictable facts.
00:54:10Sounds like a lot of nonsense to me.
00:54:13Why don't you let me finish?
00:54:14Applying that knowledge to your life, I...
00:54:17I think I can foretell the exact circumstance of your death.
00:54:21What a charming thought.
00:54:23And what's going to happen?
00:54:24You were born on the 15th of August, 1882, right?
00:54:28So they told me.
00:54:29That is under the sign of Leo, Libra in your sentence.
00:54:32You know, you should take the trouble to read the life story of one Gotham a lot and one Aurelia Versace.
00:54:37You were born on the same day you were.
00:54:40Only a few hundred years ago.
00:54:43But under the same constellation.
00:54:45Come on, just give me the cold facts.
00:54:47Well, they...
00:54:48They both died a death of violence.
00:54:50Poison?
00:54:51Shooting?
00:54:52Hanging?
00:54:53No, they...
00:54:54They were choked to death.
00:54:57Well, I'm glad to know what to expect.
00:54:59I hate surprises.
00:55:12Why don't you go to bed?
00:55:13I'm not a bit tired.
00:55:14I just wondered.
00:55:19Abracadabra, here it is.
00:55:20How did you know about that safe?
00:55:22When I was a boy, no higher than that, Uncle Francis opened it for me.
00:55:25He pretended it was magic and I never forgot it.
00:55:27You know that this house belongs to Julie.
00:55:29Everything in it is hers.
00:55:31Everything, do you hear?
00:55:32I'm not so sure about that.
00:55:34There's another well in the safe that might change that picture considerably.
00:55:38Uncle Francis taught me a jingle to remember the combination.
00:55:41How did it go again?
00:55:43It just escapes me.
00:55:45Get out of here!
00:55:48Good night.
00:55:49Don't work too much.
00:56:02long, eigentlich.
00:56:03Obviously she's happy
00:56:05to think that there's no idea,
00:56:06but mine can't even touch her.
00:56:08All of them,
00:56:09she can easily catch her with an answer to her.
00:56:12And now he says she feels her.
00:56:14What did everything well?
00:56:15This is actually a blessing,
00:56:16and we'll take a lookNI relating to her.
00:56:17But to keep her up.
00:56:18We'll see more in the next episode.
00:56:19Let's go.
00:56:49Let's go.
00:57:19Let's go.
00:57:20Let's go.
00:57:21Let's go.
00:57:22Let's go.
00:57:23Let's go.
00:57:24Let's go.
00:57:25Let's go.
00:57:26Let's go.
00:57:27Let's go.
00:57:28Let's go.
00:57:29Let's go.
00:57:30Let's go.
00:57:31Let's go.
00:57:32Let's go.
00:57:33Let's go.
00:57:34Let's go.
00:57:35Let's go.
00:57:36Let's go.
00:57:37Let's go.
00:57:38Let's go.
00:57:43What is it?
00:57:44It's Don in the commissariat.
00:57:45What happened to Don?
00:57:50What happened to Don?
00:57:54The hand. They tried to strangle him.
00:57:56The hand?
00:57:57I saw it with my own eyes.
00:58:09Piano, did you hear it?
00:58:12What happened to him?
00:58:15Please help me take him to his room.
00:58:21Well, he's finally fallen asleep.
00:58:25I'm holding you responsible, commissario.
00:58:28Well, that would run out the mystery nicely, accusing the commissario of murder.
00:58:32You're forcing us to stay here where our lives are in danger.
00:58:35It's a conspiracy, a device to get rid of us.
00:58:38Are you accusing anybody in particular?
00:58:40I'll answer that question the moment I've left this house.
00:58:43Tomorrow morning, I'm going to call an ambulance and take Don away from here.
00:58:47I don't think your son can be removed in this condition.
00:58:50I'll take a chance on that.
00:58:51And nothing can stop me.
00:58:53Nothing.
00:58:54Neither ghosts nor police.
00:58:55There's a possibility of brain fever.
00:58:57It's very dangerous, Mr. Arlington.
