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The House in the Square es una película de ciencia ficción y fantasía de 1951 protagonizada por Tyrone Power y Ann Blyth. Fue una de las primeras películas del director Roy Ward Baker. Power interpreta a Peter Standish, un científico atómico estadounidense que es transportado al siglo XVIII, donde se enamora.
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00:00:00¡Gracias!
00:00:30¡Gracias!
00:01:00¡Gracias!
00:01:30¡Gracias!
00:01:32¡Gracias!
00:01:34¡Gracias!
00:01:36¡Gracias!
00:01:37¡Forsythe to control!
00:01:38Entering cyclotron pit
00:02:00Standish speaking
00:02:02Bring up the pile to 1,000 kilowatts
00:02:12Pile operating at maximum power, Dr. Ronson
00:02:14Tell Standish to proceed
00:02:15You remain here
00:02:16We'll follow the experiment from the recording room
00:02:22Pile operating to 1,000 kilowatts
00:02:24All right to proceed, Dr. Standish
00:02:30Thank you
00:02:52Forsythe to control
00:02:54Proceeding on schedule
00:02:56We are ready for the canister now
00:03:00I am now operating the master slave
00:03:14I am removing capsule X from the canister
00:03:18Holding the capsule in my right
00:03:24No glare
00:03:26No glare
00:03:28I am now pouring the bead into the dish
00:03:43Am arranging the tools
00:03:44And in a few seconds we'll open capsule B
00:03:46There is no glare
00:03:48Radiation is not excessive
00:03:50Sample is hot and apparently in the process of disintegrating
00:03:52Foresythe is checking instruments
00:03:58Gamma reading nil
00:04:00Standish is about to open capsule B
00:04:02Canister is open
00:04:04Am removing capsule B
00:04:06Sample is exposed
00:04:08Glare developing
00:04:10Gamma developing rapidly
00:04:12Gamma developing rapidly
00:04:14Gamma developing rapidly
00:04:169-5
00:04:1810
00:04:2010-5
00:04:22Gamma 11
00:04:24Capsule X is reacting
00:04:26Am combining X and B
00:04:30Gamma developing rapidly
00:04:32Gamma developing rapidly
00:04:34Much glare
00:04:36A reaction has begun
00:04:38The heat will affect their instruments
00:04:40The heat will affect their instruments
00:04:46Gamma reading 12
00:04:48Metal reacting
00:04:50Much glare
00:04:52Reaction mounting fast
00:04:54Another method of combination has to be found
00:04:56Ronson to cave
00:04:58Stop the reaction and cease experiment
00:05:00I say again cease experiment
00:05:02I say again cease experiment
00:05:04Shall I stop it?
00:05:06Not yet
00:05:08Continuing experiment
00:05:10Much glare interferes with vision
00:05:12Heat developing rapidly
00:05:14Metal instruments affected
00:05:16Lead unsatisfactory
00:05:18Element very unstable
00:05:20Now breaking down
00:05:22Concluding experiment
00:05:24Damping X and B
00:05:26Start blowers
00:05:28Damping X and B
00:05:30Damping X and B
00:05:31Start blowers
00:05:40Some sort of auto catalytic damping has to be developed
00:05:44With a minimum pulse effect of two minutes duration
00:05:46Less than that is dangerous
00:05:48Fishing begins instantly
00:05:50All right
00:05:52No, no, no, no.
00:06:22Your count's a trifle high, Dr. Forsyth.
00:06:25Don't worry about it till I glow after dark.
00:06:28Can I give you a lift up to London?
00:06:32Thanks.
00:06:33And I'll see you on the car park.
00:06:39Roger, I'm worried about Standish.
00:06:41I think he's due for a rest.
00:06:43Have a talk with him. You know him better than any of us here.
00:06:46Yes, I suppose I do.
00:06:47See if you could persuade him to go away for a few weeks.
00:06:49A bit of fishing.
00:06:50Or something.
00:06:52We shall have to spare him somehow.
00:06:54It's funny when I say I know him.
00:06:55I'm not sure I really do.
00:06:57All I know are just facts.
00:06:59American.
00:07:00No family.
00:07:02Graduated from MIT.
00:07:03Top man of his class.
00:07:05Specialized in nuclear physics at Los Alamos.
00:07:08Outside that, there isn't much.
00:07:09He's a reserved sort of chap.
00:07:11Introspective.
00:07:11Well, keep an eye on him.
00:07:15Well, keep an eye on him.
