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Time Machine, The (1960)

by David Duncan.
Based on the novel by H.G. Wells.
Draft revised thru 6-25-59.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:
M.G.M. TRADEMARK                                       A.1

Leo the Lion ROARS over the FANFARE, then

                                            FADE OUT:

GLIDING OBJECTS IN A WIDE DARK VOID - (ANIMATION)

        Out of the SILENT darkness a short white       A
        fluted column surmounted by a SUNDIAL
        appears.  It floats in, waveringly, until
        it becomes clearly visible, then drifts
        off as though moving in some huge orbit.

        Next an HOURGLASS floats in from the left      B
        of the screen.  The faint HISSING OF
        RUNNING SAND breaks the stillness of space.

        As the hourglass glides across the screen,     C
        it is met by a GREEK WATER CLOCK accompanied
        by the sound OF DRIPPING WATER.

        A MEDIEVAL CLOCK with weights arises as its    D
        horizontal escapement TICKS LOUDLY.  Mean-
        while the sundial, hourglass and water clock
        return, drifting at diverse angles across
        the screen.

THE SOUND of the various devices continues to MOUNT.

        A FIGURE wheels past, with the face of a       E
        clock and the body carved like a drummer
        of the 14th century, BEATING the hour.

        A SMALL CLOCK bears a golden angel with        F
        hammer in hands as it STRIKES A BELL.

        ANOTHER TIMEPIECE, with CHIMES, floats in      G
        to mingle with all the drifting objects.

        The BIG BEN is TOLLING                         H

        Then a GREAT BELL.                             J

DEAFENING SOUNDS NOW COME FROM ALL DIRECTIONS, as the time K
devices weave across the screen and, reaching CRESCENDO,
STOP abruptly.  A mellow VOICE begins to SING THE THEME of L
the picture, "The Land Of The Leal".  Simultaneously, the
screen reveals the MAIN TITLE:                             M

                        H. G. Wells'

                      THE TIME MACHINE

                   "THE LAND OF THE LEAL"

                 Words & Music by Peggy Lee

    When I was a wee lad                               L
    And dark was the night
    Afraid I would be
    Til the bright morning light
    And sometimes...for comfort
    Away I would steal Away
    I would go to the Land of the Leal.

    And soon I would be there
    It took me no time
    My heart would be soaring
    As I made the climb
    And there was the green grass
    So cool and so sweet
    So good to be run through
    With happy bare feet!

    And who was my teacher
    And how did I know?
    Just when to be going
    And which way to go?
    But always when wishing
    Away I would steal
    Away I would go to the Land of the Leal.

    And now that I'm older
    I try to be wise
    But when I am troubled
    I still close my eyes
    And just like the wee lad
    Away I will steal
    Away I will go to the Land of the Leal.

    For there are no questions
    And there are no lies
    And never a storm there
    To darken the skies
    The birds who are flying
    No freer they feel
    Than I
    When I live in the land of the Leal.

After the CREDIT TITLES, the MUSIC SUBSIDES and we slowly

                                            FADE OUT:



FADE IN:                                               1
EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)

Warm lights pour through the windows, spreading
over the snow-patched countryside.  Only the
laboratory, a converted greenhouse, is dark, shaded
from the moonlight by a majestic, leafless oak.
A two-horse carriage, in the style of the turn of
the century, lingers in the driveway.  Beyond all
this, the River Thames takes a sharp curve.

A lonely figure hurries up to the front door and
KNOCKS on it impatiently.



AT THE DOOR                                            2

The knock is answered by MRS. WATCHETT, the house-
keeper, a thin, tense woman with iron gray hair.
The CAMERA ENTERS the HALL with DAVID FILBY, an
amiable red-haired young man of science, who hastily
hands her his rumpled cloak and hat, then rushes
toward:



INT. LIBRARY                                           3

A pleasant Edwardian room, the shelves are stacked
tightly with volumes of books, many of ancient
Vintage.

Three men are seated in a rough circle, motionless,
obviously awaiting the arrival of occupants for the
two empty chairs.  The silence is accentuated by the
merry CRACKLING of logs in the fireplace and the
capricious TICKING of innumerable timepieces about
the room.

Filby enters, pauses to glance down, then embarrassedly
takes his chair.



SERIES OF CLOSE SHOTS                                  4

          DR. PHILIP HILLYER is an imposing            (a)
          businessman, wearing full sideburns.
          He stares stonily at the last empty
          chair, then at Filby with annoyance.

          ANTHONY BRIDEWELL, a man of the world,       (b)
          impeccably attired in the latest fashion,
          welcomes Filby the only way he knows, by
          lifting his glass of whiskey.

          WALTER KEMP, a middle aged man with keen     (c)
          black piercing eyes, angrily chews on
          his Havana.

          Filby fidgets uncomfortably in his chair     (d)
          as

          Hillyer glances impatiently at his           (e)
          watch, comparing time with a GRAND-
          FATHER CLOCK behind him, then snaps
          it shut and glares at:



EMPTY CHAIR - MED. SHOT                                5

Conspicuously unoccupied.



GRANDFATHER CLOCK - CLOSE SHOT                         6

Reaching the hour of eight, it begins to STRIKE ITS
YELLOW CHIMES.  Other timepieces JOIN IN the announce-
ment.



GROUPSHOT                                              7

The men look at each other until the CHIMES, BELLS
ETC. FADE away.  Dr. Hillyer angrily slaps on the
arm of his leather chair.

                    DR. HILLYER
          I say, this is outright rude of the man!

                    FILBEY
          He's undoubtedly been detained.  That's
          all.

Bridewell, filling his glass, is trying to say some-
thing but is interrupted by

                    KEMP (unscrews the cigar from
               his tight lips)
          This is such a confounded waste of
          time!  If he's not coming, I've any
          number of more important things to do.

All heads turn as Mrs. Watchett enters, closing the
door quietly behind her.  With an envelope in her
hand she stands there, hesitating.

                    DR. HILLYER
          Speak up -- what is it, woman?

She is taken aback for a moment, then walks over
to Filby and hands him the open envelope.  He
takes his time in extracting the note.

                    BRIDEWELL
          Well...are we or are we not invited
          to dinner?

                    FILBY (reading)
          Apparently we are.
               (to Mrs. Watchett)
          How long has he been gone?

                    MRS. WATCHETT (nervously)
          I can't rightly say, sir. - Several
          days...I hardly catch a glimpse of
          him lately.  He never leaves the
          laboratory and comes out only to
          nibble at his meals...but he did tell
          me days ago about dinner tonight and
          left these instructions.
               (pointing to note)

                    FILBY
          Thank you, Mrs. Watchett.

A faint, nervous smile is her acknowledgement and
with that she retreats toward the door.

                    DR. HILLYER (indicating the
               note)
          What does it say, Filby?  What's
          wrong?

                    FILBY
          Nothing really. - George merely says
          that if he is not here by eight we're
          to begin without him.

Kemp tears the note out of Filby's hand and reads it
hurriedly.  Meanwhile, Mrs. Watchett swings the door
open and turns around.

                    MRS. WATCHETT
          Dinner is served, gentlemen!

                    BRIDEWELL (puts his glass
               down)
          First sensible thing I've heard all
          evening.

He rises and starts for the dining room.  The others
follow.



FILBY, HILLYER & KEMP - MOVING SHOT                    8

As they walk toward the DINING ROOM.

                    FILBY
          This is peculiar.  He is usually very
          prompt, precise and punctual.

                    DR. HILLYER
          He's making fools of us by inviting
          us here and then not showing up.
          It's not the behavior of a gentleman.

                    KEMP
          To say nothing of the waste of
          time.

                    DR. HILLYER (agreeing)
          To say nothing of the waste of
          time.

Bridewell, already seated at the heavily laden dining
table, pours a glass of wine for himself while the
others settle down.  This time the chair at the head
of the table is conspicuously unoccupied.

                    BRIDWELL (arises, lifting
               his glass)
          One thing I will say for George, he
          keeps the best cellar in the south of
          England...and Mrs. Watchett is the
          finest cook in the world. - I think
          I'll drink to that!

The glass barely touches his lips as he freezes at
the SOUND OF DROPPING TRAYS and a PIERCING SCREAM.
All look in the direction of another door across
the room.



THE DOOR - FULL SHOT                                   9

It bursts inward and Mrs. Watchett, her hair flying,
dashes down the steps panic-stricken into the room.
The CAMERA RUSHES with her to the table where the
men have come to their feet.  Clutching Filby's arm,
she points toward the long corridor now revealed by
the open door.

                    MRS. WATCHETT (frightened)
          There!...there...

All stare o.s., Hillyer with the carving knife
clasped in his hand.



CORRIDOR THROUGH DOORWAY - FULL SHOT                   10

We see the figure of a man approaching, a black
silhouette against the pale glow at the end of
the passage.  He is bent with exhaustion and
sways as he moves forward, limping.  The man comes
closer, his features still blacked out by shadows,
but as he nears the doorway, the light from the
room strikes first his legs, then his body and
finally his face.  Here he stops.

This is our first meeting with the TIME TRAVELLER
(for so it will be convenient to speak of him).  At
this instant he is in a sorry state.  His clothing
is tattered and dirty, his face pale, bruised and
scratched and his eyes glazed with fatigue.  For
a moment he hesitates as if dazzled by the light
and then takes another swaying step into the room.



FILBY AND BRIDEWELL - MOVING SHOT                      11

They come to life.  Bridewell, noticing the glass
of wine still in his hand, quickly gulps it down
before rushing with Filby toward the Time Traveller.

                    FILBY
          Good lord! - What's happened?

Reaching him, each seizes an elbow to support him.
Bridewell throws a frantic glance at Dr. Hillyer
back at the table.  The Time Traveller, however,
moves forward under his own power.

                    TIME TRAVELLER
          I'm all right...just some food...a
          drink...

He reaches the table and sinks into his chair.  With
trembling hands Bridewell tries to pour him a glass
of wine, spilling most of it over the tablecloth.
The Time Traveller looks up at him with a wry smile.

                    TIME TRAVELLER
          Are you all right?

A stunned Bridewell is unable to speak while the Time
Traveller empties his glass.

                    BRIDEWELL (a delayed
               answer)
          Of course.  I'm...all right...

Meanwhile, Mrs. Watchett hovers over the Time Traveller
like a mother hen.

                    MRS. WATCHETT (half
               apology, half concern)
          I didn't recognize you!...it was
          so dark...

The CAMERA MOVES IN as she dishes up a bowl of soup
for him, but he pushes it away.

                    TIME TRAVELLER
          Meat...I'm hungry for meat!

Mrs. Watchett grasps the carving knife from Dr.
Hillyer and, with a single slash, cuts off a huge
portion of beef and loads it onto his plate.



GROUPSHOT                                              12

The Time Traveller eats, the men watching him
curiously.  Finally Dr. Hillyer leans forward.

                    DR. HILLYER
          Well, can't you speak, man?  What
          happened to you?  Aren't you going
          to tell us...

                    BRIDEWELL
          Leave him alone, can't you?

                    TIME TRAVELLER (swallowing)
          It's all right. - I want to tell.

                    FILBY
          It will keep, George.  Eat, rest a
          little.

                    TIME TRAVELLER
          No!  I must tell it now... while I
          still remember.

                    FILBY
          Relax, try to relax a bit.  You've
          all the time in the world.



CLOSE ON THE TIME TRAVELLER                            13

As he looks up, amused.

                    TIME TRAVELLER
          You're right, David.
               (almost to himself)
          That's exactly what I have. -
          All the time in the world!...
          ever since we were all together
          five days ago, the last day of
          Eighteen Hundred Ninety Nine.

Slowly the CAMERA MOVES IN CLOSER while everyone
listens so intensely that, aside from the Time
Traveller's VOICE, only the TICKING of a pendulum
CLOCK is heard.

                                    SLOWLY DISSOLVE:



INT. - EBONY BOX ON TABLE - CLOSE SHOT (AFTERNOON)     14

(NOTE:  The Slow Dissolve from the previous shot
        should give the effect of the Ebony Box
        emerging from the Time Traveller's brain.)

                    TIME TRAVELLER'S VOICE
          There in that box rests the result
          of two years' labor.

The CAMERA DRAWS BACK to reveal the LIBRARY.  The Time
Traveller, wearing casual tweeds and smoking a pipe,
sits in his favorite chair behind the Ebony Box.
Across from him in another chair sits Dr. Hillyer
puffing his cigar.  Bridewell and Filby have glasses
in their hands -- Kemp nothing.  All are looking at
the box.

                    TIME TRAVELLER
               (continues)
          I wanted to finish the job before
          the new century began. - I barely
          made it.

                    BRIDEWELL
          Marvelous.

                    DR. HILLYER (stands up)
          What is it?

                    TIME TRAVELLER
          Well, it has to do with time.

                    DR. HILLYER
               (steps to box)
          I've always maintained what this
          nation needs is a reliable timepiece.
          The Navy needs one. The Army needs
          one. - For the artillery you know.

                    KEMP (leaning forward)
          Couldn't do better, George.  So
          that's why you've been in hiding. -
          Clever of you, indeed!

                    FILBY (studying the Time
               Traveller's reaction)
          I don't believe George is referring
          to a new kind of timepiece.

                    TIME TRAVELLER
          When I speak of time, I'm referring
          to the fourth dimension.

A perplexed look comes over Bridewell's face.
Dr. Hillyer registers concern.  Kemp looks troubled.
Only Filby expresses avid interest.

                    FILBY
          Go on, George.

                    TIME TRAVELLER
          Now, as you know, the difficulty
          in explaining the fourth dimension
          is that it cannot be seen or felt -
          it must be thought of.

                    FILBY
          If you don't mind, George, would
          you refresh me on the first three
          dimensions.

                    DR. HILLYER
          Really, Filby, they must have
          taught you something at school!

                    BRIDEWELL (baiting
               Dr. Hillyer)
          Suppose you explain it, Doctor.

                    DR. HILLYER
          Certainly!
               (he demonstrates
                pompously)
          When I move in a straight line,
          forward or backward, that's one
          dimension. - When I move to the
          left or right, two dimensions. -
          When I move up and down, three
          dimensions.
               (a bright idea lights up
               his face.  At last he can
               get ahold of the box, but
               Filby interferes before
               Dr. Hillyer can get his
               fingers on it and he has
               to be satisfied with merely
               pointing)
          For instance, this box has three
          dimensions:  length, breadth, and
          height.

                    BRIDEWELL (amazed)
          Well, then, what's the fourth
          dimension?

                    DR. HILLYER
          Well, that's...that's mere theory!
          No one can really say what the
          fourth dimension is or even that
          it exists.



THE TIME TRAVELLER - MED. SHOT                         15

Leaning forward in his chair.

                    TIME TRAVELLER
          On the contrary, Doctor!  The
          fourth dimension is as true and as
          real a dimension as any of the
          other three.  In fact, they couldn't
          exist without it.

                    DR. HILLYER (enters the SHOT)
          How do you mean?

                    TIME TRAVELLER
          Well, take that box.  It has the
          first three dimensions, as you said.
          But what if it didn't exist in Time?
          It wouldn't exist at all, would it?

                    DR. HILLYER
          No.

                    TIME TRAVELLER
          So - for an object to exist at all,
          it must exist in the fourth dimen-
          sion....and that fourth dimension
          is duration....Time!

                    DR. HILLYER (impatiently)
          All right!  But what's in that box?

                    TIME TRAVELLER
          I'm coming to that.  But first,
          consider!  Why is it that we usually
          ignore the fourth dimension?  Because
          we have no freedom to move in it.  We
          can move in the other three -- up,
          down, forward, backward, sideways.
          But when it comes to Time, we are
          prisoners.  Do you follow me, Anthony?



GROUP SHOT                                             16

In the f.g., Bridewell who has been sitting with a
glazed, dreamy look, suddenly jumps.

                    KEMP
          George!  You've given a most lucid
          explanation and all that!  But I
          don't think I entirely understand.

                    TIME TRAVELLER
          Look!  There are a lot of things in
          the world you don't understand,
          aren't there?

                    KEMP
          Of course!  Quite a number.

                    TIME TRAVELLER
          But you don't refuse to believe
          in them because of that?

                    KEMP
          Not if I can see the proof with
          my own eyes.

                    TIME TRAVELLER
          Good!  All I'm asking you to do
          now is to witness a demonstration
          of the possibility of movement in
          the fourth dimension.
               (to Dr. Hillyer)
          Philip, will you please hand me
          that box?

All eyes turn to Dr. Hillyer as he eagerly rushes to
the table, lifts the box with surprise at its lightness,
and takes it to the Time Traveller.  George opens it
with great care and brings forth a mechanical device



[PAGE 13 MISSING FROM HARD COPY]



                    TIME TRAVELLER
          I've told you.  The larger model
          can carry a passenger on a journey
          through Time. - Not through Space,
          mind you, but through Time.

                    BRIDEWELL
          Oh, I say George!  If you start
          floating around in the future, aren't
          you likely to mess things up for the
          rest of us?

                    DR. HILLYER
          The future is already there.  It's
          irrevocable and cannot be changed.



CLOSE ON TIME TRAVELLER                                19

He answers thoughtfully.

                    TIME TRAVELLER
          That's the most important question
          to which I hope to find an answer.
          Can Man control his destiny?  Can he
          change the shape of things to come?



[PAGE 16 MISSING FROM HARD COPY]



                    TIME TRAVELLER'S VOICE
          Imagine that this cigar is the Time
          Traveller.  Now, this lever in front
          of him controls movement.  Forward
          pressure sends the Machine into the
          future, backward pressure into the
          past.  And the harder the pressure
          the faster the Machine travels.



GROUPSHOT - LOW ANGLE                                  24

All eyebrows are raised.

                    TIME TRAVELLER
          This experiment can be performed
          only once.  If it succeeds, I lose
          my model forever.  That is why I
          need witnesses.

They look at each other, uncertain whether he is
joking or not.  Bridewell stoops with difficulty to
examine the table.

                    KEMP
          Go ahead.

                    TIME TRAVELLER
          You're ready then?

Despite disbelief, there is a tense silence as he puts
his finger on the lever.  Then he pauses.

                    TIME TRAVELLER
          Doctor Hillyer, would you care
          to lend me your hand?

