THE TIME MACHINE - by David Duncan
H. G. Wells'
T H E T I M E M A C H I N E
A George Pal Production
Screenplay
by
DAVID DUNCAN
Draft revised thru 6-25-59
FADE IN:
M.G.M. TRADEMARK A.1
Leo the Lion ROARS over the FANFARE, then
FADE OUT:
GLIDING OBJECTS IN A WIDE DARK VOID - (ANIMATION)
Out of the SILENT darkness a short white A
fluted column surmounted by a SUNDIAL
appears. It floats in, waveringly, until
it becomes clearly visible, then drifts
off as though moving in some huge orbit.
Next an HOURGLASS floats in from the left B
of the screen. The faint HISSING OF
RUNNING SAND breaks the stillness of space.
As the hourglass glides across the screen, C
it is met by a GREEK WATER CLOCK accompanied
by the sound OF DRIPPING WATER.
A MEDIEVAL CLOCK with weights arises as its D
horizontal escapement TICKS LOUDLY. Mean-
while the sundial, hourglass and water clock
return, drifting at diverse angles across
the screen.
THE SOUND of the various devices continues to MOUNT.
A FIGURE wheels past, with the face of a E
clock and the body carved like a drummer
of the 14th century, BEATING the hour.
A SMALL CLOCK bears a golden angel with F
hammer in hands as it STRIKES A BELL.
ANOTHER TIMEPIECE, with CHIMES, floats in G
to mingle with all the drifting objects.
The BIG BEN is TOLLING H
Then a GREAT BELL. J
DEAFENING SOUNDS NOW COME FROM ALL DIRECTIONS, as the time K
devices weave across the screen and, reaching CRESCENDO,
STOP abruptly. A mellow VOICE begins to SING THE THEME of L
the picture, "The Land Of The Leal". Simultaneously, the
screen reveals the MAIN TITLE: M
H. G. Wells'
THE TIME MACHINE
"THE LAND OF THE LEAL"
Words & Music by Peggy Lee
When I was a wee lad L
And dark was the night
Afraid I would be
Til the bright morning light
And sometimes...for comfort
Away I would steal Away
I would go to the Land of the Leal.
And soon I would be there
It took me no time
My heart would be soaring
As I made the climb
And there was the green grass
So cool and so sweet
So good to be run through
With happy bare feet!
And who was my teacher
And how did I know?
Just when to be going
And which way to go?
But always when wishing
Away I would steal
Away I would go to the Land of the Leal.
And now that I'm older
I try to be wise
But when I am troubled
I still close my eyes
And just like the wee lad
Away I will steal
Away I will go to the Land of the Leal.
For there are no questions
And there are no lies
And never a storm there
To darken the skies
The birds who are flying
No freer they feel
Than I
When I live in the land of the Leal.
After the CREDIT TITLES, the MUSIC SUBSIDES and we slowly
FADE OUT:
FADE IN: 1
EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)
Warm lights pour through the windows, spreading
over the snow-patched countryside. Only the
laboratory, a converted greenhouse, is dark, shaded
from the moonlight by a majestic, leafless oak.
A two-horse carriage, in the style of the turn of
the century, lingers in the driveway. Beyond all
this, the River Thames takes a sharp curve.
A lonely figure hurries up to the front door and
KNOCKS on it impatiently.
AT THE DOOR 2
The knock is answered by MRS. WATCHETT, the house-
keeper, a thin, tense woman with iron gray hair.
The CAMERA ENTERS the HALL with DAVID FILBY, an
amiable red-haired young man of science, who hastily
hands her his rumpled cloak and hat, then rushes
toward:
INT. LIBRARY 3
A pleasant Edwardian room, the shelves are stacked
tightly with volumes of books, many of ancient
Vintage.
Three men are seated in a rough circle, motionless,
obviously awaiting the arrival of occupants for the
two empty chairs. The silence is accentuated by the
merry CRACKLING of logs in the fireplace and the
capricious TICKING of innumerable timepieces about
the room.
Filby enters, pauses to glance down, then embarrassedly
takes his chair.
SERIES OF CLOSE SHOTS 4
DR. PHILIP HILLYER is an imposing (a)
businessman, wearing full sideburns.
He stares stonily at the last empty
chair, then at Filby with annoyance.
ANTHONY BRIDEWELL, a man of the world, (b)
impeccably attired in the latest fashion,
welcomes Filby the only way he knows, by
lifting his glass of whiskey.
WALTER KEMP, a middle aged man with keen (c)
black piercing eyes, angrily chews on
his Havana.
Filby fidgets uncomfortably in his chair (d)
as
Hillyer glances impatiently at his (e)
watch, comparing time with a GRAND-
FATHER CLOCK behind him, then snaps
it shut and glares at:
EMPTY CHAIR - MED. SHOT 5
Conspicuously unoccupied.
GRANDFATHER CLOCK - CLOSE SHOT 6
Reaching the hour of eight, it begins to STRIKE ITS
YELLOW CHIMES. Other timepieces JOIN IN the announce-
ment.
GROUPSHOT 7
The men look at each other until the CHIMES, BELLS
ETC. FADE away. Dr. Hillyer angrily slaps on the
arm of his leather chair.
DR. HILLYER
I say, this is outright rude of the man!
FILBEY
He's undoubtedly been detained. That's
all.
Bridewell, filling his glass, is trying to say some-
thing but is interrupted by
KEMP (unscrews the cigar from
his tight lips)
This is such a confounded waste of
time! If he's not coming, I've any
number of more important things to do.
All heads turn as Mrs. Watchett enters, closing the
door quietly behind her. With an envelope in her
hand she stands there, hesitating.
DR. HILLYER
Speak up -- what is it, woman?
She is taken aback for a moment, then walks over
to Filby and hands him the open envelope. He
takes his time in extracting the note.
BRIDEWELL
Well...are we or are we not invited
to dinner?
FILBY (reading)
Apparently we are.
(to Mrs. Watchett)
How long has he been gone?
MRS. WATCHETT (nervously)
I can't rightly say, sir. - Several
days...I hardly catch a glimpse of
him lately. He never leaves the
laboratory and comes out only to
nibble at his meals...but he did tell
me days ago about dinner tonight and
left these instructions.
(pointing to note)
FILBY
Thank you, Mrs. Watchett.
A faint, nervous smile is her acknowledgement and
with that she retreats toward the door.
DR. HILLYER (indicating the
note)
What does it say, Filby? What's
wrong?
FILBY
Nothing really. - George merely says
that if he is not here by eight we're
to begin without him.
Kemp tears the note out of Filby's hand and reads it
hurriedly. Meanwhile, Mrs. Watchett swings the door
open and turns around.
MRS. WATCHETT
Dinner is served, gentlemen!
BRIDEWELL (puts his glass
down)
First sensible thing I've heard all
evening.
He rises and starts for the dining room. The others
follow.
FILBY, HILLYER & KEMP - MOVING SHOT 8
As they walk toward the DINING ROOM.
FILBY
This is peculiar. He is usually very
prompt, precise and punctual.
DR. HILLYER
He's making fools of us by inviting
us here and then not showing up.
It's not the behavior of a gentleman.
KEMP
To say nothing of the waste of
time.
DR. HILLYER (agreeing)
To say nothing of the waste of
time.
Bridewell, already seated at the heavily laden dining
table, pours a glass of wine for himself while the
others settle down. This time the chair at the head
of the table is conspicuously unoccupied.
BRIDWELL (arises, lifting
his glass)
One thing I will say for George, he
keeps the best cellar in the south of
England...and Mrs. Watchett is the
finest cook in the world. - I think
I'll drink to that!
The glass barely touches his lips as he freezes at
the SOUND OF DROPPING TRAYS and a PIERCING SCREAM.