00:07:15Thanks for the ride, Roger.
00:07:42Looks like rain.
00:07:45Well, aren't you going to ask me in for a drink?
00:07:56Oh, of course.
00:07:59Come in.
00:08:05This is very elegant.
00:08:07I didn't know you were so frightfully rich.
00:08:08I'm not.
00:08:10A distant relative of mine, a man named Pettigrew, left it to me.
00:08:16Years ago, it belonged to an ancestor of mine.
00:08:19Also an American.
00:08:19Come on in.
00:08:34Old Pettigrew didn't do much modernizing.
00:08:36Oh, no.
00:08:36He left it just as he found it.
00:08:38Aside from electricity and plumbing, it's just as it was 200 years ago.
00:08:42It's the only one left in the square.
00:08:44It's very grand.
00:08:45It's beautiful.
00:08:45But living all alone here, it's wonderful.
00:08:49I'm sorry.
00:08:51It'd give me the willies.
00:08:53Take off your coat.
00:08:54You know, you might have sat for that yourself.
00:09:04To Reynolds, isn't it?
00:09:06I did sit for it.
00:09:09I mean, that's my ancestor.
00:09:12His name was Peter Standish, too.
00:09:14Soda?
00:09:15Yes, please.
00:09:16You know, Peter, it's surprising how little I know about you, even though we've worked together for so long.
00:09:25I had no idea you lived in a place like this.
00:09:28You're a sort of mystery man, even to your friends.
00:09:31You keep to yourself a great deal, never go to parties when you're invited.
00:09:35My sister's still annoyed with you, by the way.
00:09:37She's very anxious to meet you.
00:09:38Well, I've been doing quite a bit of research lately.
00:09:44Not at the laboratory, a sort of hobby.
00:09:46If you ask me, you've been overdoing it all around.
00:09:53Look, Peter, what about going away for a few weeks?
00:09:57I am.
00:09:58Oh, that's good.
00:09:59Where?
00:10:04I am going away.
00:10:05This may startle you, but I'm going back.
00:10:13Back to the 18th century.
00:10:17These old English houses give people strange ideas sometimes.
00:10:21I have an uncle who used to see ghosts every afternoon at tea.
00:10:25He's in Parliament now.
00:10:29Roger, I believe the 18th century still exists.
00:10:33It's all around us, if only we could find it.
00:10:37Put it this way.
00:10:39Polaris, the North Star, is very bright.
00:10:41Yet its light takes nearly 50 years to reach us.
00:10:44For all we know, Polaris may have ceased to exist somewhere around 1900.
00:10:48Yet we still see it.
00:10:49Its past is our present.
00:10:52As far as Polaris is concerned, Teddy Roosevelt is just going back down San Juan Hill.
00:10:56I think I shall have another drink.
00:10:58Henry James expressed it like this.
00:11:10You're on a winding stream in a boat.
00:11:12You watch the banks as they pass.
00:11:15Upstream, you went by a grove of maple trees.
00:11:17But you can't see them anymore because they're in the past.
00:11:20Now you're going by a field of clover.
00:11:23That becomes the present.
00:11:25You don't know what's ahead of you around the bend in this dream.
00:11:28Maybe wonderful things, but you won't be able to see them until you get around the bend.
00:11:32Into the future.
00:11:34But suppose I'm in a plane.
00:11:37Above you.
00:11:38I'm looking down at it all.
00:11:40I see the maple trees, the clover field, and around the bend.
00:11:43Your past, your present, and your future.
00:11:45They're all one to the man in the plane.
00:11:47So that time, real time, is all one.
00:11:52With symbolic logic, and Einstein's mathematics, I can conclusively prove that two and two are two.
00:11:59But this...
00:12:01That man is dead.
00:12:03Long ago.
00:12:04I tell you, he's alive.
00:12:06Not here, not now.
00:12:07But he does exist.
00:12:09Back there in his own time.
00:12:11We'll change places for a while.
00:12:14He'll take my place, I'll take his.
00:12:15In the year 1784.
00:12:18I'm going back into that wonderful age.
00:12:21Forget it, Peter.
00:12:22Give it up.
00:12:23You're beginning to believe me.
00:12:25Not quite.
00:12:26But I'm beginning to believe that you believe it.
00:12:28Peter, this house isn't good for you.
00:12:29You've got to get out of it.
00:12:32I'm at home here.
00:12:34All I love is in this house.
00:12:37This is London in the 18th century.
00:12:39The age of reason.