Dr. Hillyer extends his hand hesitantly, smiling
weakly.



INSERT OF MODEL                                        25

Using Dr. Hillyer's forefinger, the Time Traveller
presses the lever forward.  A LOW-PITCHED HUM is
heard.



CLOSE ON THE MEN - LOW ANGLE                           26

The men stare in fascination as the CAMERA PANS
and the HUMMING INCREASES.



INSERT:  GLASSES - CHANDELIER - VASE                   27

          The glasses on the silver tray rattle        (a)
          and clink against each other.

          The gas lights of the chandelier             (b)
          flicker rapidly.

          A vase shudders and moves slightly on        (c)
          the mantelpiece.



INSERT OF MODEL                                        28

As the vibration increases, the outline of the model
is blurred and gradually becomes transparent, until
the Machine with the cigar has vanished utterly.
The HUMMING HAS REACHED A HIGH SHRIEK and STOPS
abruptly.



BACK TO CLOSE ON MEN - LOW ANGLE                       29

The sudden silence is almost unbearable.  They
stare at the empty table.  The CAMERA PANS.

                    DR. HILLYER (touches his
               cigar pocket)
          I'll be damned!

                    TIME TRAVELLER (almost
               to himself)
          It worked!

Filby swallows.

Bridewell, with his mouth open, stares at the table.
Now he looks at the glass of champagne in his hand
and places it on the mantelpiece as far out of
reach as he can.  Then, suddenly reversing his
decision, he retrieves the glass and gulps it down.

                                                       30 OUT

TWO SHOT                                               31

Dr. Hillyer slowly turns to the Time Traveller.

                    DR. HILLYER
          Where did it go?

                    TIME TRAVELLER (recovering)
          Go?  Nowhere in the usual sense.
          It's still here.
               (indicating space where the
               Machine stood)
          But it's no longer in the present.
          It's traveling through time - to
          the future, to be precise.

                    DR. HILLYER
          Do you seriously expect us to
          believe that?

                    TIME TRAVELLER
          Certainly.

                    DR. HILLYER
          But you just said it hasn't
          really moved.

                    TIME TRAVELLER
          That's correct.

                    DR. HILLYER
          Then why can't we see it?

                    TIME TRAVELLER
          Because we're in this room on
          December 31st, 1899, while the
          model you saw is perhaps a hundred
          years away.  This room, or even
          this house, may no longer exist a
          hundred years from now.  But the
          Time Machine is occupying the same
          space it did a moment before it went
          off on its journey.

Dr. Hillyer runs his hand over the top of the table.

                    DR. HILLYER (exasperated)
          If it occupies the same space, I
          should be able to feel it.

                    TIME TRAVELLER
          You must remember that the space
          you've just put your hand through
          is today's space.  You can't put
          your hand into the space of
          tomorrow.

                    DR. HILLYER (getting angry)
          Space is space!  It doesn't change!
          The same space that is here now should
          be here a hundred or even a thousand
          years from now.

                    TIME TRAVELLER
          No!  Time changes space.  This flat
          ground we're standing on now could
          have been at the bottom of the sea
          a million years ago.  And a million
          years from now it could be the
          interior of a huge mountain.

Dr. Hillyer turns away, speechless.



GROUP SHOT                                             32

Kemp steps forward.

                    KEMP
          Suppose what you say is true.
          Exactly what do you suggest we do
          with such a contraption?

                    TIME TRAVELLER
          For my part, I intend to take a
          journey into the future. - Unless
          someone else prefers to volunteer.

There is no response.

                    BRIDEWELL (chuckling)
          I say, George.  Suppose you go off
          and get lost in the fiftieth century!
          How will you find your way back?

                    TIME TRAVELLER (quite
               serious)
          That's a calculated risk I'm prepared
          to take.

Dr. Hillyer, having controlled his fury, now exchanges
significant glances with Kemp and turns back with an
air of reasonableness.

                    DR. HILLYER
          Now listen, George!  I don't
          know what you take us for, but
          we're not fools.  There are a
          number of ways of doing a
          disappearing trick!  But a man of
          your ability should not bother
          with such nonsense.



CLOSE ON DR. HILLIER - MOVING SHOT                     33

He gets up from his chair.

                    DR. HILLYER (unable to
               resist the temptation for
               sarcasm)
          There's a war on, you know!  The
          Boers are putting up a pretty stiff
          fight in South Africa and our
          country needs inventors like you.
          I can put you in touch with the
          War Office if you wish.

He walks over to the Time Traveller who is sitting
near the table on which stands the empty Ebony Box
with its lid open.  Filby is in the b.g.

                    TIME TRAVELLER (looks
               up at Filby)
          What do you think?

                    FILBY (hesitating
               slightly, and then)
          I think Dr. Hillyer has a point,
          George.

Lazily the Time Traveller toys with the lid of the
Ebony Box, then closes it with a SNAP.  He looks up
and nods.

                    DR. HILLYER
          Now you're being sensible.  I'll
          take care of it first thing in
          the New Year.



BACK TO GROUP SHOT                                     34

Everyone rises.

                    DR. HILLYER
          Well, time to go.

                    KEMP
          Yes, we all have our plans for
          tonight.

Dr. Hillyer and Kemp head toward the door.  Bridewell
lingers at the table where the model of the Time
Machine disappeared.

                    BRIDEWELL (concerned)
          Are you all right, George?

                    TIME TRAVELLER
          Of course, I am.

                    DR. HILLYER'S VOICE
          Coming, Bridewell?

Reluctantly Bridewell leaves the library followed
by the Time Traveller.



INT. ENTRANCE HALL - FULL SHOT                         35

While his guests put on their capes, overcoats, scarfs,
gloves and hats, preparing for the cold weather
outside, the Time Traveller steps to the door and
grasps the handle.

                    TIME TRAVELLER
          Thanks for coming.

He opens the door and they file past him, Bridewell
at the rear.

                    AD LIBS
          Happy New Year. - Goodbye, George -
          Happy Twentieth Century. - Etc.

Bridewell clasps the Time Traveller's shoulder,
reassuringly.



EXT. COTTAGE - LONG SHOT - (DUSK) - (MATTE)            36

In contrast to the previous SHOT (Sc.l) this is a snow-
less wintery day.  The visitors are boarding the
carriage that awaits them in the drive.

                    DR. HILLYER
          Come on, Bridewell.

Bridewell glances back to the Time Traveller, then
submits and, with a CRACK OF A WHIP, the carriage
moves off.



EXT. ENTRANCE - FULL SHOT                              37

The Time Traveller, a silhouette framed in the door-
way, waves to them.



THE CARRIAGE                                           38

As it pulls away, Bridewell leans out, waving.  From
the opposite direction another carriage full of NOISY
YOUNG PEOPLE THUNDERS by.  In early New Year's Eve
REVELRY they TOOT their toy HORNS at the Time Traveller.



BACK TO THE TIME TRAVELLER                             39

Unmindful of their salutations he turns and enters the
cottage.



INT. ENTRANCE HALL - MED SHOT                          40

The Time Traveller slowly closes the door and leans his
back against it, staring into space.  Thinking. - He
spots a newspaper on a nearby table, apparently left by
one of his guests, and picks it up.



INSERT: NEWSPAPER                                      40-A

A ROLL OF DRUMS in military fashion ACCENTS the headline
that the Boer Army has won another victory.



CLOSE ON TIME TRAVELLER                                40-B

He closes his eyes and, added to the DRUMS, we HEAR
the call to battle by a DISTANT BUGLE.  Then more
BRASS, FIFES and HORNS join the BUGLE and DRUMS to take
up a MILITANT OVERTURE.

He loosens his collar, then with sudden resolution
strides toward:



OMITTED                                                41-56



INT. LIBRARY - LONG SHOT                               57

The Time Traveller crosses to his writing table in
the f.g.  He stands there and even in the darkness
WE CAN OBSERVE that he is an angry man.  He strikes
a match and lights the overhead gas fixture.  The
light comes up and the MUSIC STOPS as he stares
across the room to see:



FILBY - MED. SHOT                                      58

sitting in a chair near the fireplace.

                    FILBY
          I thought I'd better stay.

                    TIME TRAVELLER'S VOICE
          You needn't have troubled yourself.
          I'm all right.

                    FILBY
          No you're not. - You've been
          behaving oddly for over a month
          now.
               (and then)
          I'm not leaving until you tell me
          what's on your mind.



TIME TRAVELLER - MED. SHOT                             59

Deep in thought, he goes to the fireplace and stirs
the coals.  The CAMERA FOLLOWS.

                    TIME TRAVELLER
          I appreciate your gesture, David,
          but if you don't mind I'd rather
          you left me alone.

                    FILBY
          You have changed, George.
          Enormously.

                    TIME TRAVELLER
          I'm sorry.

                    FILBY (looks up to him
               directly)
          Will you answer me one question
          honestly?

                    TIME TRAVELLER
          I'll try.

                    FILBY
          Why this preoccupation with Time?

                    TIME TRAVELLER (sharply)
          Why not?

                    FILBY
          Don't go simple on me, George!

                    TIME TRAVELLER (a beat,
               then calmly)
          If you want to know the truth, I
          don't much care for the time I was
          born into. - It seems people aren't
          dying fast enough these days.  They
          call upon science to invent new,
          more efficient weapons to depopulate
          the earth.

                    FILBY
          I quite agree with you.  But here
          we are and we have to make the best
          of it.

                    TIME TRAVELLER
          You may have to.  I don't.

                    FILBY (making a half-
               hearted attempt at levity)
          All right.  Take a journey on your
          contraption.  What would you become?...
          A Greek?  A Roman?  One of the
          Pharaohs?

                    TIME TRAVELLER
          I prefer the future.

                    FILBY
          You're not seriously saying you can
          do it?

                    TIME TRAVELLER
          You saw the experiment this afternoon,
          didn't you?

                    FILBY
          I saw a toy machine vanish.  But
          I'm certain there are a number of
          ways of doing that trick.  Any
          magician at the Hippodrome could
          probably do it.

                    TIME TRAVELLER (angrily)
          It was no trick! - Would you care
          to see the full-scale model?

                    FILBY
          No, I would not!  I have no desire
          to tempt the laws of Providence and
          I don't think you should.  It's not
          for man to trifle with.

                    TIME TRAVELLER
          Now you sound like Hillyer and Kemp.

                    FILBY
          There is something in their common
          sense attitude to life.
               (and then)
          George, I speak to you as a friend.
          More, as a brother.  If that machine
          can do what you say it can...destroy
          it.  Destroy it, George, before it
          destroys you.

Distant SOUNDS of NEW YEAR'S CELEBRATIONS are HEARD.

                    TIME TRAVELLER
          You must have plans for New Year's
          Eve.  Don't let me keep you.

                    FILBY
          Mary isn't well.  We decided to
          stay home with the baby.  But why
          don't you come home with me.  You
          haven't seen little Jaime for a
          long time.

                    TIME TRAVELLER
          I can't.

                    FILBY
          What's stopping you?

                    TIME TRAVELLER
          I just want to see the old century
          out by myself.

                    FILBY (rising)
          Have it your own way.

He goes to the door.



AT THE DOOR                                            60

Filby stops, then turns around.

                    FILBY
          Will you promise me that you won't
          leave the house tonight?

                    TIME TRAVELLER
          I promise you, I won't walk out of
          the door.

Filby, a little puzzled by this strange promise, turns
to go as the Time Traveller puts down the poker and
steps up to him.

                    TIME TRAVELLER
          David!  Please don't think me un-
          friendly! - Come over to dinner -
          next Friday.  Won't you?

                    FILBY
          Very well.

                    TIME TRAVELLER
          Fine...and will you bring the others
          with you?

                    FILBY (with a warm smile)
          Whatever you say, George. - Happy
          New Year.

                    TIME TRAVELLER (shaking hands)
          And a very happy New Year to you, David.

Filby pats his arm before he leaves.  The Time Traveller
stands there until he hears the FRONT DOOR SHUT.  Then,
FOLLOWED BY THE CAMERA, he goes to the writing table
and sits down.



AT THE WRITING TABLE                                   61

The Time Traveller opens a drawer and takes out the
new calendar that reads:  "1900, Welcome New Century."
He flips a few pages to find the next Friday and jots
down the dinner engagement.  At this point Mrs. Watchett,
with his velvet smoking jacket over her arm, appears
in the doorway and walks up to him.

                    MRS. WATCHETT
          Will you be having supper in this
          evening, sir?

                    TIME TRAVELLER (while ex-
               changing jackets with Mrs.
               Watchett's help)
          I don't think so, Mrs. Watchett.  Why
          don't you take the evening off and
          celebrate.

                    MRS. WATCHETT
          Thank you, sir, but if you won't be
          needing me I think I'll turn in early
          and get some sleep...
               (indicating revelers outside)
          ...it I can. - Goodnight, sir.

                    TIME TRAVELLER
          Goodnight.

She turns to go as the Time Traveller calls after her.

                    TIME TRAVELLER
          Oh, Mrs. Watchett!
               (as she responds)
          I've invited Mr. Filby and the others
          to dinner next Friday.
               (and then)
          Happy New Year, Mrs. Watchett.

                    MRS. WATCHETT
          Happy New Year, sir.

Mrs. Watchett exits, closing the door after her.  Once
again the Time Traveller is alone.  He looks at the
old calendar that reads:  "December 3l. 1899," rips
the final sheet from the pad, crumples it into a tight
little ball and tosses it into the hearth where it
burns.  With slow and deliberate movements he replaces
the old calendar with the new one.  Then, he hastily
scribbles a note which he puts into an envelope and
places it prominently on the table.  He rises and
mounts the steps that lead to:



INT. CORRIDOR - MOVING SHOT                            62

The Time Traveller walks slowly toward a closed door
at the end of the passageway.  Here he pauses momentarily,
removes the key from his pocket, unlocks the door, then
slowly swings it open as the MUSIC STARTS the THEME of
the picture.



INT. LABORATORY - FULL SHOT - (NIGHT)                  63

The laboratory has the appearance of having once been
a greenhouse.  Only a few potted plants remain.  The
glass walls are obscured from view from the garden by
rows of tall growing plants.  Only the glass skylight
is clear.  Thick, dark, low-hanging clouds are pass-
ing beneath the moon, dimming its light and leaving
the interior a maze of dark shadows.  As the slow mov-
ing clouds pass overhead, a shaft of moonlight seeps
through and we SEE workbenches, numerous tools, sheets
of drawings and scientific instruments situated around
the perimeter.

But the most conspicuous object in the room is the
Time Machine.  It is a duplicate of the miniature model
already seen.

However, its size gives it a majestic quality.  Nickel,
ivory and crystalline quartz gleam and sparkle.  While
the miniature possessed a delicate, appealing note, the
full size Machine has an ominous look.  The wavering
moonlight seems to render it alive and give it the
power of movement.



CLOSE ON TIME TRAVELLER - MOVING SHOT                  64

Staring at the Machine, hypnotized by his own crafts-
manship, he locks the door with accustomed movement,
then crosses to a workbench and lights a candle.  Here
a crystalline lever is attached to a polishing buffer.
The Time Traveller sets it in motion, polishing the
crystal lever until its rough edges disappear and it
sparkles like a fine cut diamond.  As he works, his
lips purse and he softly STARTS TO WHISTLE the melancholy
strains of "The Land Of The Leal."  A clock near him on
the workbench reads:  "9:30."

Satisfied with the buffing, he removes the gleaming
handle and crosses to the Machine.  He settles into the
saddle and affixes the crystalline lever.  There is no
sign of urgency in his movements to betray that his
settling himself into the saddle is any more than a
routine position he has taken before to work on the
Machine.

Then he leans back in the saddle and gazes up at:



INSERT:  SKYLIGHT - (STOP MOTION OR ANIMATION)         65

Passing clouds.



BACK TO TIME TRAVELLER                                 66

He looks upwards for several moments.  Then his hand
slowly reaches forth and his fingers encircle the
lever. - Gently he urges it forward.

A HUMMING SOUND, similar to the one made by the model,
but MORE RESONANT starts and a soft glow wells up from
within the Machine.



INSERT:  THE CONTROL PANEL                             67

The luminous dials show:  "31 December 1899."  The
meters and indicators start to BUZZ and whirl.  The
glow increases.



BACK TO TIME TRAVELLER                                 68

His expression is taut as he looks around, then down
to the control panel.

                    TIME TRAVELLER'S VOICE
          I started...and the laboratory grew
          faint around me...



INSERT OF PANEL                                        69

The figures spin, the needles vibrate.  Then almost
at once the Time Traveller's hand reaches for the
lever and jerks it over to halt the Machine.  The
HUMMING LESSENS and FADES.



BACK TO TIME TRAVELLER                                 70

As he starts to look up and around, slowly.

                    TIME TRAVELLER'S VOICE
          ...I stopped.



WHAT HE SEES - MOVING SHOT                             71

Starting at the WINDOW with frost around the edges
and icicles outside, we move around the room PASSING
THE WORKBENCH over to the DOOR.  During this we HEAR the:

                    TIME TRAVELLER'S VOICE
          No change; everything exactly as it
          bad been before. - But no!

THE CAMERA SWINGS BACK TO THE WORKBENCH, CLOSE, where
the clock now shows "11:09" and the candle has burned
shorter.

                    TIME TRAVELLER'S VOICE (excited)
          The clock said 9:31 when I started and
          now it was 11:O9...and the candle,
          shorter by inches.



BACK TO TIME TRAVELLER                                 72

He looks amazed, then pulls his old fashioned watch
from his pocket by its gold chain.  It flips open
showing almost "9:32."

                    TIME TRAVELLER'S VOICE
          And yet by my watch which was in the
          machine with me, only a few seconds
          had passed.

Pleased, he puts his watch away and reaches for the
lever, looking off toward the:



WORKBENCH - (ANIMATION)                                73

The HUMMING SOUND STARTS again and, while the hands
of the clock circle the dial, the flame of the candle
flickers with the speed of a bee's wing, melting the
candle down.  The CAMERA MOVES to the window where the
frost has spread and the icicles continue to grow.
Light comes up behind so that the crystals glitter like
gems and the sun starts to rise.



TIME TRAVELLER IN THE MACHINE - MED. SHOT              74

The rays of the early Morning sun slide down the lab-
oratory wall and sweep across the Time Traveller and
his Machine.  A trace of a smile -- and then, he looks
up and squints.

