An astronaut crash-lands near a small town, and his radio messages cut through the quiet with a disturbing edge. Ground control struggles to interpret the eerie transmission, including the chilling line > my hand... makes me do things.... kill.... kill! The confusion deepens as controllers suspect the crewman is already out of oxygen, setting a sense of impending danger before the truth fully lands.
Paul Lawrence, a naive medical student, stumbles upon a disembodied hand near the crash site and brings it home as a grisly keepsake. He has no idea that the appendage is possessed by a strange, murderous alien, and this small-town souvenir soon begins to shape his thoughts and actions in alarming ways. The hand proves deadly, first claiming the life of Paul's landlady and turning a routine investigation into a cascade of fear and suspicion.
In the wake of the first crime, the town’s authorities circle Paul, who finds his behavior growing increasingly erratic as the hand exerts its unsettling influence. The sheriff, Sheriff Townsend, and the deputy, Deputy Earl Harrison, face pressure to uncover a rational explanation for the strange violence, all while fingerprints from the crime scene point back to the missing astronaut. The small town becomes a focal point for a federal response as the agency responsible for spaceflight is drawn into the case, sending experts to determine how an otherworldly force could be at work on Earth.
As the grip of the hand tightens, Paul’s relationship with his girlfriend, Marta Farnstrom, is strained and tested. The alien influence pushes him to lash out at people around him, including Marta herself, escalating the fear that he might become a danger to everyone he cares about. The tension rises into a desperate confrontation, with authorities closing in as Paul fights to resist the hand’s compulsion long enough to prevent more harm.
Desperation peaks when Paul tries to travel to the beach in a bid to destroy the cursed limb once and for all. The situation becomes a clash of human determination against a malevolent force that seems to thrive on fear and violence. The federal agents, determined to stop the threat, confront Paul and seize the opportunity to contain the danger at its source. The hand is wounded and cornered, even defensively attacked by a group of cats attempting to eat it, before the authorities finally secure it.
Back at the hospital, Paul begins the slow process of recovery, and the narrative leaves him in a fragile sense of absolution, as if he has narrowly escaped the worst of what transpired. Yet the menace lingers in the background, hinting that the danger may not be fully extinguished. In a chilling final turn, the federales reveal the open box once used to contain the hand, and the camera lingers on the empty container as the film closes, with the words “the end” appearing on a black screen, leaving a lingering question about what else might be lurking in the shadows.
The film blends science-fiction intrigue with a small-town mood, keeping the focus tight on Paul’s struggle to discern reality from possession and the community’s slow realization that something truly alien has landed in their midst. Through moments of suspense, grisly mystery, and a touch of procedural drama, it crafts a tale about control, fear, and the fragile line between human mercy and unthinkable danger. The performances underscore the tension, particularly the dynamic between Paul, Marta, and the authorities who must decide how far they will go to protect everyone else from a hand that will stop at nothing to fulfill its grim purpose.