00:12:40Of dignity and grace, of quietness and peace.
00:12:45Come out of this house, Peter.
00:12:46It's not good for you.
00:12:47Come upstairs.
00:13:12Come upstairs.
00:13:12You're trying to escape from something.
00:13:24That's why you're so obsessed with all this.
00:13:26What are you running away from?
00:13:27Let's say I don't like my work and let it go at that.
00:13:30Oh, I see.
00:13:31The occupational disease of the nuclear physicist.
00:13:33The old familiar cry, stop the world, I want to get off.
00:13:36You call it escape.
00:13:38I call it adventure.
00:13:40Read this.
00:13:41June 12th, 1784.
00:13:47For many weeks, Peter Standish's choir has been possessed of strange fancies.
00:13:51On this day, in a fit of madness,
00:13:55he declared before witnesses that he was from the future and could foretell history.
00:13:59At the instance of his friends and relatives, he was removed to a madhouse.
00:14:06It was in the diary of Peter Standish.
00:14:09I found it here in the attic.
00:14:11It's what started me thinking about all this.
00:14:14You see, Roger,
00:14:15Peter Standish never went to that madhouse.
00:14:19A few days later, he was declared normal again.
00:14:22He married Kate Pettigrew.
00:14:23They had two children and he died here in this house quietly and peacefully at the age of 63.
00:14:27The man who said he was from the future and could foretell history, the man who was committed to a lunatic asylum, was another Peter Standish.
00:14:38Me.
00:14:38Look, Peter, drop it.
00:14:41I have no choice.
00:14:42It's already happened long ago.
00:14:44It's all here.
00:14:47My passport to the past.
00:14:51Manners, customs, history, even to the costumes that they wore.
00:14:54Peter Standish arrived from America, 23rd of April, the same day as this, 1784.
00:15:03The trip took 27 days in a ship called the General Wolf.
00:15:06On board, he made friends, a Major Clinton.
00:15:12His letters to Kate Pettigrew, whom he'd never met.
00:15:14He arrived just before Kate's birthday.
00:15:18I even know about the Kashmir's shawl Kate's aunt sent her from the country.
00:15:22From this.
00:15:24The letter Peter Standish wrote Lady Anne, Kate's mother.
00:15:30The day he arrived from New York.
00:15:33Today.
00:15:37There was a storm that day, Roger.
00:15:41Like this storm.
00:15:44The night he was killed.
00:16:13¿Por qué no te vayas a comer un día conmigo?
00:16:20No gracias.
00:16:25Peter, creo que voy a pasar el día conmigo.
00:16:29No.
00:16:30Gracias, Roger.
00:16:35Si, si, si, si, si, si, si, si, si, si, si, si, si, si, si.
00:16:39¿Cómo se pasa?
00:16:40No, no.
00:16:43No, no.
00:16:47¿Cómo se va? ¿Cómo se va?
00:16:48¿Cómo se va?
00:16:50No sé.
00:16:55We've all been working under a strain.
00:16:57¿Por qué no te vayas a la ciudad conmigo?
00:16:59A un día de rest, te olvidas de todas las ideas.
00:17:01¿Por qué, Roger?
00:17:10Peter, no te vayas a la casa.
00:17:13Bye, Roger.
00:17:14No, no, no, no.
00:17:44No, no, no, no.
00:18:14No, no, no, no.
00:18:44No, no, no, no.
00:19:14No, no, no, no.
00:19:16No, no, no.
00:19:18No, no, no.
00:19:20No, no, no.
00:19:22No, no, no.
00:19:24No, no, no.
00:19:26No, no, no.
00:19:28No, no.
00:19:30No, no.
00:19:32No, no, no.
00:19:34No, no, no.
00:19:36No, no.
00:19:38No, no.
00:19:40No, no.
00:19:42No, no, no.
00:19:44No, no.
00:19:46No, no.
00:19:48No, no.
00:19:50No, no.
00:19:52No, no.
00:19:54No, no.
00:19:56No, no.
00:19:58No, no.
00:20:00No, no.
00:20:02No, no.
00:20:04No, no.
00:20:06No, no.
00:20:08No, no.
00:20:10No, no.
00:20:12No.
00:20:14No, no.
00:20:16No, no.
00:20:18No, no.
00:20:20No, no.
00:20:21No, no.
00:20:22No, no.
00:20:23No, no.
00:20:24No, no.
00:20:25No, no.
00:20:26No, no.
00:20:27No, no.
00:20:28No, no.
00:20:29No, no.