                    TIME TRAVELLER'S VOICE
          It was disconcerting to see the sun...



INSERT:  SKYLIGHT - MED. SHOT - (STOP MOTION OR        75
ANIMATION)

As the sun arches majestically.

                    TIME TRAVELLER'S VOICE
          ...arc in less than a minute...



INSERT:  POT OF FLOWERS - (STOCK AND/OR STOP MOTION)   76

As they close.

                    TIME TRAVELLER'S VOICE
          ....to see flowers closing their eyes
          for the night, changes that normally
          took hours, occuring in seconds, was
          beautiful.

During this it has turned into night and a little SNAIL
rushes across the ground beneath the plant, and then
the flowers start to open again.  Light begins to flood
the scene.

In the b.g. Mrs. Watchett leaps into the garden, pauses
the briefest instant to sprinkle the flowers, then with
the speed of wind streaks away.



BACK TO TIME TRAVELLER                                 77

A trace of a smile, then apprehension.

                    TIME TRAVELLER'S VOICE
          And as yet I was travelling very slowly!
               (challenging)
          What if I went faster?!

His hand shoves the lever farther over toward the
future position.

THE HUMMING SOUND RISES TO HIGHER PITCH.  The Time
Traveller lurches in his seat, clings to the controls
and looks at the dials.



INSERT:  CLOSE ON DIALS                                78

They are spinning.



BACK TO TIME TRAVELLER                                 79

As he looks up.



INSERT OF SKYLIGHT - (STOP MOTION OR ANIMATION)        80

The sun soars across the sky, night falls.  Pin points
of stars streak by and dawn comes.  The sun is chased
by the stars again and again.  Faster and faster.



VERY CLOSE ON TIME TRAVELLER                           81

His eyes gleam with a mad light, half pleasure, half
pain.  His face is illuminated by the alternating
flashes of light, each one indicating the passage of
another day.

He turns toward the:



WINDOW - FULL SHOT - (ANIMATION, STOP MOTION & STOCK)  82

Without a trace of frost or icicles.  The snow has
disappeared, replaced by the lush green of Spring.
While the vines of a morning Glory grow up and around
the window like a snake and the flowers open and close,
we see the following through repeated fast flashes.

               The sun hops swiftly across the sky.    (a)

               The night falls and the stars circle    (b)
               the North Star.

               The sun appears and disappears be-      (c)
               hind the whirling clouds.

               At night the moon races through         (d)
               tumultuous clouds.

               On the following day the sky darkens    (e)
               with thunderheads.  There is a
               cataract of lightning and THUNDER.



BACK ON TIME TRAVELLER                                 83

Quick flashes of lightning on the Time Traveller's
face followed by a series of SHORT THUNDERCLAPS.

                    TIME TRAVELLER'S VOICE
          It became intoxicating.  To see an
          entire storm in a few seconds. -
          So I pushed the lever on toward
          even greater speed.

He applies greater pressure on the lever.  The
HUMMING INCREASES.  The alternate flashes of light
become a flicker almost too fast for the eye to
follow.  He looks o.s. and sees:



EXT. TREE IN GARDEN - FULL SHOT - (ANIMATION)          84

Its shadows, cast by the sun and the moon, dance
around the trunk, faster and faster -- the moon
passing through its phases and the sun shifting
its position with the seasons.



BRANCHES - CLOSE SHOT - (ANIMATION)                    85

Leaves grow quickly.  Flowers appear and turn into
small green apples.  Growing larger, they turn red
and fall.  The leaves gradually become amber and
disappear.  Suddenly the bare branches are covered
with snow for a few seconds, then again burst into
green leaves and blossoms.



EXT. DISTANT HILLSIDE - FULL SHOT - (ANIMATION)        86

Through the window we see the trees grow and
change like puffs of vapor -- now brown, now
green; they spread, shiver and pass away.  Snow
flashes across the country, vanishes and is
followed by the brief bright green of Spring.

                    TIME TRAVELLER'S VOICE
          Thirteen years had passed...fourteen...
          fifteen...sixteen...and then...

Gradually soot, dirt and grime has built up on the
windows from the outside and darkness prevails.



CLOSE ON TIME TRAVELLER                                87

His brow is beaded with perspiration.  Alarmed,
he grabs the handle of the Time Machine.



INSERT:  THE DIALS                                     88

The hand of the Time Traveller quickly pulls back
the lever.

                    TIME TRAVELLER'S VOICE
          In the year nineteen hundred seventeen...
          I stopped.

The flickering of passing days and nights slows and
the HUMMING SOUND GRADUALLY DIMINISHES.  The dial
stops on "13 September 1917".



TIME TRAVELLER - MED. SHOT                             89

The CAMERA PULLS BACK as he steps out of his Machine
and glances with astonishment around the interior
of the laboratory.  The once clear windows are now
dirty and boarded up.  The world outside is
completely obscured from view.  Only faint light
penetrating cracks indicates that it is day out-
doors.  He crosses to the door.  Dust falls as he
opens it and enters the corridor.



INT. LIBRARY                                           90

The dim light and the protective sheets covering
the furnishings previously seen, lend the room a
ghostly appearance.  Tilted paintings reveal
faded spots on the walls and the dust is inches
thick here, as well as in the dining room seen
in the b.g.  Cobwebs are everywhere.

The floor SQUEAKS on every footfall as the Time
Traveller, coming down the steps from the
corridor, enters the room and looks about.



THE SHELVES - TIME TRAVELLER'S P.O.V.                  91

Among his books still rest the clocks, his once
prized possessions.  There is NO TICKING now.
The hands of the clocks, each pair indicating a
different time, seem to guard the past.



CLOSE ON TIME TRAVELLER - MOVING SHOT                  92

Curiosity takes the Time Traveller from the
library, through the ENTRANCE HALL, to the front
door.  It refuses to respond to his attempt to
open it.  Even when he uses his shoulder it does
not budge.  He steps back and flings his full
weight against it and with a WRENCHING SOUND it
gives slightly.  Under continued pressure the
nailed boards outside give way and a flood of
daylight illuminates the dusty interior.  The
Time Traveller moves into the open driveway that
is now taken over by weeds.



EXT. COTTAGE - LONG SHOT - DAY                         93

The Time Traveller takes a deep breath and looks
curiously around.  Everything is overgrown with
vines and flowers.  The house is boarded up.  He
starts to wander around, thinking, investigating.

(NOTE:  The house is situated upon a site with
        distinctive landmarks that will stay
        recognizable during his journey into
        the future, thereby giving a clear
        conception that time-travelling does
        not involve geographical movement.
        For instance, the sharp curve of the
        River Thames in the distance will
        remain even after the house itself
        has disappeared.)



CLOSE ON TIME TRAVELLER                                94

Suddenly the SOUND OF AN APPROACHING ENGINE
catches his attention.  He looks puzzled toward:



EXT. ROAD - LONG SHOT - (DAY)                          95

Coming up the hill on a narrow dusty road is a
car of 1916 vintage, with the HORN HONKING.  The
CAMERA PANS with it, up to a SMALL STORE across
the street.  The sign above the entrance reads:
"Filby's Department Store".  A MANNEQUIN,
dressed for the period, is in the window.  The
driver, in the uniform of a Second Lieutenant of
the First World War, steps out of the car.  The
Time Traveller walks over to see his old friend,
sans moustache.



TWO SHOT                                               96

                    TIME TRAVELLER (glibly)
          Going to a masquerade, David?  You
          look rather silly without your
          moustache, old man!

                    FILBY (puzzled)
          Were you addressing me, sir?

                    TIME TRAVELLER
               (positively)
          Filby!  I expected more of an
          enthusiastic greeting from...

                    FILBY (smiles as he
               interrupts)
          I'm afraid you have me confused
          with my father, sir.  There was a
          remarkable resemblance. - I'm
          James Filby.

                    TIME TRAVELLER
          Was?

                    JAMES FILBY
          Were you a friend of father's?

                    TIME TRAVELLER
          Yes...yes...I've been away.

                    JAMES FILBY
          He was killed in the war...a year
          ago.

                    TIME TRAVELLER (aghast)
          No!...it can't be...
               (then, as he realizes its
               truth)
          I'm sorry to hear that.
               (pause, then hesitantly
               points)
          And the gentleman who used to live
          across the street?

                    JAMES FILBY
          Oh, him.  Some inventor who
          disappeared around the turn of the
          century. - If you're interested in
          that house, forget it.  You can't
          buy it or even go inside.

                    TIME TRAVELLER
          Why is that?

                    JAMES FILBY
          My father was executor of the
          inventor's estate and he refused to
          liquidate it.
               (adds with a smile)
          I often chided him on that account,
          but he felt positive that the owner
          would return some day. - Some people
          hereabouts think it's haunted.
               (stares at Time Traveller
               curiously, studying the
               strange cut of his clothes)
          Who are you, sir?

                    TIME TRAVELLER
          Just a stranger who once knew your
          father.

                    JAMES FILBY
          I see.
               (still curious at the Time
               Traveller's abstract attitude)
          Have you been at the front, sir?

                    TIME TRAVELLER
          Front?  What front?

                    JAMES FILBY
          Why the war, of course.

                    TIME TRAVELLER
          What war?

                    JAMES FILBY
          Great heavens, man, don't you know
          we've been at war with Germany
          since nineteen fourteen?  I thought
          perhaps you had seen action in
          France...or maybe...
               (noticing confusion, adds
               with a note of compassion)
          Perhaps a cup of tea would make
          you feel better.  Won't you come in?

                    TIME TRAVELLER
          No...no, thank you.

                    JAMES FILBY
          You're sure you're alright, sir?

                    TIME TRAVELLER
          Yes, I'm quite alright.

                    JAMES FILBY (hesitantly)
          Then...goodbye, sir.

The Time Traveller nods and James Filby slowly
turns and, glancing back repeatedly, enters the
Department Store.



CLOSE ON TIME TRAVELLER                                97

He speaks almost to himself.

                    TIME TRAVELLER
          Goodbye, Jaime.

With the bitter taste of death for his old
friend, David Filby, he slowly walks across the
street and returns to the cottage.



INT. LABORATORY - FULL SHOT                            98

The Time Traveller approaches the Machine, steps
up into the seat, throws his head back and grimly
shoves the lever forward.



SKYLIGHT - FULL SEOT - (STOCK AND ANIMATION)           99

ACCENT on MUSIC, then as the HUMMING OF THE TIME
MACHINE takes over, suddenly panes of GLASS BREAK
one after another, giving a clear view of a sky
full of SWIRLIING TURBULENT CLOUDS.

                                      DISSOLVE TO:



CLOSE ON TIME TRAVELLER                                100

The FLICKERS of days and nights, as well as the
HUMMING, INCREASES and DECREASES, in accordance
with his manipulation of the controls.  Over this:

                    TIME TRAVELLER'S VOICE
          As I went along, I gained experience
          in handling the Machine.  I found
          that I could stop for a day, an hour,
          or even for a second to observe, then
          go ahead for a year or two. - Thus I
          was able to see the changing world
          in a series of glimpses.

Something catches his interest.  He pulls back
the lever to SLOW DOWN.



EXT. STREET - FULL SHOT - (NIGHT) - (STOP MOTION)      101

With the speed of wind, pedestrians streak across
the pavement.  The bright lights of the night pop
out one after another leaving a sparingly
illuminated street.  The HUMMING SUBSIDES.  The
mannequin previously seen in the show window now
wears the clothing of the "Roaring Twenties".  A
distant CLOCK STRIKES ELEVEN.



BACK TO TIME TRAVELLER                                 102

Speaks surprised.

                    TIME TRAVELLER
          Good heavens, that's a dress?



MANNEQUIN - MED. SHOT                                  103

From her pretty face with the funny hat, the
CAMERA PANS DOWN to the hem line of her skirt,
twelve inches from the floor.



BACK TO TIME TRAVELLER                                 104

A smile appears on his face.

                    TIME TRAVELLER'S VOICE
          This was intriguing.  I wondered
          just how far women would permit
          this to go.

He pushes the lever ahead.  Flashes and HUMMING
INCREASE and we:

                                          BLUR TO:



THE MANNEQUIN - FULL SHOT - (DAYS & NIGHTS) -          105
(ANIMATION)

As the years speed by INTERRUPTED BY SHORT BLURS,
the dresses of the mannequin change.  The skirts
get shorter and shorter, then drop inch by inch
while the hair styles vary.  The bosom appears to
swell with the sinking neckline and flattens as
the neckline rises.  During this:

                    TIME TRAVELLER'S VOICE
          I began to grow fond of that
          mannequin.  Maybe because, like me,
          she didn't age.



THE TIME TRAVELLER - MED. SHOT                         106

Suddenly he hears the SOUNDS OF AIRPLANES and
EXPLOSIONS in a strangely ACCELERATED manner.
He looks down at the instruments.



INSERT OF DIALS                                        107

Showing the passage of time.  October, November,
December of 1939 and January, February, March,
April, May of the year 1940 are peeling off.

The instruments vibrate erratically.




CLOSE ON TIME TRAVELLER                                108

He stares at the dials with much concern as he
is PITCHED back and forth in his Machine.

                    TIME TRAVELLER'S VOICE
          Suddenly, in nineteen forty I began
          to be buffeted from side to side.
          My first thought was that the Machine
          had a mechanical defect or a part
          had worn out.

The Time Traveller HEARS the SCREAMS of DIVING
PLANES.  He stops the Machine and looks up at:



SKYLIGHT - MED. SHOT - (NIGHT) - (STOCK)               109

Through the panes of broken glass we see a clear
but limited glimpse of the night sky that is
swept by beams of searching lights.

ANTI-AIRCRAFT batteries are FIRING as a squadron
of Nazi fighter planes are caught in the criss-
cross beams of light.  The sky is pierced with
ack ack.  Then, following the sound OF APPROACHING RAF.
FIGHTER PLANES, a dog fight ensues.  Several of the
planes are hit and plummet earthward, balls of
streaking flame and fire.



CLOSE ON TIME TRAVELLER                                110

Gazing up at the grim spectacle.

                    TIME TRAVELLER'S VOICE
          The last time I had stopped was in
          nineteen seventeen, twenty three years
          ago.  And the war with Germany was
          still waging - now in the air with
          flying machines.  It didn't seem
          possible they could go on fighting
          all these years and still have the
          means of fighting.  Then I realized
          the truth of the matter.  This was a
          new war.  There must have been an
          interval of peace in between these
          wars.  Yet they had learned nothing
          but to prepare even more effective
          means of destroying one another.  I
          decided to push on into time and see
          the outcome.

He looks down at:



INSERT OF DIALS                                        111

Denoting the movement of the Machine through time.
The dials spin from 1940 to 1959 where the HUMMING
NOISE SUBSIDES and the dials again come to a stop.

                    TIME TRAVELLER'S VOICE
          The fighting in the sky lasted only
          a few moments.  By nineteen forty five
          it was over, but I continued on a
          few more years before pausing for
          another glimpse of my silent, never
          aging friend.



THE MANNEQUIN - FULL SHOT - (DAY)                      112

In bikini bathing suit.  A car, a 1959 model, passes
by.



CLOSE ON TIME TRAVELLER                                113

Smiling.

                    TIME TRAVELLER'S VOICE
          It vas reassuring to find that she
          hadn't changed.  Only her costume.
          Provocative to say the least.  I
          wondered what she would look like
          ten years hence.

With a grin he throws the lever forward.



INSERT OF DIALS                                        114

HUMMING INCREASES and the years spin; 1960, 1961
and so on until it finally STOPS on 1966.



BACK AT THE MANNEQUIN                                  115

Dressed in the sleek dress of the future.  First
a distant, then a close AIR RAID SIREN HOWLS,
menacingly.



BACK ON TIME TRAVELLER                                 116

His smile becomes a puzzled stare at what he sees.



EXT. STREET IN 1966 - LONG SHOT - (DAY)                117

People are racing along the sidewalk.  The SOUND
OF MORE DEEP-THROATED SIRENS from all directions
comes over.  Drivers leave their cars of the period
in disorder.

The running is purposive, however.  All are entering
particular buildings or, like those closest to the
Time Traveller, are descending a stairway from the
sidewalk down below street level.  Some glance sky-
ward.

A LITTLE GIRL picks up the doll she has dropped
as her FATHER returns from the shelter.  He gathers
her up in his arms and rushes back to safety.

In a few seconds the streets are deserted.



TIME MACHINE AT EDGE OF PARK - FULL SHOT               118

The Time Traveller gets out and looks around,
confused.

                    TIME TRAVELLER'S VOICE
          At first I wondered if my Machine and
          I were the cause of the panic.  I was
          to soon find out we weren't.

He starts off toward the sidewalk, the CAMERA
MOVING with him.  At the descending subway stair-
way he stops and peers downward, but sees no one
below.  Meanwhile, through a loudspeaker o.s.,
a melodious SYMPHONY ORCHESTRA is heard softly,
until a BURST OF CHORDS attracts the Time Traveller's
attention.



EXT. STORE WINDOW - FULL SHOT                          119

A TELEVISION CABINET on display.  The set is
operating, showing a huge symphony orchestra
led by one of the popular conductors of tomorrow.
The CAMERA SWINGS to the modern ENTRANCE of FILBY'S
DEPARTMENT STORE just as the Time Traveller reaches
the two broad glass doors.  As he steps forward he
intercepts the rays of electronic eyes and the doors
fly wide open.

He stops startled, looking about to see who opened
them.  Seeing no one, he starts slowly forward.



INT. DEPARTMENT STORE - LONG SHOT                      120

From the TV set BLARES MUSIC that gradually becomes
the UNDERSCORE for the SCENE.  The Time Traveller
enters and turns his attention to other products
of tomorrow -- refrigerators, vacuum cleaners,
reducing belts, etc.  As his keen mind grasps the
significance of each, he smiles with approval, proud
of his fellow man.  His delight increases until he
is interrupted by APPROACHING FOOTSTEPS.  He looks
off.



REVERSE SHOT                                           121

Coming from the office is THE WARDEN, dressed in a
plastic suit.  He also wears an armband and a white
crash helmet, both bearing the insignia of "Civilian
Defense."  MUMBLES are heard from beneath his mask
as the CAMERA PANS him to the Time Traveller.

