f246970289decf6f7a6bd44088d16b118aeaae8d
movie
http://www.imsdb.com/scripts/Time-Machine%2C-The.html
if ( window
. THE END
 On January 5, 1900 in London, four friends arrive for a dinner at the house of their friend H. George Wells (Rod Taylor), an inventor. Bedraggled and exhausted, George arrives and begins to describe the strange experiences he has had since the group last met.
At their earlier dinner, on December 31, 1899, George describes time as "the fourth dimension" to David Filby (Alan Young), Dr. Philip Hillyer (Sebastian Cabot), Anthony Bridewell (Tom Helmore), and Walter Kemp (Whit Bissell). He shows them a small model of his time machine and asks a guest to press a tiny lever. The device disappears, validating his claim, but his friends remain unconvinced; their reactions vary from curiosity to frank dismissal.
George bids his guests a good evening, then heads downstairs where his full-size time machine awaits. He presses a lever and moves forward through time 17 years into the future. He meets Filby's son, James, who tells him of Filby's death in the Great War. Saddened, he resumes his journey, stopping in 1940 during The Blitz, finding himself in the midst of "a new war"; George resumes his journey and stops in 1966, finding his neighbourhood now part of a futuristic metropolis. People are hurrying into a nearby fallout shelter amid the blare of air raid sirens. An elderly James Filby urges George to immediately take cover, but he does not understand the danger. A nuclear explosion causes a sudden volcanic eruption around him. George continues his journey forward as the lava rapidly cools and hardens, trapping him inside. He travels far into the future until the topography changes. Hundreds of thousands of years later, the rock erodes away to reveal that London is now gone, and has been replaced by a lush, green and unspoilt landscape.
George stops in AD 802,701 near the base of a towering sphinx. He goes exploring and finds a group of delicate young men and women wearing simple clothing gathered at a stream. One woman, carried off by the current, screams for help but none of her companions show any concern. George rescues her and is surprised when, revived, she walks away without a word; later, she seeks him out, giving him a flower. She says her name is Weena (Yvette Mimieux) and tells George her people are called the Eloi. He soon learns the Eloi do not operate machines, work, read, and know virtually nothing of history; they do not even understand fire.
George decides to leave but discovers his machine has been dragged into the sphinx. Weena tells him "Morlocks", who only come out at night, have moved it. A Morlock jumps out from behind bushes and tries to drag her away, but the creature's light-sensitive eyes are blinded by George's fire torch; he easily rescues her.
The next day, Weena shows George domed, well-like structures that dot the landscape; they are air shafts that double as access to the Morlock underworld. She takes him to an ancient museum where "talking rings" tell of a centuries-long nuclear war in the distant past. A reduced population fought for survival in the poisoned landscape; many decided to live underground in permanent settlements, while some decided to return to the surface. George realises this marked the beginning of speciation for the Morlocks and the Eloi. He starts to climb down a shaft but turns back when sirens blare from atop the sphinx. He emerges to find Weena gone and crowds of Eloi in a trance-like state, entering open doors at its base. The sirens stop and the doors close, trapping Weena inside.
George enters the Morlocks' subterranean caverns and is horrified to discover that the Eloi are the free range livestock for the cannibalistic Morlocks. After finding Weena, he begins fighting the creatures. His efforts inspire other Eloi, who begin to defend themselves. George sets a fire and urges the Eloi to clamber out of the caverns to the surface, where he directs them to gather dry tree branches and drop them down the shafts. Smoke billows out of the shafts, and the subterranean cavern later collapses.
The next morning, George finds the sphinx in charred ruins and its doors open. His time machine sits just inside, a trap set by the Morlocks. He enters, the doors close, and he is attacked in the dark. George sends his time machine hurtling into the past, returning to 1900. It comes to rest on the lawn outside his house, where his story ends.
George's friends are again skeptical. He produces Weena's flower and Filby, an amateur botanist, says the species is completely unknown in the 19th century. George bids his guests a good evening. Filby steps out but returns to find George and his machine gone. He notices drag marks where it would be positioned outside the sphinx after returning to the Eloi. Filby and Wells' housekeeper notice three books are missing. Filby asks her, "Which three would you have taken"? She wonders if George will ever return. He observes that George has "all the time in the world".
On January 5 , 1900 in London , four friends arrive for a dinner at the house of their friend H. George Wells ( Rod Taylor ) , an inventor . Bedraggled and exhausted , George arrives and begins to describe the strange experiences he has had since the group last met . At their earlier dinner , on December 31 , 1899 , George describes time as the fourth dimension to David Filby ( Alan Young ) , Dr. Philip Hillyer ( Sebastian Cabot ) , Anthony Bridewell ( Tom Helmore ) , and Walter Kemp ( Whit Bissell ) . He shows them a small model of his time machine and asks a guest to press a tiny lever . The device disappears , validating his claim , but his friends remain unconvinced ; their reactions vary from curiosity to frank dismissal . George bids his guests a good evening , then heads downstairs where his full-size time machine awaits . He presses a lever and moves forward through time 17 years into the future . He meets Filby s son , James , who tells him of Filby s death in the Great War . Saddened , he resumes his journey , stopping in 1940 during The Blitz , finding himself in the midst of a new war ; George resumes his journey and stops in 1966 , finding his neighbourhood now part of a futuristic metropolis . People are hurrying into a nearby fallout shelter amid the blare of air raid sirens . An elderly James Filby urges George to immediately take cover , but he does not understand the danger . A nuclear explosion causes a sudden volcanic eruption around him . George continues his journey forward as the lava rapidly cools and hardens , trapping him inside . He travels far into the future until the topography changes . Hundreds of thousands of years later , the rock erodes away to reveal that London is now gone , and has been replaced by a lush , green and unspoilt landscape . George stops in AD 802,701 near the base of a towering sphinx . He goes exploring and finds a group of delicate young men and women wearing simple clothing gathered at a stream . One woman , carried off by the current , screams for help but none of her companions show any concern . George rescues her and is surprised when , revived , she walks away without a word ; later , she seeks him out , giving him a flower . She says her name is Weena ( Yvette Mimieux ) and tells George her people are called the Eloi . He soon learns the Eloi do not operate machines , work , read , and know virtually nothing of history ; they do not even understand fire . George decides to leave but discovers his machine has been dragged into the sphinx . Weena tells him Morlocks , who only come out at night , have moved it . A Morlock jumps out from behind bushes and tries to drag her away , but the creature s light-sensitive eyes are blinded by George s fire torch ; he easily rescues her . The next day , Weena shows George domed , well-like structures that dot the landscape ; they are air shafts that double as access to the Morlock underworld . She takes him to an ancient museum where talking rings tell of a centuries-long nuclear war in the distant past . A reduced population fought for survival in the poisoned landscape ; many decided to live underground in permanent settlements , while some decided to return to the surface . George realises this marked the beginning of speciation for the Morlocks and the Eloi . He starts to climb down a shaft but turns back when sirens blare from atop the sphinx . He emerges to find Weena gone and crowds of Eloi in a trance-like state , entering open doors at its base . The sirens stop and the doors close , trapping Weena inside . George enters the Morlocks ' subterranean caverns and is horrified to discover that the Eloi are the free range livestock for the cannibalistic Morlocks . After finding Weena , he begins fighting the creatures . His efforts inspire other Eloi , who begin to defend themselves . George sets a fire and urges the Eloi to clamber out of the caverns to the surface , where he directs them to gather dry tree branches and drop them down the shafts . Smoke billows out of the shafts , and the subterranean cavern later collapses . The next morning , George finds the sphinx in charred ruins and its doors open . His time machine sits just inside , a trap set by the Morlocks . He enters , the doors close , and he is attacked in the dark . George sends his time machine hurtling into the past , returning to 1900 . It comes to rest on the lawn outside his house , where his story ends . George s friends are again skeptical . He produces Weena s flower and Filby , an amateur botanist , says the species is completely unknown in the 19th century . George bids his guests a good evening . Filby steps out but returns to find George and his machine gone . He notices drag marks where it would be positioned outside the sphinx after returning to the Eloi . Filby and Wells ' housekeeper notice three books are missing . Filby asks her , Which three would you have taken ? She wonders if George will ever return . He observes that George has all the time in the world .
http://en.wikipedia.org/wiki/The_Time_Machine_(1960_film)
The Time Machine (1960 film)
<html>
<head><title>Time Machine, The Script at IMSDb.</title>
<meta name="description" content="Time Machine, The script at the Internet Movie Script Database.">
<meta name="keywords" content="Time Machine, The script, Time Machine, The movie script, Time Machine, The film script">
<meta name="viewport" content="width=device-width, initial-scale=1" />
<meta name="HandheldFriendly" content="true">
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta http-equiv="Content-Language" content="EN">

<meta name=objecttype CONTENT=Document>
<meta name=ROBOTS CONTENT="INDEX, FOLLOW">
<meta name=Subject CONTENT="Movie scripts, Film scripts">
<meta name=rating CONTENT=General>
<meta name=distribution content=Global>
<meta name=revisit-after CONTENT="2 days">

<link href="/style.css" rel="stylesheet" type="text/css">

<script type="text/javascript">
  var _gaq = _gaq || [];
  _gaq.push(['_setAccount', 'UA-3785444-3']);
  _gaq.push(['_trackPageview']);

  (function() {
    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;
    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';
    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);
  })();
</script>

</head>

<body topmargin="0" bottommargin="0" id="mainbody">

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
    <td valign="bottom" bgcolor="#FF0000"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_top.gif" border="0"></a></td>
    <td bgcolor="#FF0000">
	<center>
	    <font color="#FFFFFF"><h1>The Internet Movie Script Database (IMSDb)</h1></font>
</center>
  <tr> 
    <td background="/images/reel.gif" height="13" colspan="2"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_middle.gif" border="0"></a></td>
  <tr> 
    <td width="170" valign="top" class="smalltxt"> <a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_bottom.gif" width="170" border="0"></a> 
      <br>
	<center><span class="smalltxt">The web's largest <br>movie script resource!</span></center>
	</td>
    <td>	
    <script type="text/javascript"><!--
	 e9 = new Object();
     e9.size = "728x90";
     //--></script>
    <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
   </td>
  </tr>
</table>