00:20:30No, no.
00:20:31No.
00:20:32No.
00:20:33No.
00:20:34No.
00:20:35No.
00:20:36No.
00:20:37No.
00:20:38No.
00:20:39No.
00:20:40No.
00:20:41¡Gracias!
00:21:11¿Puedo métagogue?
00:21:12Algo esto provaremos a menos entonces.
00:21:14Por supuesto al principio, ب
00:21:36No, no, no, no, no.
00:22:06Our friends will soon come back to the fold. Mark my word, sir, you shan't be able to get along without us.
00:22:11I wish I had your knowledge of foreign affairs.
00:22:14It takes years. Meanwhile, sir, here you are. Your coat's better fit than mine.
00:22:20And your boots are perfection, sir, perfection. Yes, I must show you to the Prince, began.
00:22:28We must fetch your boxes at once.
00:22:30If you will have me, milady.
00:22:31Oh, but I insist that you remain with us, dear, dear cousin.
00:22:36Perhaps you'd care to count my teeth, cousin.
00:22:41You'll do. Indeed you will.
00:22:43Send to the Blue Boar Inn and have Mr. Standish's boxes brought here.
00:22:47And you, Kate, dear, see that the Admiral's room is made ready.
00:22:50Yes, Mama.
00:22:51I'm giving you my husband's room. Poor man. He died there, you know.
00:22:56I should be honoured to be seen with you, sir.
00:22:58After you.
00:22:59If you like, cousin Tom will show you London Tower.
00:23:01Fine.
00:23:02Which will it be first? Vauxhall Gardens?
00:23:06Rannellah?
00:23:07Oh, I want to see everything.
00:23:09I want to walk the streets and hear the sounds and breathe the air of London.
00:23:12I want to go to the theatre, talk to Dr. Johnson. Everything.
00:23:16There's so much to do.
00:23:19I mean, for an American, it's quite an experience, coming to London for the first time, that is.
00:23:24You want to talk to Dr. Johnson, do you?
00:23:26You'll have to interrupt him to do that.
00:23:28You've no idea.
00:23:29Peter, this is my sister, Helen.
00:23:31Your servant, sir.
00:23:35Helen.
00:23:38Your sister.
00:23:39In my letters, I've often mentioned Helen.
00:23:44Not that I remember.
00:23:47Surely I would have remembered.
00:23:50Perhaps some of Mama's letters went astray.
00:23:53Not too many, I hope.
00:23:55Miss Helen.
00:23:56You may regard your Thrustle as one of the family, cousin.
00:24:00Thomas.
00:24:01I may go so far as to say as a prospective brother-in-law.
00:24:04Eh, Thrustle?
00:24:05I've not asked as yet.
00:24:06I...
00:24:07I've not been encouraged to ask.
00:24:09Really, Tom?
00:24:10You see me in my natural state, sir.
00:24:13Boot in mouth.
00:24:15Um, you do dance, cousin?
00:24:18Not very well, I'm afraid.
00:24:19Ah, you're modest, sir.
00:24:21I could not have endured you else.
00:24:23There's to be a ball here in a few weeks.
00:24:25Hundreds of guests have been invited.
00:24:26I'm almost distracted preparing for it.
00:24:29The occasion is Kate's birthday.
00:24:31Oh, of course I remember that.
00:24:32Your aunt's gift is a birthday present.
00:24:34Gift?
00:24:35What gift?
00:24:36Well, the occasion is short.
00:24:38From your aunt.
00:24:44A link boy did bring something from Aunt Caroline this morning.
00:24:47You sly puss.
00:24:48You never told me.
00:24:51But how could you know about the gift?
00:24:52Yes, explain, sir.
00:24:53Is this some sort of conjurer's trick?
00:24:56I must have got muddled somehow.
00:24:58It is not you that are muddled, sir.
00:25:02Oh, it's lovely.
00:25:04But how did you know?
00:25:08Well, I must have...
00:25:09I'm afraid I have a terrible headache.
00:25:13Perhaps our cousin saw the shawl as he came in.
00:25:16I couldn't resist peeping at it.
00:25:18I had the box open in the hall.
00:25:20Yes, of course, that was it.
00:25:21And when I heard your birthday come so soon,
00:25:23I took it for granted it was a gift.
00:25:25That explains it.
00:25:26Even the most mysterious occurrence.
00:25:28Simple, when you understand.
00:25:30Oh, but your headache, cousin.
00:25:31You must rest after so long a journey.