                    TIME TRAVELLER
               (shakes his head)
          I can't understand you.

The warden takes off his helmet.  He is David
Filby's son, James, whom we saw in 1917 as a young
man.  He is now in his mid-sixties.

                    WARDEN
               (looking at helmet)
          Confounded radio in this thing.
          Makes more noise than it does sense.

                    TIME TRAVELLER
               (recognizing him)
          Filby!

                    WARDEN
          My name is Mister Filby. - Didn't
          you hear the air raid siren?

                    TIME TRAVELLER
          You mean that horrible screeching?

                    WARDEN
          It wasn't constructed for its
          aesthetic values, you know, but to
          warn silly young fools like yourself
          to get down into the shelter.  Now
          go on.

                    TIME TRAVELLER
          But I'm perfectly comfortable and
          I find your store magnificent.  What
          splendid achievements, what gigantic
          strides mankind has taken, what...

                    WARDEN
               (interrupting)
          Come on, young man.  We'd better be
          going before the mushrooms start
          sprouting.
               (looks at Time Traveller
               with renewed interest)
          You do look familiar.  Haven't
          we met somewhere before?

                    TIME TRAVELLER
          Indeed we have.  Right here.  Many
          years ago.

                    WARDEN
          I was sure of that, but the exact
          time escapes me.

                    TIME TRAVELLER
          It was two wars ago, I believe.
          Nineteen seventeen.

                    WARDEN (awed)
          Why now I recall.  The chap who
          inquired about my father -- and
          the house that used to be across
          the way.
               (stops and stares at
               the Time Traveller)
          But no...that's impossible.  You
          haven't changed.  You're not a day
          older.  And your clothes...

                    TIME TRAVELLER
          I'm afraid it's going to take me
          a little time to explain... You see...

There is an insistent, EAR PIECING SIREN.  It
lasts for three seconds.

                    WARDEN
          The last alert...hurry!

He grabs the Time Traveller by the arm and drags
him out.



ON THE STREET - FULL SHOT                              122

They emerge from the store.  The Time Traveller
pulls himself free.

                    TIME TRAVELLER
          Listen to me!  It's important.

                    WARDEN (points to sky)
          Look!  An atomic satellite zeroing
          in!  That's important!!

The Warden runs, looks back over shoulder, calling.

                    WARDEN
          Hurry!  Hide 'til the All Clear!

He descends into the air raid shelter.



CLOSE ON TIME TRAVELLER - MOVING SHOT                  123

He looks puzzled.

                    TIME TRAVELLER
          All clear?
               (yells)
          I've got to talk to you.

The Time Traveller looks up as he hears the
APPROACHING SIRENS OF AN AMBULANCE.  Alarmed,
he runs across the street directly in the path
of the ambulance that threads its way between the
cars left in disorder on the road.  The driver
spins the steering wheel and the ambulance tilts
crazily in trying to avoid the Time Traveller.
Suddenly there is a BLINDING FLASH.  He stops and
looks startled.



VIEW THROUGH THE STREETS - LONG SHOT - (STOCK,         124
MINIATURE, SPLIT)

A SATELLITE travels over the city in the distance.
The flash is followed by an EXPLOSION and a giant
cobalt mushroom begins to rise over the horizon.



BACK TO SCENE                                          125

As the Time Traveller tries again to rush toward
his Machine, the shockwaves reach him and throw him
to the ground.  He looks back, desperately.



THE CITY - LONG SHOT - (MINIATURE)                     126

Through the thick cloud of smoke and dust we see
the once proud city of the future in ruins.  Only
a single, large structure in the f.g. remains stand-
ing for a moment, then it also collapses in an instant.

                    TIME TRAVELLER'S VOICE
          The labor of centuries gone in an
          instant.

The ground shudders with an OMINOUS sound and sudden
a great rent appears in the wide street ahead, as
though the earth were being torn apart.  It zig-zags
down the street and from the widening fissure clouds
of smoke and steam rise.

                    TIME TRAVELLER'S VOICE
          But then Mother Earth, aroused by man's
          violence, responded with volcanic
          violence or her own!



CHASM IN THE GROUND - (STOCK)                          127

The smoke and steam give way to a spluttering of
red hot lava which swells slowly at first in a
rising tide and then spilling over begins to
EXPLODE into the air.



BACK ON TIME TRAVELLER                                 128

The Time Machine is shaken violently, but the
Time Traveller manages to crawl into it.



THE THAMES - LONG SHOT - (STOCK)                       129

As the river spills over its bed and turns into
another direction.



THE STREETS - (STOCK, MINIATURE, SPLIT)                130

With red hot lava swirling around the bases of the
remaining buildings.  The lower parts of the struct-
ures in the f.g. dissolve into smoke and flame and
the upper parts come tumbling down into the rising
red flood.  Then the incoming rush of the river
meets the flowing tide of lava.  The two opposite
elements, molten rock and cold green water, dwarf
the ruined city as they leap toward each other, and
meet with explosive fury.  The air is rent with the
SINGING HISS of water and the CRACKLING of cooling
rock.  Steam whitens the sky.



THE TIME MACHINE - LONG SHOT - (STOCK) - (PROCESS)     131

Out of the tumult a flow of red hot lava turns
aside and leaps directly toward the Time Machine.

                    TIME TRAVELLER'S VOICE
          Then I saw my own danger.  I too was
          to be engulfed!



CLOSE ON TIME TRAVELLER                                132

As he sees his great peril.

                    TIME TRAVELLER'S VOICE
          But to go back was unthinkable.

He jams the lever forward to its furthest position.
The HUMMING SOARS TO A VERY HIGH PITCH.



THE ENCROACHING LAVA - (STOCK)                         133

It has been approaching with the speed of a torrent,
but now it literally leaps forward in a blinding
red haze that engulfs the entire scene.



THE TIME MACHINE - MED. SHOT                           134

The interior of the Machine is permeated with a dull
red glow which seems to flow like mist all about the
Time Traveller.

                    TIME TRAVELLER'S VOICE
          Only my speed through time saved me
          from being roasted alive and encased
          in stone forever.



INSERT OF DIALS                                        135

They are spinning too fast to distinguish anything
in the gradually fading red glow.



EXTREME CLOSE ON TIME TRAVELLER                        136

His face is bathed in sweat.  His eyes search the
growing darkness.

                    TIME TRAVELLER'S VOICE
          The molten rock cooled.
               (he closes his burning
               eyes as the last of the
               light vanishes)
          I prayed...wondering how many centuries,
          how many eons must pass before the wind
          and rain could wear away the mountain
          that enclosed me.

In the pitch darkness there are only the sounds of
the HUMMING TIME MACHINE and the SLOW LABORED
BREATHING of the Time Traveller.

Then a match flickers.  The CAMERA SCARES BACK.  The
Time Traveller holds up a burning matchstick, his
face glistening with perspiration as he leans forward
to look at the dials.

                    TIME TRAVELLER'S VOICE
               (whispering)
          Darkness...darkness for centuries.



INSERT OF DIALS                                        137

They roll very fast.  We can distinguish only the
passing of years -- 70,000...80,000...90,000...
100,000.  Then the matchlight flickers and goes
out leaving only the dial's own faint glow.



BACK ON TIME TRAVELLER                                 138

Once again there is darkness and the MONOTONOUS HUM
of the Time Machine.  He breathes heavily and tries
to calm himself.

                    TIME TRAVELLER'S VOICE
          I wondered if there was still war
          being waged on the ground above me...
          if man would still exist on earth,
          when I saw the sun again.

As he speaks, the Time Machine goes faster and faster.
HIGH PITCHED HUMMING INCREASES.

                    TIME TRAVELLER'S VOICE
          The centuries rolled by. - I put
          my trust in time and waited for
          the rock to wear down around me.

A white light from above begins to permeate the dark-
ness.  The Time Traveller looks up, his face showing
immense relief.



WHAT HE SEES - (ANIMATION)                             139

Rocks deteriorate and a bright blue sky bursts into
view.  ACCENT ON MUSIC.



EXT. TIME MACHINE AND GROUND NEARBY - LONG SHOT        140
(SPLIT, ANIMATION)

Everything is a blur except the Time Machine with its
passenger.  The black rock on the surface slowly melts
away and the flickering sunlight returns.  The Machine
is now finally entirely above ground, the only distinct
object in the whirling transparent landscape.



EXT. TIME TRAVELLER - CLOSE SHOT                       141

As he smiles gratefully up at the sky.

                    TIME TRAVELLER'S VOICE
          I was free again!

He looks o.s.



INDISTINCT COUNTRYSIDE - LONG SHOT - (ANIMATION)       142

There is an impression of several great buildings
set wide apart by green landscape -- a landscape
which no longer changes color even though trees
spring up like plumes of green smoke.

                    TIME TRAVELLER'S VOICE
          Thousands of centuries passed, but
          the earth stayed green!  There was
          no winter!  No wars! - Had man finally
          learned to control both the elements
          and themselves? - I had to stop and
          find out.



TIME TRAVELLER - MED. SHOT                             143

As he eagerly pulls hard on the lever, the HUMMING
DECREASES and the dial freezes on:  "23 November
802,701".  THERE IS A CRASH LIKE THUNDER and the
Time Machine suddenly goes into a spin.  The CAMERA
ZOOMS BACK TO A FULL HIGH SHOT as the machine keels
over.  The friction caused by the intrusion creates
a pitiless HAIL, and we

                               SLOWLY DISSOLVE TO:



EXT. TIME TRAVELLER - CLOSE SHOT - (DAY)               144

Thick mist eddies about his face, undulating
dreamily, revealing enough to see that he is
unconscious.  Blood seeps from a gash across his
forehead.  He dazedly opens his eyes to find that
he is gazing across the dewey, green turf.  Then
he looks up.



EXT. THE SPHINX - FULL SHOT - LOW ANGLE - (MATTE)      145

The vapor rises like a curtain to disclose a great
bronze pedestal, green with verdigris, whereon
clawed feet support the white marble figure of an
immense Sphinx.  The figure has the face of a
woman, the body of a huge cat and the tail of a
serpent.  A weeping birch tree barely touches its
outspread wings.



THE TIME TRAVELLER - MED. SHOT                         146

He shakes the cobwebs out of his head and, FOLLOWED
BY THE CAMERA, rises with difficulty.  Still half-
dazed he presses a handkerchief to his temple, as
he loosens his collar, then reaches into the Machine,
pockets the lever and surveys his surroundings.



LANDSCAPE - LONG SHOT - (MATTE)                        147

It looks like a garden untended for centuries.  The
trees and shrubs are laden with strange blossoms or
exotic fruits.

In the distance there is a building that might once
have been a temple.  Vines mat the ancient walls,
seemingly holding them together.



BACK TO TIME TRAVELLER                                 148

He smiles.

                    TIME TRAVELLER (to himself)
          At last I've found a Paradise.

He starts off toward the building WHISTLING his
favorite tune, "The Land Of The Leal".  The CAMERA
ACCOMPANIES him as he looks about with interest.



WHAT HE SEES - MOVING SHOT                             149

Strange, exotic fruits bend the branches of the
TREES, some purplish and gourd-shaped, others
suggesting giant raspberries, mangoes, etc.

                    TIME TRAVELLER'S VOICE
          Nature tamed completely and more
          bountiful than ever before.



VARIETY OF FLOWERS - MOVING SHOT                       150

The CAMERA PANS under boughs laden with orchids and
a multitude of other gorgeous blossoms.

                    TIME TRAVELLER'S VOICE
          Flowers everywhere...the whole landscape
          one vast garden with no sign of weeds or
          briars.



EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT - (DAY)    151

The Time Traveller pauses and looks up at the building.



ACROSS FACADE - PAN DOWN - (MINIATURE?)                152

Vines creep up the crevices.  The ornamental stone
work, while rich in detail, is weathered and
broken with age.

                    TIME TRAVELLER'S VOICE
               (surprised)
          Unrepaired for centuries!  Maybe
          unlived in for as long.
               (then)
          It would be no Paradise if it
          belonged to me alone.



INT. ENTRANCE - MED. SHOT                              153

Shooting through the ARCHWAY we see the Time
Traveller mount the steps and enter the building.



INT. THE GREAT HALL - FULL SHOT - (MATTE) - (DAY)      154

In the background across the hall, the Time Traveller
halts.  He is dwarfed by the height of the vaulted
ceiling.  Although ancient in appearance, everything
is ultra modern in design.  Sunlight streams through
windows where half the panes of stained glass are
broken.  Faded curtains droop in dusty folds along
the walls, and at random about the floor are low
tables, some heavily fractured, loaded with bowls
of fruit.

His FOOTSTEPS ECHO through the great hall as the
Time Traveller crosses to:



A TABLE - MED. SHOT                                    155

The Time Traveller glances down at the spread of
exotic fruit.  Everything looks fresh and clean as
though newly prepared.  Yet there is no indication
of life or sound, either human or animal.  The air
hangs in a deathlike stillness.  Slowly the Time
Traveller turns and looks around the walls, his
eyes searching, scrutinizing for some clue to
this strange place.  There is none.

Then he picks up an empty marble plate and POUNDS
with it on the top of the table.

                    TIME TRAVELLER (shouting)
          Anyone here?

But an ECHO is his only answer.  Curiously he re-
traces his steps and leaves the great hall.



EXT. LANDSCAPE - FULL SHOT - (DAY)                     156

Pick up the Time Traveller as he walks slowly along.
Every sense he possesses is on the alert.  His eyes
probe every bush and tree and object that could
possibly conceal some person or thing.



SERIES OF SHOTS                                        157-161

As the Time Traveller takes this long, slow walk,
INTERCUT INSERTS of the various innocent objects
he looks at with CLOSEUPS of Time Traveller as he
reacts to the bewildering SILENCE and lack of life
or movement.

The continued stretch of emptiness builds up a wave
of apprehension in the Time Traveller which grows
as he moves along.  The apprehension mounts into
tension and gradually but inevitably approaches
the state of horror that a human being would
experience in a strange place where he had just
come from an innocent freshly set table of ripe
fruits and stepped outside into a beautiful but
weird vacuum.



EXT. WOODED AREA - LONG SHOT                           162

As the Time Traveller reaches the edge of the trees,
he hesitates, then moves into the forest.



SERIES OF SHOTS                                        163-166

The trees are thick and deep shadows cut patches of
darkness through the bright sunlight which struggles
to penetrate the maze.  The Time Traveller walks
with continued wariness through the trees, glancing
from left to right and occasionally stopping dead
still and quickly darting a glance behind him at
what he imagines to be some sound of movement.
But all this is imaginary on his part.  There is
nothing that moves or makes a sound in this forest.

Suddenly he stops as he distinctly hears a familar
and quite HUMAN combination of NOISES.  The SOUND
SPLASHING WATER and LAUGHTER.  He hurries to some
dense foliage where he stops to cautiously peer out.



EXT. THE POOL - LONG SHOT - (DAY)                      167

The Time Traveller's VIEW is partially obscured by
the leaves.  At considerable distance upstream, the
PEOPLE OF THE FUTURE are swimming in a natural pool
and sunning themselves on a beach of white sand.
They are small, but delicately formed.  Their grace
and beauty fits perfectly into this splendid new
world.  The spot is also extremely lovely, surrounded
by fern trees, and with the water plunging into it
from a high waterfall.  Below the pool the stream
emerges in a swift torrent.



ANOTHER, CLOSER SHOT                                   168

A beautiful GIRL, dressed in a silken robe of white
and gold, starts running.  As she runs, she loosens
her robe which drifts to the sand and she dives deep
into the crystal water.



CLOSE ON TIME TRAVELLER                                169

He smiles philosophically and leans back against a
tree trunk, watching the distant swimmers, reassured.

                    TIME TRAVELLER (musingly,
               to himself)
          So this is man's future...



GROUP SHOT                                             170

The people, apparently without any cares of the
world, play, romp and swim.

                    TIME TRAVELLER (o.s.)
          ...to bask in the sunlight, bathe in
          the clear streams and eat the fruits
          of earth with all knowledge of work
          and hardship forgotten.



BACK TO TIME TRAVELLER                                 171

He pauses, thinking back on what he has just said.

                    TIME TRAVELLER
          Well, and why not?

Suddenly a SHRILL SCREAM COMES OVER from the pool.
He turns.



THE POOL - LONG SHOT                                   172

The Girl has swum out too far and is caught by the
swift torrent.  She CRIES OUT PITEOUSLY.

The other people turn their heads toward her, but
make no move to help.



CLOSE ON GIRL                                          173

She has caught a ledge of rock and clings.  Two
little men, their bare feet dangling in the water,
sit nearby but ignore the Girl's plight.



TIME TRAVELLER - MOVING SHOT                           174

He jumps out from the foliage, rushes to the bank,
points toward the Girl and tries to attract the
attention of those near her on the bank.

                    TIME TRAVELLER
          Help her!...

No one moves.  He runs toward the ledge.



BACK TO THE GIRL                                       175

Her grasp on the ledge grows weaker.  She is at
the point of letting go.



TIME TRAVELLER - MOVING SHOT                           176

Reaching the ledge, he pushes past the people nearby
and grasps the Girl's wrist just as her fingers
slip.  Quickly, he pulls her out of the river's
turbulent current and lifts her up in his arms.



GIRL - EXTREME CLOSE UP                                177

Looking up at the Time Traveller bewildered, she
shows neither fear nor gratitude.



TIME TRAVELLER - EXTREME CLOSE UP                      178

Gazing back at the Girl thoroughly puzzled.  He
turns and glances down at the two little people
on the ledge.



CLOSE TWO SHOT                                         179

These two men will later be known as the YOUNG MAN
and the MAN IN WHITE.  They return the Time Travel-
ler's look of scorn with pleasant smiles as if they
do not know the meaning of a mean look.



TIME TRAVELLER & GIRL - EXTREME CLOSE, MOVING SHOT     180

Trying to avoid looking at the dripping, robeless
Girl - after all he is a Victorian - he carries her
to the safety of the bank and sets her down on the
sandy beach beneath the trees.  The CAMERA FOLLOWS
him as he straightens, then quickly takes off his
jacket and throws it around her.

He looks at her for the first time sees the almost
ultimate in feminine beauty.