All look in the direction of another door across
the room.
THE DOOR - FULL SHOT 9
It bursts inward and Mrs. Watchett, her hair flying,
dashes down the steps panic-stricken into the room.
The CAMERA RUSHES with her to the table where the
men have come to their feet. Clutching Filby's arm,
she points toward the long corridor now revealed by
the open door.
MRS. WATCHETT (frightened)
There!...there...
All stare o.s., Hillyer with the carving knife
clasped in his hand.
CORRIDOR THROUGH DOORWAY - FULL SHOT 10
We see the figure of a man approaching, a black
silhouette against the pale glow at the end of
the passage. He is bent with exhaustion and
sways as he moves forward, limping. The man comes
closer, his features still blacked out by shadows,
but as he nears the doorway, the light from the
room strikes first his legs, then his body and
finally his face. Here he stops.
This is our first meeting with the TIME TRAVELLER
(for so it will be convenient to speak of him). At
this instant he is in a sorry state. His clothing
is tattered and dirty, his face pale, bruised and
scratched and his eyes glazed with fatigue. For
a moment he hesitates as if dazzled by the light
and then takes another swaying step into the room.
FILBY AND BRIDEWELL - MOVING SHOT 11
They come to life. Bridewell, noticing the glass
of wine still in his hand, quickly gulps it down
before rushing with Filby toward the Time Traveller.
FILBY
Good lord! - What's happened?
Reaching him, each seizes an elbow to support him.
Bridewell throws a frantic glance at Dr. Hillyer
back at the table. The Time Traveller, however,
moves forward under his own power.
TIME TRAVELLER
I'm all right...just some food...a
drink...
He reaches the table and sinks into his chair. With
trembling hands Bridewell tries to pour him a glass
of wine, spilling most of it over the tablecloth.
The Time Traveller looks up at him with a wry smile.
TIME TRAVELLER
Are you all right?
A stunned Bridewell is unable to speak while the Time
Traveller empties his glass.
BRIDEWELL (a delayed
answer)
Of course. I'm...all right...
Meanwhile, Mrs. Watchett hovers over the Time Traveller
like a mother hen.
MRS. WATCHETT (half
apology, half concern)
I didn't recognize you!...it was
so dark...
The CAMERA MOVES IN as she dishes up a bowl of soup
for him, but he pushes it away.
TIME TRAVELLER
Meat...I'm hungry for meat!
Mrs. Watchett grasps the carving knife from Dr.
Hillyer and, with a single slash, cuts off a huge
portion of beef and loads it onto his plate.
GROUPSHOT 12
The Time Traveller eats, the men watching him
curiously. Finally Dr. Hillyer leans forward.
DR. HILLYER
Well, can't you speak, man? What
happened to you? Aren't you going
to tell us...
BRIDEWELL
Leave him alone, can't you?
TIME TRAVELLER (swallowing)
It's all right. - I want to tell.
FILBY
It will keep, George. Eat, rest a
little.
TIME TRAVELLER
No! I must tell it now... while I
still remember.
FILBY
Relax, try to relax a bit. You've
all the time in the world.
CLOSE ON THE TIME TRAVELLER 13
As he looks up, amused.
TIME TRAVELLER
You're right, David.
(almost to himself)
That's exactly what I have. -
All the time in the world!...
ever since we were all together
five days ago, the last day of
Eighteen Hundred Ninety Nine.
Slowly the CAMERA MOVES IN CLOSER while everyone
listens so intensely that, aside from the Time
Traveller's VOICE, only the TICKING of a pendulum
CLOCK is heard.
SLOWLY DISSOLVE:
INT. - EBONY BOX ON TABLE - CLOSE SHOT (AFTERNOON) 14
(NOTE: The Slow Dissolve from the previous shot
should give the effect of the Ebony Box
emerging from the Time Traveller's brain.)
TIME TRAVELLER'S VOICE
There in that box rests the result
of two years' labor.
The CAMERA DRAWS BACK to reveal the LIBRARY. The Time
Traveller, wearing casual tweeds and smoking a pipe,
sits in his favorite chair behind the Ebony Box.
Across from him in another chair sits Dr. Hillyer
puffing his cigar. Bridewell and Filby have glasses
in their hands -- Kemp nothing. All are looking at
the box.
TIME TRAVELLER
(continues)
I wanted to finish the job before
the new century began. - I barely
made it.
BRIDEWELL
Marvelous.
DR. HILLYER (stands up)
What is it?
TIME TRAVELLER
Well, it has to do with time.
DR. HILLYER
(steps to box)
I've always maintained what this
nation needs is a reliable timepiece.
The Navy needs one. The Army needs
one. - For the artillery you know.
KEMP (leaning forward)
Couldn't do better, George. So
that's why you've been in hiding. -
Clever of you, indeed!
FILBY (studying the Time
Traveller's reaction)
I don't believe George is referring
to a new kind of timepiece.
TIME TRAVELLER
When I speak of time, I'm referring
to the fourth dimension.
A perplexed look comes over Bridewell's face.
Dr. Hillyer registers concern. Kemp looks troubled.
Only Filby expresses avid interest.
FILBY
Go on, George.
TIME TRAVELLER
Now, as you know, the difficulty
in explaining the fourth dimension
is that it cannot be seen or felt -
it must be thought of.
FILBY
If you don't mind, George, would
you refresh me on the first three
dimensions.
DR. HILLYER
Really, Filby, they must have
taught you something at school!
BRIDEWELL (baiting
Dr. Hillyer)
Suppose you explain it, Doctor.
DR. HILLYER
Certainly!
(he demonstrates
pompously)
When I move in a straight line,
forward or backward, that's one
dimension. - When I move to the
left or right, two dimensions. -
When I move up and down, three
dimensions.
(a bright idea lights up
his face. At last he can
get ahold of the box, but
Filby interferes before
Dr. Hillyer can get his
fingers on it and he has
to be satisfied with merely
pointing)
For instance, this box has three
dimensions: length, breadth, and
height.
BRIDEWELL (amazed)
Well, then, what's the fourth
dimension?
DR. HILLYER
Well, that's...that's mere theory!
No one can really say what the
fourth dimension is or even that
it exists.
THE TIME TRAVELLER - MED. SHOT 15
Leaning forward in his chair.
TIME TRAVELLER
On the contrary, Doctor! The
fourth dimension is as true and as
real a dimension as any of the
other three. In fact, they couldn't
exist without it.
DR. HILLYER (enters the SHOT)
How do you mean?
TIME TRAVELLER
Well, take that box. It has the
first three dimensions, as you said.
But what if it didn't exist in Time?
It wouldn't exist at all, would it?
DR. HILLYER
No.
TIME TRAVELLER
So - for an object to exist at all,
it must exist in the fourth dimen-
sion....and that fourth dimension
is duration....Time!
DR. HILLYER (impatiently)
All right! But what's in that box?
TIME TRAVELLER
I'm coming to that. But first,
consider! Why is it that we usually
ignore the fourth dimension? Because
we have no freedom to move in it. We
can move in the other three -- up,
down, forward, backward, sideways.
But when it comes to Time, we are
prisoners. Do you follow me, Anthony?
GROUP SHOT 16
In the f.g., Bridewell who has been sitting with a
glazed, dreamy look, suddenly jumps.
KEMP
George! You've given a most lucid
explanation and all that! But I
don't think I entirely understand.
TIME TRAVELLER
Look! There are a lot of things in
the world you don't understand,
aren't there?
KEMP
Of course! Quite a number.
TIME TRAVELLER
But you don't refuse to believe
in them because of that?
KEMP
Not if I can see the proof with
my own eyes.
TIME TRAVELLER
Good! All I'm asking you to do
now is to witness a demonstration
of the possibility of movement in
the fourth dimension.