00:25:33So very long, a journey.
00:25:46Odd sort of card, eh, Thuttle?
00:25:49Atrocious kind of English, even for an American.
00:25:51I was wondering about Miss Catherine's shawl.
00:25:55He explained that?
00:25:57He didn't explain how he knew it came from your aunt.
00:26:01No, there will never be any furniture more beautiful than early apple white.
00:26:04Well, the wars have left many of us here in straitened circumstances.
00:26:08We cannot afford to rid ourselves of the old rubbish.
00:26:11Rubbish?
00:26:12Well, believe me, your things will grow more beautiful with time.
00:26:15Unfortunately, we ladies will not.
00:26:16And if I'm to bewitch you at supper...
00:26:18Of course, your headache.
00:26:19You must rest.
00:26:21We are so, so happy to greet you here.
00:26:24Dear, dear cousin.
00:26:25Thank you.
00:26:55London, 1784.
00:27:13Come in.
00:27:16No boxes, sir.
00:27:17No boxes, sir.
00:27:47¡Suscríbete al canal!
00:28:17¡Suscríbete al canal!
00:28:47Even in London.
00:28:49I can't understand why just the letters in which you were mentioned are missing.
00:28:53It is, Art.
00:28:54You were quite a shock to me.
00:28:56I knew nothing about you.
00:28:58I wasn't completely prepared for you.
00:29:01Are you completely prepared for everyone else you meet for the first time?
00:29:04Oh, no, no.
00:29:05No, of course not.
00:29:07But I found myself wanting to talk to you, to ask you to help me here.
00:29:12How can I help you?
00:29:15It's all so strange.
00:29:17Stranger than I thought it would be.
00:29:19It makes me uncomfortable.
00:29:21Do you sense that?
00:29:25I could see that you sense it.
00:29:27Kate will soon put you at your ease.
00:29:30Kate.
00:29:31I like Kate.
00:29:32It would be most disastrous if you did not.
00:29:34Well, I do.
00:29:35I love her.
00:29:38Helen, are you really engaged to Mr. Throssel?
00:29:42From what Tom said...
00:29:43He had no right to say it.
00:29:44You're not in love with him.
00:29:45No one pretends that I am.
00:29:49However, like all well-bred young ladies, I'm expected to do as I'm told.
00:29:53And wed whomever my family selects for me.
00:29:56And have I been selected for Kate against her wishes?
00:29:58We're very poor, cousin.
00:30:00When our father died, he left us nothing but deaths.
00:30:04Your marriage to Kate would be convenient to us, I will not deny.
00:30:07But should Kate mislike you, she will not have me.
00:30:10No more than I will have Mr. Throssel.
00:30:12That's the spirit, cousin.
00:30:15Look here.
00:30:16We'll make a bargain.
00:30:18I'm to be a part of the family.
00:30:20I'll help you get along here, and you help me.
00:30:24I'd forgotten I...
00:30:26I know nothing about you.
00:30:29Perhaps you do marry Throssel after all.
00:30:32There was no mention of you.
00:30:36I'm an American, you know.
00:30:39I just came into this new world.
00:30:41That's why I'm uncertain.
00:30:44Is it?
00:30:44You mustn't be afraid of me.
00:30:47I'm not afraid, cousin.
00:30:49Just curious.
00:30:52You speak so oddly at times.
00:30:54And the shore.
00:30:55But I explained that.
00:30:56No, I did.
00:30:58And it wasn't true.
00:31:00I hadn't left Kate's gift in the hall, and yet you knew it was a shore.
00:31:06Even I didn't know that.
00:31:09I hadn't opened it.
00:31:10You're serving, cousin.
00:31:12You're serving, cousin.
00:31:13What have you been doing?
00:31:15The tie of a cravat, cousin, is an art.
00:31:25Tedious, but an art.
00:31:26Would you have me drive round London looking like a costamonger?
00:31:27But over an hour.
00:31:28Tom, dear boy, show our cousin the nicer parts of London.
00:31:33Remember, this is his first visit.
00:31:34No, ma'am.
00:31:35If that is all he's allowed to see, I warrant it will also be his last.
00:31:36But over an hour.
00:31:37Tom, dear boy, show our cousin the nicer parts of London.
00:31:40Remember, this is his first visit.
00:31:41No, ma'am.
00:31:42If that is all he's allowed to see, I warrant it will also be his last.
00:31:46Is it always like this?
00:32:03Like what?
00:32:05What noise?
00:32:07Filth and smell?