                    TIME TRAVELLER
          Are you all right?



TIME TRAVELLER & GIRL - FULL SHOT                      181

Wearing his velvet jacket very appealingly, she
calmly rises, turns and, without a word, walks
away.  The Time Traveller stares after her in
astonishment.

The disconcerned people, now all dressed in multi-
colored robes, are leaving the pool.  They walk
past the Time Traveller as though he was a part of
the scenery, merely adding to his confusion.



CLOSE ON TIME TRAVELLER                                182

Perplexed.

                                 DISSOLVE TO:



EXT. ENTRANCE TO THE GREAT BUILDING - (SUNSET)         183

Shooting toward the ARCHWAY.  The sun is sinking as
the last stragglers of the little people enter the
great hall.  The Time Traveller slowly follows them.
He pauses on the steps to see if any will turn back
to either welcome him or resent his intrusion, but
they move on with lack of interest, completely.  He
sits down on the steps, thoroughly perplexed at this
utter indifference.



TIME TRAVELLER - MED. SHOT                             184

Seated on the steps leaning against a column.  He
senses another's presence, looks about, sees no one,
then turns to glance over his shoulder.  The Girl, now
wearing her robe and holding his jacket over her arm,
appears from behind the column.  He looks at her and
smiles reassuringly, but makes no move toward her. -
She comes closer, then sits on the step above him and
returns his jacket.  While he slowly slips it on,
she slides down a step to sit alongside him.

                    THE GIRL
          Why did you?

                    TIME TRAVELLER
          Why did I what?

                    THE GIRL
          Come after me.

                    TIME TRAVELLER (ironic)
          I did it to save your life, young
          lady, which I'm afraid doesn't hold
          much meaning for you or anyone else.

                    THE GIRL (simply)
          It doesn't.

                    TIME TRAVELLER
          Must have been fifty of your friends
          watching you drown.  Not one of
          them so much as lifted a finger. -
               (shakes his head)
          A curious attitude - in a curious
          world.
               (a pause, then a
               smile)
          Aren't you the least bit interested
          in what I am...where I come from?

                    THE GIRL (innocently)
          Should I be?

                    TIME TRAVELLER (smiles)
          Perhaps you'd better take me to
          someone a bit older I can talk to.

                    THE GIRL
          There is no one older.

The Time Traveller is suddenly struck by the truth
of her words.  All of the little people seem to be
of the Girl's age or younger.

                    TIME TRAVELLER
          Doesn't anyone age in this land
          of yours?

The Girl makes no reply.  Instead she gazes off at the
sun which is low in the heavens.  Shadows have already
fallen over the distant hills.

                    TIME TRAVELLER
          What's your name?

                    THE GIRL
          Weena.

                    TIME TRAVELLER
          How do you spell that?

                    WEENA
          Spell?

                    TIME TRAVELLER
          Write!  - Can't you write?  Look!

He bends over, picks up a stick and starts to draw
on the ground.



INSERT: DUST                                           185

As the stick writes out: " W E E N A "



BACK TO SCENE                                          186

She shows little interest.

                    TIME TRAVELLER
          And what are your people called?

                    WEENA (as if he ought to know)
          Eloi.



INSERT OF DUST                                         187

The stick now writes in the dust: " E L O I "



BACK TO SCENE                                          188

A shadow crosses her face.  Suddenly she springs
to her feet, concerned.

                    WEENA
          Come.  We must go in.

                    TIME TRAVELLER (rising)
          Why?  What's wrong?

                    WEENA (anxiously)
          It is getting dark.

She grabs his hand and pulls him toward:



INT. THE GREAT HALL - LONG SHOT - (MATTE?) - (DAY)     189

Crowded now.  The people of the future are sitting
on cushions around the tables, having their evening
meal.  The glowing orange light of the setting sun
pierces the broken windows, lending a curious at-
mosphere to the place.  No one pays attention to
Weena or to the Time Traveller as they enter in the
b.g.



AT THE MAIN TABLE - MED. SHOT                          190

A score of attractive young men and young women are
enjoying their dinner.  There is a general atmos-
phere of bubbling good humor.  They don't even look
up as Weena and the Time Traveller sit down at the
table.  She hands him an orange-sized raspberry.  He
takes it, looks at the Young Man and the Man in White
who sit across the table from him and tries to engage
them in conversation.

                    TIME TRAVELLER (directed to
               Young Man, but meant for the
               entire group)
          I don't mind telling you, I'm quite
          hungry.  I've come a long, long way.

Looks around for some kind of a reaction.  There is
none.



CLOSE ON TIME TRAVELLER                                191

He bites into the fruit.  It's good.  While he is
eating he searches for another way to bring up the
subject.

                    TIME TRAVELLER
          In my time a berry this size would
          have made news in every civilized
          country.



GROUP SHOT                                             192

There is no reaction, so he addresses the Young Man
again.

                    TIME TRAVELLER
          Sir, perhaps curiosity has died.
          Perhaps even courtesy has died, but
          I have come a long way and there are
          things I would like to know.

                    YOUNG MAN (considers a
               moment, then)
          Why?

                    TIME TRAVELLER
          Because I shall return to my time
          and they will ask questions such as
          what kind of government rules your
          world.

                    MAN IN WHITE
          We have no government.

                    TIME TRAVELLER (speaking
               as though to a child)
          You must have a body of men who pass
          and enforce laws.

                    MAN IN WHITE
          There are no laws.

                    TIME TRAVELLER (taken aback,
               then)
          How do you get your food and clothing?

The Man in White looks at the Young Man beside him.
They both shrug their shoulders.

                    TIME TRAVELLER
          Doesn't anyone work?

                    MAN IN WHITE
          No.

                    TIME TRAVELLER (picks up
               fruit)
          Then where does this come from?

                    MAN IN WHITE
          It grows.  It always grows.

                    TIME TRAVELLER
          But it must be planted, cultivated,
          nurtured...unless...
               (with mistaken insight as he
               observes no reaction to this
               last query)
          Unless you have an economy so well
          organized that you can devote all your
          time to study and experimentation.
          Am I right?

                    MAN IN WHITE
          You ask many questions.

                    TIME TRAVELLER (annoyed)
          Yes!  And I'm not ashamed of it.
          That is how man has learned and
          bettered himself.  I must learn about
          you and your civilization.  You have
          books, don't you?

                    YOUNG MAN (recognizing a
               half-forgotten word)
          Books. - Books!  Yes, we have books.

He rises and beckons.  The Time Traveller's brow
clears.

                    TIME TRAVELLER
          Books will tell me what I want to
          know.  Books will tell me all about
          you.

He too gets up and follows the Young Man.



AT THE WALL - LONG SHOT                                193

The Young Man leading.  He reaches the wall and
seizes an ancient curtain which covers it.  A
cloud of dust rises as he tugs it aside and the
curtain falls, almost crumbling.  Shelves and
shelves of books are disclosed.  The books are
old even though many of them have futuristic de-
signs.  The bindings of once proud volumes hang in
brown tatters.  The Time Traveller steps to the
books.



CLOSE ON TIME TRAVELLER                                194

The realization of the true state of affairs shows
on his face.  He is appalled.  Carefully he pulls
a volume from the shelf.  Its binding breaks as
he opens it and, when his hand touches the pages,
they crumple like ashes and drift to the floor.
He drops the book.  His voice is a shocked WHISPER.

                    TIME TRAVELLER
          Yes...they do tell me all about you!

With sudden violence he slams his fist into a whole
shelf of books.  His hand plows through them and
the dust swirls into the air.  He turns back in
anger.

                    TIME TRAVELLER
          What have you done?  Thousands of
          years of building and rebuilding
          creating and re-creating so that
          you can let it crumble to dust.

With one hand he grabs the Young Man and shakes him.

                    TIME TRAVELLER
          A million yesterdays of sensitive
          men dying for their dreams.  For
          what?  So you can swim and dance
          and play.

He releases him and leaves.



THE HALL - MOVING SHOT                                 195

The Time Traveller stomps among the Eloi, hating
them for their dissipation.

Without emotion they watch him walk toward the
entrance.  Only Weena jumps to her feet.  Her
former indifference is gone.



AT THE ENTRANCE                                        196

From the top step, the Time Traveller looks down
at them.

                    TIME TRAVELLER
          I am returning to my time!  Not to
          tell of the uselessness of the
          struggle - not to tell of the
          hopeless future - but only so that
          I can die among men!

He turns and strides toward the door.



EXT. ENTRANCE - MED. SHOT - (DUSK)                     197

The Time Traveller bursts out of the building.  A
moment later Weena appears in the archway.  She
stands there, looking after him.

                                      DISSOLVE TO:



EXT. FOREST - LONG SHOT - (NIGHT)                      198

There are patches of mist and haze between the
trees.  With a blazing torch the Time Traveller
strides across.



EXT. TIME TRAVELLER ON THE PATH - (NIGHT)              199

Coming from the distance the CAMERA PANS HIM TO
THE EDGE OF LAWN, where he stops short, jerking
the pipe from his mouth, his eyes wide with con-
sternation.  He raises the torch high to see:



EXT. THE LAWN - FULL SHOT - (NIGHT)                    200

There is no Time Machine.



CLOSE ON TIME TRAVELLER                                201

In stunned shock.



THE PATH - FULL SHOT                                   202

Holding his torch high, the Time Traveller hurries
toward the bushes around the edge of the lawn
looking for his Machine, beating the branches with
his free hand.  After he passes one of the bushes,
a white indistinct creature dashes out of it and
disappears in the darkness.  Unaware of this, the
Time Traveller stops in the mindle of the lawn
where the Machine was last seen.

(NOTE:  The surrounding is suggestive of the spot
        where the Time Traveller's house once stood.)

He looks about, slowly turning in a complete circle.
Meanwhile the CAMERA MOVES IN CLOSE.  Then, sud-
denly remembering, he digs his free hand into the
pocket of his trouser, drawing out the lever he
had removed and looks at it with self-assurance.
Returning the lever to his pocket, he drops to his
knees and by the light of his torch, scrutinizes
the grass.



THE GROUND - TIME TRAVELLER'S P.O.V.                   203

The turf has been ripped in parallel grooves as
though some heavy object had been dragged across.
CAMERA MOVES SLOWLY FORWARD following these grooves
and HALTS where small misshapen, half-human foot-
prints stand out clearly in the freshly turned
earth.



TIME TRAVELLER - MOVING SHOT                           204

He straightens slowly, his eyes narrowed.
Nervously he looks around, then steps on follow-
ing the grooves.



BACK TO THE FOOTPRINTS                                 205

THE CAMERA CONTINUES TO FOLLOW the grooves
straight across the lawn to the flagstones around
the white sphinx.  There are dark scratches on the
stones leading to the wide panel in the base of
the pedestal.  Here the marks end.



AT THE PEDESTAL - MED. SHOT                            206

The Time Traveller pauses, then gives the panel an
exploratory KNOCK.  It responds with a HOLLOW SOUND.

The Time Traveller thrusts his torch between the
claws of the sphinx.  With both hands now free,
he tries unsuccessfully to push the panel either
to right or left or up or down.  Taking a penknife
from his pocket, he runs the blade around the panel's
edge hunting for a secret latch.  No success.

Then he pauses, searching for a tool, and sees a
loosened flagstone.  He picks it up.  With this
heavy weight he batters the panel.  At each blow
it RESOUNDS LOUDLY, not unlike a gong.  Four times
he strikes, and then on the fifth blow the rock
shatters in his hands.  He stops in despair.



CLOSE ON TIME TRAVELLER                                207

He senses he is under observation by an unseen
presence.  Alarmed, he whips around then looks up
to:



THE SPHINX - LOW ANGLE - (MINIATURE OR MATTE)          208

The marble face looks baleful, almost smiling in
the torch light.



BACK ON TIME TRAVELLER                                 209

He turns and peers toward:



THE BUSHES                                             210

In the shadows, beyond reach of the light, is a
wide semi-circle of luminous eyes, reflecting the
flame of the torch.



TIME TRAVELLER - FULL SHOT                             211-213

He grabs his torch from the pedestal and slowly
paces toward the nearest bush.  But as he ap-
proaches, the glowing eyes vanish in the haze,
followed by a ghostly impression of pale,
fleeing creatures.

The Time Traveller halts and turns in another
direction.  The same thing happens.

Then he has an idea.  Bending, he beats the torch
against the moist soil and extinguishes it.  Now
in the darkness he straightens and waits, peering
around until he hears a twig CRACK, then moves
into the deep shadow of a tall bush, looking off.



THE PATH                                               214

Through the mist in the foliage a pale figure
approaches slowly.  It emerges onto the lawn.



TIME TRAVELLER - MED. SHOT                             215

The CAMERA FOLLOWS as he leaps forward, grapples the
other figure and bears it to earth.  For a moment
there is a struggle and then the other figure lies
perfectly still.  The Time Traveller rears back to
get a look at it.



THE FIGURE ON THE GROUND - EXTREME CLOSE SHOT          216

It is Weena.  The moving shadow of the Time Traveller
reveals her pale face, with closed eyes, wearing an
expression of helpless terror.  She appears to be
waiting for the inevitable end, but when it does
not come, she slowly opens her eyes.  She sees the
Time Traveller and her face records a wave of
relief.

The CAMERA WITHDRAWS TO TWO SHOT as the Time
Traveller, embarrassed, helps her sit up.

                    WEENA
          I heard you pounding...I came to
          tell you...

                    TIME TRAVELLER
          How do you open that panel?

                    WEENA
          No one opens it.  Only the Morlocks.

                    TIME TRAVELLER
          Morlocks? - Who are the Morlocks?

A look of fear comes into her eyes.  She drifts
her gaze away from his, too frightened to answer.
Gently he takes her by the shoulders and turns
her to face him.

                    TIME TRAVELLER
          Why are you afraid of the Morlocks?

Again Weena drops her eyes from him, but he cups
his hand beneath her chin and tenderly turns her
head back so that her eyes meet his.

                    TIME TRAVELLER
          Tell me.

                    WEENA
          When they call, we must go below.

                    TIME TRAVELLER
          Do the Morlocks live beneath the
          earth?
               (Weena nods)
          Why must you obey their command?

                    WEENA
          They give us the food we eat, the
          clothes we wear.  We must do as
          they command.

                    TIME TRAVELLER
          What happens to your people when
          they go below?

                    WEENA (repressing an in-
               voluntary shudder)
          No one knows.  No one has ever
          returned.

                    TIME TRAVELLER (smiling
               at her warmly, reassuringly)
          It won't happen to you.

Weena looks up at him, her fears dwindling, find-
ing comfort in this strange being whom she cannot
understand.  Then she glances high into the dark sky
and the old fear returns.

                    WEENA
          It is night.

                    TIME TRAVELLER
          Only children are frightened by
          the dark. - But then you are a
          child, aren't you?
               (Weena glances around
               warily into the shadows,
               her anxiety mounting)
          I'll build a fire.

                    WEENA (taking his
               hand, rises)
          Let us go from here.

                    TIME TRAVELLER (getting
               up)
          I can't, child.
               (walking toward the sphinx)
          My Machine is inside there, I
          intend to wait here 'til morning,
          then find some way of getting
          inside.

                    WEENA (catching up)
          No, you must not.

                    TIME TRAVELLER (stops,
               then)
          Help me gather some wood.



THE LAWN AND THE BASE - LONG SHOT                      217

Reluctantly she helps him collect a few twigs which
she hands over to him.

                    WEENA
          Where are you from?

                    TIME TRAVELLER (picks
               up dry branches)
          As a matter of fact, I'm from
          right here.
               (gesturing)
          There's where my house stood many
          thousands of years ago.  Here - to
          that monument, was my laboratory.
          About there was my library where I
          once sat talking with friends about
          my Time Machine.

Meanwhile, Weena has seated herself near the
bushes in the f.g.



CLOSE ON WEENA                                         218

She watches every move he makes.

                    TIME TRAVELLER'S VOICE
               (continuing)
          I hoped to learn a great deal.  I
          hoped to take back the knowledge,
          the advancement, mankind made...
          instead what do I find?  Vegetables!

Meanwhile a pair of pale, hairy hands rise slowly
from behind her.



TIME TRAVELLER - MED. SHOT                             219

With his back turned, he is piling up the sticks.

                    TIME TRAVELLER (continuing)
          The human race reduced to living
          vegetables!



BACK TO WEENA                                          220

The hairy hands grab her shoulders.  The fear
paralyzes her.  She is unable to scream.



BACK TO TIME TRAVELLER                                 221

He is about to light a match, but finds he needs
more wood.  Without turning he calls back to Weena.

                    TIME TRAVELLER
          Get me a few more twigs.

When there is no answer he turns and looks.



AT THE BUSHES                                          222

Weena is gone.  The CAMERA ZIPS TO LEFT, then to
RIGHT and finally STOPS on the limp legs of Weena
slowly disappearing under the brush.



TIME TRAVELLER - MOVING SHOT                           223

We hear the RUSTLING OF BRANCHES and quick DIMINISHING
FOOTSTEPS as the CAMERA RUSHES with the Time Traveller
toward the bush.  He helps Weena to her feet and draws
her to the pile of dry branches.

                    TIME TRAVELLER
               (after calming her)
          What was it?

                    WEENA (low)
          Morlocks.

                    TIME TRAVELLER (strikes
               match and holds it to twigs)
          This seems to keep them away.



CLOSE ON WEENA                                         224

She gazes into the fire, with fascination.  Slowly
she raises her hand and reaches out to grasps the
flame.



TWO SHOT                                               225

The Time Traveller grabs her hand.  It is almost
too late.  She looks at her burned hand with more
amazement than pain.

                    TIME TRAVELLER (while
               examining her hand)
          What ever made you put your hand in
          the fire?

                    WEENA
          I never saw it before.

Apparently no harm done, the Time Traveller releases
her hand.  He shakes his head in amazement and sits
down beside her.