<br>
<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
   
    <td width="180" valign="top">

<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
          <td colspan="2" class=heading>Search IMSDb<tr>
<form method="post" action="/search.php">
            <td width="180"> <div align="center">
                <input type="text" name="search_query" maxlength="255" size="15">
                <input type="submit" value="Go!" name="submit">
              </div></td>
</form>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=9 class=heading>Alphabetical
<tr align="center">
        <td><a href="/alphabetical/0">#</a> 
        <td><a href="/alphabetical/A">A</a>
        <td><a href="/alphabetical/B">B</a>
        <td><a href="/alphabetical/C">C</a>
        <td><a href="/alphabetical/D">D</a>
        <td><a href="/alphabetical/E">E</a>
        <td><a href="/alphabetical/F">F</a>
        <td><a href="/alphabetical/G">G</a>
        <td><a href="/alphabetical/H">H</a><tr align="center"> 
        <td><a href="/alphabetical/I">I</a>
        <td><a href="/alphabetical/J">J</a>
        <td><a href="/alphabetical/K">K</a>
        <td><a href="/alphabetical/L">L</a>
        <td><a href="/alphabetical/M">M</a>
        <td><a href="/alphabetical/N">N</a>
        <td><a href="/alphabetical/O">O</a>
        <td><a href="/alphabetical/P">P</a>
        <td><a href="/alphabetical/Q">Q</a><tr align="center"> 
        <td><a href="/alphabetical/R">R</a>
        <td><a href="/alphabetical/S">S</a>
        <td><a href="/alphabetical/T">T</a>
        <td><a href="/alphabetical/U">U</a>
        <td><a href="/alphabetical/V">V</a>
        <td><a href="/alphabetical/W">W</a>
        <td><a href="/alphabetical/X">X</a>
        <td><a href="/alphabetical/Y">Y</a>
        <td><a href="/alphabetical/Z">Z</a>
</table>
<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Genre
<tr> 
	<td><a href="/genre/Action">Action</a>
	<td><a href="/genre/Adventure">Adventure</a>
	<td><a href="/genre/Animation">Animation</a><tr>
	<td><a href="/genre/Comedy">Comedy</a>
	<td><a href="/genre/Crime">Crime</a>
	<td><a href="/genre/Drama">Drama</a><tr>
	<td><a href="/genre/Family">Family</a>
	<td><a href="/genre/Fantasy">Fantasy</a>
	<td><a href="/genre/Film-Noir">Film-Noir</a><tr>
	<td><a href="/genre/Horror">Horror</a>
	<td><a href="/genre/Musical">Musical</a>
	<td><a href="/genre/Mystery">Mystery</a><tr>
	<td><a href="/genre/Romance">Romance</a>
	<td><a href="/genre/Sci-Fi">Sci-Fi</a>
	<td><a href="/genre/Short">Short</a><tr>
	<td><a href="/genre/Thriller">Thriller</a>
	<td><a href="/genre/War">War</a>
	<td><a href="/genre/Western">Western</a>
</table>

<br>
<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
 <td colspan="2" class=heading>Sponsor<tr>
 <td width="300" bgcolor="#FFFFFF">
 <script type="text/javascript"><!--
	e9 = new Object();
    e9.size = "300x250";
 //--></script>
 <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
 </td>
</table>


<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>TV Transcripts
<tr> 
	<td><a href="/TV/Futurama.html">Futurama</a><tr>
	<td><a href="/TV/Seinfeld.html">Seinfeld</a><tr>
	<td><a href="/TV/South Park.html">South Park</a><tr>
	<td><a href="/TV/Stargate SG1.html">Stargate SG-1</a><tr>
	<td><a href="/TV/Lost.html">Lost</a><tr>
	<td><a href="/TV/The 4400.html">The 4400</a>
</table>

<br>
<table width="100%" class="body">
<tr>
<td colspan=3 class=heading>International
<tr> 
	<td><a href="/language/French">French scripts</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Software
<tr>
    <td><a href="/out/dvd-ripper"><img src="/images/a/dvd-ripper.jpg" alt="DVD ripper software offer"></a>
<tr>
	<td><a href="/software/rip-from-dvd">Rip from DVD</a>
<tr>
	<td><a href="/software/rip-blu-ray">Rip Blu-Ray</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Latest Comments
<tr>
<td><a href="/Movie Scripts/Star Wars: Revenge of the Sith Script.html">Star Wars: Revenge of the Sith<td>10/10<tr>
<td><a href="/Movie Scripts/Star Wars: The Force Awakens Script.html">Star Wars: The Force Awakens<td>10/10<tr>
<td><a href="/Movie Scripts/Batman Begins Script.html">Batman Begins<td>9/10<tr>
<td><a href="/Movie Scripts/Collateral Script.html">Collateral<td>10/10<tr>
<td><a href="/Movie Scripts/Jackie Brown Script.html">Jackie Brown<td>8/10<tr>
</table>
<br>

<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Chat
<tr> 
<td align="center">
<SCRIPT LANGUAGE="Javascript" TYPE="text/javascript" SRC="https://www.yellbox.com/ybscript_enhanced.js"></SCRIPT>
<iframe class="yellbox" frameborder=0 name="ybframe" height=170 marginwidth=0 marginheight=0 src="https://www.yellbox.com/yellbox.php?name=imsdb">
</iframe>
<form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe" name="yellform"> 
 <input type="hidden" name="sub_username" value="imsdb">
 <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = ''; return;"><br>
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>
 <table><tr><td>
 <button onClick="javascript:makeNewWindow(); return false;"><img src="https://www.yellbox.com/images/smiley.gif" width=16 height=16></button>
 <td><button type="submit" value="Post" onClick="return clearMessageBox();">Yell !</button></table>
</form> 
</table>


<div align="center"><br><br>
      <a href="https://www.imsdb.com/all%20scripts">ALL SCRIPTS</a><br><br>
</div>

<td width="10"></td>
<td valign="top">
<br> <table width="100%"><tr><td class="scrtext">

<pre><html>
<head>
<script>
<b><!--
</b>if (window!= top)
top.location.href=location.href
<b>// -->
</b></script>
<title>THE TIME MACHINE - by David Duncan</title>
</head>
<pre>


                              H. G. Wells'

<b>                    T H E   T I M E   M A C H I N E
</b>
                        A George Pal Production


                               Screenplay

                                   by

<b>                              DAVID DUNCAN
</b>









     Draft revised thru 6-25-59










<b>     FADE IN:
</b><b>     M.G.M. TRADEMARK                                       A.1
</b>
     Leo the Lion ROARS over the FANFARE, then

<b>                                                 FADE OUT:
</b>
<b>     GLIDING OBJECTS IN A WIDE DARK VOID - (ANIMATION)
</b>
             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'

<b>                           THE TIME MACHINE
</b>
<b>                        "THE LAND OF THE LEAL"
</b>
                      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

<b>                                                 FADE OUT:
</b>


<b>     FADE IN:                                               1
</b><b>     EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)
</b>
     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.



<b>     AT THE DOOR                                            2
</b>
     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:



<b>     INT. LIBRARY                                           3
</b>
     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.



<b>     SERIES OF CLOSE SHOTS                                  4
</b>
               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:



<b>     EMPTY CHAIR - MED. SHOT                                5
</b>
     Conspicuously unoccupied.



<b>     GRANDFATHER CLOCK - CLOSE SHOT                         6
</b>
     Reaching the hour of eight, it begins to STRIKE ITS
     YELLOW CHIMES.  Other timepieces JOIN IN the announce-
     ment.



<b>     GROUPSHOT                                              7
</b>
     The men look at each other until the CHIMES, BELLS
     ETC. FADE away.  Dr. Hillyer angrily slaps on the
     arm of his leather chair.

<b>                         DR. HILLYER
</b>               I say, this is outright rude of the man!

<b>                         FILBEY
</b>               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.

<b>                         DR. HILLYER
</b>               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.

<b>                         BRIDEWELL
</b>               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)

<b>                         FILBY
</b>               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?

<b>                         FILBY
</b>               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.

<b>                         MRS. WATCHETT
</b>               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.



<b>     FILBY, HILLYER & KEMP - MOVING SHOT                    8
</b>
     As they walk toward the DINING ROOM.

<b>                         FILBY
</b>               This is peculiar.  He is usually very
               prompt, precise and punctual.

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

<b>                         KEMP
</b>               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.



<b>     THE DOOR - FULL SHOT                                   9
</b>
     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.



<b>     CORRIDOR THROUGH DOORWAY - FULL SHOT                   10
</b>
     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.



<b>     FILBY AND BRIDEWELL - MOVING SHOT                      11
</b>
     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.

<b>                         FILBY
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     GROUPSHOT                                              12
</b>
     The Time Traveller eats, the men watching him
     curiously.  Finally Dr. Hillyer leans forward.

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

<b>                         BRIDEWELL
</b>               Leave him alone, can't you?

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

<b>                         FILBY
</b>               It will keep, George.  Eat, rest a
               little.

<b>                         TIME TRAVELLER
</b>               No!  I must tell it now... while I
               still remember.

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



<b>     CLOSE ON THE TIME TRAVELLER                            13
</b>
     As he looks up, amused.

<b>                         TIME TRAVELLER
</b>               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.

<b>                                         SLOWLY DISSOLVE:
</b>


<b>     INT. - EBONY BOX ON TABLE - CLOSE SHOT (AFTERNOON)     14
</b>
     (NOTE:  The Slow Dissolve from the previous shot
             should give the effect of the Ebony Box
             emerging from the Time Traveller's brain.)

<b>                         TIME TRAVELLER'S VOICE
</b>               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.