00:32:08It's no worse than usual.
00:32:09Don't you put on airs, my lad.
00:32:11Filth and smell is no worse than usual.
00:32:14Don't you put on airs, my lad.
00:32:15No, I can't really.
00:32:17There!
00:32:18What I hear of New York, London is a garden of roses.
00:32:41Cursed luck.
00:32:42Oh, don't worry, dear.
00:32:43I'll look after you.
00:32:45No doubt you have both the inclination and the ability, Dolly,
00:32:48but I'm afraid that you lack the money.
00:32:50Oh, never mind.
00:32:52Jacqueline's fighting tomorrow night.
00:32:54You'll get it back, then.
00:32:56I wish that allows ladies to go, too.
00:32:58That he'll win is certain.
00:33:00Unfortunately, I have to pay this fellow tonight.
00:33:03I fear we shall have to arrange another American loan.
00:33:07Do you mind, Dolly?
00:33:08It'll be a pleasure.
00:33:14Care, fellow, count these.
00:33:17Mr. Standish.
00:33:19Cousin Tom is losing.
00:33:20We thought you looked a little lonely.
00:33:22Would like me to pay his losses.
00:33:24You're a dark one, aren't you?
00:33:26But I like you.
00:33:28Thank you.
00:33:32How much have I lost, fellow?
00:33:33In just a moment, sir.
00:33:35Your cousin's come to join us, Tom.
00:33:36Oh, my apologies.
00:33:39Here you are.
00:33:40112 guineas.
00:33:41But cousin, he hasn't finished.
00:33:44That's right, sir.
00:33:46112 guineas.
00:33:48That's just exactly right.
00:33:50We shall be late for the boxing match.
00:34:04Mrs. Siddons is playing tonight.
00:34:06Who cares about that?
00:34:07She'll not last.
00:34:08People seem to like her.
00:34:09The people.
00:34:10Indeed, cousin.
00:34:11They'll accept anything that's offered.
00:34:12It's uncanny.
00:34:26It's uncanny.
00:34:28It's uncanny.
00:34:40It's been going on all the week.
00:34:42The fellow never makes a mistake.
00:34:44When you ask him how he knew,
00:34:46he apologizes for it.
00:34:49Apologizes.
00:34:50Tom, do sit up, dear.
00:34:51Some sort of trick, I suppose.
00:34:53But give me the trick of it,
00:34:54and I'd be out of debt in a week.
00:34:56But where does he go every day?
00:34:57What does he do?
00:34:59I find his language odd at times.
00:35:01Some of the words he uses
00:35:02are completely new to me.
00:35:04There must be some explanation.
00:35:06There is.
00:35:08What is it?
00:35:10You said there was a clap of thunder
00:35:11just before he entered the house.
00:35:13Mr. Throssel,
00:35:14I must ask you to remember.
00:35:16Good evening, Lady Anne.
00:35:19Cousins, Mr. Throssel,
00:35:21I hope I haven't delayed dinner.
00:35:23I mean, supper.
00:35:25Dinner is what you call
00:35:26the midday meal, isn't it?
00:35:27Yes, indeed.
00:35:28And what do you call
00:35:29the midday meal in New York?
00:35:31A lunch.
00:35:35I hope you've been enjoying
00:35:37your visit here, cousin.
00:35:38Every minute of it.
00:35:39Thanks to Tom here,
00:35:40he's taken me everywhere.
00:35:41I'll take you to the races tomorrow
00:35:43if you'll tell me
00:35:43which horse is going to win.
00:35:44Oh, no, not tomorrow.
00:35:47You haven't forgotten
00:35:48that you promised
00:35:48to let Kate and me
00:35:49watch Sir Joshua
00:35:50paint your portrait.
00:35:51No, I haven't forgotten.
00:35:54Supper is served for their day.
00:35:55Thank you.
00:36:03Yes, sir, at all,
00:36:04London is discussing you.
00:36:05They say you foretold
00:36:07Mendoza's victory
00:36:08over the pugilist, Jacqueline.
00:36:10And you foretold
00:36:11the future, sir?
00:36:12No.
00:36:13I made a few cockeyed guesses,
00:36:15that's all.
00:36:16Cockeyed?
00:36:17It's an American word, Kate.
00:36:20We're developing
00:36:21a new language over there.
00:36:22So I have heard.
00:36:24You must instruct me in it.
00:36:26I shall paint no more today.
00:36:30That's how Joshua
00:36:31the sitting has just begun.