                    TIME TRAVELLER
               (after a long silence)
          Do you know that the first thing
          which separated man from the rest
          of the mammals was his knowledge of
          fire?
               (he looks at her)
          No, I suppose you don't.
               (pokes at fire)
          The next great stride came with
          the discovery of the wheel.
               (turns to her)
          Do you know what that is?
               (she shakes her head)
          I'm sorry I was angry with your
          people.  I had no right to be.
          No more than if I had visited the
          Island of Bali in my own time.
          You were safe inside your great
          house, yet you came out into the
          night to warn me.  The one
          characteristic which distinguished
          man from the animal kingdom was the
          spirit of self sacrifice.  You have
          that quality, Girl.  I'm sure all
          of your people have it.  All it
          requires is someone to reawaken it.
          I shall try if you'll let me.  Will
          you?

                    WEENA
          I do not understand you, but I
          believe you.

                    TIME TRAVELLER
          That's a good start. - Now try to
          tell me...who or what are the Morlocks?
               (Weena looks at him blankly)
          Are they people or animals?
               (her expression remains unchanged)
          What do you know about yourself?  The
          past?  Don't your people ever speak
          of the past?

                    WEENA
          There is no past.

                    TIME TRAVELLER
          Don't you ever wonder about the future?

                    WEENA
          There is no future.



ANOTHER ANGLE                                          226

The Time Traveller is staring into the fire stirring
the glowing embers as he speaks slowly and with
compassion, hoping to arouse some feeling within
her, even though she may not grasp the meaning of
the words.

                    TIME TRAVELLER
          Man's past is mainly a grim struggle
          for survival, but there have been
          moments when a few voices have spoken
          up.  These rare moments have made the
          history of man a glorious thing.  I
          refuse to believe it is dead and gone.
          We've had our dark ages before and
          this is only another of them.  All
          you need is for someone to show you
          the way out. - I'm only a tinkering
          mechanic, but there must be this
          hidden spark in one of your people.
          If I can only kindle that spark, my
          coming here will have some meaning.

During his speech Weena has cuddled close to him,
her cheek touching his knee.  He looks down at her
and sees he has made a friend.  He places his hand
gently on her hair.  She looks up, her eyes no
longer showing fear.  Their faces are illuminated
by the dancing flames.



THE FIRE - CLOSE SHOT                                  227

It CRACKLES reassuringly.

                                SLOW DISSOLVE TO:



EXT. WELL - FULL SHOT - (DAY)                          228

The ring of flames from the previous scene is
seemingly replaced by a dark, circular shaft from
which comes the low THROBBING of some GIANT
MACHINES, pounding, beating monotonously.  The
CAMERA MOVES BACK to include the LANDSCAPE
where more wells are visible in the distance,
each surrounded by a low, porcelain wall.  Their
roofs are shining brass-like disks.

Across the field, from the direction of the sphinx,
approach the Time Traveller, carrying his jacket
over his shoulder, and a few steps behind, Weena.

                    TIME TRAVELLER'S VOICE
          My efforts next morning to open the
          panel were fruitless.  I had to find
          another way to retrieve my Machine.

Weena, concerned, stands back as the Time Traveller
walks up to the well in the f.g. and peers down into:



THE SHAFT - HIGH ANGLE                                 229

It descends into darkness, but near the top can be
seen handholds in an irregular pattern.  The
THROBBING OF MACHINES is ominous.



AT THE MOUTH OF WELL - FULL SHOT                       230

The Time Traveller in the f.g. turns back to Weena.

                    TIME TRAVELLER
          Listen!
               (pause)
          Do you hear?

                    WEENA (fearfully)
          Yes.

                    TIME TRAVELLER
          Machines!

                    WEENA
          No...Morlocks.

                    TIME TRAVELLER
               (straightening, amazed)
          You mean those animals run machines?

                    WEENA
          They are Morlocks.

                    TIME TRAVELLER
               (as he walks to her)
          I know, but have you seen the
          machines?



CLOSE ON WEENA                                         231

She shakes her head.

                    WEENA
          No, only heard of them.

The CAMERA EASES BACK to include the Time Traveller
as he reaches her.

                    TIME TRAVELLER
          Who told you?

                    WEENA
          The talking rings.

                    TIME TRAVELLER
               (moves closer to her)
          What sort of rings?

                    WEENA
               (with a shrug)
          Rings that talk.

                    TIME TRAVELLER
          Can you show me these rings?

Weena nods and starts off.  He follows her.

                                        DISSOLVE TO:



INT. GREAT HALL - FULL SHOT - (DAY)                    232

Deserted, until Weena leads the Time Traveller past
the tables toward the shelves of crumbling books
that the Young Man had previously shown him.

She enters an archway and walks up a dark stone
corridor.  He follows.



INT. STONE CORRIDOR - MED. SHOT                        233

Weena leading the Time Traveller up the corridor
where it veers sharply to the right.  They disappear
around the corner.



INT. GREEN MUSEUM - LONG SHOT - (DAY) - (MATTE)        234

The Time Traveller and Weena stop at the threshold of
a huge museum-like room, all done in a greenish
colored porcelain-like substance.  There are no
windows, but the vaulted ceiling has a transparent
dome where the sun's rays, changing with the course
of day, illuminate the entire museum.  It is
evidently a place that no one bothers to visit.



TIME TRAVELLER & WEENA - MOVING SHOT                   235

Their feet kick up small flurries of dust as they
walk among exhibitions of a long bygone era still
existent behind plastic.  Some of the cases are
broken and their contents, exposed to the atmos-
phere, have decayed, crumbled to dust.  We recognize
objects and machines, some belonging to the early
part of the twentieth century and still others take
on the forms and shapes that the audience of today
will recognize as contemporary.  Then they pass
cabinets that hold objects of a time far beyond
comprehension.

Weena finally leads the Time Traveller to a broken
case which contains several boxes of golden rings
a few inches in diameter and one inch wide, lined
with minutely spaced grooves.  He picks up the
nearest box and examines its contents.

                    TIME TRAVELLER
               (picking up a ring)
          Are these the talking rings?

                    WEENA
          Yes.

                    TIME TRAVELLER
          They speak?

                    WEENA
          Yes.

                    TIME TRAVELLER
          Of what?

                    WEENA
          Things no one here understands.

                    TIME TRAVELLER
          How do you get it to talk?

Weena takes the ring from the Time Traveller and
lays it on a smooth topped porcelain block on its
edge, like a coin, and spins it like a top.



INSERT:  WHIRLING RING                                 236

A VOICE emerges from the spinning ring as the current
of air flows through its grooves, much like a phono-
graph needle evokes sound as it plays through the
surface of one of our records.

                    VOICE FROM RING
          Whomsoever chances upon these rings
          will probably hear the last recorded
          voice of civilized man.  This is the
          year four thousand eight hundred and
          twenty-nine.



TWO SHOT                                               237

The Time Traveller is listening in fascination and
Weena in disinterested detachment.

                    VOICE FROM RING (cont'd)
          The war between the East and West,
          which is now in its three hundredth
          and twenty-sixth year has at last
          come to an end.  There is nothing
          left to fight with and few of us
          left to fight.  The atmosphere has
          become so polluted with deadly
          germs that it can no longer be
          breathed.  There is no place on
          this planet that is immune.  The
          last surviving factory for the
          manufacture of oxygen has been
          destroyed.  Stockpiles are rapidly
          diminishing and when they are gone,
          we must die...

The last few WORDS DECREASE IN VOLUME and FADE AWAY.
The Time Traveller eagerly reaches into the case for
the second ring and spins it.

                    ANOTHER VOICE FROM RING
          This is the last day.  We, the last
          to survive, have had our final meeting.
          We have decided to split into two
          groups.  Each man and woman has made
          his own decision.  Some have chosen
          to take refuge in the great caverns
          and find a new way of life far down
          below the earth's surface.  The rest
          of us have decided to take our chances
          in the sunlight, small as those chances
          may be.

The VOICE from the ring DWINDLES and is heard no
more.  The Time Traveller quickly picks up the
third and last ring and spins it.  NO WORDS are
heard -- only the SOUND of MARCHING FOOTSTEPS over
floors of stone -- then a deadly SILENCE.



CLOSE ON TIME TRAVELLER                                238

As he watches the last ring spin to a standstill.
Over this:

                    TIME TRAVELLER'S VOICE
          From the talking rings I learned how
          the human race divided itself and
          how the world of the Eloi and Morlocks
          began.

He turns.



GREEN MUSEUM - LONG SHOT                               239

The Time Traveller paces across the hall.  Weena
hurries after him.

                    TIME TRAVELLER'S VOICE
          By some quirk of fate the Morlocks
          had become the masters and the Eloi
          their servants.  The Morlocks main-
          tained them and bred them like cattle
          only to take them below when they
          reached maturity, which explained why
          there were no older people along them.

They exit.



GREAT HALL - FULL SHOT                                 240

The Time Traveller, followed by Weena, walks from
the book shelves toward the entrance.

                    TIME TRAVELLER'S VOICE
          Now I knew I must go below.  It was
          the only means of finding a way up
          into the sphinx to reach my Machine
          and to find out what happened to the
          little people when they went below.

They leave the Great Hall.



EXT. LANDSCAPE - FULL SHOT - (DAY)                     241

The Time Traveller strides toward one of the wells.
Weena senses his intention and catches up with him
to grasp his arm.

                    WEENA
          No...don't go...please.

He shakes her off.



AT MOUTH OF WELL - MED. SHOT                           242

The Time Traveller places his jacket on the wall.
Then into the well he drops a dry leaf which, instead
of fluttering slowly down, is at once sucked out of
sight by the current from the shaft.  Then he looks
around and finds a pebble, drops it down the well and
listens.

After a PLOP is heard he puts his arm down the
shaft as far as it goes, feeling its surface, then
throws his leg over the porcelain wall and starts
to descend.  Weena rushes to his side to stop him.

                    WEENA
          You will not come back.

                    TIME TRAVELLER
          I'll be back.

Weena shakes her head and, as though giving him
a farewell gift, thrusts a large blossom into his
pocket.  The Time Traveller smiles as he dis-
appears.



FROM THROAT OF WELL - LOW ANGLE                        243

Locking from below, the top of the well appears
like a small blue disk with Weena peering down.
The Time Traveller gropes his way.

Suddenly from the far distance comes the SOUND of
LOW but POWERFUL SIREN.  Weena straightens.



CLOSE ON WEENA                                         244

An expression of fear comes slowly over her face
as the LOW SIREN is joined by ANOTHER of HIGHER
PITCH.  The Two make a grating dissonance.  Slowly
she turns in the direction of the sound.



BACK WITH TIME TRAVELLER                               245

He looks up, concerned, pausing in his descent.



BACK TO WEENA                                          246

As the THIRD DISCORDANT BLAST joins the other two,
Weena's fear is gone.  In its place is an expres-
sion of utter resignation.  Like someone in a
trance she opens her eyes and stares straight
ahead.  Then, as though she is summoning all her
strength to go through some ordeal, she starts
walking away.  The CAMERA PANS and we see the breeze
ripple her silken robe about her as she moves.

(NOTE:  During the above and throughout the follow-
        ing sequence the dirge-like WHISTLES
        CONTINUE, ECHOING mournfully.)



REVERSE SHOT                                           247

Weena is walking forward and disappears behind the
trees as the Time Traveller emerges from the well
in the b.g.



CLOSE ON TIME TRAVELLER                                248

Looking for Weena.  She is nowhere to be seen.
His face shows exasperation, bewilderment.

                    TIME TRAVELLER
          Weena!  Where are you, Girl?



WEENA - FULL SHOT                                      249

She continues to walk toward the source of the
SIRENS.



TIME TRAVELLER - MOVING SHOT                           250

The DIRGE-LIKE MELODY becomes LOUDER, pulsating,
as he pauses to watch:



EXT. EDGE OF FOREST - LONG SHOT - (DAY)                251

Emerging from the forest are two Eloi, a man and
a woman.  They are several paces apart and pay no
attention to one another.  Both have exactly the
same manner as Weena.  They walk along, eyes
straight ahead, faces expressionless.



CLOSE ON TIME TRAVELLER                                252

As he looks ahead, then left and right, searching.



VARIOUS GROUPS OF ELOI - (SPLIT?)                      253-254

In the open country now, the forest behind them.
In their colorful robes, the Eloi march slowly
across the green landscape.

All are converging toward a single point somewhere
ahead.



WEENA AMONG ELOI                                       255

They walk close together, paying no attention to one
another, following the command of the MELANCHOLY
STRAINS OF THE SIRENS.



BACK ON TIME TRAVELLER                                 256

His concern has turned to apprehension as he tries
to grasp the meaning of what he observes.



EXT. THE SIRENS ON THE SPHINX - FULL SHOT - (DAY)      257
(MINIATURE)

It is the source of the sound.  There are little
bursts of vapor from the tops of the sirens as
they repeat their tones, like a fantastic pipe
organ behind the Sphinx.



TIME TRAVELLER AND ELOI                                258

All of them walk in the same direction.  The Time
Traveller looks this way and that, bewildered.
But the Eloi disregard him and march straight
ahead, eyes forward.

The Time Traveller breaks into a run.



TWO SHOT                                               259

The Time Traveller overtakes the Young Man, seizes
his arm and jerks him to a halt.  Around them pass
the shadows of the marching Eloi.

                    TIME TRAVELLER
          What's happening?  Tell me!

The Young Man shows no emotion as he struggles to
free himself.  His movements are almost mechanical.
This unnerves the Time Traveller.  He stares at
him, releasing his grip.

The moment the Young Man is free, he faces about
and continues his march.  The Time Traveller re-
mains motionless, watching him go.  The ECHOING
SIRENS are now getting on his nerves.



EXT. ENTRANCE TO THE GREAT BUILDING - LONG SHOT -      260
(DAY)

The Eloi pour out of the Great Hall, walking in
a trance-like state.



EXT. LANDSCAPE - EXTREME LONG SHOT - (DAY) - (SPLIT?)  261

From all directions the Eloi in their bright robes
are moving, singly and in long files.  The impres-
sion is one of vastness -- a feeling that mankind
is marching to some unknown doom.



TIME TRAVELLER - MOVING SHOT                           262

He spots a girl, rushes up, grabs her from behind.
But it is not Weena.  Disappointed, he releases
her, then goes on again, covering his ears with
his palms, fighting to retain command of his own
reason.



SEVERAL SHOTS OF THE SIRENS - (MINIATURE)              263-265

At various angles -- up, sideways, tilted.  The
WAILING is DEAFENING.



CLOSE ON TIME TRAVELLER                                266

He still strives to control himself, moves forward,
then pauses in amazement, looking straight ahead.



EXT. THE SPHINX - FULL SHOT - (DAY) - (MATTE)          267

It is toward the white sphinx that the Eloi have
been marching.  But now the panel, upon which the
Time Traveller had pounded so hard, is wide open,
revealing a dark entrance into the pedestal.

And despite their previous repugnance to the
Sphinx, all of the people are now marching across
the lawn resolutely to it.



AT THE PEDESTAL - LONG SHOT                            268

The Young Man is the first to reach it.  He enters
the wide opening and starts descending into sub-
terranean darkness.  Others follow, Weena among
them.

                    TIME TRAVELLER (o.s.)
          Weena!

Without hearing him she passes through the entrance.



TIME TRAVELLER - MOVING SHOT                           269

He desperately pushes forward, elbowing his way
past others in his haste to overtake Weena.  The
crowd impedes his progress and he shoves the
Eloi impatiently aside as he fights on.

                    TIME TRAVELLER (shouts in
               despair)
          Weena!



THE PANEL                                              270

Slowly closing and the sound of the SIRENS gradually
DIES AWAY.  The Time Traveller reaches the panel as
it shuts tight before he can touch it.  He spreads
his palms against it in despair, then turns to face
those Eloi who, like him, are locked outside.  What
he sees astonishes him.



GROUP OF ELOI                                          271

They no longer approach the sphinx.  The ceasing of
the sirens seems to have released them from their
hypnotic spell and now, awake again and frightened,
they are retreating.



BACK TO TIME TRAVELLER                                 272

As he goes after them to the edge of the flagstones
and calls out angrily.

                    TIME TRAVELLER
          Stop!



BACK TO ELOI                                           273

Featuring the Man in White in the f.g.  They halt
and stare back.  The Time Traveller's voice comes
over like a whip.

                    TIME TRAVELLER (o.s.)
          What are you running from?

None of the Eloi answer.



TOWARD THE SPHINX - FULL SHOT                          274

Beyond several Eloi the Time Traveller stands in
the shadow of the white sphinx.  He steps slowly
forward onto the lawn, looking around the big
semi-circle of his audience.

                    TIME TRAVELLER (sharply,
               gesturing back toward the panel)
          Where have they gone?
               (no answer)
          What happens to them?
               (no answer)
          Don't stand there like a fatted
          cattle grazing contentedly in lush
          pastures. - Answer me!  What's
          wrong?

                    MAN IN WHITE (calmly)
          There is nothing wrong.  It is all
          clear.

                    TIME TRAVELLER
          What do you mean, all clear?

                    MAN IN WHITE (repeating)
          All clear!

                    TIME TRAVELLER (thinking
               rapidly, talking to himself)
          Once....in the middle nineteen
          hundreds I heard a man...
               (it bursts upon him)
          The falling bombs!
               (to the Man in white
               and the crowd)
          That's over.  Gone.  Dead for
          hundreds of thousand of years.
          There are no more flying machines.
          No bombs.  No wars!

                    MAN IN WHITE
          Yes, the rings have told us that
          story.



TIME TRAVELLER - MED SHOT                              275

                    TIME TRAVELLER
          But you didn't listen.  You didn't
          learn anything.  All that is left
          is fear...a blind animal fear.
          Ages ago men were taught to hide in
          the ground when the sirens blew...
          taught to run from a raining death...
          but those men are dead!  And so are
          the men who slaughtered them.  Don't
          you understand?
               (looks around pleadingly)
          You are slaves of a dead past... You
          don't even own your souls.  You're
          led to slaughter like sheep!

                    MAN IN WHITE (o.s.)
          But there is nothing to fear now,
          it's all clear.

                    TIME TRAVELLER
          What about those who went below?
          How are they to come back?



MAN IN WHITE                                           276

He looks ominously at the Time Traveller.

                    MAN IN WHITE
          They never come back.  Nobody can
          bring them back.

Unimpressed, the crowd begins to disperse, the Man
in White following them.



BACK TO TIME TRAVELLER                                 277

Calling after them.

                    TIME TRAVELLER
          You can try.  Won't any of you
          even try?