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

<b>                         BRIDEWELL
</b>               Marvelous.

                         DR. HILLYER (stands up)
               What is it?

<b>                         TIME TRAVELLER
</b>               Well, it has to do with time.

<b>                         DR. HILLYER
</b>                    (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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         FILBY
</b>               Go on, George.

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

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

<b>                         DR. HILLYER
</b>               Really, Filby, they must have
               taught you something at school!

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

<b>                         DR. HILLYER
</b>               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?

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



<b>     THE TIME TRAVELLER - MED. SHOT                         15
</b>
     Leaning forward in his chair.

<b>                         TIME TRAVELLER
</b>               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?

<b>                         TIME TRAVELLER
</b>               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?

<b>                         DR. HILLYER
</b>               No.

<b>                         TIME TRAVELLER
</b>               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?

<b>                         TIME TRAVELLER
</b>               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?



<b>     GROUP SHOT                                             16
</b>
     In the f.g., Bridewell who has been sitting with a
     glazed, dreamy look, suddenly jumps.

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

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

<b>                         KEMP
</b>               Of course!  Quite a number.

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

<b>                         KEMP
</b>               Not if I can see the proof with
               my own eyes.

<b>                         TIME TRAVELLER
</b>               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



<b>     [PAGE 13 MISSING FROM HARD COPY]
</b>


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

<b>                         BRIDEWELL
</b>               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?

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



<b>     CLOSE ON TIME TRAVELLER                                19
</b>
     He answers thoughtfully.

<b>                         TIME TRAVELLER
</b>               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?



<b>     [PAGE 16 MISSING FROM HARD COPY]
</b>


<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     GROUPSHOT - LOW ANGLE                                  24
</b>
     All eyebrows are raised.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         KEMP
</b>               Go ahead.

<b>                         TIME TRAVELLER
</b>               You're ready then?

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

<b>                         TIME TRAVELLER
</b>               Doctor Hillyer, would you care
               to lend me your hand?

     Dr. Hillyer extends his hand hesitantly, smiling
     weakly.



<b>     INSERT OF MODEL                                        25
</b>
     Using Dr. Hillyer's forefinger, the Time Traveller
     presses the lever forward.  A LOW-PITCHED HUM is
     heard.



<b>     CLOSE ON THE MEN - LOW ANGLE                           26
</b>
     The men stare in fascination as the CAMERA PANS
     and the HUMMING INCREASES.



<b>     INSERT:  GLASSES - CHANDELIER - VASE                   27
</b>
               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.



<b>     INSERT OF MODEL                                        28
</b>
     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.



<b>     BACK TO CLOSE ON MEN - LOW ANGLE                       29
</b>
     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.

<b>                                                            30 OUT
</b>
<b>     TWO SHOT                                               31
</b>
     Dr. Hillyer slowly turns to the Time Traveller.

<b>                         DR. HILLYER
</b>               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.

<b>                         DR. HILLYER
</b>               Do you seriously expect us to
               believe that?

<b>                         TIME TRAVELLER
</b>               Certainly.

<b>                         DR. HILLYER
</b>               But you just said it hasn't
               really moved.

<b>                         TIME TRAVELLER
</b>               That's correct.

<b>                         DR. HILLYER
</b>               Then why can't we see it?

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     GROUP SHOT                                             32
</b>
     Kemp steps forward.

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

<b>                         TIME TRAVELLER
</b>               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.

<b>                         DR. HILLYER
</b>               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.



<b>     CLOSE ON DR. HILLIER - MOVING SHOT                     33
</b>
     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.

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



<b>     BACK TO GROUP SHOT                                     34
</b>
     Everyone rises.

<b>                         DR. HILLYER
</b>               Well, time to go.

<b>                         KEMP
</b>               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?

<b>                         TIME TRAVELLER
</b>               Of course, I am.

<b>                         DR. HILLYER'S VOICE
</b>               Coming, Bridewell?

     Reluctantly Bridewell leaves the library followed
     by the Time Traveller.



<b>     INT. ENTRANCE HALL - FULL SHOT                         35
</b>
     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.

<b>                         TIME TRAVELLER
</b>               Thanks for coming.

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

<b>                         AD LIBS
</b>               Happy New Year. - Goodbye, George -
               Happy Twentieth Century. - Etc.

     Bridewell clasps the Time Traveller's shoulder,
     reassuringly.



<b>     EXT. COTTAGE - LONG SHOT - (DUSK) - (MATTE)            36
</b>
     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.

<b>                         DR. HILLYER
</b>               Come on, Bridewell.

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



<b>     EXT. ENTRANCE - FULL SHOT                              37
</b>
     The Time Traveller, a silhouette framed in the door-
     way, waves to them.



<b>     THE CARRIAGE                                           38
</b>
     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.



<b>     BACK TO THE TIME TRAVELLER                             39
</b>
     Unmindful of their salutations he turns and enters the
     cottage.



<b>     INT. ENTRANCE HALL - MED SHOT                          40
</b>
     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.



<b>     INSERT: NEWSPAPER                                      40-A
</b>
     A ROLL OF DRUMS in military fashion ACCENTS the headline
     that the Boer Army has won another victory.



<b>     CLOSE ON TIME TRAVELLER                                40-B
</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:



<b>     OMITTED                                                41-56
</b>


<b>     INT. LIBRARY - LONG SHOT                               57
</b>
     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:



<b>     FILBY - MED. SHOT                                      58
</b>
     sitting in a chair near the fireplace.

<b>                         FILBY
</b>               I thought I'd better stay.

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

<b>                         FILBY
</b>               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.



<b>     TIME TRAVELLER - MED. SHOT                             59
</b>
     Deep in thought, he goes to the fireplace and stirs
     the coals.  The CAMERA FOLLOWS.

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

<b>                         FILBY
</b>               You have changed, George.
               Enormously.

<b>                         TIME TRAVELLER
</b>               I'm sorry.

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

<b>                         TIME TRAVELLER
</b>               I'll try.

<b>                         FILBY
</b>               Why this preoccupation with Time?

                         TIME TRAVELLER (sharply)
               Why not?

<b>                         FILBY
</b>               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.

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

<b>                         TIME TRAVELLER
</b>               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?

<b>                         TIME TRAVELLER
</b>               I prefer the future.

<b>                         FILBY
</b>               You're not seriously saying you can
               do it?

<b>                         TIME TRAVELLER
</b>               You saw the experiment this afternoon,
               didn't you?

<b>                         FILBY
</b>               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?

<b>                         FILBY
</b>               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.

<b>                         TIME TRAVELLER
</b>               Now you sound like Hillyer and Kemp.

<b>                         FILBY
</b>               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.

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

<b>                         FILBY
</b>               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.

<b>                         TIME TRAVELLER
</b>               I can't.

<b>                         FILBY
</b>               What's stopping you?

<b>                         TIME TRAVELLER
</b>               I just want to see the old century
               out by myself.

                         FILBY (rising)
               Have it your own way.

     He goes to the door.



<b>     AT THE DOOR                                            60
</b>
     Filby stops, then turns around.

<b>                         FILBY
</b>               Will you promise me that you won't
               leave the house tonight?

<b>                         TIME TRAVELLER
</b>               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.

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

<b>                         FILBY
</b>               Very well.

<b>                         TIME TRAVELLER
</b>               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.



<b>     AT THE WRITING TABLE                                   61
</b>
     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.

<b>                         MRS. WATCHETT
</b>               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.

<b>                         MRS. WATCHETT
</b>               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.

<b>                         TIME TRAVELLER
</b>               Goodnight.

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

<b>                         TIME TRAVELLER
</b>               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.

<b>                         MRS. WATCHETT
</b>               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:



<b>     INT. CORRIDOR - MOVING SHOT                            62
</b>
     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.



<b>     INT. LABORATORY - FULL SHOT - (NIGHT)                  63
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER - MOVING SHOT                  64
</b>
     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:



<b>     INSERT:  SKYLIGHT - (STOP MOTION OR ANIMATION)         65
</b>
     Passing clouds.



<b>     BACK TO TIME TRAVELLER                                 66
</b>
     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.



<b>     INSERT:  THE CONTROL PANEL                             67
</b>
     The luminous dials show:  "31 December 1899."  The
     meters and indicators start to BUZZ and whirl.  The
     glow increases.



<b>     BACK TO TIME TRAVELLER                                 68
</b>
     His expression is taut as he looks around, then down
     to the control panel.

<b>                         TIME TRAVELLER'S VOICE
</b>               I started...and the laboratory grew
               faint around me...



<b>     INSERT OF PANEL                                        69
</b>
     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.



<b>     BACK TO TIME TRAVELLER                                 70
</b>
     As he starts to look up and around, slowly.

<b>                         TIME TRAVELLER'S VOICE
</b>               ...I stopped.



<b>     WHAT HE SEES - MOVING SHOT                             71
</b>
     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:

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     BACK TO TIME TRAVELLER                                 72
</b>
     He looks amazed, then pulls his old fashioned watch
     from his pocket by its gold chain.  It flips open
     showing almost "9:32."

<b>                         TIME TRAVELLER'S VOICE
</b>               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:



<b>     WORKBENCH - (ANIMATION)                                73
</b>
     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.



<b>     TIME TRAVELLER IN THE MACHINE - MED. SHOT              74
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               It was disconcerting to see the sun...



<b>     INSERT:  SKYLIGHT - MED. SHOT - (STOP MOTION OR        75
</b><b>     ANIMATION)
</b>
     As the sun arches majestically.

<b>                         TIME TRAVELLER'S VOICE
</b>               ...arc in less than a minute...



<b>     INSERT:  POT OF FLOWERS - (STOCK AND/OR STOP MOTION)   76
</b>
     As they close.

<b>                         TIME TRAVELLER'S VOICE
</b>               ....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.



<b>     BACK TO TIME TRAVELLER                                 77
</b>
     A trace of a smile, then apprehension.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     INSERT:  CLOSE ON DIALS                                78
</b>
     They are spinning.