(to Dr. Hillyer)
Philip, will you please hand me
that box?
All eyes turn to Dr. Hillyer as he eagerly rushes to
the table, lifts the box with surprise at its lightness,
and takes it to the Time Traveller. George opens it
with great care and brings forth a mechanical device
[PAGE 13 MISSING FROM HARD COPY]
TIME TRAVELLER
I've told you. The larger model
can carry a passenger on a journey
through Time. - Not through Space,
mind you, but through Time.
BRIDEWELL
Oh, I say George! If you start
floating around in the future, aren't
you likely to mess things up for the
rest of us?
DR. HILLYER
The future is already there. It's
irrevocable and cannot be changed.
CLOSE ON TIME TRAVELLER 19
He answers thoughtfully.
TIME TRAVELLER
That's the most important question
to which I hope to find an answer.
Can Man control his destiny? Can he
change the shape of things to come?
[PAGE 16 MISSING FROM HARD COPY]
TIME TRAVELLER'S VOICE
Imagine that this cigar is the Time
Traveller. Now, this lever in front
of him controls movement. Forward
pressure sends the Machine into the
future, backward pressure into the
past. And the harder the pressure
the faster the Machine travels.
GROUPSHOT - LOW ANGLE 24
All eyebrows are raised.
TIME TRAVELLER
This experiment can be performed
only once. If it succeeds, I lose
my model forever. That is why I
need witnesses.
They look at each other, uncertain whether he is
joking or not. Bridewell stoops with difficulty to
examine the table.
KEMP
Go ahead.
TIME TRAVELLER
You're ready then?
Despite disbelief, there is a tense silence as he puts
his finger on the lever. Then he pauses.
TIME TRAVELLER
Doctor Hillyer, would you care
to lend me your hand?
Dr. Hillyer extends his hand hesitantly, smiling
weakly.
INSERT OF MODEL 25
Using Dr. Hillyer's forefinger, the Time Traveller
presses the lever forward. A LOW-PITCHED HUM is
heard.
CLOSE ON THE MEN - LOW ANGLE 26
The men stare in fascination as the CAMERA PANS
and the HUMMING INCREASES.
INSERT: GLASSES - CHANDELIER - VASE 27
The glasses on the silver tray rattle (a)
and clink against each other.
The gas lights of the chandelier (b)
flicker rapidly.
A vase shudders and moves slightly on (c)
the mantelpiece.
INSERT OF MODEL 28
As the vibration increases, the outline of the model
is blurred and gradually becomes transparent, until
the Machine with the cigar has vanished utterly.
The HUMMING HAS REACHED A HIGH SHRIEK and STOPS
abruptly.
BACK TO CLOSE ON MEN - LOW ANGLE 29
The sudden silence is almost unbearable. They
stare at the empty table. The CAMERA PANS.
DR. HILLYER (touches his
cigar pocket)
I'll be damned!
TIME TRAVELLER (almost
to himself)
It worked!
Filby swallows.
Bridewell, with his mouth open, stares at the table.
Now he looks at the glass of champagne in his hand
and places it on the mantelpiece as far out of
reach as he can. Then, suddenly reversing his
decision, he retrieves the glass and gulps it down.
30 OUT
TWO SHOT 31
Dr. Hillyer slowly turns to the Time Traveller.
DR. HILLYER
Where did it go?
TIME TRAVELLER (recovering)
Go? Nowhere in the usual sense.
It's still here.
(indicating space where the
Machine stood)
But it's no longer in the present.
It's traveling through time - to
the future, to be precise.
DR. HILLYER
Do you seriously expect us to
believe that?
TIME TRAVELLER
Certainly.
DR. HILLYER
But you just said it hasn't
really moved.
TIME TRAVELLER
That's correct.
DR. HILLYER
Then why can't we see it?
TIME TRAVELLER
Because we're in this room on
December 31st, 1899, while the
model you saw is perhaps a hundred
years away. This room, or even
this house, may no longer exist a
hundred years from now. But the
Time Machine is occupying the same
space it did a moment before it went
off on its journey.
Dr. Hillyer runs his hand over the top of the table.
DR. HILLYER (exasperated)
If it occupies the same space, I
should be able to feel it.
TIME TRAVELLER
You must remember that the space
you've just put your hand through
is today's space. You can't put
your hand into the space of
tomorrow.
DR. HILLYER (getting angry)
Space is space! It doesn't change!
The same space that is here now should
be here a hundred or even a thousand
years from now.
TIME TRAVELLER
No! Time changes space. This flat
ground we're standing on now could
have been at the bottom of the sea
a million years ago. And a million
years from now it could be the
interior of a huge mountain.
Dr. Hillyer turns away, speechless.
GROUP SHOT 32
Kemp steps forward.
KEMP
Suppose what you say is true.
Exactly what do you suggest we do
with such a contraption?
TIME TRAVELLER
For my part, I intend to take a
journey into the future. - Unless
someone else prefers to volunteer.
There is no response.
BRIDEWELL (chuckling)
I say, George. Suppose you go off
and get lost in the fiftieth century!
How will you find your way back?
TIME TRAVELLER (quite
serious)
That's a calculated risk I'm prepared
to take.
Dr. Hillyer, having controlled his fury, now exchanges
significant glances with Kemp and turns back with an
air of reasonableness.
DR. HILLYER
Now listen, George! I don't
know what you take us for, but
we're not fools. There are a
number of ways of doing a
disappearing trick! But a man of
your ability should not bother
with such nonsense.
CLOSE ON DR. HILLIER - MOVING SHOT 33
He gets up from his chair.
DR. HILLYER (unable to
resist the temptation for
sarcasm)
There's a war on, you know! The
Boers are putting up a pretty stiff
fight in South Africa and our
country needs inventors like you.
I can put you in touch with the
War Office if you wish.
He walks over to the Time Traveller who is sitting
near the table on which stands the empty Ebony Box
with its lid open. Filby is in the b.g.
TIME TRAVELLER (looks
up at Filby)
What do you think?
FILBY (hesitating
slightly, and then)
I think Dr. Hillyer has a point,
George.
Lazily the Time Traveller toys with the lid of the
Ebony Box, then closes it with a SNAP. He looks up
and nods.
DR. HILLYER
Now you're being sensible. I'll
take care of it first thing in
the New Year.
BACK TO GROUP SHOT 34
Everyone rises.
DR. HILLYER
Well, time to go.
KEMP
Yes, we all have our plans for
tonight.
Dr. Hillyer and Kemp head toward the door. Bridewell
lingers at the table where the model of the Time
Machine disappeared.
BRIDEWELL (concerned)
Are you all right, George?
TIME TRAVELLER
Of course, I am.
DR. HILLYER'S VOICE
Coming, Bridewell?
Reluctantly Bridewell leaves the library followed
by the Time Traveller.
INT. ENTRANCE HALL - FULL SHOT 35
While his guests put on their capes, overcoats, scarfs,
gloves and hats, preparing for the cold weather
outside, the Time Traveller steps to the door and
grasps the handle.
TIME TRAVELLER
Thanks for coming.
He opens the door and they file past him, Bridewell
at the rear.
AD LIBS
Happy New Year. - Goodbye, George -
Happy Twentieth Century. - Etc.
Bridewell clasps the Time Traveller's shoulder,
reassuringly.
EXT. COTTAGE - LONG SHOT - (DUSK) - (MATTE) 36
In contrast to the previous SHOT (Sc.l) this is a snow-
less wintery day. The visitors are boarding the
carriage that awaits them in the drive.
DR. HILLYER
Come on, Bridewell.
Bridewell glances back to the Time Traveller, then
submits and, with a CRACK OF A WHIP, the carriage
moves off.