00:36:33Something in the face
00:36:35eludes me,
00:36:36the eyes,
00:36:37they're very strange.
00:36:39Beyond all my experience
00:36:41in human nature,
00:36:42I cannot catch the expression.
00:36:45What possible expression
00:36:46in any face
00:36:47could elude the artist
00:36:48who has painted
00:36:48Mrs. Siddons?
00:36:49The greatest of actresses,
00:36:50the mistress of all expression,
00:36:53the tragic muse.
00:36:54Sir, you make sport of me.
00:36:56No, I...
00:36:57You have visited her
00:36:58at the theatre
00:36:59and she has broken her word.
00:37:00I've never even met her.
00:37:02You must have talked with her.
00:37:04She's violated our trust.
00:37:05I only say
00:37:06what is common knowledge.
00:37:09Surely that portrait
00:37:09is finished.
00:37:13You have painted
00:37:13the tragic muse.
00:37:14One sitting.
00:37:22Preliminary sketching
00:37:23and nothing more.
00:37:23And the knowledge of it
00:37:24was confined to
00:37:25Mrs. Siddons and myself.
00:37:27Oh, but surely
00:37:28it must have been known
00:37:29that...
00:37:29Even Mrs. Siddons
00:37:30did not know
00:37:31that my title for her portrait
00:37:32is to be the tragic muse.
00:37:34It was known only to me.
00:37:37And to the devil.
00:37:39Miss Pettigrew,
00:37:40I am no longer in a mood
00:37:41to continue
00:37:42the portrait of your cousin.
00:37:43I doubt me
00:37:44if I shall ever
00:37:45be in the mood.
00:37:47Maybe even your own time.
00:37:49Good day to you, sir.
00:37:52Go after him, Peter.
00:37:54Reason with him.
00:37:56You seem to have
00:37:56expected this, cousin.
00:37:58You knew it would happen.
00:38:00No.
00:38:01But since it has,
00:38:02I'm not surprised.
00:38:03Painters have good eyes.
00:38:05I wonder what
00:38:05Sir Joshua saw in yours.
00:38:09Made him afraid of you.
00:38:13Yes, I am afraid.
00:38:15Kate.
00:38:19He mustn't refuse
00:38:20to finish your portrait.
00:38:23He'll finish it.
00:38:24Work, I think.
00:38:42Work!
00:38:44Help!
00:38:44Help!
00:38:46Help!
00:38:48Help!
00:38:52Help!
00:38:53Help!
00:38:57Help!
00:39:01Help!
00:39:01Help!
00:39:02Help!
00:39:02Help!
00:39:03Help!
00:39:03Help!
00:39:04Help!
00:39:04Help!
00:39:08Help!
00:39:08Alms, sir.
00:39:09Alms, fine gentleman.
00:39:10Alms for a poor sailor.
00:39:12Lost me leg fighting the trench.
00:39:14Alms.
00:39:15Alms, fine gentleman.
00:39:16¡No, no, no!
00:39:46Oh, no.
00:39:50Betty's not afraid.
00:39:52I couldn't be afraid of someone I'm sorry for.
00:39:55Sorry?
00:39:57Yes.
00:39:58Because you're unhappy with us.
00:40:01You feel so strange here.
00:40:04Yes, I do.
00:40:06London is evidently not what you expected it to be.
00:40:10Not at all what I expected.
00:40:13I can't imagine what America is like.
00:40:17But I suppose everything's different where you come from.
00:40:21Very different.
00:40:23You wish you were back with your own people.
00:40:27I wish I could help you.
00:40:30But you do.
00:40:31Believe me, Helen.
00:40:35If it weren't for you, London would be unbearable.
00:40:38When all this gets to be a nightmare,
00:40:41there's peace only when I think of you.
00:40:43Because you're not like the others.
00:40:49You're real to me.
00:40:50And I'm Kate's sister.
00:40:57A pretty sight, is it not?
00:40:59This is unlike you, Kate.
00:41:01Our cousin does but pay his respects, to which no one can object,
00:41:04as the whole town knows he's promised to you.
00:41:06Can you think me jealous, Ma?
00:41:09It is not that, believe me.
00:41:11But when I'm with him, he makes me afraid.
00:41:14When she is with him,
00:41:16I'm afraid for her.
00:41:19Sometimes, I feel your eyes on me when my back is turned.
00:41:23I feel you watching me.
00:41:26And I think you know who and what I am.
00:41:28And that you understand.