<b>     BACK TO TIME TRAVELLER                                 79
</b>
     As he looks up.



<b>     INSERT OF SKYLIGHT - (STOP MOTION OR ANIMATION)        80
</b>
     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.



<b>     VERY CLOSE ON TIME TRAVELLER                           81
</b>
     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:



<b>     WINDOW - FULL SHOT - (ANIMATION, STOP MOTION & STOCK)  82
</b>
     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.



<b>     BACK ON TIME TRAVELLER                                 83
</b>
     Quick flashes of lightning on the Time Traveller's
     face followed by a series of SHORT THUNDERCLAPS.

<b>                         TIME TRAVELLER'S VOICE
</b>               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:



<b>     EXT. TREE IN GARDEN - FULL SHOT - (ANIMATION)          84
</b>
     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.



<b>     BRANCHES - CLOSE SHOT - (ANIMATION)                    85
</b>
     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.



<b>     EXT. DISTANT HILLSIDE - FULL SHOT - (ANIMATION)        86
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     CLOSE ON TIME TRAVELLER                                87
</b>
     His brow is beaded with perspiration.  Alarmed,
     he grabs the handle of the Time Machine.



<b>     INSERT:  THE DIALS                                     88
</b>
     The hand of the Time Traveller quickly pulls back
     the lever.

<b>                         TIME TRAVELLER'S VOICE
</b>               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".



<b>     TIME TRAVELLER - MED. SHOT                             89
</b>
     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.



<b>     INT. LIBRARY                                           90
</b>
     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.



<b>     THE SHELVES - TIME TRAVELLER'S P.O.V.                  91
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER - MOVING SHOT                  92
</b>
     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.



<b>     EXT. COTTAGE - LONG SHOT - DAY                         93
</b>
     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.)



<b>     CLOSE ON TIME TRAVELLER                                94
</b>
     Suddenly the SOUND OF AN APPROACHING ENGINE
     catches his attention.  He looks puzzled toward:



<b>     EXT. ROAD - LONG SHOT - (DAY)                          95
</b>
     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.



<b>     TWO SHOT                                               96
</b>
                         TIME TRAVELLER (glibly)
               Going to a masquerade, David?  You
               look rather silly without your
               moustache, old man!

                         FILBY (puzzled)
               Were you addressing me, sir?

<b>                         TIME TRAVELLER
</b>                    (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.

<b>                         TIME TRAVELLER
</b>               Was?

<b>                         JAMES FILBY
</b>               Were you a friend of father's?

<b>                         TIME TRAVELLER
</b>               Yes...yes...I've been away.

<b>                         JAMES FILBY
</b>               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?

<b>                         JAMES FILBY
</b>               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.

<b>                         TIME TRAVELLER
</b>               Why is that?

<b>                         JAMES FILBY
</b>               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?

<b>                         TIME TRAVELLER
</b>               Just a stranger who once knew your
               father.

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

<b>                         TIME TRAVELLER
</b>               Front?  What front?

<b>                         JAMES FILBY
</b>               Why the war, of course.

<b>                         TIME TRAVELLER
</b>               What war?

<b>                         JAMES FILBY
</b>               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?

<b>                         TIME TRAVELLER
</b>               No...no, thank you.

<b>                         JAMES FILBY
</b>               You're sure you're alright, sir?

<b>                         TIME TRAVELLER
</b>               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.



<b>     CLOSE ON TIME TRAVELLER                                97
</b>
     He speaks almost to himself.

<b>                         TIME TRAVELLER
</b>               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.



<b>     INT. LABORATORY - FULL SHOT                            98
</b>
     The Time Traveller approaches the Machine, steps
     up into the seat, throws his head back and grimly
     shoves the lever forward.



<b>     SKYLIGHT - FULL SEOT - (STOCK AND ANIMATION)           99
</b>
     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.

<b>                                           DISSOLVE TO:
</b>


<b>     CLOSE ON TIME TRAVELLER                                100
</b>
     The FLICKERS of days and nights, as well as the
     HUMMING, INCREASES and DECREASES, in accordance
     with his manipulation of the controls.  Over this:

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     EXT. STREET - FULL SHOT - (NIGHT) - (STOP MOTION)      101
</b>
     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.



<b>     BACK TO TIME TRAVELLER                                 102
</b>
     Speaks surprised.

<b>                         TIME TRAVELLER
</b>               Good heavens, that's a dress?



<b>     MANNEQUIN - MED. SHOT                                  103
</b>
     From her pretty face with the funny hat, the
     CAMERA PANS DOWN to the hem line of her skirt,
     twelve inches from the floor.



<b>     BACK TO TIME TRAVELLER                                 104
</b>
     A smile appears on his face.

<b>                         TIME TRAVELLER'S VOICE
</b>               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:

<b>                                               BLUR TO:
</b>


<b>     THE MANNEQUIN - FULL SHOT - (DAYS & NIGHTS) -          105
</b><b>     (ANIMATION)
</b>
     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:

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



<b>     THE TIME TRAVELLER - MED. SHOT                         106
</b>
     Suddenly he hears the SOUNDS OF AIRPLANES and
     EXPLOSIONS in a strangely ACCELERATED manner.
     He looks down at the instruments.



<b>     INSERT OF DIALS                                        107
</b>
     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.




<b>     CLOSE ON TIME TRAVELLER                                108
</b>
     He stares at the dials with much concern as he
     is PITCHED back and forth in his Machine.

<b>                         TIME TRAVELLER'S VOICE
</b>               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:



<b>     SKYLIGHT - MED. SHOT - (NIGHT) - (STOCK)               109
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                110
</b>
     Gazing up at the grim spectacle.

<b>                         TIME TRAVELLER'S VOICE
</b>               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:



<b>     INSERT OF DIALS                                        111
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     THE MANNEQUIN - FULL SHOT - (DAY)                      112
</b>
     In bikini bathing suit.  A car, a 1959 model, passes
     by.



<b>     CLOSE ON TIME TRAVELLER                                113
</b>
     Smiling.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     INSERT OF DIALS                                        114
</b>
     HUMMING INCREASES and the years spin; 1960, 1961
     and so on until it finally STOPS on 1966.



<b>     BACK AT THE MANNEQUIN                                  115
</b>
     Dressed in the sleek dress of the future.  First
     a distant, then a close AIR RAID SIREN HOWLS,
     menacingly.



<b>     BACK ON TIME TRAVELLER                                 116
</b>
     His smile becomes a puzzled stare at what he sees.



<b>     EXT. STREET IN 1966 - LONG SHOT - (DAY)                117
</b>
     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.



<b>     TIME MACHINE AT EDGE OF PARK - FULL SHOT               118
</b>
     The Time Traveller gets out and looks around,
     confused.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     EXT. STORE WINDOW - FULL SHOT                          119
</b>
     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.



<b>     INT. DEPARTMENT STORE - LONG SHOT                      120
</b>
     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.



<b>     REVERSE SHOT                                           121
</b>
     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.

<b>                         TIME TRAVELLER
</b>                    (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.

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

<b>                         TIME TRAVELLER
</b>                    (recognizing him)
               Filby!

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

<b>                         TIME TRAVELLER
</b>               You mean that horrible screeching?

<b>                         WARDEN
</b>               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.

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

<b>                         WARDEN
</b>                    (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?

<b>                         TIME TRAVELLER
</b>               Indeed we have.  Right here.  Many
               years ago.

<b>                         WARDEN
</b>               I was sure of that, but the exact
               time escapes me.

<b>                         TIME TRAVELLER
</b>               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...

<b>                         TIME TRAVELLER
</b>               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.

<b>                         WARDEN
</b>               The last alert...hurry!

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



<b>     ON THE STREET - FULL SHOT                              122
</b>
     They emerge from the store.  The Time Traveller
     pulls himself free.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         WARDEN
</b>               Hurry!  Hide 'til the All Clear!

     He descends into the air raid shelter.



<b>     CLOSE ON TIME TRAVELLER - MOVING SHOT                  123
</b>
     He looks puzzled.

<b>                         TIME TRAVELLER
</b>               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.



<b>     VIEW THROUGH THE STREETS - LONG SHOT - (STOCK,         124
</b><b>     MINIATURE, SPLIT)
</b>
     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.



<b>     BACK TO SCENE                                          125
</b>
     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.



<b>     THE CITY - LONG SHOT - (MINIATURE)                     126
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.

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



<b>     CHASM IN THE GROUND - (STOCK)                          127
</b>
     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.



<b>     BACK ON TIME TRAVELLER                                 128
</b>
     The Time Machine is shaken violently, but the
     Time Traveller manages to crawl into it.



<b>     THE THAMES - LONG SHOT - (STOCK)                       129
</b>
     As the river spills over its bed and turns into
     another direction.



<b>     THE STREETS - (STOCK, MINIATURE, SPLIT)                130
</b>
     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.



<b>     THE TIME MACHINE - LONG SHOT - (STOCK) - (PROCESS)     131
</b>
     Out of the tumult a flow of red hot lava turns
     aside and leaps directly toward the Time Machine.

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



<b>     CLOSE ON TIME TRAVELLER                                132
</b>
     As he sees his great peril.

<b>                         TIME TRAVELLER'S VOICE
</b>               But to go back was unthinkable.

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



<b>     THE ENCROACHING LAVA - (STOCK)                         133
</b>
     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.



<b>     THE TIME MACHINE - MED. SHOT                           134
</b>
     The interior of the Machine is permeated with a dull
     red glow which seems to flow like mist all about the
     Time Traveller.

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



<b>     INSERT OF DIALS                                        135
</b>
     They are spinning too fast to distinguish anything
     in the gradually fading red glow.



<b>     EXTREME CLOSE ON TIME TRAVELLER                        136
</b>
     His face is bathed in sweat.  His eyes search the
     growing darkness.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.

<b>                         TIME TRAVELLER'S VOICE
</b>                    (whispering)
               Darkness...darkness for centuries.