EXT. ENTRANCE - FULL SHOT 37
The Time Traveller, a silhouette framed in the door-
way, waves to them.
THE CARRIAGE 38
As it pulls away, Bridewell leans out, waving. From
the opposite direction another carriage full of NOISY
YOUNG PEOPLE THUNDERS by. In early New Year's Eve
REVELRY they TOOT their toy HORNS at the Time Traveller.
BACK TO THE TIME TRAVELLER 39
Unmindful of their salutations he turns and enters the
cottage.
INT. ENTRANCE HALL - MED SHOT 40
The Time Traveller slowly closes the door and leans his
back against it, staring into space. Thinking. - He
spots a newspaper on a nearby table, apparently left by
one of his guests, and picks it up.
INSERT: NEWSPAPER 40-A
A ROLL OF DRUMS in military fashion ACCENTS the headline
that the Boer Army has won another victory.
CLOSE ON TIME TRAVELLER 40-B
He closes his eyes and, added to the DRUMS, we HEAR
the call to battle by a DISTANT BUGLE. Then more
BRASS, FIFES and HORNS join the BUGLE and DRUMS to take
up a MILITANT OVERTURE.
He loosens his collar, then with sudden resolution
strides toward:
OMITTED 41-56
INT. LIBRARY - LONG SHOT 57
The Time Traveller crosses to his writing table in
the f.g. He stands there and even in the darkness
WE CAN OBSERVE that he is an angry man. He strikes
a match and lights the overhead gas fixture. The
light comes up and the MUSIC STOPS as he stares
across the room to see:
FILBY - MED. SHOT 58
sitting in a chair near the fireplace.
FILBY
I thought I'd better stay.
TIME TRAVELLER'S VOICE
You needn't have troubled yourself.
I'm all right.
FILBY
No you're not. - You've been
behaving oddly for over a month
now.
(and then)
I'm not leaving until you tell me
what's on your mind.
TIME TRAVELLER - MED. SHOT 59
Deep in thought, he goes to the fireplace and stirs
the coals. The CAMERA FOLLOWS.
TIME TRAVELLER
I appreciate your gesture, David,
but if you don't mind I'd rather
you left me alone.
FILBY
You have changed, George.
Enormously.
TIME TRAVELLER
I'm sorry.
FILBY (looks up to him
directly)
Will you answer me one question
honestly?
TIME TRAVELLER
I'll try.
FILBY
Why this preoccupation with Time?
TIME TRAVELLER (sharply)
Why not?
FILBY
Don't go simple on me, George!
TIME TRAVELLER (a beat,
then calmly)
If you want to know the truth, I
don't much care for the time I was
born into. - It seems people aren't
dying fast enough these days. They
call upon science to invent new,
more efficient weapons to depopulate
the earth.
FILBY
I quite agree with you. But here
we are and we have to make the best
of it.
TIME TRAVELLER
You may have to. I don't.
FILBY (making a half-
hearted attempt at levity)
All right. Take a journey on your
contraption. What would you become?...
A Greek? A Roman? One of the
Pharaohs?
TIME TRAVELLER
I prefer the future.
FILBY
You're not seriously saying you can
do it?
TIME TRAVELLER
You saw the experiment this afternoon,
didn't you?
FILBY
I saw a toy machine vanish. But
I'm certain there are a number of
ways of doing that trick. Any
magician at the Hippodrome could
probably do it.
TIME TRAVELLER (angrily)
It was no trick! - Would you care
to see the full-scale model?
FILBY
No, I would not! I have no desire
to tempt the laws of Providence and
I don't think you should. It's not
for man to trifle with.
TIME TRAVELLER
Now you sound like Hillyer and Kemp.
FILBY
There is something in their common
sense attitude to life.
(and then)
George, I speak to you as a friend.
More, as a brother. If that machine
can do what you say it can...destroy
it. Destroy it, George, before it
destroys you.
Distant SOUNDS of NEW YEAR'S CELEBRATIONS are HEARD.
TIME TRAVELLER
You must have plans for New Year's
Eve. Don't let me keep you.
FILBY
Mary isn't well. We decided to
stay home with the baby. But why
don't you come home with me. You
haven't seen little Jaime for a
long time.
TIME TRAVELLER
I can't.
FILBY
What's stopping you?
TIME TRAVELLER
I just want to see the old century
out by myself.
FILBY (rising)
Have it your own way.
He goes to the door.
AT THE DOOR 60
Filby stops, then turns around.
FILBY
Will you promise me that you won't
leave the house tonight?
TIME TRAVELLER
I promise you, I won't walk out of
the door.
Filby, a little puzzled by this strange promise, turns
to go as the Time Traveller puts down the poker and
steps up to him.
TIME TRAVELLER
David! Please don't think me un-
friendly! - Come over to dinner -
next Friday. Won't you?
FILBY
Very well.
TIME TRAVELLER
Fine...and will you bring the others
with you?
FILBY (with a warm smile)
Whatever you say, George. - Happy
New Year.
TIME TRAVELLER (shaking hands)
And a very happy New Year to you, David.
Filby pats his arm before he leaves. The Time Traveller
stands there until he hears the FRONT DOOR SHUT. Then,
FOLLOWED BY THE CAMERA, he goes to the writing table
and sits down.
AT THE WRITING TABLE 61
The Time Traveller opens a drawer and takes out the
new calendar that reads: "1900, Welcome New Century."
He flips a few pages to find the next Friday and jots
down the dinner engagement. At this point Mrs. Watchett,
with his velvet smoking jacket over her arm, appears
in the doorway and walks up to him.
MRS. WATCHETT
Will you be having supper in this
evening, sir?
TIME TRAVELLER (while ex-
changing jackets with Mrs.
Watchett's help)
I don't think so, Mrs. Watchett. Why
don't you take the evening off and
celebrate.
MRS. WATCHETT
Thank you, sir, but if you won't be
needing me I think I'll turn in early
and get some sleep...
(indicating revelers outside)
...it I can. - Goodnight, sir.
TIME TRAVELLER
Goodnight.
She turns to go as the Time Traveller calls after her.
TIME TRAVELLER
Oh, Mrs. Watchett!
(as she responds)
I've invited Mr. Filby and the others
to dinner next Friday.
(and then)
Happy New Year, Mrs. Watchett.
MRS. WATCHETT
Happy New Year, sir.
Mrs. Watchett exits, closing the door after her. Once
again the Time Traveller is alone. He looks at the
old calendar that reads: "December 3l. 1899," rips
the final sheet from the pad, crumples it into a tight
little ball and tosses it into the hearth where it
burns. With slow and deliberate movements he replaces
the old calendar with the new one. Then, he hastily
scribbles a note which he puts into an envelope and
places it prominently on the table. He rises and
mounts the steps that lead to:
INT. CORRIDOR - MOVING SHOT 62
The Time Traveller walks slowly toward a closed door
at the end of the passageway. Here he pauses momentarily,
removes the key from his pocket, unlocks the door, then
slowly swings it open as the MUSIC STARTS the THEME of
the picture.
INT. LABORATORY - FULL SHOT - (NIGHT) 63
The laboratory has the appearance of having once been
a greenhouse. Only a few potted plants remain. The
glass walls are obscured from view from the garden by
rows of tall growing plants. Only the glass skylight
is clear. Thick, dark, low-hanging clouds are pass-
ing beneath the moon, dimming its light and leaving
the interior a maze of dark shadows. As the slow mov-
ing clouds pass overhead, a shaft of moonlight seeps
through and we SEE workbenches, numerous tools, sheets
of drawings and scientific instruments situated around
the perimeter.
But the most conspicuous object in the room is the
Time Machine. It is a duplicate of the miniature model
already seen.