00:58:59When I want medical advice, I'll call a doctor.
00:59:02The devil's haunting this house.
00:59:07The devil!
00:59:09Signor Ingram's hand!
00:59:10Quickly, before it catches up with us.
00:59:12Well, you're always imagining things.
00:59:14The night your grandmother died, you heard skeletons rattling.
00:59:17Well, if you don't believe me, why are you running away?
00:59:19Well, it can't hurt to be on the safe side.
00:59:22Look, there they go.
00:59:32Giovanna and Antonio and Clara.
00:59:35They're more afraid of ghosts than of the law.
00:59:38The Lord doesn't like it too much either.
00:59:40If I were not the commissario, I would be right with them.
00:59:43I wonder what the commissario would think of all this packing.
00:59:50Well, he can't keep us here forever, can he?
00:59:53It depends on the ghost of Francis Ingram.
00:59:56Oh, Bruce, let's get away from here.
00:59:58We're not under arrest.
00:59:59What can they do if we just disappear?
01:00:00Nothing.
01:00:01There's a bus that crosses the border at Chiasso.
01:00:03We can be in Lugano tomorrow and in Zurich
01:00:05before the commissario even knows we've left.
01:00:07Well, let's leave.
01:00:08Why do we stay?
01:00:09I don't know.
01:00:10Perhaps I'm a bit curious.
01:00:13It's the way she thinks she's an old time
01:00:15doesn't want to be all going to die.
01:00:16It doesn't matter.
01:00:17It's the way she doesn't care.
01:00:18It's the way she's long.
01:00:19You know what?
01:00:20It's the way she's nested.
01:00:21Can we take her?
01:00:22It's the way she just looks?
01:00:23I just want to call that Tiago.
01:00:32Shall I ask her for the ones to call your baptism to Ende brightest,
01:00:37It doesn't matter all the time.
01:00:40ithe is going to be flexible.
01:00:41Help me!
01:01:11I'll see you next time.
01:01:41BIRDS CHIRP
01:02:11BIRDS CHIRP
01:02:41BIRDS CHIRP
01:02:45BIRDS CHIRP
01:02:49BIRDS CHIRP
01:02:53BIRDS CHIRP
01:02:57BIRDS CHIRP
01:02:59BIRDS CHIRP
01:03:03BIRDS CHIRP
01:03:05BIRDS CHIRP
01:03:09BIRDS CHIRP
01:03:11BIRDS CHIRP
01:03:15BIRDS CHIRP
01:03:17BIRDS CHIRP
01:03:19BIRDS CHIRP
01:03:21BIRDS CHIRP
01:03:25BIRDS CHIRP
01:03:27BIRDS CHIRP
01:03:33BIRDS CHIRP
01:03:35BIRDS CHIRP
01:03:37BIRDS CHIRP
01:03:39BIRDS CHIRP
01:03:43BIRDS CHIRP
01:03:45BIRDS CHIRP
01:03:47BIRDS CHIRP
01:03:49BIRDS CHIRP
01:03:51BIRDS CHIRP
01:03:53BIRDS CHIRP
01:03:55BIRDS CHIRP
01:04:01BIRDS CHIRP
01:04:03BIRDS CHIRP
01:04:05BIRDS CHIRP
01:04:07BIRDS CHIRP
01:04:09BIRDS CHIRP
01:04:11BIRDS CHIRP
01:04:13BIRDS CHIRP
01:04:15BIRDS CHIRP
01:04:17BIRDS CHIRP
01:04:19BIRDS CHIRP
01:04:21BIRDS CHIRP
01:04:23BIRDS CHIRP
01:04:25BIRDS CHIRP
01:04:27BIRDS CHIRP
01:04:29BIRDS CHIRP
01:04:31BIRDS CHIRP
01:04:33BIRDS CHIRP
01:04:35What are you talking about?
01:04:45Oh, it's gone. It wasn't here. I threw it in here myself.
01:04:59Though I think of death, I don't anticipate it yet.
01:05:02That's what Mr. Ingram said to me at dinner that night.