<b>     INSERT OF DIALS                                        137
</b>
     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.



<b>     BACK ON TIME TRAVELLER                                 138
</b>
     Once again there is darkness and the MONOTONOUS HUM
     of the Time Machine.  He breathes heavily and tries
     to calm himself.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.
<b>     HIGH PITCHED HUMMING INCREASES.
</b>
<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     WHAT HE SEES - (ANIMATION)                             139
</b>
     Rocks deteriorate and a bright blue sky bursts into
     view.  ACCENT ON MUSIC.



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



<b>     EXT. TIME TRAVELLER - CLOSE SHOT                       141
</b>
     As he smiles gratefully up at the sky.

<b>                         TIME TRAVELLER'S VOICE
</b>               I was free again!

     He looks o.s.



<b>     INDISTINCT COUNTRYSIDE - LONG SHOT - (ANIMATION)       142
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     TIME TRAVELLER - MED. SHOT                             143
</b>
     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

<b>                                    SLOWLY DISSOLVE TO:
</b>


<b>     EXT. TIME TRAVELLER - CLOSE SHOT - (DAY)               144
</b>
     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.



<b>     EXT. THE SPHINX - FULL SHOT - LOW ANGLE - (MATTE)      145
</b>
     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.



<b>     THE TIME TRAVELLER - MED. SHOT                         146
</b>
     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.



<b>     LANDSCAPE - LONG SHOT - (MATTE)                        147
</b>
     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.



<b>     BACK TO TIME TRAVELLER                                 148
</b>
     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.



<b>     WHAT HE SEES - MOVING SHOT                             149
</b>
     Strange, exotic fruits bend the branches of the
     TREES, some purplish and gourd-shaped, others
     suggesting giant raspberries, mangoes, etc.

<b>                         TIME TRAVELLER'S VOICE
</b>               Nature tamed completely and more
               bountiful than ever before.



<b>     VARIETY OF FLOWERS - MOVING SHOT                       150
</b>
     The CAMERA PANS under boughs laden with orchids and
     a multitude of other gorgeous blossoms.

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



<b>     EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT - (DAY)    151
</b>
     The Time Traveller pauses and looks up at the building.



<b>     ACROSS FACADE - PAN DOWN - (MINIATURE?)                152
</b>
     Vines creep up the crevices.  The ornamental stone
     work, while rich in detail, is weathered and
     broken with age.

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



<b>     INT. ENTRANCE - MED. SHOT                              153
</b>
     Shooting through the ARCHWAY we see the Time
     Traveller mount the steps and enter the building.



<b>     INT. THE GREAT HALL - FULL SHOT - (MATTE) - (DAY)      154
</b>
     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:



<b>     A TABLE - MED. SHOT                                    155
</b>
     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.



<b>     EXT. LANDSCAPE - FULL SHOT - (DAY)                     156
</b>
     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.



<b>     SERIES OF SHOTS                                        157-161
</b>
     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.



<b>     EXT. WOODED AREA - LONG SHOT                           162
</b>
     As the Time Traveller reaches the edge of the trees,
     he hesitates, then moves into the forest.



<b>     SERIES OF SHOTS                                        163-166
</b>
     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.



<b>     EXT. THE POOL - LONG SHOT - (DAY)                      167
</b>
     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.



<b>     ANOTHER, CLOSER SHOT                                   168
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                169
</b>
     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...



<b>     GROUP SHOT                                             170
</b>
     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.



<b>     BACK TO TIME TRAVELLER                                 171
</b>
     He pauses, thinking back on what he has just said.

<b>                         TIME TRAVELLER
</b>               Well, and why not?

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



<b>     THE POOL - LONG SHOT                                   172
</b>
     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.



<b>     CLOSE ON GIRL                                          173
</b>
     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.



<b>     TIME TRAVELLER - MOVING SHOT                           174
</b>
     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.

<b>                         TIME TRAVELLER
</b>               Help her!...

     No one moves.  He runs toward the ledge.



<b>     BACK TO THE GIRL                                       175
</b>
     Her grasp on the ledge grows weaker.  She is at
     the point of letting go.



<b>     TIME TRAVELLER - MOVING SHOT                           176
</b>
     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.



<b>     GIRL - EXTREME CLOSE UP                                177
</b>
     Looking up at the Time Traveller bewildered, she
     shows neither fear nor gratitude.



<b>     TIME TRAVELLER - EXTREME CLOSE UP                      178
</b>
     Gazing back at the Girl thoroughly puzzled.  He
     turns and glances down at the two little people
     on the ledge.



<b>     CLOSE TWO SHOT                                         179
</b>
     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.



<b>     TIME TRAVELLER & GIRL - EXTREME CLOSE, MOVING SHOT     180
</b>
     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.

<b>                         TIME TRAVELLER
</b>               Are you all right?



<b>     TIME TRAVELLER & GIRL - FULL SHOT                      181
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                182
</b>
     Perplexed.

<b>                                      DISSOLVE TO:
</b>


<b>     EXT. ENTRANCE TO THE GREAT BUILDING - (SUNSET)         183
</b>
     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.



<b>     TIME TRAVELLER - MED. SHOT                             184
</b>
     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.

<b>                         THE GIRL
</b>               Why did you?

<b>                         TIME TRAVELLER
</b>               Why did I what?

<b>                         THE GIRL
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         THE GIRL
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               What's your name?

<b>                         THE GIRL
</b>               Weena.

<b>                         TIME TRAVELLER
</b>               How do you spell that?

<b>                         WEENA
</b>               Spell?

<b>                         TIME TRAVELLER
</b>               Write!  - Can't you write?  Look!

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



<b>     INSERT: DUST                                           185
</b>
     As the stick writes out: " W E E N A "



<b>     BACK TO SCENE                                          186
</b>
     She shows little interest.

<b>                         TIME TRAVELLER
</b>               And what are your people called?

                         WEENA (as if he ought to know)
               Eloi.



<b>     INSERT OF DUST                                         187
</b>
     The stick now writes in the dust: " E L O I "



<b>     BACK TO SCENE                                          188
</b>
     A shadow crosses her face.  Suddenly she springs
     to her feet, concerned.

<b>                         WEENA
</b>               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:



<b>     INT. THE GREAT HALL - LONG SHOT - (MATTE?) - (DAY)     189
</b>
     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.



<b>     AT THE MAIN TABLE - MED. SHOT                          190
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                191
</b>
     He bites into the fruit.  It's good.  While he is
     eating he searches for another way to bring up the
     subject.

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



<b>     GROUP SHOT                                             192
</b>
     There is no reaction, so he addresses the Young Man
     again.

<b>                         TIME TRAVELLER
</b>               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?

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

<b>                         MAN IN WHITE
</b>               We have no government.

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

<b>                         MAN IN WHITE
</b>               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.

<b>                         TIME TRAVELLER
</b>               Doesn't anyone work?

<b>                         MAN IN WHITE
</b>               No.

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

<b>                         MAN IN WHITE
</b>               It grows.  It always grows.

<b>                         TIME TRAVELLER
</b>               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?

<b>                         MAN IN WHITE
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     AT THE WALL - LONG SHOT                                193
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                194
</b>
     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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     THE HALL - MOVING SHOT                                 195
</b>
     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.



<b>     AT THE ENTRANCE                                        196
</b>
     From the top step, the Time Traveller looks down
     at them.

<b>                         TIME TRAVELLER
</b>               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.



<b>     EXT. ENTRANCE - MED. SHOT - (DUSK)                     197
</b>
     The Time Traveller bursts out of the building.  A
     moment later Weena appears in the archway.  She
     stands there, looking after him.

<b>                                           DISSOLVE TO:
</b>


<b>     EXT. FOREST - LONG SHOT - (NIGHT)                      198
</b>
     There are patches of mist and haze between the
     trees.  With a blazing torch the Time Traveller
     strides across.



<b>     EXT. TIME TRAVELLER ON THE PATH - (NIGHT)              199
</b>
     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:



<b>     EXT. THE LAWN - FULL SHOT - (NIGHT)                    200
</b>
     There is no Time Machine.



<b>     CLOSE ON TIME TRAVELLER                                201
</b>
     In stunned shock.



<b>     THE PATH - FULL SHOT                                   202
</b>
     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.



<b>     THE GROUND - TIME TRAVELLER'S P.O.V.                   203
</b>
     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.



<b>     TIME TRAVELLER - MOVING SHOT                           204
</b>
     He straightens slowly, his eyes narrowed.
     Nervously he looks around, then steps on follow-
     ing the grooves.



<b>     BACK TO THE FOOTPRINTS                                 205
</b>
     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.



<b>     AT THE PEDESTAL - MED. SHOT                            206
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                207
</b>
     He senses he is under observation by an unseen
     presence.  Alarmed, he whips around then looks up
     to:



<b>     THE SPHINX - LOW ANGLE - (MINIATURE OR MATTE)          208
</b>
     The marble face looks baleful, almost smiling in
     the torch light.



<b>     BACK ON TIME TRAVELLER                                 209
</b>
     He turns and peers toward:



<b>     THE BUSHES                                             210
</b>
     In the shadows, beyond reach of the light, is a
     wide semi-circle of luminous eyes, reflecting the
     flame of the torch.



<b>     TIME TRAVELLER - FULL SHOT                             211-213
</b>
     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.



<b>     THE PATH                                               214
</b>
     Through the mist in the foliage a pale figure
     approaches slowly.  It emerges onto the lawn.



<b>     TIME TRAVELLER - MED. SHOT                             215
</b>
     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.



<b>     THE FIGURE ON THE GROUND - EXTREME CLOSE SHOT          216
</b>
     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.

<b>                         WEENA
</b>               I heard you pounding...I came to
               tell you...

<b>                         TIME TRAVELLER
</b>               How do you open that panel?

<b>                         WEENA
</b>               No one opens it.  Only the Morlocks.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               Tell me.