However, its size gives it a majestic quality. Nickel,
ivory and crystalline quartz gleam and sparkle. While
the miniature possessed a delicate, appealing note, the
full size Machine has an ominous look. The wavering
moonlight seems to render it alive and give it the
power of movement.
CLOSE ON TIME TRAVELLER - MOVING SHOT 64
Staring at the Machine, hypnotized by his own crafts-
manship, he locks the door with accustomed movement,
then crosses to a workbench and lights a candle. Here
a crystalline lever is attached to a polishing buffer.
The Time Traveller sets it in motion, polishing the
crystal lever until its rough edges disappear and it
sparkles like a fine cut diamond. As he works, his
lips purse and he softly STARTS TO WHISTLE the melancholy
strains of "The Land Of The Leal." A clock near him on
the workbench reads: "9:30."
Satisfied with the buffing, he removes the gleaming
handle and crosses to the Machine. He settles into the
saddle and affixes the crystalline lever. There is no
sign of urgency in his movements to betray that his
settling himself into the saddle is any more than a
routine position he has taken before to work on the
Machine.
Then he leans back in the saddle and gazes up at:
INSERT: SKYLIGHT - (STOP MOTION OR ANIMATION) 65
Passing clouds.
BACK TO TIME TRAVELLER 66
He looks upwards for several moments. Then his hand
slowly reaches forth and his fingers encircle the
lever. - Gently he urges it forward.
A HUMMING SOUND, similar to the one made by the model,
but MORE RESONANT starts and a soft glow wells up from
within the Machine.
INSERT: THE CONTROL PANEL 67
The luminous dials show: "31 December 1899." The
meters and indicators start to BUZZ and whirl. The
glow increases.
BACK TO TIME TRAVELLER 68
His expression is taut as he looks around, then down
to the control panel.
TIME TRAVELLER'S VOICE
I started...and the laboratory grew
faint around me...
INSERT OF PANEL 69
The figures spin, the needles vibrate. Then almost
at once the Time Traveller's hand reaches for the
lever and jerks it over to halt the Machine. The
HUMMING LESSENS and FADES.
BACK TO TIME TRAVELLER 70
As he starts to look up and around, slowly.
TIME TRAVELLER'S VOICE
...I stopped.
WHAT HE SEES - MOVING SHOT 71
Starting at the WINDOW with frost around the edges
and icicles outside, we move around the room PASSING
THE WORKBENCH over to the DOOR. During this we HEAR the:
TIME TRAVELLER'S VOICE
No change; everything exactly as it
bad been before. - But no!
THE CAMERA SWINGS BACK TO THE WORKBENCH, CLOSE, where
the clock now shows "11:09" and the candle has burned
shorter.
TIME TRAVELLER'S VOICE (excited)
The clock said 9:31 when I started and
now it was 11:O9...and the candle,
shorter by inches.
BACK TO TIME TRAVELLER 72
He looks amazed, then pulls his old fashioned watch
from his pocket by its gold chain. It flips open
showing almost "9:32."
TIME TRAVELLER'S VOICE
And yet by my watch which was in the
machine with me, only a few seconds
had passed.
Pleased, he puts his watch away and reaches for the
lever, looking off toward the:
WORKBENCH - (ANIMATION) 73
The HUMMING SOUND STARTS again and, while the hands
of the clock circle the dial, the flame of the candle
flickers with the speed of a bee's wing, melting the
candle down. The CAMERA MOVES to the window where the
frost has spread and the icicles continue to grow.
Light comes up behind so that the crystals glitter like
gems and the sun starts to rise.
TIME TRAVELLER IN THE MACHINE - MED. SHOT 74
The rays of the early Morning sun slide down the lab-
oratory wall and sweep across the Time Traveller and
his Machine. A trace of a smile -- and then, he looks
up and squints.
TIME TRAVELLER'S VOICE
It was disconcerting to see the sun...
INSERT: SKYLIGHT - MED. SHOT - (STOP MOTION OR 75
ANIMATION)
As the sun arches majestically.
TIME TRAVELLER'S VOICE
...arc in less than a minute...
INSERT: POT OF FLOWERS - (STOCK AND/OR STOP MOTION) 76
As they close.
TIME TRAVELLER'S VOICE
....to see flowers closing their eyes
for the night, changes that normally
took hours, occuring in seconds, was
beautiful.
During this it has turned into night and a little SNAIL
rushes across the ground beneath the plant, and then
the flowers start to open again. Light begins to flood
the scene.
In the b.g. Mrs. Watchett leaps into the garden, pauses
the briefest instant to sprinkle the flowers, then with
the speed of wind streaks away.
BACK TO TIME TRAVELLER 77
A trace of a smile, then apprehension.
TIME TRAVELLER'S VOICE
And as yet I was travelling very slowly!
(challenging)
What if I went faster?!
His hand shoves the lever farther over toward the
future position.
THE HUMMING SOUND RISES TO HIGHER PITCH. The Time
Traveller lurches in his seat, clings to the controls
and looks at the dials.
INSERT: CLOSE ON DIALS 78
They are spinning.
BACK TO TIME TRAVELLER 79
As he looks up.
INSERT OF SKYLIGHT - (STOP MOTION OR ANIMATION) 80
The sun soars across the sky, night falls. Pin points
of stars streak by and dawn comes. The sun is chased
by the stars again and again. Faster and faster.
VERY CLOSE ON TIME TRAVELLER 81
His eyes gleam with a mad light, half pleasure, half
pain. His face is illuminated by the alternating
flashes of light, each one indicating the passage of
another day.
He turns toward the:
WINDOW - FULL SHOT - (ANIMATION, STOP MOTION & STOCK) 82
Without a trace of frost or icicles. The snow has
disappeared, replaced by the lush green of Spring.
While the vines of a morning Glory grow up and around
the window like a snake and the flowers open and close,
we see the following through repeated fast flashes.
The sun hops swiftly across the sky. (a)
The night falls and the stars circle (b)
the North Star.
The sun appears and disappears be- (c)
hind the whirling clouds.
At night the moon races through (d)
tumultuous clouds.
On the following day the sky darkens (e)
with thunderheads. There is a
cataract of lightning and THUNDER.
BACK ON TIME TRAVELLER 83
Quick flashes of lightning on the Time Traveller's
face followed by a series of SHORT THUNDERCLAPS.
TIME TRAVELLER'S VOICE
It became intoxicating. To see an
entire storm in a few seconds. -
So I pushed the lever on toward
even greater speed.
He applies greater pressure on the lever. The
HUMMING INCREASES. The alternate flashes of light
become a flicker almost too fast for the eye to
follow. He looks o.s. and sees:
EXT. TREE IN GARDEN - FULL SHOT - (ANIMATION) 84
Its shadows, cast by the sun and the moon, dance
around the trunk, faster and faster -- the moon
passing through its phases and the sun shifting
its position with the seasons.
BRANCHES - CLOSE SHOT - (ANIMATION) 85
Leaves grow quickly. Flowers appear and turn into
small green apples. Growing larger, they turn red
and fall. The leaves gradually become amber and
disappear. Suddenly the bare branches are covered
with snow for a few seconds, then again burst into
green leaves and blossoms.
EXT. DISTANT HILLSIDE - FULL SHOT - (ANIMATION) 86
Through the window we see the trees grow and
change like puffs of vapor -- now brown, now
green; they spread, shiver and pass away. Snow
flashes across the country, vanishes and is
followed by the brief bright green of Spring.
TIME TRAVELLER'S VOICE
Thirteen years had passed...fourteen...
fifteen...sixteen...and then...
Gradually soot, dirt and grime has built up on the
windows from the outside and darkness prevails.
CLOSE ON TIME TRAVELLER 87
His brow is beaded with perspiration. Alarmed,
he grabs the handle of the Time Machine.