01:05:05Isn't this your handwriting, Hillary?
01:05:08No, it's Ingram's. His hand wrote it.
01:05:12Don't you see the hand? It must be here.
01:05:17I have to find it. It must be somewhere.
01:05:21You must help me find it. You must help me.
01:05:25Stop it, Hillary. You must.
01:05:28There's no hand, Hillary. It's only in your mind.
01:05:33I saw it. It moved.
01:05:35Listen to me. There's nothing here I tell you.
01:05:37In the note?
01:05:39You must have written it, unknowingly. Try to think.
01:05:43I couldn't have written it. I didn't.
01:05:47I don't have written it, because yes, I made written it.
01:05:50You must have written it.
01:05:52I didn't have written it.
01:05:53What are you doing?
01:05:54What are you doing, Hillary?
01:05:55Is this in the city?
01:05:56I didn't know you at that time.
01:05:59You're getting hurt.
01:06:00Oh, I don't know.
01:06:01You're getting hurt.
01:06:03You're getting hurt.
01:06:05No, you're getting hurt.
01:06:06No, you're getting hurt.
01:06:08You're getting hurt.
01:06:09No, you're getting hurt.
01:06:10Let's go.
01:06:40Let's go.
01:07:10Let's go.
01:07:40Let's go.
01:08:10No, but I am sure that only Francis Ingram could have played that thing I wrote for him.
01:08:15Good night, Julie.
01:08:19And don't forget to lock your door.
01:08:21Here, I caught it.
01:08:34Here, I caught it.
01:08:50I caught it.
01:08:52I looked it up.
01:08:54It's fine.
01:08:56It's a horrible hand.
01:08:58It can't escape anymore.
01:09:00But now it can't get out.
01:09:03It can't.
01:09:05Of course it can't.
01:09:07Now go to bed.
01:09:08Dad.
01:09:09Dad.
01:09:27Yes?
01:09:28Eight bones has the carpus, five the metacarpus, 14 the phalanges, all in all, all in all, 27 all in all.
01:09:41You must lie down, Don, please.
01:09:43It came back in my sleep.
01:09:46Eight bones has the carpus.
01:09:49Uncle Francis studied medicine once.
01:09:51He told me the jingle when I was a kid.
01:09:53They're the number of bones in the hand.
01:09:56Oh, don't worry, this isn't fever.
01:09:58I'm feeling well.
01:09:58I'm all right.
01:09:59You've got to stay in bed, Don, please.
01:10:00That's the combination of the safe downstairs.
01:10:03Eight, five, 14, 27.
01:10:06Let's open the safe.
01:10:07Let's open the safe and get the first will.
01:10:09Why not wait till tomorrow?
01:10:10It may not be there anymore.
01:10:11Well, you stay here, Don.
01:10:13I'll go.
01:10:14What were those numbers again?
01:10:15See, how can I trust your memory?
01:10:17Come along, Dad, and don't worry.
01:10:18I feel great.
01:10:26It's strange how things you thought you'd forgotten suddenly come back to you.
01:10:50I even remember the eau de cologne Uncle Francis used.
01:10:54It was Lemon Verbena.
01:11:01One moment, senor.
01:11:02May I ask what you are doing here, senor Raymond and you, senor Donald?
01:11:05I was under the impression you were very ill.
01:11:08Commissario on his path of duty.
01:11:10You're just in time to see a safe being cracked.
01:11:11This will send you to prison, senor Donald.
01:11:13On the contrary, commissario,
01:11:15now you can testify that we took nothing but the will of Francis Ingram.
01:11:18This is unheard of, asking the police to witness an awful act.
01:11:22Suppose somebody better remove that document tonight.
01:11:25I don't think you care to take that responsibility.
01:11:27I feel quite sure that you'll give us your permission.
01:11:31Whatever you do is your own responsibility.
01:11:33Go right ahead.
01:11:33But remember, it is without my permission.
01:11:37Thanks a lot, commissario.
01:11:38Do you remember the combination, Dad?
01:11:40Five bones has the carpus.