<b>                         WEENA
</b>               When they call, we must go below.

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

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

<b>                         TIME TRAVELLER
</b>               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.

<b>                         WEENA
</b>               It is night.

<b>                         TIME TRAVELLER
</b>               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.



<b>     THE LAWN AND THE BASE - LONG SHOT                      217
</b>
     Reluctantly she helps him collect a few twigs which
     she hands over to him.

<b>                         WEENA
</b>               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.



<b>     CLOSE ON WEENA                                         218
</b>
     She watches every move he makes.

<b>                         TIME TRAVELLER'S VOICE
</b>                    (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.



<b>     TIME TRAVELLER - MED. SHOT                             219
</b>
     With his back turned, he is piling up the sticks.

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



<b>     BACK TO WEENA                                          220
</b>
     The hairy hands grab her shoulders.  The fear
     paralyzes her.  She is unable to scream.



<b>     BACK TO TIME TRAVELLER                                 221
</b>
     He is about to light a match, but finds he needs
     more wood.  Without turning he calls back to Weena.

<b>                         TIME TRAVELLER
</b>               Get me a few more twigs.

     When there is no answer he turns and looks.



<b>     AT THE BUSHES                                          222
</b>
     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.



<b>     TIME TRAVELLER - MOVING SHOT                           223
</b>
     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.

<b>                         TIME TRAVELLER
</b>                    (after calming her)
               What was it?

                         WEENA (low)
               Morlocks.

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



<b>     CLOSE ON WEENA                                         224
</b>
     She gazes into the fire, with fascination.  Slowly
     she raises her hand and reaches out to grasps the
     flame.



<b>     TWO SHOT                                               225
</b>
     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?

<b>                         WEENA
</b>               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.

<b>                         TIME TRAVELLER
</b>                    (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?

<b>                         WEENA
</b>               I do not understand you, but I
               believe you.

<b>                         TIME TRAVELLER
</b>               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?

<b>                         WEENA
</b>               There is no past.

<b>                         TIME TRAVELLER
</b>               Don't you ever wonder about the future?

<b>                         WEENA
</b>               There is no future.



<b>     ANOTHER ANGLE                                          226
</b>
     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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     THE FIRE - CLOSE SHOT                                  227
</b>
     It CRACKLES reassuringly.

<b>                                     SLOW DISSOLVE TO:
</b>


<b>     EXT. WELL - FULL SHOT - (DAY)                          228
</b>
     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.

<b>                         TIME TRAVELLER'S VOICE
</b>               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:



<b>     THE SHAFT - HIGH ANGLE                                 229
</b>
     It descends into darkness, but near the top can be
     seen handholds in an irregular pattern.  The
     THROBBING OF MACHINES is ominous.



<b>     AT THE MOUTH OF WELL - FULL SHOT                       230
</b>
     The Time Traveller in the f.g. turns back to Weena.

<b>                         TIME TRAVELLER
</b>               Listen!
                    (pause)
               Do you hear?

                         WEENA (fearfully)
               Yes.

<b>                         TIME TRAVELLER
</b>               Machines!

<b>                         WEENA
</b>               No...Morlocks.

<b>                         TIME TRAVELLER
</b>                    (straightening, amazed)
               You mean those animals run machines?

<b>                         WEENA
</b>               They are Morlocks.

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



<b>     CLOSE ON WEENA                                         231
</b>
     She shakes her head.

<b>                         WEENA
</b>               No, only heard of them.

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

<b>                         TIME TRAVELLER
</b>               Who told you?

<b>                         WEENA
</b>               The talking rings.

<b>                         TIME TRAVELLER
</b>                    (moves closer to her)
               What sort of rings?

<b>                         WEENA
</b>                    (with a shrug)
               Rings that talk.

<b>                         TIME TRAVELLER
</b>               Can you show me these rings?

     Weena nods and starts off.  He follows her.

<b>                                             DISSOLVE TO:
</b>


<b>     INT. GREAT HALL - FULL SHOT - (DAY)                    232
</b>
     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.



<b>     INT. STONE CORRIDOR - MED. SHOT                        233
</b>
     Weena leading the Time Traveller up the corridor
     where it veers sharply to the right.  They disappear
     around the corner.



<b>     INT. GREEN MUSEUM - LONG SHOT - (DAY) - (MATTE)        234
</b>
     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.



<b>     TIME TRAVELLER & WEENA - MOVING SHOT                   235
</b>
     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.

<b>                         TIME TRAVELLER
</b>                    (picking up a ring)
               Are these the talking rings?

<b>                         WEENA
</b>               Yes.

<b>                         TIME TRAVELLER
</b>               They speak?

<b>                         WEENA
</b>               Yes.

<b>                         TIME TRAVELLER
</b>               Of what?

<b>                         WEENA
</b>               Things no one here understands.

<b>                         TIME TRAVELLER
</b>               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.



<b>     INSERT:  WHIRLING RING                                 236
</b>
     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.

<b>                         VOICE FROM RING
</b>               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.



<b>     TWO SHOT                                               237
</b>
     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.

<b>                         ANOTHER VOICE FROM RING
</b>               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.



<b>     CLOSE ON TIME TRAVELLER                                238
</b>
     As he watches the last ring spin to a standstill.
     Over this:

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

     He turns.



<b>     GREEN MUSEUM - LONG SHOT                               239
</b>
     The Time Traveller paces across the hall.  Weena
     hurries after him.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     GREAT HALL - FULL SHOT                                 240
</b>
     The Time Traveller, followed by Weena, walks from
     the book shelves toward the entrance.

<b>                         TIME TRAVELLER'S VOICE
</b>               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.



<b>     EXT. LANDSCAPE - FULL SHOT - (DAY)                     241
</b>
     The Time Traveller strides toward one of the wells.
     Weena senses his intention and catches up with him
     to grasp his arm.

<b>                         WEENA
</b>               No...don't go...please.

     He shakes her off.



<b>     AT MOUTH OF WELL - MED. SHOT                           242
</b>
     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.

<b>                         WEENA
</b>               You will not come back.

<b>                         TIME TRAVELLER
</b>               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.



<b>     FROM THROAT OF WELL - LOW ANGLE                        243
</b>
     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.



<b>     CLOSE ON WEENA                                         244
</b>
     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.



<b>     BACK WITH TIME TRAVELLER                               245
</b>
     He looks up, concerned, pausing in his descent.



<b>     BACK TO WEENA                                          246
</b>
     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.)



<b>     REVERSE SHOT                                           247
</b>
     Weena is walking forward and disappears behind the
     trees as the Time Traveller emerges from the well
     in the b.g.



<b>     CLOSE ON TIME TRAVELLER                                248
</b>
     Looking for Weena.  She is nowhere to be seen.
     His face shows exasperation, bewilderment.

<b>                         TIME TRAVELLER
</b>               Weena!  Where are you, Girl?



<b>     WEENA - FULL SHOT                                      249
</b>
     She continues to walk toward the source of the
<b>     SIRENS.
</b>


<b>     TIME TRAVELLER - MOVING SHOT                           250
</b>
     The DIRGE-LIKE MELODY becomes LOUDER, pulsating,
     as he pauses to watch:



<b>     EXT. EDGE OF FOREST - LONG SHOT - (DAY)                251
</b>
     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.



<b>     CLOSE ON TIME TRAVELLER                                252
</b>
     As he looks ahead, then left and right, searching.



<b>     VARIOUS GROUPS OF ELOI - (SPLIT?)                      253-254
</b>
     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.



<b>     WEENA AMONG ELOI                                       255
</b>
     They walk close together, paying no attention to one
     another, following the command of the MELANCHOLY
<b>     STRAINS OF THE SIRENS.
</b>


<b>     BACK ON TIME TRAVELLER                                 256
</b>
     His concern has turned to apprehension as he tries
     to grasp the meaning of what he observes.



<b>     EXT. THE SIRENS ON THE SPHINX - FULL SHOT - (DAY)      257
</b><b>     (MINIATURE)
</b>
     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.



<b>     TIME TRAVELLER AND ELOI                                258
</b>
     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.



<b>     TWO SHOT                                               259
</b>
     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.

<b>                         TIME TRAVELLER
</b>               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.



<b>     EXT. ENTRANCE TO THE GREAT BUILDING - LONG SHOT -      260
</b><b>     (DAY)
</b>
     The Eloi pour out of the Great Hall, walking in
     a trance-like state.



<b>     EXT. LANDSCAPE - EXTREME LONG SHOT - (DAY) - (SPLIT?)  261
</b>
     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.



<b>     TIME TRAVELLER - MOVING SHOT                           262
</b>
     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.



<b>     SEVERAL SHOTS OF THE SIRENS - (MINIATURE)              263-265
</b>
     At various angles -- up, sideways, tilted.  The
     WAILING is DEAFENING.



<b>     CLOSE ON TIME TRAVELLER                                266
</b>
     He still strives to control himself, moves forward,
     then pauses in amazement, looking straight ahead.



<b>     EXT. THE SPHINX - FULL SHOT - (DAY) - (MATTE)          267
</b>
     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.



<b>     AT THE PEDESTAL - LONG SHOT                            268
</b>
     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.



<b>     TIME TRAVELLER - MOVING SHOT                           269
</b>
     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!



<b>     THE PANEL                                              270
</b>
     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.



<b>     GROUP OF ELOI                                          271
</b>
     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.



<b>     BACK TO TIME TRAVELLER                                 272
</b>
     As he goes after them to the edge of the flagstones
     and calls out angrily.

<b>                         TIME TRAVELLER
</b>               Stop!



<b>     BACK TO ELOI                                           273
</b>
     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.



<b>     TOWARD THE SPHINX - FULL SHOT                          274
</b>
     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.

<b>                         TIME TRAVELLER
</b>               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!

<b>                         MAN IN WHITE
</b>               Yes, the rings have told us that
               story.



<b>     TIME TRAVELLER - MED SHOT                              275
</b>
<b>                         TIME TRAVELLER
</b>               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.