00:41:29I know there is some mystery about you.
00:41:34And that you're very lonely.
00:41:37That is all.
00:41:39But I know in my heart that you are not evil, as some say.
00:41:45Do you trust me?
00:41:47Well, you've wondered.
00:41:49Your whole family's been wondering how I've spent my afternoons the past few weeks.
00:41:56Will you come with me and let me show you?
00:41:59I'm early today, Jacob.
00:42:26We won't be here very long.
00:42:27Mr. Standish, I have considered the matter carefully.
00:42:29I believe our arrangement should end.
00:42:31Why?
00:42:32I, uh...
00:42:33That is, uh...
00:42:34The Bow Street Runners.
00:42:35If they discover what you're doing here.
00:42:37You've been inside, haven't you?
00:42:39I told you to keep out.
00:42:40Please, Mr. Standish.
00:42:41It is only curiosity.
00:42:42Well, curiosity will be your undoing, Jacob.
00:42:44Now that you've been inside, which are you more afraid of?
00:42:47Me or the Bow Street Runners?
00:42:48You, sir.
00:42:49Well, let's have no more talk of ending our association.
00:42:51I assure you, there's nothing to be afraid of, once you understand it.
00:43:09Give me your hand.
00:43:10Wait here.
00:43:19Are you an alchemist?
00:43:36You mean, can I transform lead into gold?
00:43:39No.
00:43:40Although I could even do that if I had a cyclotron.
00:43:44Now this is probably what frightened Jacob.
00:43:46It burns.
00:43:54Hmm.
00:43:55That's harmless.
00:43:56See?
00:44:00Well, here's something might amuse you.
00:44:03You're not frightened.
00:44:13Why is...
00:44:14Do you remember last week you were wondering what I was doing with that strange-looking box?
00:44:18I was taking Thrassel's picture.
00:44:20Why, it's truer than any portrait.
00:44:22Because it's he himself, as he actually is.
00:44:27And this?
00:44:29It's a boat.
00:44:31Without sails.
00:44:33Runs by steam.
00:44:36And you've invented all these things?
00:44:38No.
00:44:39Other men have invented them.
00:44:41Or will invent them, that is.
00:44:44Where I come from, these things are known to every schoolboy.
00:44:48Where do you come from, Peter?
00:45:00I come from the future, Helen.
00:45:03Nearly 200 years in the future.
00:45:05I can't explain it to you, even with the knowledge of my century.
00:45:10Some warp of time and nature.
00:45:13It's never happened before.
00:45:14It may never happen again.
00:45:16But I'm here.
00:45:17Then it's true.
00:45:20You do see ahead.
00:45:23You know what will happen in the years to come.
00:45:26You believe me then?
00:45:28I believe you.
00:45:32I'm here taking another man's place.
00:45:34Your cousin from America.
00:45:36And he?
00:45:37Where is he?
00:45:39In my place, probably.
00:45:40My world.
00:45:41In my century.
00:45:43Is that why you make these things?
00:45:46To remind you of your other life?
00:45:48Not exactly.
00:45:50You see, when I saw your century the way it really is.
00:45:53The disease and the filth and the cruelty.
00:45:56I wanted to do something about it.
00:45:58I don't understand.
00:45:59Well, there are men in England now who are working on all these things.
00:46:05James Watt and the steam engine.
00:46:07Dalton and his theory of atoms.
00:46:12Here's the structure of the atom.
00:46:14The same with all the rest.
00:46:17Well, suppose right now I could show them how other men, years after them, will develop their discoveries.
00:46:23They'll be afraid.
00:46:24No, when they see these things they'll understand them.
00:46:27They won't be afraid.
00:46:28Any more than you are, cousin.
00:46:34We're not really cousins.
00:46:37We've lost you, Peter.
00:46:40We're strangers now, and to you I must sleep.
00:46:47To me, you are the only real beauty in this ugly century.
00:46:53Helen, wait.
00:46:58To me, you are the only manque ofọn-
00:47:05For hood ortime.
00:47:07To me, someone black moans.
00:47:15undert.
00:47:18Spirit.
00:47:18You you you you can't, you now.
00:47:19You you me that you you you now.
00:47:20Come home.
00:47:21I say, you are the only beautiful little chalasling.
00:47:22For hood or a little girl.
00:47:23Be a little girl.
00:47:23I say, you're the only girl.
00:47:24You go, go.
00:47:25You let me go.
00:47:25I say, you are the only girl.
00:47:26I say, you are the only girl.
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