01:11:42Five the metacarpus.
01:11:44Fourteen the phalanges.
01:11:45All in all, all in all, twenty-seven all in all.
01:11:49Abracadabra.
01:11:50Francis Ingram is a hand.
01:11:55I'll.
01:12:05Luck!
01:12:14Arnold!
01:12:16Context!
01:12:18Come back!
01:12:19Let's go.
01:12:49What's the matter? Why did you run away?
01:12:57I saw it there, in the safe.
01:13:00But it's dead. It can't hurt you anymore.
01:13:03Arlington, I found him.
01:13:19Arlington, do you believe me now?
01:13:37See, the hand really exists.
01:13:40Please.
01:13:47Hillary.
01:13:52Listen to me.
01:13:54I've got something to say to you.
01:13:57I'm sorry.
01:13:59I'm almost sorry I even know.
01:14:01But I do know.
01:14:03What?
01:14:05It was you who tried to kill Don, wasn't it?
01:14:07Remember, I'm not the police. I'm your friend, Hillary.
01:14:10But I do know you pretended to come from the garden the night he was attacked.
01:14:13And I know that it was you who murdered Duprex.
01:14:17You can talk to me.
01:14:19I nailed it down so it could not kill again.
01:14:23It was the hand.
01:14:27I tell you, it was the hand!
01:14:31That's what you wanted people to believe.
01:14:33You used it to put fingerprints everywhere.
01:14:35Proof that it was the hand that committed the crimes.
01:14:37You can follow what I'm saying, can't you?
01:14:51You're ill, Hillary.
01:14:53You can't distinguish anymore between what is right and what is wrong.
01:14:56Between imagination and reality.
01:14:59Raymond threatened to take your books away.
01:15:00You'd have done anything to prevent it.
01:15:02I know how much they meant to you.
01:15:05Now, now you'll have to face it.
01:15:08The charge will be murder.
01:15:12Murder.
01:15:14Never hurt anybody.
01:15:16I'm not a murderer.
01:15:18Mr. Hand.
01:15:19You'll have to go to the police and tell them about the hand.
01:15:22And yourself.
01:15:24You'll have to tell them everything, Hillary.
01:15:26Yes.
01:15:28Then they'll put me away.
01:15:30They'll put me away.
01:15:31There's nothing else for you to do.
01:15:32I'm sure they'll let you take your books with you.
01:15:35My books?
01:15:37They let me take my books?
01:15:39Are you sure of that?
01:15:41I'll do everything I can to help you.
01:15:43What if they take the house away from you?
01:15:48Julie, you didn't tell the commissariat, did you?
01:15:51No, I haven't told anyone.
01:15:53That's nice of you, Julie.
01:15:55I'm sure you didn't tell anybody.
01:15:57Anybody.
01:15:59Yes.
01:16:00Not even Conrad?
01:16:02No.
01:16:04I'm very fond of you, Hillary.
01:16:05I wanted to give you the chance.
01:16:07And if I don't?
01:16:10Then I'll have to tell the police.
01:16:12No.
01:16:14I still have so much work to do.
01:16:17You're the only one that knows.
01:16:19I can't let you stop me.
01:16:21And I can't trust you any long.
01:16:24I...
01:16:25I can't!
01:16:26Hillary!
01:16:27No, I can't trust you!
01:16:29Conrad!
01:16:30You're amazing!
01:16:51It's Ingram.
01:16:52He...
01:16:53He's playing again.
01:16:54It's Ingram.
01:17:11He's playing again.
01:17:21Listen, her hand, it's playing down there.
01:17:34Hand, it's Ingram's hand.
01:17:43There's nobody playing, Hilary. It's only in your mind.
01:17:47No, it's...
01:17:49It's not in my mind. Don't you hear it?
01:17:54It's resting my eardrums and...
01:17:58I can't stand it! I can't stand it!
01:18:04Jolie!
01:18:07Jolie! Jolie! Don't leave me alone!
01:18:11Jolie! Open the door!
01:18:19I can't stand it!
01:18:21Jolie!