<b>                         TIME TRAVELLER
</b>               What about those who went below?
               How are they to come back?



<b>     MAN IN WHITE                                           276
</b>
     He looks ominously at the Time Traveller.

<b>                         MAN IN WHITE
</b>               They never come back.  Nobody can
               bring them back.

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



<b>     BACK TO TIME TRAVELLER                                 277
</b>
     Calling after them.

<b>                         TIME TRAVELLER
</b>               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.



<b>     SERIES OF SHOTS                                        278
</b>
     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.



<b>     EXT. THE WELL - FULL SHOT - (DAY)                      279
</b>
     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.



<b>     SHOOTING INTO SHAFT - HIGH ANGLE                       280
</b>
     The Time Traveller climbs down, gripping the walls
     with his hands and feet.  The depth beneath him is
     dizzying.  THROBBING LOUDER.



<b>     IN THE WELL - FULL SHOT                                281
</b>
     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.



<b>     FROM THE THROAT OF WELL - LOW ANGLE                    282
</b>
     A couple of the curious Eloi peer downward, watching
     the Time Traveller's progress.



<b>     BACK TO TIME TRAVELLER                                 283
</b>
     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.



<b>     INT. GREAT CAVERN - FULL SHOT                          283X1
</b>
     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.)



<b>     CLOSE ON T.T. - MOVING SHOT                            283X2
</b>
     Walking, he notices an opening ahead and cautiously
     moves toward:



<b>     INT. ENTRANCE TO FEASTING ROOM - FULL SHOT             283X3
</b>
     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.



<b>     THE FEASTING ROOM - T.T.'S P.O.V.                      283X4
</b>
     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.

<b>                         T.T.'S VOICE
</b>               So, this was the destiny of the
               Eloi.



<b>     CLOSE ON T.T.                                          283X5
</b>
     His features twisted in horror in the flickering
     light of his match.

<b>                         T.T.'S VOICE
</b>                    (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.



<b>     MACHINES - FULL SHOT                                   283X6
</b>
     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.



<b>     STAIRWAY - MOVING SHOT                                 283X7
</b>
     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.



<b>     [PAGE 89A MISSING FROM HARD COPY]
</b>


<b>     GROUP OF ELOI                                          283X15
</b>
     Passing near the T.T.'s hiding place.  Weena and the
     Young Man are side by side.



<b>     AT THE MACHINES                                        283X16
</b>
     The Morlocks who followed the T.T. are closing in.



<b>     BACK TO T.T. - MOVING SHOT                             283X17
</b>
     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.

<b>                         T.T.
</b>               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.

<b>                         T.T.
</b>                    (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.



<b>     FOOT OF STAIRWAY                                       283X18
</b>
     Morlocks block the escape.



<b>     THREE SHOT                                             283X19
</b>
     The CAMERA MOVES with the T.T., Weena and the Young
     Man as they are forced to retreat.



<b>     AT ENTRANCE OF FEASTING ROOM                           283X20
</b>
     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.



<b>     BACK TO THREE SHOT                                     283X21
</b>
     The CAMERA MOVES with them as vicious CRACKING
     WHIPS drive them back to the entrance of the
     feasting room.



<b>     TWO SHOT                                               283X22
</b>
     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.



<b>     AT THE ENTRANCE OF FEASTING ROOM                       283X23
</b>
     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.



<b>     GROUPSHOT INSIDE FEASTING ROOM                         283X24
</b>
     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!



<b>     GROUP OF MORLOCKS                                      283X25
</b>
     In the glare of yellow light we see the leprous
     figures of blinded Morlocks, dropping their whips,
     shielding their eyes.



<b>     THROUGH MORLOCKS'S EYES - (OPTICAL EFFECT)             283X26
</b>
     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.



<b>     BACK TO THE GROUP OF MORLOCKS                          283X27
</b>
     Regaining their sight in the darkness, they start
     to close in.



<b>     THROUGH MORLOCKS'S EYES - (OPTICAL EFFECT)             283X28
</b>
     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.



<b>     T.T. - MED. SHOT                                       283X29
</b>
     He lights his last match and moves forward, looking
     for his lost torch.



<b>     GROUPSHOT                                              283X30
</b>
     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.



<b>     CLOSE ON T.T.                                          283X31
</b>
     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.

<b>                         TIME TRAVELLER
</b>               Quick, something to burn!  It's
               my last match!



<b>     BACK TO THE MORLOCKS                                   283X32
</b>
     As they are closing in.



<b>     CLOSE ON WEENA                                         283X33
</b>
     With a fierce gesture she rips open the loose sleeve
     of her robe, tears off a piece of cloth and holds
     it out.



<b>     BACK TO T.T.                                           283X34
</b>
     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.



<b>     GROUPSHOT                                              283X35
</b>
     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.



<b>     A CORNER                                               283X36
</b>
     The torch rolls in and begins to sputter.



<b>     BACK TO SCENE                                          283X37
</b>
     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.



<b>     [PAGE 90 MISSING FROM HARD COPY]
</b>


     Eloi below him.

<b>                         TIME TRAVELLER
</b>               Weena!  Weena, get the torch!



<b>     CLOSE SHOT - WEENA AND YOUNG MAN                       351X5
</b>
     Huddled against rock - React to fight - Weena
     looks quickly toward the Time Traveller, then
     turns searching for the flickering torch.



<b>     BACK TO TIME TRAVELLER                                 351X6
</b>
     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.



<b>     CLOSE SHOT - THE TIME TRAVELLER                        351X7
</b>
     He pauses momentarily against Rock Wall.  He
     sees Eloi, still huddled in a group, apparently
     too confused to move.

<b>                         TIME TRAVELLER
</b>               Weena!  Go on!  Go on the
               steps!



<b>     CLOSE SHOT - AT ROCK - WEENA AND YOUNG MAN             351X8
</b>
     Weena spots the still flickering torch and
     starts toward it.



<b>     INSERT OF TORCH                                        351X9
</b>
     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.



<b>     MED. SHOT                                              351X10
</b>
     The Time Traveller comes down ramp to meet several
     Morlocks converging on him.  He tries to fight his
     way past them.



<b>     CLOSE SHOT - WEENA AND YOUNG MAN                       351X11
</b>
     Morlock rushes in, grabs Weena and carrying her
     over his shoulder starts across toward Feasting
     Cave.



<b>     MED. SHOT - TIME TRAVELLER                             351X12
</b>
     JUMPS up on ramp, kicks back at Morlocks - sees
     Morlock carrying Weena - JUMPS through Morlocks
     and runs toward her.



<b>     FULL SHOT                                              351X13
</b>
     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.



<b>     CLOSE SHOT - TIME TRAVELLER                            351X14
</b>
     Looks up toward YOUNG MAN - silently appeals for
     help.



<b>     CLOSE SHOT - YOUNG MAN                                 351X15
</b>
     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.



<b>     MED. SHOT                                              351X16
</b>
     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.



<b>     FULL SHOT                                              351X17
</b>
     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.



<b>     CLOSER SHOT                                            351X18
</b>
     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.



<b>     FULL SHOT                                              351X19
</b>
     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.



<b>     MED. SHOT                                              351X20
</b>
     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.



<b>     PAN SHOT                                               351X21
</b>
     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.



<b>     PASSAGEWAY - LONG SHOT                                 352
</b>
     Smoke is thick as the Time Traveller and Weena
     run toward a circle of light on the floor far
     ahead.



<b>     CIRCLE OF LIGHT - HIGH ANGLE                           353
</b>
     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.



<b>     IN THE WELL                                            354
</b>
     The CAMERA FOLLOWS Weena and the Time Traveller
     climbing up, COUGHING from smoke.  The light
     becomes slowly brighter and he looks up.



<b>     FROM THROAT OF WELL - LOW ANGLE                        355
</b>
     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.



<b>     SHOOTING INTO SHAFT - HIGH ANGLE                       356
</b>
     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.



<b>     EXT. THE WELL - MED. SHOT - (SUNSET)                   357
</b>
     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.



<b>     SHOOTING INTO SHAFT - HIGH ANGLE                       358
</b>
     The burning wood drops to the bottom where it ignites
     the oil with a burst of flame that shoots up the well.



<b>     BACK TO SCENE                                          359
</b>
     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.



<b>     VARIOUS SHOTS OF ELOI                                  360-362
</b>
     Carrying bundles of burning wood to the mouths of
     wells and dumping the fire below.



<b>     TWO SHOT                                               363
</b>
     With Weena at his side, the Time Traveller gazes on
     with approval at the Eloi's work.



<b>     EXT. LANDSCAPE - FULL SHOT - (SUNSET)                  364
</b>
     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.



<b>     A WELL - (MINIATURE)                                   365
</b>
     It falls with a CRASH to the ground and begins to
     spew smoke and flame into the undergrowth of the
     forest nearby.



<b>     EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT -          366
</b><b>     (SUNSET)
</b>
     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.



<b>     EXT. THE BLAZING FOREST - (SUNSET) - (STOCK)           367-368
</b>
     The sun on the horizon is a dim red ball through
     the smoke.  Several trees fall over, blazing.  LOW
     UNDERGROUND RUMBLING is heard.



<b>     WEENA AND THE TIME TRAVELLER                           369
</b>
     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.



<b>     EXT. LANDSCAPE - FULL SHOT - (DUSK) - (MINIATURE)      370
</b>
     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.



<b>     ANOTHER ANGLE - (MINIATURE)                            371
</b>
     A section of the earth sheers away and falls
     in an ever widening rift.



<b>     A WELL - (MINIATURE)                                   372
</b>
     As it is swallowed by the earth, followed by a
     belch of steam.



<b>     BACK TO LANDSCAPE - (MINIATURE)                        373
</b>
     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.



<b>     GROUP OF ELOI                                          374
</b>
     Staring into the vast destruction.