INSERT: THE DIALS 88
The hand of the Time Traveller quickly pulls back
the lever.
TIME TRAVELLER'S VOICE
In the year nineteen hundred seventeen...
I stopped.
The flickering of passing days and nights slows and
the HUMMING SOUND GRADUALLY DIMINISHES. The dial
stops on "13 September 1917".
TIME TRAVELLER - MED. SHOT 89
The CAMERA PULLS BACK as he steps out of his Machine
and glances with astonishment around the interior
of the laboratory. The once clear windows are now
dirty and boarded up. The world outside is
completely obscured from view. Only faint light
penetrating cracks indicates that it is day out-
doors. He crosses to the door. Dust falls as he
opens it and enters the corridor.
INT. LIBRARY 90
The dim light and the protective sheets covering
the furnishings previously seen, lend the room a
ghostly appearance. Tilted paintings reveal
faded spots on the walls and the dust is inches
thick here, as well as in the dining room seen
in the b.g. Cobwebs are everywhere.
The floor SQUEAKS on every footfall as the Time
Traveller, coming down the steps from the
corridor, enters the room and looks about.
THE SHELVES - TIME TRAVELLER'S P.O.V. 91
Among his books still rest the clocks, his once
prized possessions. There is NO TICKING now.
The hands of the clocks, each pair indicating a
different time, seem to guard the past.
CLOSE ON TIME TRAVELLER - MOVING SHOT 92
Curiosity takes the Time Traveller from the
library, through the ENTRANCE HALL, to the front
door. It refuses to respond to his attempt to
open it. Even when he uses his shoulder it does
not budge. He steps back and flings his full
weight against it and with a WRENCHING SOUND it
gives slightly. Under continued pressure the
nailed boards outside give way and a flood of
daylight illuminates the dusty interior. The
Time Traveller moves into the open driveway that
is now taken over by weeds.
EXT. COTTAGE - LONG SHOT - DAY 93
The Time Traveller takes a deep breath and looks
curiously around. Everything is overgrown with
vines and flowers. The house is boarded up. He
starts to wander around, thinking, investigating.
(NOTE: The house is situated upon a site with
distinctive landmarks that will stay
recognizable during his journey into
the future, thereby giving a clear
conception that time-travelling does
not involve geographical movement.
For instance, the sharp curve of the
River Thames in the distance will
remain even after the house itself
has disappeared.)
CLOSE ON TIME TRAVELLER 94
Suddenly the SOUND OF AN APPROACHING ENGINE
catches his attention. He looks puzzled toward:
EXT. ROAD - LONG SHOT - (DAY) 95
Coming up the hill on a narrow dusty road is a
car of 1916 vintage, with the HORN HONKING. The
CAMERA PANS with it, up to a SMALL STORE across
the street. The sign above the entrance reads:
"Filby's Department Store". A MANNEQUIN,
dressed for the period, is in the window. The
driver, in the uniform of a Second Lieutenant of
the First World War, steps out of the car. The
Time Traveller walks over to see his old friend,
sans moustache.
TWO SHOT 96
TIME TRAVELLER (glibly)
Going to a masquerade, David? You
look rather silly without your
moustache, old man!
FILBY (puzzled)
Were you addressing me, sir?
TIME TRAVELLER
(positively)
Filby! I expected more of an
enthusiastic greeting from...
FILBY (smiles as he
interrupts)
I'm afraid you have me confused
with my father, sir. There was a
remarkable resemblance. - I'm
James Filby.
TIME TRAVELLER
Was?
JAMES FILBY
Were you a friend of father's?
TIME TRAVELLER
Yes...yes...I've been away.
JAMES FILBY
He was killed in the war...a year
ago.
TIME TRAVELLER (aghast)
No!...it can't be...
(then, as he realizes its
truth)
I'm sorry to hear that.
(pause, then hesitantly
points)
And the gentleman who used to live
across the street?
JAMES FILBY
Oh, him. Some inventor who
disappeared around the turn of the
century. - If you're interested in
that house, forget it. You can't
buy it or even go inside.
TIME TRAVELLER
Why is that?
JAMES FILBY
My father was executor of the
inventor's estate and he refused to
liquidate it.
(adds with a smile)
I often chided him on that account,
but he felt positive that the owner
would return some day. - Some people
hereabouts think it's haunted.
(stares at Time Traveller
curiously, studying the
strange cut of his clothes)
Who are you, sir?
TIME TRAVELLER
Just a stranger who once knew your
father.
JAMES FILBY
I see.
(still curious at the Time
Traveller's abstract attitude)
Have you been at the front, sir?
TIME TRAVELLER
Front? What front?
JAMES FILBY
Why the war, of course.
TIME TRAVELLER
What war?
JAMES FILBY
Great heavens, man, don't you know
we've been at war with Germany
since nineteen fourteen? I thought
perhaps you had seen action in
France...or maybe...
(noticing confusion, adds
with a note of compassion)
Perhaps a cup of tea would make
you feel better. Won't you come in?
TIME TRAVELLER
No...no, thank you.
JAMES FILBY
You're sure you're alright, sir?
TIME TRAVELLER
Yes, I'm quite alright.
JAMES FILBY (hesitantly)
Then...goodbye, sir.
The Time Traveller nods and James Filby slowly
turns and, glancing back repeatedly, enters the
Department Store.
CLOSE ON TIME TRAVELLER 97
He speaks almost to himself.
TIME TRAVELLER
Goodbye, Jaime.
With the bitter taste of death for his old
friend, David Filby, he slowly walks across the
street and returns to the cottage.
INT. LABORATORY - FULL SHOT 98
The Time Traveller approaches the Machine, steps
up into the seat, throws his head back and grimly
shoves the lever forward.
SKYLIGHT - FULL SEOT - (STOCK AND ANIMATION) 99
ACCENT on MUSIC, then as the HUMMING OF THE TIME
MACHINE takes over, suddenly panes of GLASS BREAK
one after another, giving a clear view of a sky
full of SWIRLIING TURBULENT CLOUDS.
DISSOLVE TO:
CLOSE ON TIME TRAVELLER 100
The FLICKERS of days and nights, as well as the
HUMMING, INCREASES and DECREASES, in accordance
with his manipulation of the controls. Over this:
TIME TRAVELLER'S VOICE
As I went along, I gained experience
in handling the Machine. I found
that I could stop for a day, an hour,
or even for a second to observe, then
go ahead for a year or two. - Thus I
was able to see the changing world
in a series of glimpses.
Something catches his interest. He pulls back
the lever to SLOW DOWN.
EXT. STREET - FULL SHOT - (NIGHT) - (STOP MOTION) 101
With the speed of wind, pedestrians streak across
the pavement. The bright lights of the night pop
out one after another leaving a sparingly
illuminated street. The HUMMING SUBSIDES. The
mannequin previously seen in the show window now
wears the clothing of the "Roaring Twenties". A
distant CLOCK STRIKES ELEVEN.
BACK TO TIME TRAVELLER 102
Speaks surprised.
TIME TRAVELLER
Good heavens, that's a dress?
MANNEQUIN - MED. SHOT 103
From her pretty face with the funny hat, the
CAMERA PANS DOWN to the hem line of her skirt,
twelve inches from the floor.
BACK TO TIME TRAVELLER 104
A smile appears on his face.
TIME TRAVELLER'S VOICE
This was intriguing. I wondered
just how far women would permit
this to go.