He sees that the situation is hopeless.

                    TIME TRAVELLER (almost
               to himself)
          Well, someone has to try!

He runs off.



SERIES OF SHOTS                                        278

The Time Traveller running through the forest.         (a)

He is laboring up the open hillside.                   (b)

The Eloi in a semi-circle silently watch.  A few       (c)
of them hesitantly start after the Time Traveller.



EXT. THE WELL - FULL SHOT - (DAY)                      279

Arriving, the Time Traveller pauses to catch his
breath, picks up a piece of wood that could serve
as a torch, then jumps over the wall and starts
to descend.

Over this a faint THROBBING OF MACHINES can be
heard.



SHOOTING INTO SHAFT - HIGH ANGLE                       280

The Time Traveller climbs down, gripping the walls
with his hands and feet.  The depth beneath him is
dizzying.  THROBBING LOUDER.



IN THE WELL - FULL SHOT                                281

As the Time Traveller descends, the CAMERA FOLLOWS
him, step after step.  The deeper he goes, the darker
it becomes and the THROBBING OF MACHINES INCREASES as
well.

Suddenly a rock gives beneath his weight.  He barely
saves himself.  Not without fear he pauses to rest,
glancing upward.



FROM THE THROAT OF WELL - LOW ANGLE                    282

A couple of the curious Eloi peer downward, watching
the Time Traveller's progress.



BACK TO TIME TRAVELLER                                 283

A metal ladder affixed to the wall brings him finally
to the opening of a transverse passageway.  In almost
complete darkness he steps from the ladder into the
tunnel and pauses to take the piece of wood from his
belt, but decides not to light it.  He bends and peers
ahead.



INT. GREAT CAVERN - FULL SHOT                          283X1

The Time Traveller emerges onto the bridge in the b.g.,
pausing for a moment to survey the surroundings, then
starts slowly down the staircase carved along the wall.
The gloom is relieved only by puffing smoke and waver-
ing lights, revealing occasionally vague shapes and
grotesque shadows.

(NOTE:  DRIPPING WATER from the walls and THROBBING OF
        MACHINES punctuate the desolation of this
        scene as well as the following sequence.)



CLOSE ON T.T. - MOVING SHOT                            283X2

Walking, he notices an opening ahead and cautiously
moves toward:



INT. ENTRANCE TO FEASTING ROOM - FULL SHOT             283X3

At the threshold of this dark, silent cell the T.T.
pauses, then slowly enters.  Behind him, across the
cavern, an indistinct figure watches, but quickly
disappears as the T.T. strikes a match.  The sight
that the T.T. beholds fills him with revulsion and
horror.



THE FEASTING ROOM - T.T.'S P.O.V.                      283X4

This is obviously a feasting place of the Morlocks.
In the flickering light we see stone tables and
scattered around the floor far below the unmistak-
able remains of human bones after the flesh has been
carnivorously picked away.

                    T.T.'S VOICE
          So, this was the destiny of the
          Eloi.



CLOSE ON T.T.                                          283X5

His features twisted in horror in the flickering
light of his match.

                    T.T.'S VOICE
               (continuing)
          They were being bred like cattle
          by the Morlocks who had degenerated
          into the lowest form of human
          life...cannibalism.

The match dies between his fingers.  Suppressing a
shudder, the T.T. turns and as he leaves this chamber
of horror, the rock behind him comes to life.  A pale,
spectral Morlock crosses the screen in the f.g.
descending.  Another in the b.g. does likewise.



MACHINES - FULL SHOT                                   283X6

Morlocks, their indistinct bodies obscene in their
mockery of the human form, labor endlessly tending
the needs of their machinery.  They look up toward the
intruder as they HEAR his APPROACHING FOOTSTEPS, then
hide.



STAIRWAY - MOVING SHOT                                 283X7

The T.T. slowly descends the slender stone stairway
that hugs the sheer wall.  Meanwhile at the base of
the feasting room under the stairway on which the T.T.
is moving a Morlock moves a curtain aside and reveals
itself.  It silently watches as another Morlock
appears at the top of the stairs and follows.



[PAGE 89A MISSING FROM HARD COPY]



GROUP OF ELOI                                          283X15

Passing near the T.T.'s hiding place.  Weena and the
Young Man are side by side.



AT THE MACHINES                                        283X16

The Morlocks who followed the T.T. are closing in.



BACK TO T.T. - MOVING SHOT                             283X17

He is unaware of the Morlocks behind him.  Hugging
the rock, he makes his way to the closest possible
point where he can still remain unobserved by the
herding Morlocks and get Weena's attention.  He
reaches out.

                    T.T.
          Weena!

But she continues on with complete resignation to her
fate.  Unmindful of his own safety, he leaves his hid-
ing place and grasps her by the shoulders.

                    T.T.
               (shaking her)
          Girl!
               (he turns and grasps the
               passing Young Man)
          Come to your senses!  All of you!

As the T.T. pulls Weena toward the staircase, the
Young Man follows.



FOOT OF STAIRWAY                                       283X18

Morlocks block the escape.



THREE SHOT                                             283X19

The CAMERA MOVES with the T.T., Weena and the Young
Man as they are forced to retreat.



AT ENTRANCE OF FEASTING ROOM                           283X20

Where other Morlocks with CRACKING WHIPS herd the Eloi
into the chamber of horrors.

One of the Morlocks spots the T.T., Weena and the
Young Man.  He swings his whip.



BACK TO THREE SHOT                                     283X21

The CAMERA MOVES with them as vicious CRACKING
WHIPS drive them back to the entrance of the
feasting room.



TWO SHOT                                               283X22

The T.T. tries to protect Weena.  Suddenly a long
lash of a whip strikes like a serpent and coils
about the T.T.'s neck.  He drops his unlit torch
and whirls in pain.

Another whip scares Weena into the chamber of
horrors, while several other whips land on the T.T.'s
shoulders.  Finally he grabs the whip from around
his neck and jerks it, wrenching it free.



AT THE ENTRANCE OF FEASTING ROOM                       283X23

The T.T., wielding the whip fiercely, drives the
Morlocks back several paces, then suddenly from
above a pale body of a Morlock lands on him,
knocking him down, causing him to drop the whip.
On the ground the cowardly Morlock stumbles
away leaving the T.T. a prey to the battery of
CRACKING WHIPS.  He crawls in pain into the
chamber of horrors.



GROUPSHOT INSIDE FEASTING ROOM                         283X24

The T.T. comes to his feet among the Eloi.  The
WHIPS HAVE STOPPED, then the silence is broken by
the GROWL of approaching MORLOCKS.  Through the
curtains, dark shapes swarm toward them.  Then
suddenly the T.T. pulls out his matchbox from his
pocket.  A match flares!



GROUP OF MORLOCKS                                      283X25

In the glare of yellow light we see the leprous
figures of blinded Morlocks, dropping their whips,
shielding their eyes.



THROUGH MORLOCKS'S EYES - (OPTICAL EFFECT)             283X26

The T.T.'s hand with the burning match rapidly zooms
into the center of the picture in a BLINDING FLASH
turning the screen momentarily white, then yellow
and red.  Then the CAMERA MOVES BACK indicating the
Morlocks' retreat.  Slowly the normal colors
reappear.



BACK TO THE GROUP OF MORLOCKS                          283X27

Regaining their sight in the darkness, they start
to close in.



THROUGH MORLOCKS'S EYES - (OPTICAL EFFECT)             283X28

Followed by the Eloi the T.T. exits the feasting
room and again lights a match.  A BLINDING FLASH
starting from the flame as a center engulfs the screen,
momentarily white again, then yellow, finally red.
Once more the CAMERA RETREATS, then still seeing
through the Morlocks' eyes the CAMERA ZOOMS CLOSE
ON THE MATCH BOX and the scaley hand of a Morlock
slaps all the matches except one to the floor.



T.T. - MED. SHOT                                       283X29

He lights his last match and moves forward, looking
for his lost torch.



GROUPSHOT                                              283X30

The T.T. leads the Eloi toward the stairway, the
light of the match his only weapon in keeping the
Morlocks away.  Finally he spots his torch and
picks it up hurriedly.



CLOSE ON T.T.                                          283X31

His face streams with sweat and is taut with appre-
hension while he applies the dying match to the
intended torch.

                    TIME TRAVELLER (muttering)
          Burn, will you!

He holds the match steady, but it burns lower and
lower without starting the wood.  In despair he
turns to Weena.

                    TIME TRAVELLER
          Quick, something to burn!  It's
          my last match!



BACK TO THE MORLOCKS                                   283X32

As they are closing in.



CLOSE ON WEENA                                         283X33

With a fierce gesture she rips open the loose sleeve
of her robe, tears off a piece of cloth and holds
it out.



BACK TO T.T.                                           283X34

As match is about to die, he holds it beneath the
cloth.  It flames up and he seizes it, dropping the
dead match.

He holds the burning cloth beneath the wood and
in this hotter flame it begins to burn.  Once it
starts he again attempts to make his way by blind-
ing the Morlocks and leads the Eloi to the stairway.



GROUPSHOT                                              283X35

As the Eloi slowly make their way toward the stairway,
one Morlock gains courage, and with his long whip
strikes the torch out of the T.T.'s hand.



A CORNER                                               283X36

The torch rolls in and begins to sputter.



BACK TO SCENE                                          283X37

The Eloi huddle against the wall in terror as other
Morlocks gain courage and move forward toward the
T.T.  As they face one another, the fight begins.



[PAGE 90 MISSING FROM HARD COPY]



Eloi below him.

                    TIME TRAVELLER
          Weena!  Weena, get the torch!



CLOSE SHOT - WEENA AND YOUNG MAN                       351X5

Huddled against rock - React to fight - Weena
looks quickly toward the Time Traveller, then
turns searching for the flickering torch.



BACK TO TIME TRAVELLER                                 351X6

As he turns to fight with Morlock on ledge.
Morlock swings at him.  He ducks and almost
falls off ledge.  He grabs Morlock, and hangs
on until he can scramble up on ledge again.
He clutches at Morlock's throat, banging his
head against the rock wall, finally throwing
him off ledge.  At the same time another Mor-
lock appears on ledge, while the Morlock he
had previously kicked rises to menace him from
the other side.  The Time Traveller jumps across
cavern to ramp and starts down toward the floor,
trying to get back to his torch, his only weapon
against the Morlocks.



CLOSE SHOT - THE TIME TRAVELLER                        351X7

He pauses momentarily against Rock Wall.  He
sees Eloi, still huddled in a group, apparently
too confused to move.

                    TIME TRAVELLER
          Weena!  Go on!  Go on the
          steps!



CLOSE SHOT - AT ROCK - WEENA AND YOUNG MAN             351X8

Weena spots the still flickering torch and
starts toward it.



INSERT OF TORCH                                        351X9

Lying on ground, still burning, Weena bends
down to pick up torch, when suddenly a Morlock
appears facing her.  She screams and jumps back,
watching in terror, as the Morlock comes toward
her.



MED. SHOT                                              351X10

The Time Traveller comes down ramp to meet several
Morlocks converging on him.  He tries to fight his
way past them.



CLOSE SHOT - WEENA AND YOUNG MAN                       351X11

Morlock rushes in, grabs Weena and carrying her
over his shoulder starts across toward Feasting
Cave.



MED. SHOT - TIME TRAVELLER                             351X12

JUMPS up on ramp, kicks back at Morlocks - sees
Morlock carrying Weena - JUMPS through Morlocks
and runs toward her.



FULL SHOT                                              351X13

The Time Traveller runs to Weena, pulls her away
from Morlock, knocks him against rock.  In the
meantime another Morlock runs up on rock and
jumps at Time Traveller, knocking him down.
The second Morlock rebounds from rock and leaps
on the Time Traveller and starts to choke him.



CLOSE SHOT - TIME TRAVELLER                            351X14

Looks up toward YOUNG MAN - silently appeals for
help.



CLOSE SHOT - YOUNG MAN                                 351X15

Stancing in front of group of Eloi returns the
Time Traveller's silent plea for help.  Slowly
raises his right hand, stares at it as he
gradually clenches it into a fist.  Then, making
up his mind, raises both hands and strikes Mor-
lock hard on the back of his neck.



MED. SHOT                                              351X16

As Morlock relaxes his grip the Time Traveller
kicks him back to rock, scrambles up and runs
to get his torch.  Several Morlocks try to herd
Eloi back into Feasting Cave, but led by the
Young Man and his newly discovered strength, the
Eloi resist them.  The Time Traveller runs back
in with torch, and herd the Eloi toward stairs.



FULL SHOT                                              351X17

The Time Traveller urges the Eloi up the stairs
pushing Weena ahead of him.  They climb up past
Cauldron.  Morlocks come in after fleeing Eloi,
shielding their eyes from the light of the Time
Traveller's torch.



CLOSER SHOT                                            351X18

The Time Traveller looks ahead to be sure the
Eloi are all on their way out.  Then turns back
and drops his torch into the oil flowing into
the Cauldron.



FULL SHOT                                              351X19

The burning torch catches the Cauldron on
fire, which quickly spreads across the floor
of the Cavern, to the steaming Machine on
the right, which explodes.  The Time Traveller
herds Eloi out across Stone Bridge.



MED. SHOT                                              351X20

Pursuing Morlock runs up steps in back of
burning Cauldron hiding his face from the
flames.  He bumps into the Pipe coming down
the wall, loses his balance and falls into
the burning Cauldron - Flames shoot higher.



PAN SHOT                                               351X21

Another Morlock comes from behind machine, as
fire creeps across floor, almost reaches machine
at same time as fire - and it explodes.  Morlock
catches fire and runs across into Feasting Cave.



PASSAGEWAY - LONG SHOT                                 352

Smoke is thick as the Time Traveller and Weena
run toward a circle of light on the floor far
ahead.



CIRCLE OF LIGHT - HIGH ANGLE                           353

Weena and the Time Traveller reach the light
that comes straight down from above, and look
up the shaft.  Smoke belches from the passage-
way as he helps her start up the ladder and
then he, himself, follows, clambering out of
sight.



IN THE WELL                                            354

The CAMERA FOLLOWS Weena and the Time Traveller
climbing up, COUGHING from smoke.  The light
becomes slowly brighter and he looks up.



FROM THROAT OF WELL - LOW ANGLE                        355

Gradually the top of the well becomes visible
through the swirling smoke.  The Young Man is
peering down.  He reaches to help Weena and the
Time Traveller.



SHOOTING INTO SHAFT - HIGH ANGLE                       356

Weena and the Time Traveller are both dark with
soot, near exhaustion.  Far below them red flames
pierce through the smoke.  They each in turn grasp
the helping hand of the Young Man and climb up out
of the well.



EXT. THE WELL - MED. SHOT - (SUNSET)                   357

As their eyes meet, the Time Traveller grips the
Young Man's shoulder and gives it a brief shake
of approval.

The Time Traveller then grabs up branches and twigs,
carries them to the mouth of the well, ignites the
pile of kindling with his torch and drops the burn-
ing wood down in to the well.



SHOOTING INTO SHAFT - HIGH ANGLE                       358

The burning wood drops to the bottom where it ignites
the oil with a burst of flame that shoots up the well.



BACK TO SCENE                                          359

The Time Traveller picks up his jacket and points to
the other wells.  The Young Man first, then the rest of
the Eloi grasp the idea.  They also light branches
from the torch and dash for the various wells to
duplicate the Time Traveller's action.



VARIOUS SHOTS OF ELOI                                  360-362

Carrying bundles of burning wood to the mouths of
wells and dumping the fire below.



TWO SHOT                                               363

With Weena at his side, the Time Traveller gazes on
with approval at the Eloi's work.



EXT. LANDSCAPE - FULL SHOT - (SUNSET)                  364

It is dotted with wells, each of which has been
turned into a fiery furnace shooting flames and
smoke up from the burning oil below, preventing
the Morlocks from any avenue of escape to the
surface of the Earth.



A WELL - (MINIATURE)                                   365

It falls with a CRASH to the ground and begins to
spew smoke and flame into the undergrowth of the
forest nearby.



EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT -          366
(SUNSET)

Smoke drifts out of its windows.  The Eloi hurry
out, led by the Man in White.  They stop and stare
at the sight of the Morlock world being destroyed
below.



EXT. THE BLAZING FOREST - (SUNSET) - (STOCK)           367-368

The sun on the horizon is a dim red ball through
the smoke.  Several trees fall over, blazing.  LOW
UNDERGROUND RUMBLING is heard.



WEENA AND THE TIME TRAVELLER                           369

They start down the hill after the Eloi, seeking
safety together.  Suddenly a DISTANT RUMBLE OF THE
EARTH makes them pause and look o.s.



EXT. LANDSCAPE - FULL SHOT - (DUSK) - (MINIATURE)      370

Then comes a SERIES OF TREMBLORS, each more powerful
than the one before.  The earth shudders and the
blazing forest begins to collapse.  It does
not explode into the air.  Rather, the solid
earth seems to give way so that the entire
surface of the ground begins to fall into the
subterranean chambers.



ANOTHER ANGLE - (MINIATURE)                            371

A section of the earth sheers away and falls
in an ever widening rift.



A WELL - (MINIATURE)                                   372

As it is swallowed by the earth, followed by a
belch of steam.



BACK TO LANDSCAPE - (MINIATURE)                        373

Leveled off by the earthquake.  There are no more
flowers, no more buildings, wells, smokestacks or
obelisks.  There is no movement -- only the
flickering of low flames and the smoke driven by
the gentle breeze.



GROUP OF ELOI                                          374

Staring into the vast destruction.



TIME TRAVELLER AND WEENA                               375

He holds her hand.  The CAMERA MOVES IN SLOWLY and
we begin to hear the

                 TIME TRAVELLER'S VOICE
            (calmly)
        The underworld of the Morlocks was
        gone...and so was the life of leisure
        for the Eloi.

He looks o.s.



GROUP OF ELOI                                          376

The Man in White, with others, approaches the group
headed by the Young Man.  The two men look at each
other, their gestures and expressions showing their
joy at release from centuries of fear.

                 TIME TRAVELLER'S VOICE
        From now on they would have to work
        to survive.  And looking at their
        faces, I somehow knew that they could
        start over again.