<b>     TIME TRAVELLER AND WEENA                               375
</b>
     He holds her hand.  The CAMERA MOVES IN SLOWLY and
     we begin to hear the

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

     He looks o.s.



<b>     GROUP OF ELOI                                          376
</b>
     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.

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



<b>     BACK TO TIME TRAVELLER AND WEENA                       377
</b>
     He looks down to Weena and we HEAR:

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

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

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

<b>                                  DISSOLVE TO:
</b>


<b>     EXT. THE POOL - LONG SHOT - (NIGHT)                    378
</b>
     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.

<b>                      WEENA
</b>             Are you sorry?

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

<b>                      TIME TRAVELLER
</b>             Sorry? - Sorry for what?

<b>                      WEENA
</b>             That you have to stay.

<b>                      TIME TRAVELLER
</b>                 (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?

<b>                      WEENA
</b>             You don't want to stay, do you?

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

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

<b>                      TIME TRAVELLER
</b>             No, Girl, you wouldn't be very
             happy there.

<b>                      WEENA
</b>             Do you have someone like me -
             there?

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

<b>                      WEENA
</b>                 (stealing a glance,
                 then quietly)
             Women?

<b>                      TIME TRAVELLER
</b>             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.

<b>                      WEENA
</b>                 (suddenly)
             How do they wear their hair?

<b>                      TIME TRAVELLER
</b>             Who?

<b>                      WEENA
</b>             The women in your time.

<b>                      TIME TRAVELLER
</b>                 (after a thought)
             Up!

<b>                      WEENA
</b>             Up? - How?

<b>                      TIME TRAVELLER
</b>                 (with awkward gesture)
             Like this.

<b>                      WEENA
</b>             Show me.

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



<b>     WEENA - MED. SHOT                                      379
</b>
     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.

<b>                      WEENA
</b>                 (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.

<b>                      TIME TRAVELLER
</b>                 (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.



<b>     EXT. HILL - LONG SHOT - (NIGHT) - (MATTE)              380
</b>
     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.



<b>     TIME TRAVELLER & WEENA                                 381
</b>
     Joyfully he grabs her hand and, pulling her,
     breaks into a run.



<b>     GROUP OF ELOI                                          382
</b>
     The Young Man steps forward, pointing o.s.  The
     Time Traveller and Weena run through the haze,
     then the Eloi follow them.



<b>     EXT. THE WHITE SPHINX - LONG SHOT - (NIGHT) -          383
</b><b>     (MATTE)
</b>
     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.



<b>     THE OPEN PANEL - THEIR P.O.V.                          384
</b>
     The Time Machine sits in the midst of the swirling
     smoke.  The flames, licking at the inside walls,
     have not yet reached the Machine.



<b>     TIME TRAVELLER & WEENA - MED. SHOT                     385
</b>
     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.



<b>     INT. PEDESTAL - LONG SHOT                              386
</b>
     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.



<b>     REVERSE ANGLE                                          387
</b>
     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.



<b>     OUTSIDE THE PANELS                                     388
</b>
     Weena, seeing the panels close, runs up to them
     and POUNDS her fists vainly on the metal doors.



<b>     INSIDE THE SPHINX - MOVING SHOT                        389
</b>
     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.



<b>     INSERT:  THE CONTROL PANNEL                            390
</b>
     The Time Traveller's hand gropes for the lever and
     finally grasps it.



<b>     OMITTED                                                391-403
</b>


<b>     INSERT OF DIALS                                        404
</b>
     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.



<b>     TIME TRAVELLER - MED. SHOT                             405
</b>
     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:



<b>     SERIES OF SHOTS - (ANIMATION, MINIATURE, SPLIT)        406
</b>
     (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
<b>             EXPLOSIONS, RUMBLING ETC.  IN REVERSE
</b>             AND SPEEDED UP join the HUMMING of the
             Time Machine.

<b>                                               BLUR TO:
</b>
             The sun and the moon chase each other          (d,e)
             alternately across the sky, gradually
             slowing.



<b>     BACK TO TIME TRAVELLER                                 407
</b>
     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.



<b>     INSERT:  DIAL                                          408
</b>
     It stops on:  "5 January 1900".



<b>     INT. LABORATORY - LONG SHOT - (NIGHT)                  409
</b>
     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".

<b>                                        SLOW DISSOLVE TO:
</b>


<b>     PENDULUM CLOCK - CLOSE SHOT                            410
</b>
     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.

<b>                         DR. HILLYER
</b>               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.

<b>                         BRIDEWELL
</b>               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.

<b>                         MRS. WATCHETT
</b>               I'll turn down your bed for you!

     As she exits Kemp looks up.

<b>                         KEMP
</b>               Truthfully, where have you been
               for the past week?

     Bridewell examines the remaining brandy in his glass.

<b>                         BRIDEWELL
</b>                    (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.



<b>     FILBY AND THE BLOSSOMS - CLOSE SHOT                    411
</b>
     As he picks them up to examine.

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



<b>     TIME TRAVELLER - MED. SHOT                             412
</b>
                         TIME TRAVELLER (to Filby)
               You were always interested in
               botany. - Try to match them with
               any species known today.



<b>     BACK TO FILBY                                          413
</b>
     As he looks up, puzzled.

<b>                         FILBY
</b>               I don't think I can.



<b>     GROUP SHOT                                             414
</b>
     A still unimpressed Hillyer slams his hands on
     the table, stands up, looks around and then down
     to Kemp.

<b>                         DR. HILLYER
</b>               Are you coming, Kemp.

     Rising hesitantly, Kemp turns to the Time Traveller.

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

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



<b>     COTTAGE - LONG SHOT - (NIGHT) - (MATTE)                415
</b>
     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.

<b>                         FILBY
</b>               Goodnight, George.



<b>     AT THE ENTRANCE                                        416
</b>
     The Time Traveller lifts his hand and waves.

<b>                         TIME TRAVELLER
</b>               Thank you, David, for being such
               a good friend - always.

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



<b>     AT THE CARRIAGE                                        417
</b>
     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.

<b>                         KEMP
</b>               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.

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

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

     The WHIP CRACKS.



<b>     THE DRIVEWAY                                           418
</b>
     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:



<b>     EXT. LABORATORY WING - FILBY'S P.O.V.                  419
</b>
     No light shines through its windows.



<b>     BACK TO FILBY                                          420
</b>
     He raps once more, and getting no reply tries the
     door.  It is unlocked.  He steps into the house.



<b>     INT. LIBRARY - FULL SHOT                               421
</b>
     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.



<b>     DINING ROOM - FILBY'S P.O.V.                           422
</b>
     The table is cleared, candles extinguished.  The
     pendulum clock is TICKING lazily.  The time is
<b>     "9:30".
</b>


<b>     FILBY - PANSHOT                                        423
</b>
     He calls into the darkness.

<b>                         FILBY
</b>               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.



<b>     AT THE DOOR OF LABORATORY - FULL SHOT                  424
</b>
     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.



<b>     THE LABORATORY - FILBY'S P.O.V.                        425
</b>
     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.



<b>     CLOSE ON FILBY                                         426
</b>
     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.



<b>     WHAT THEY SEE                                          427
</b>
     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.



<b>     TWO SHOT                                               428
</b>
     They straighten.  Mrs. Watchett looks at Filby,
     puzzled.

<b>                         FILBY
</b>               I think I understand. - Look!



<b>     LABORATORY - FULL SHOT                                 429
</b>
     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".



<b>     INT. LIBRARY - FULL SHOT                               430
</b>
     Filby and Mrs. Watchett come into the room.

<b>                         FILBY
</b>               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.

<b>                         MRS. WATCHETT
</b>               Nothing.

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

<b>                         MRS. WATCHETT
</b>               Nothing except three books.

<b>                         FILBY
</b>               Which three books?

<b>                         MRS. WATCHETT
</b>               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.



<b>     INT. ENTRANCE HALL                                     431
</b>
     They stop at the door and Mrs. Watchett stands
     beside Filby as he opens it.  Outside the snow
     is falling softly.

<b>                         MRS. WATCHETT
</b>               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.



<b>     EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)           432
</b>
     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.

<b>                                            SLOW FADE OUT.
</b>


<b>                          THE END
</b>

</pre>
</pre><br>
<table width="85%" border="0" align="center" cellpadding="5" cellspacing="0" class="body" style="BORDER-TOP: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid;">
  <tr> 
	<td align=center>
	<td><h1>Time Machine, The</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=John Logan" title="Scripts by John Logan">John Logan</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Action" title="Action Scripts">Action</a>&nbsp;&nbsp;<a href="/genre/Adventure" title="Adventure Scripts">Adventure</a>&nbsp;&nbsp;<a href="/genre/Sci-Fi" title="Sci-Fi Scripts">Sci-Fi</a><br><br><br>
		
		<a href="/Movie Scripts/Time Machine, The Script.html#comments" title="Time Machine, The comments">User Comments</a>
	</td>
</table>
<br><br>
<div align="center">
<a href="https://www.imsdb.com" title="Internet Movie Script Database"><img src="/images/lilbutton.gif" style="border: 1px solid black;"  alt="Internet Movie Script Database" border=1><br>
Back to IMSDb</a>
</div><br>
<br><br>
  </tr>
</table>
<br><br>
</table>

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
  <td background="/images/reel.gif" height="13" colspan="2">
</table>

<div align="center">
 <a href="https://www.imsdb.com" title="Internet Movie Script Database (IMSDb)">Index</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/submit" title="Submit scripts">Submit</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/links" title="Other sites">Links</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/link to us" title="Link to IMSDb">Link to us</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/feeds" title="IMSDb RSS Feeds">RSS Feeds</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/disclaimer">Disclaimer</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/privacy">Privacy policy</a> 
</div>

<br />

</body>
</html>
How does George finally escape the Morlocks?
How does George finally escape the Morlocks ?
He sets his time machine back to the year 1900.
He sets his time machine back to the year 1900 .
He sends the time machine back to the past.
He sends the time machine back to the past .