He pushes the lever ahead. Flashes and HUMMING
INCREASE and we:
BLUR TO:
THE MANNEQUIN - FULL SHOT - (DAYS & NIGHTS) - 105
(ANIMATION)
As the years speed by INTERRUPTED BY SHORT BLURS,
the dresses of the mannequin change. The skirts
get shorter and shorter, then drop inch by inch
while the hair styles vary. The bosom appears to
swell with the sinking neckline and flattens as
the neckline rises. During this:
TIME TRAVELLER'S VOICE
I began to grow fond of that
mannequin. Maybe because, like me,
she didn't age.
THE TIME TRAVELLER - MED. SHOT 106
Suddenly he hears the SOUNDS OF AIRPLANES and
EXPLOSIONS in a strangely ACCELERATED manner.
He looks down at the instruments.
INSERT OF DIALS 107
Showing the passage of time. October, November,
December of 1939 and January, February, March,
April, May of the year 1940 are peeling off.
The instruments vibrate erratically.
CLOSE ON TIME TRAVELLER 108
He stares at the dials with much concern as he
is PITCHED back and forth in his Machine.
TIME TRAVELLER'S VOICE
Suddenly, in nineteen forty I began
to be buffeted from side to side.
My first thought was that the Machine
had a mechanical defect or a part
had worn out.
The Time Traveller HEARS the SCREAMS of DIVING
PLANES. He stops the Machine and looks up at:
SKYLIGHT - MED. SHOT - (NIGHT) - (STOCK) 109
Through the panes of broken glass we see a clear
but limited glimpse of the night sky that is
swept by beams of searching lights.
ANTI-AIRCRAFT batteries are FIRING as a squadron
of Nazi fighter planes are caught in the criss-
cross beams of light. The sky is pierced with
ack ack. Then, following the sound OF APPROACHING RAF.
FIGHTER PLANES, a dog fight ensues. Several of the
planes are hit and plummet earthward, balls of
streaking flame and fire.
CLOSE ON TIME TRAVELLER 110
Gazing up at the grim spectacle.
TIME TRAVELLER'S VOICE
The last time I had stopped was in
nineteen seventeen, twenty three years
ago. And the war with Germany was
still waging - now in the air with
flying machines. It didn't seem
possible they could go on fighting
all these years and still have the
means of fighting. Then I realized
the truth of the matter. This was a
new war. There must have been an
interval of peace in between these
wars. Yet they had learned nothing
but to prepare even more effective
means of destroying one another. I
decided to push on into time and see
the outcome.
He looks down at:
INSERT OF DIALS 111
Denoting the movement of the Machine through time.
The dials spin from 1940 to 1959 where the HUMMING
NOISE SUBSIDES and the dials again come to a stop.
TIME TRAVELLER'S VOICE
The fighting in the sky lasted only
a few moments. By nineteen forty five
it was over, but I continued on a
few more years before pausing for
another glimpse of my silent, never
aging friend.
THE MANNEQUIN - FULL SHOT - (DAY) 112
In bikini bathing suit. A car, a 1959 model, passes
by.
CLOSE ON TIME TRAVELLER 113
Smiling.
TIME TRAVELLER'S VOICE
It vas reassuring to find that she
hadn't changed. Only her costume.
Provocative to say the least. I
wondered what she would look like
ten years hence.
With a grin he throws the lever forward.
INSERT OF DIALS 114
HUMMING INCREASES and the years spin; 1960, 1961
and so on until it finally STOPS on 1966.
BACK AT THE MANNEQUIN 115
Dressed in the sleek dress of the future. First
a distant, then a close AIR RAID SIREN HOWLS,
menacingly.
BACK ON TIME TRAVELLER 116
His smile becomes a puzzled stare at what he sees.
EXT. STREET IN 1966 - LONG SHOT - (DAY) 117
People are racing along the sidewalk. The SOUND
OF MORE DEEP-THROATED SIRENS from all directions
comes over. Drivers leave their cars of the period
in disorder.
The running is purposive, however. All are entering
particular buildings or, like those closest to the
Time Traveller, are descending a stairway from the
sidewalk down below street level. Some glance sky-
ward.
A LITTLE GIRL picks up the doll she has dropped
as her FATHER returns from the shelter. He gathers
her up in his arms and rushes back to safety.
In a few seconds the streets are deserted.
TIME MACHINE AT EDGE OF PARK - FULL SHOT 118
The Time Traveller gets out and looks around,
confused.
TIME TRAVELLER'S VOICE
At first I wondered if my Machine and
I were the cause of the panic. I was
to soon find out we weren't.
He starts off toward the sidewalk, the CAMERA
MOVING with him. At the descending subway stair-
way he stops and peers downward, but sees no one
below. Meanwhile, through a loudspeaker o.s.,
a melodious SYMPHONY ORCHESTRA is heard softly,
until a BURST OF CHORDS attracts the Time Traveller's
attention.
EXT. STORE WINDOW - FULL SHOT 119
A TELEVISION CABINET on display. The set is
operating, showing a huge symphony orchestra
led by one of the popular conductors of tomorrow.
The CAMERA SWINGS to the modern ENTRANCE of FILBY'S
DEPARTMENT STORE just as the Time Traveller reaches
the two broad glass doors. As he steps forward he
intercepts the rays of electronic eyes and the doors
fly wide open.
He stops startled, looking about to see who opened
them. Seeing no one, he starts slowly forward.
INT. DEPARTMENT STORE - LONG SHOT 120
From the TV set BLARES MUSIC that gradually becomes
the UNDERSCORE for the SCENE. The Time Traveller
enters and turns his attention to other products
of tomorrow -- refrigerators, vacuum cleaners,
reducing belts, etc. As his keen mind grasps the
significance of each, he smiles with approval, proud
of his fellow man. His delight increases until he
is interrupted by APPROACHING FOOTSTEPS. He looks
off.
REVERSE SHOT 121
Coming from the office is THE WARDEN, dressed in a
plastic suit. He also wears an armband and a white
crash helmet, both bearing the insignia of "Civilian
Defense." MUMBLES are heard from beneath his mask
as the CAMERA PANS him to the Time Traveller.
TIME TRAVELLER
(shakes his head)
I can't understand you.
The warden takes off his helmet. He is David
Filby's son, James, whom we saw in 1917 as a young
man. He is now in his mid-sixties.
WARDEN
(looking at helmet)
Confounded radio in this thing.
Makes more noise than it does sense.
TIME TRAVELLER
(recognizing him)
Filby!
WARDEN
My name is Mister Filby. - Didn't
you hear the air raid siren?
TIME TRAVELLER
You mean that horrible screeching?
WARDEN
It wasn't constructed for its
aesthetic values, you know, but to
warn silly young fools like yourself
to get down into the shelter. Now
go on.
TIME TRAVELLER
But I'm perfectly comfortable and
I find your store magnificent. What
splendid achievements, what gigantic
strides mankind has taken, what...
WARDEN
(interrupting)
Come on, young man. We'd better be
going before the mushrooms start
sprouting.
(looks at Time Traveller
with renewed interest)
You do look familiar. Haven't
we met somewhere before?
TIME TRAVELLER
Indeed we have. Right here. Many
years ago.
WARDEN
I was sure of that, but the exact
time escapes me.
TIME TRAVELLER
It was two wars ago, I believe.
Nineteen seventeen.
WARDEN (awed)
Why now I recall. The chap who
inquired about my father -- and
the house that used to be across
the way.
(stops and stares at
the Time Traveller)
But no...that's impossible. You
haven't changed. You're not a day
older. And your clothes...
TIME TRAVELLER
I'm afraid it's going to take me
a little time to explain... You see...
There is an insistent, EAR PIECING SIREN. It
lasts for three seconds.
WARDEN
The last alert...hurry!
He grabs the Time Traveller by the arm and drags
him out.
ON THE STREET - FULL SHOT 122
They emerge from the store. The Time Traveller
pulls himself free.
TIME TRAVELLER
Listen to me! It's important.
