H. G. Wells' T H E T I M E M A C H I N E A George Pal Production Screenplay by DAVID DUNCAN Draft revised thru 6-25-59 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.