BACK TO TIME TRAVELLER AND WEENA                       377

He looks down to Weena and we HEAR:

                 TIME TRAVELLER'S VOICE
        Another night was coming, but this
        night no Eloi needed to fear.

The CAMERA MOVES CLOSE ON TIME TRAVELLER who looks
up in concern.

                 TIME TRAVELLER'S VOICE
        But what of me? - I was imprisoned
        in a world in which I did not belong.

                             DISSOLVE TO:



EXT. THE POOL - LONG SHOT - (NIGHT)                    378

This is the same pool where the Time Traveller
saved Weena's life.  The peaceful SOUND of the
RUSHING STREAM is occasionally interrupted by a
REMOTE RUMBLE of EXPLOSION from the earth below.

There is no sign in the sky of old constellations,
only the face of the full moon looks familiar.
The Time Traveller, wearing his velvet jacket,
relaxes on the white sand, playing with the
blossom Weena gave him earlier that day, and
WHISTLING "The Land Of The Leal".

Weena sits on a large rock nearby at the edge of
the pool, washing the soot from her face and hands.
She glances over to the Time Traveller.

                 WEENA
        Are you sorry?

He STOPS WHISTLING, but the MUSIC CONTINUES.
He turns.

                 TIME TRAVELLER
        Sorry? - Sorry for what?

                 WEENA
        That you have to stay.

                 TIME TRAVELLER
            (gazing into the night)
        Yes. - I am sorry because I could
        tell so much to the people of my
        own time... I could tell them about
        the happiness and sorrow the future
        has in store for them.  They could
        learn from it...or would they?

                 WEENA
        You don't want to stay, do you?

                 TIME TRAVELLER
        It isn't that, but I don't fit here
        anymore than you would in my time.

                 WEENA
            (a pause, and then)
        I would like to see your time.

                 TIME TRAVELLER
        No, Girl, you wouldn't be very
        happy there.

                 WEENA
        Do you have someone like me -
        there?

                 TIME TRAVELLER
        No.  No one like you.  But there
        are friends who will miss me. - As
        a matter of fact, I'm probably late
        already.

                 WEENA
            (stealing a glance,
            then quietly)
        Women?

                 TIME TRAVELLER
        No, men.
            (teasing)
        There is a woman too, of course!
            (noticing her disappointment,
            he relents)
        She looks after my house for me.
        She is sixty-two years old. - Much
        older than you are.

Weena, relieved, starts to comb her wet hair
into a new arrangement.

                 WEENA
            (suddenly)
        How do they wear their hair?

                 TIME TRAVELLER
        Who?

                 WEENA
        The women in your time.

                 TIME TRAVELLER
            (after a thought)
        Up!

                 WEENA
        Up? - How?

                 TIME TRAVELLER
            (with awkward gesture)
        Like this.

                 WEENA
        Show me.

The Time Traveller puts the flower back into his
pocket, gets up and walks over to Weena.



WEENA - MED. SHOT                                      379

The Time Traveller appears behind her.  He first
hesitates, then gently lifts her hair into a fair
imitation of the upswept Edwardian style.  She
smiles, then with an impulsive move turns her face
toward him.

                 WEENA
            (innocently)
        Would I be pretty?

The gesture brings her eyes and lips close to his.
He still holds her upswung hair and, as he gazes
into her young eyes, he feels her warm breath on
his cheek.

                 TIME TRAVELLER
            (slowly)
        Yes...you would be.  More than
        pretty.
            (his voice sinks to a whisper)
        I wish we could go back together,
        Weena, back to my own time...or to
        times before that when the world
        was young.  We could...

EXCITED VOICES o.s. interrupt this interlude.  They
both look in the direction of the voices.



EXT. HILL - LONG SHOT - (NIGHT) - (MATTE)              380

A group of Eloi, led by the Young Man and the Man
in White, approach them, talking excitedly,
pointing to the ruins of the white sphinx just
revealed by the rolling smoke.  The face is
broken and the pedestal partly in shambles.  The
panel is open.



TIME TRAVELLER & WEENA                                 381

Joyfully he grabs her hand and, pulling her,
breaks into a run.



GROUP OF ELOI                                          382

The Young Man steps forward, pointing o.s.  The
Time Traveller and Weena run through the haze,
then the Eloi follow them.



EXT. THE WHITE SPHINX - LONG SHOT - (NIGHT) -          383
(MATTE)

The face is broken in half.  It is left with only
a half a smile and thin smoke drifts through the
remaining eye.  The rest of the statue and the
sirens are on the ground beside the partial ruins
of the pedestal.  Beyond it the hill is gone and
gray haze covers the once green world.  The Time
Traveller and Weena come through the charred
bushes onto the lawn.  Here they stop.



THE OPEN PANEL - THEIR P.O.V.                          384

The Time Machine sits in the midst of the swirling
smoke.  The flames, licking at the inside walls,
have not yet reached the Machine.



TIME TRAVELLER & WEENA - MED. SHOT                     385

He releases her hand to reach into his jacket pocket
and bring forth the lever without which the Machine
will not function.

                    TIME TRAVELLER (without
               looking at her)
          Come, Girl!

He walk, toward the panel.  Weena follow,
hesitantly, but the long habit compels her to
halt before the threshold.  Unmindful of this,
the Time Traveller enters.



INT. PEDESTAL - LONG SHOT                              386

Shooting from inside the pedestal, the Time
Traveller and his Machine are black silhouettes
in the foreground, while beyond him Weena stands
on the lawn outside, the moonlight flooding her
radiant features.

Inside, black smoke still rises and whirls around
as the Time Traveller examines his Machine and
starts to fit the lever into place.



REVERSE ANGLE                                          387

The Time Traveller working eagerly.  A shadow
starts sliding across his figure, moving more
swiftly until darkness falls and the panel closes
with a CLANG.



OUTSIDE THE PANELS                                     388

Weena, seeing the panels close, runs up to them
and POUNDS her fists vainly on the metal doors.



INSIDE THE SPHINX - MOVING SHOT                        389

The Time Traveller leaps to the panels and struggles
to open them.  From without he hears Weena's
POUNDING and CRIES.  Suddenly he senses a living
presence within the sphinx.  For a moment there is
silence.  Then from the right comes a hacking,
weak COUGH.  Another from the left.  Then some-
thing STUMBLES OFF, down the stairway.  He whirls
around, GASPING and COUGHING, to see three of the
enmaddened Morlocks rising before him.  Avoiding
them, he stumbles to his Machine and gets into
the saddle.  The suffocating smoke blinds him as
he gropes for the lever.  Morlocks seize his legs and
try to wrest him off the Machine.  The fire and
smoke become dense, half obliterating the struggling
bodies.



INSERT:  THE CONTROL PANNEL                            390

The Time Traveller's hand gropes for the lever and
finally grasps it.



OMITTED                                                391-403



INSERT OF DIALS                                        404

Spinning backwards.  Suddenly, a gloomy shade falls
over the instruments, followed by a burst of
whirling smoke and the twinkling red light of fire.
There is a flash of sunshine, then finally total
darkness.



TIME TRAVELLER - MED. SHOT                             405

Passing back in time through his captivity beneath
the lava.  He reels in the saddle, then coming
from darkness a red glow quickly engulfs the scene.
As the red hot lava leaps away from him and the
daylight returns, we can see that his face is
covered with perspiration.  He looks off to see:



SERIES OF SHOTS - (ANIMATION, MINIATURE, SPLIT)        406

(NOTE:  These shots seen previously are now printed
        backward.)

        The red hot lava withdraws through the         (a,b,c)
        street ruins and the great rents in the
        ground gulp it up quickly.  Out of the
        ruins building are molded and then
        atomic explosions in reverse flash
        across the screen.  The SOUND OF
        EXPLOSIONS, RUMBLING ETC.  IN REVERSE
        AND SPEEDED UP join the HUMMING of the
        Time Machine.

                                          BLUR TO:

        The sun and the moon chase each other          (d,e)
        alternately across the sky, gradually
        slowing.



BACK TO TIME TRAVELLER                                 407

INTERCUT his reaction to the previous scenes until
he straightens and readjusts the lever.  The
HUMMING DECREASES, then walls rise about him.
Watching the dials, he carefully moves the lever.
The flickers of the days and nights decelerate
and, with a sudden pull, he halts the Time Machine.
The HUMMING ABRUPTLY CEASES.



INSERT:  DIAL                                          408

It stops on:  "5 January 1900".



INT. LABORATORY - LONG SHOT - (NIGHT)                  409

The Time Machine has returned, but it is resting
in the far corner of the room instead of in the
spot where we originally saw it.

In the gloom, the Time Traveller clambers pain-
fully from the Machine.  Then, FOLLOWED BY CAMERA,
he staggers to the workbench and sinks onto it.
His eyes explore the room and finally come to rest
on the clock.  It is "8:04".

                                   SLOW DISSOLVE TO:



PENDULUM CLOCK - CLOSE SHOT                            410

Now showing "9:22".  For a long while only its
MONOTONOUS TICKING is heard. - A welcome change
from the cacophony of time traveling.

The CAMERA MOVES slowly to reveal the DINING ROOM
where the five men, their meal finished, are
sitting silently around the table.  Mrs. Watchett
is quietly serving the liqueur.  The Time Traveller
is puffing on his pipe.  Kemp is chewing on his
cigar and Hillyer's face is red with indignation.

                    DR. HILLYER
          It is ridiculous!  Simply preposterous!

Filby is bent over his coffee playing absorbedly
with the spoon which CLINKS loudly in the room's
silence.  Bridewell, of course, takes a big gulp
from his brandy.

                    BRIDEWELL
          Well, there's one thing I'll say
          for you, George.  You always could
          tell a good story.  Best adventure
          yarn I've heard for years.
               (loudly)
          You're a truly fine inventor,
          George!

He alone starts to laugh at his 'joke', but a
hiccup quickly puts a period to that.  Mrs. Watchett
steps to the Time Traveller to pour him a bit of
brandy.

                    MRS. WATCHETT
          I'll turn down your bed for you!

As she exits Kemp looks up.

                    KEMP
          Truthfully, where have you been
          for the past week?

Bridewell examines the remaining brandy in his glass.

                    BRIDEWELL
               (voice of experience)
          Now, we shouldn't ask such questions,
          Walter.  It's not hard for a man to
          lose a week now and then.

                    TIME TRAVELLER (smiling)
          I understand your doubt.  Take it
          as a lie if you wish.  Now that
          I'm back I scarcely believe it
          myself.
               (a flash of memory)
          Except that...
               (groping in pocket)
          ...here are the flowers Weena gave
          me.

He places the blossoms on the table before Filby.
They are actually less than a day old and fairly
fresh.



FILBY AND THE BLOSSOMS - CLOSE SHOT                    411

As he picks them up to examine.

                    TIME TRAVELLER (o.s.)
          A present for you, David.



TIME TRAVELLER - MED. SHOT                             412

                    TIME TRAVELLER (to Filby)
          You were always interested in
          botany. - Try to match them with
          any species known today.



BACK TO FILBY                                          413

As he looks up, puzzled.

                    FILBY
          I don't think I can.



GROUP SHOT                                             414

A still unimpressed Hillyer slams his hands on
the table, stands up, looks around and then down
to Kemp.

                    DR. HILLYER
          Are you coming, Kemp.

Rising hesitantly, Kemp turns to the Time Traveller.

                    KEMP
          It's getting late and you look
          exhausted.  You had better get
          some rest.

Everyone gets up, Bridewell with difficulty, and
starts to leave.



COTTAGE - LONG SHOT - (NIGHT) - (MATTE)                415

The snow falls softly, big flakes wobbling down
from the sky.  The front door opens letting out
the four guests wearing hats, capes and overcoats.
They walk toward a waiting carriage, Kemp helping
the staggering Bridewell.  Filby is the last to
leave.  He pauses at the step of the carriage
looking back to the Time Traveller who stands
motionless in the doorway.

                    FILBY
          Goodnight, George.



AT THE ENTRANCE                                        416

The Time Traveller lifts his hand and waves.

                    TIME TRAVELLER
          Thank you, David, for being such
          a good friend - always.

With this he turns and goes into the house, closing
the door slowly.



AT THE CARRIAGE                                        417

Those inside are waiting for Filby to get in,
but he, deep in thought, still stands gazing back.
Kemp thrusts his head from the window.

                    KEMP
          What do you think, Filby?

                    FILBY (after a pause)
          One thing is certain.  Those
          flowers couldn't have possibly
          bloomed in the winter-time.

                    HILLYER (in the b.g.)
          You don't really think that story
          was true?

Filby reaches a decision.

                    FILBY
          Look, you chaps go on.  It's
          just a short walk home for me.

                    HILLYER (o.s.)
          Go on, driver!

The WHIP CRACKS.



THE DRIVEWAY                                           418

As the carriage rolls off leaving Filby standing
in the falling snow.  He waits until the carriage
disappears, then retraces his steps to the front
door and raps on it.  He pauses a moment, then
uses the heavy knocker.  There is still no answer.
He steps back and looks off toward the:



EXT. LABORATORY WING - FILBY'S P.O.V.                  419

No light shines through its windows.



BACK TO FILBY                                          420

He raps once more, and getting no reply tries the
door.  It is unlocked.  He steps into the house.



INT. LIBRARY - FULL SHOT                               421

The coals still glow in the grate as Filby enters
the fully lit room, looking for his friend.
Suddenly a clock from the neighboring room CHIMES
ONCE.  Filby turns, goes toward it and stops at
the doorway.



DINING ROOM - FILBY'S P.O.V.                           422

The table is cleared, candles extinguished.  The
pendulum clock is TICKING lazily.  The time is
"9:30".



FILBY - PANSHOT                                        423

He calls into the darkness.

                    FILBY
          George!...

No answer.  Then an odd HUMMING sound brings
him to stiff attention.  The SOUND INCREASES in
VOLUME and PITCH until the entire house seems
to tremble.  Then a violent gust of wind blows
open the door that leads to the laboratory.

Filby pivots and runs up the steps, through the
corridor.



AT THE DOOR OF LABORATORY - FULL SHOT                  424

Filby, dishevelled and out of breath, arrives
and tries the door -- it is locked.  The NOISE
is almost DEAFENING.  He puts his shoulder to
the door and finally bursts it open.  At the
very instant he does so, the SOUND CEASES abruptly.
He stops short, gazing aghast.



THE LABORATORY - FILBY'S P.O.V.                        425

The Time Traveller with his Machine FADING,
leaving the present.

Then the CAMERA MOVES ACROSS the workbench to the
corner where we last saw the Time Machine.  It is
not there!  The CAMERA WHIPS to the other corner.
Nor is it there!  A few sheets of paper whirl
desolately in the center of the floor.



CLOSE ON FILBY                                         426

He looks tense, ignoring the APPROACHING FOOTSTEPS
behind him.  Mrs. Watchett hurries in.

                    MRS. WATCHETT (nervous,
               breathless)
          Oh, Mr. Filby...what...
               (her eyes widen)

                    FILBY (with finality)
          He's gone!

The CAMERA FOLLOWS Mrs. Watchett as she slowly
approaches the center of the room.  Here, with
squinting eyes, she leans down to observe the
floor.

                    MRS. WATCHETT (to
               Filby)
          There's something funny here, sir!

Filby steps aside her to investigate.



WHAT THEY SEE                                          427

The CAMERA MOVES ALONG parallel grooves resembling
the ones the Time Machine left in the lawn at the
front of the sphinx.  They are scratched deep in
the floor leading from the spot where the Machine
was last seen to the other corner of the laboratory
where it originally stood.  Here, not only its
imprint, but also the color and finish of the
floor is preserved.



TWO SHOT                                               428

They straighten.  Mrs. Watchett looks at Filby,
puzzled.

                    FILBY
          I think I understand. - Look!



LABORATORY - FULL SHOT                                 429

Mrs. Watchett listens as Filby moves to the imprint
in the floor where the Machine first stood and
explains.

                    FILEY (pointing)
          See the imprint?  This is where
          the Time Machine originally
          stood.
               (he paces across to the
               end of the grooves)
          But the Morlocks moved it.
          They dragged it across the lawn
          right into the sphinx...right
          here.
               (turns and points)
          And Weena was standing there when
          he last saw her...the same space -
          in a different time. - So he moved
          back his heavy Machine from here,
          across the room, scratching this
          floor...
               (indicating the grooves
               that lead to the imprint)
          So that he can appear outside the
          sphinx again and help the Eloi
          build a new world...and build a
          new world of his own.

                    MRS. WATCHETT (faintly,
               sentimentally)
          Where he left her!..

Filby doesn't answer.  He looks about the labora-
tory for the last time, then takes Mrs. Watchett's
arm and leads her from the room.  The MUSIC STARTS
THE THEME:  "The Land Of The Leal".



INT. LIBRARY - FULL SHOT                               430

Filby and Mrs. Watchett come into the room.

                    FILBY
          But it isn't like George. - To
          return empty handed.  To try to
          rebuild a civilization without
          a plan.
               (to Mrs. Watchett)
          He must have taken something
          with him.

                    MRS. WATCHETT
          Nothing.

She looks around and discovers three empty spaces
on the tightly packed book shelves.  She walks to
them.

                    MRS. WATCHETT
          Nothing except three books.

                    FILBY
          Which three books?

                    MRS. WATCHETT
          I don't know. -- Is it important?

                    FILBY (smiles)
          No, I suppose not. - Only...what
          three books would you have taken?

She looks at him, pondering the question as they
leave the library.



INT. ENTRANCE HALL                                     431

They stop at the door and Mrs. Watchett stands
beside Filby as he opens it.  Outside the snow
is falling softly.

                    MRS. WATCHETT
          Mr. Filby, do you think he will
          ever return?

                    FILBY (quietly)
          One cannot choose but wonder. -
          You see...he has all the time in
          the world!

With these words, Filby turns up his collar, pulls
the brim of his hat over his eyes and walks into
the night.  Mrs. Watchett looks after him.  She
hears the SOUND of his DIMINISHING FOOTSTEPS
SQUEAKING in the virgin snow.  Slowly she closes
the door.



EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)           432

Drifting like a curtain, the snow falls quietly
as Filby, a solitary figure in the night, pauses
a moment to look up at the sky, then selects a
path and starts walking the long way home.

                                       SLOW FADE OUT.



                     THE END

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