01:18:23Jolie!
01:18:25Jolie!
01:18:27Jolie!
01:18:29Jolie!
01:18:31Jolie!
01:18:33Jolie!
01:18:35Jolie!
01:18:47Jolie!
01:18:49Jolie!
01:18:51Jolie!
01:18:52Jolie!
01:18:53Jolie!
01:18:54Oh, my God.
01:19:24Hilary, listen. Listen. Can you hear it? The piano. It's the hand playing. It's the hand. You were right all the time. It was Ingram's hand that committed murder. Yes. My little friend, Hilary, please save me from the hand. It wants to kill me. Please help me. Destroy it before it kills again. Yes, sir. I will.
01:19:54I'll destroy it. Yes, you're my friend. I will.
01:20:05He won't hurt you.
01:20:06No.
01:20:36No.
01:20:37No.
01:20:38No.
01:20:39No.
01:20:40No.
01:20:41No.
01:20:42No.
01:20:43No.
01:20:44No.
01:20:45No.
01:20:46No.
01:20:47No.
01:20:48No.
01:20:49No.
01:20:50No.
01:20:51No.
01:20:52No.
01:20:53No.
01:20:54No.
01:20:55No.
01:20:56No.
01:20:57No.
01:20:58Oh, my God.
01:21:28Oh, my God.
01:21:58Oh, my God.
01:22:28Oh, my God.
01:22:58Oh, my God.
01:23:28Oh, my God.
01:23:58Oh, my God.
01:24:28Oh, my God.
01:24:58Oh, my God.
01:24:59Oh, my God.
01:25:00Oh, my God.
01:25:02Oh, my God.
01:25:03Oh, my God.
01:25:04Oh, my God.
01:25:05Oh, my God.
01:25:06Oh, my God.
01:25:07Oh, my God.
01:25:08Oh, my God.
01:25:09Oh, my God.
01:25:10Oh, my God.
01:25:12Oh, my God.
01:25:13Oh, my God.
01:25:14Oh, my God.
01:25:15Oh, my God.
01:25:16Oh, my God.
01:25:19Oh, my God.
01:25:22Come with me, signorina. I will show you.
01:25:32The secret of the ghost, signorina.
01:25:36Signor Conrad and I, we discovered it.
01:25:43A mere record.
01:25:44After Hillary's death, I found a receipt from the Milano Edison Recording Agency
01:25:48indicating that Francis Ingram had made a record of the Bach arrangement.
01:25:52But I couldn't find a trace of such a recording until I discovered the hidden gramophone.
01:25:56And Hillary was in sound mind when he installed this contraption.
01:26:00Then, after committing one murder and attempting another, his brain snapped.
01:26:05He started to imagine he was hearing the piano and seeing the hand.
01:26:10The hand was always in the safe or in his desk.
01:26:13All ready?
01:26:14All except the passports.
01:26:15I have them.
01:26:16All signed and stamped.
01:26:20I'm going to be very sorry to see you both go.
01:26:23We're going to miss you too, Ovidio.
01:26:25You know, I like this place now that I found there are no ghosts.
01:26:28It's a good thing I did not write to headquarters in Milano about the ghosts.
01:26:32I saved myself from ridicule.
01:26:34That you did, commissario.
01:26:42Arrivederci.
01:26:43Goodbye, commissario.
01:26:44Arrivederci.
01:26:45Arrivederci, Ovidio.
01:26:46What is the matter?
01:26:48The hand!
01:26:49Huh?
01:26:50Huh?
01:26:51What is the matter?
01:26:52The hand!
01:26:53Huh?
01:26:54Huh?
01:26:55You silly girl.
01:26:56You should know by now there's no such a thing as a ghost, sir.
01:27:00You should know by now there's no such a thing as a ghost, sir.
01:27:24I think I better get out of this house.
01:27:30Can you imagine anybody believing a hand that can walk around?
01:27:50How do you like that?
01:27:52By my own hand.
01:28:00How do you like that?
01:28:30How do you like that?
01:28:38How do you like that?
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