WARDEN (points to sky)
Look! An atomic satellite zeroing
in! That's important!!
The Warden runs, looks back over shoulder, calling.
WARDEN
Hurry! Hide 'til the All Clear!
He descends into the air raid shelter.
CLOSE ON TIME TRAVELLER - MOVING SHOT 123
He looks puzzled.
TIME TRAVELLER
All clear?
(yells)
I've got to talk to you.
The Time Traveller looks up as he hears the
APPROACHING SIRENS OF AN AMBULANCE. Alarmed,
he runs across the street directly in the path
of the ambulance that threads its way between the
cars left in disorder on the road. The driver
spins the steering wheel and the ambulance tilts
crazily in trying to avoid the Time Traveller.
Suddenly there is a BLINDING FLASH. He stops and
looks startled.
VIEW THROUGH THE STREETS - LONG SHOT - (STOCK, 124
MINIATURE, SPLIT)
A SATELLITE travels over the city in the distance.
The flash is followed by an EXPLOSION and a giant
cobalt mushroom begins to rise over the horizon.
BACK TO SCENE 125
As the Time Traveller tries again to rush toward
his Machine, the shockwaves reach him and throw him
to the ground. He looks back, desperately.
THE CITY - LONG SHOT - (MINIATURE) 126
Through the thick cloud of smoke and dust we see
the once proud city of the future in ruins. Only
a single, large structure in the f.g. remains stand-
ing for a moment, then it also collapses in an instant.
TIME TRAVELLER'S VOICE
The labor of centuries gone in an
instant.
The ground shudders with an OMINOUS sound and sudden
a great rent appears in the wide street ahead, as
though the earth were being torn apart. It zig-zags
down the street and from the widening fissure clouds
of smoke and steam rise.
TIME TRAVELLER'S VOICE
But then Mother Earth, aroused by man's
violence, responded with volcanic
violence or her own!
CHASM IN THE GROUND - (STOCK) 127
The smoke and steam give way to a spluttering of
red hot lava which swells slowly at first in a
rising tide and then spilling over begins to
EXPLODE into the air.
BACK ON TIME TRAVELLER 128
The Time Machine is shaken violently, but the
Time Traveller manages to crawl into it.
THE THAMES - LONG SHOT - (STOCK) 129
As the river spills over its bed and turns into
another direction.
THE STREETS - (STOCK, MINIATURE, SPLIT) 130
With red hot lava swirling around the bases of the
remaining buildings. The lower parts of the struct-
ures in the f.g. dissolve into smoke and flame and
the upper parts come tumbling down into the rising
red flood. Then the incoming rush of the river
meets the flowing tide of lava. The two opposite
elements, molten rock and cold green water, dwarf
the ruined city as they leap toward each other, and
meet with explosive fury. The air is rent with the
SINGING HISS of water and the CRACKLING of cooling
rock. Steam whitens the sky.
THE TIME MACHINE - LONG SHOT - (STOCK) - (PROCESS) 131
Out of the tumult a flow of red hot lava turns
aside and leaps directly toward the Time Machine.
TIME TRAVELLER'S VOICE
Then I saw my own danger. I too was
to be engulfed!
CLOSE ON TIME TRAVELLER 132
As he sees his great peril.
TIME TRAVELLER'S VOICE
But to go back was unthinkable.
He jams the lever forward to its furthest position.
The HUMMING SOARS TO A VERY HIGH PITCH.
THE ENCROACHING LAVA - (STOCK) 133
It has been approaching with the speed of a torrent,
but now it literally leaps forward in a blinding
red haze that engulfs the entire scene.
THE TIME MACHINE - MED. SHOT 134
The interior of the Machine is permeated with a dull
red glow which seems to flow like mist all about the
Time Traveller.
TIME TRAVELLER'S VOICE
Only my speed through time saved me
from being roasted alive and encased
in stone forever.
INSERT OF DIALS 135
They are spinning too fast to distinguish anything
in the gradually fading red glow.
EXTREME CLOSE ON TIME TRAVELLER 136
His face is bathed in sweat. His eyes search the
growing darkness.
TIME TRAVELLER'S VOICE
The molten rock cooled.
(he closes his burning
eyes as the last of the
light vanishes)
I prayed...wondering how many centuries,
how many eons must pass before the wind
and rain could wear away the mountain
that enclosed me.
In the pitch darkness there are only the sounds of
the HUMMING TIME MACHINE and the SLOW LABORED
BREATHING of the Time Traveller.
Then a match flickers. The CAMERA SCARES BACK. The
Time Traveller holds up a burning matchstick, his
face glistening with perspiration as he leans forward
to look at the dials.
TIME TRAVELLER'S VOICE
(whispering)
Darkness...darkness for centuries.
INSERT OF DIALS 137
They roll very fast. We can distinguish only the
passing of years -- 70,000...80,000...90,000...
100,000. Then the matchlight flickers and goes
out leaving only the dial's own faint glow.
BACK ON TIME TRAVELLER 138
Once again there is darkness and the MONOTONOUS HUM
of the Time Machine. He breathes heavily and tries
to calm himself.
TIME TRAVELLER'S VOICE
I wondered if there was still war
being waged on the ground above me...
if man would still exist on earth,
when I saw the sun again.
As he speaks, the Time Machine goes faster and faster.
HIGH PITCHED HUMMING INCREASES.
TIME TRAVELLER'S VOICE
The centuries rolled by. - I put
my trust in time and waited for
the rock to wear down around me.
A white light from above begins to permeate the dark-
ness. The Time Traveller looks up, his face showing
immense relief.
WHAT HE SEES - (ANIMATION) 139
Rocks deteriorate and a bright blue sky bursts into
view. ACCENT ON MUSIC.
EXT. TIME MACHINE AND GROUND NEARBY - LONG SHOT 140
(SPLIT, ANIMATION)
Everything is a blur except the Time Machine with its
passenger. The black rock on the surface slowly melts
away and the flickering sunlight returns. The Machine
is now finally entirely above ground, the only distinct
object in the whirling transparent landscape.
EXT. TIME TRAVELLER - CLOSE SHOT 141
As he smiles gratefully up at the sky.
TIME TRAVELLER'S VOICE
I was free again!
He looks o.s.
INDISTINCT COUNTRYSIDE - LONG SHOT - (ANIMATION) 142
There is an impression of several great buildings
set wide apart by green landscape -- a landscape
which no longer changes color even though trees
spring up like plumes of green smoke.
TIME TRAVELLER'S VOICE
Thousands of centuries passed, but
the earth stayed green! There was
no winter! No wars! - Had man finally
learned to control both the elements
and themselves? - I had to stop and
find out.
TIME TRAVELLER - MED. SHOT 143
As he eagerly pulls hard on the lever, the HUMMING
DECREASES and the dial freezes on: "23 November
802,701". THERE IS A CRASH LIKE THUNDER and the
Time Machine suddenly goes into a spin. The CAMERA
ZOOMS BACK TO A FULL HIGH SHOT as the machine keels
over. The friction caused by the intrusion creates
a pitiless HAIL, and we
SLOWLY DISSOLVE TO:
EXT. TIME TRAVELLER - CLOSE SHOT - (DAY) 144
Thick mist eddies about his face, undulating
dreamily, revealing enough to see that he is
unconscious. Blood seeps from a gash across his
forehead. He dazedly opens his eyes to find that
he is gazing across the dewey, green turf. Then
he looks up.
EXT. THE SPHINX - FULL SHOT - LOW ANGLE - (MATTE) 145
The vapor rises like a curtain to disclose a great
bronze pedestal, green with verdigris, whereon
clawed feet support the white marble figure of an
immense Sphinx. The figure has the face of a
woman, the body of a huge cat and the tail of a
serpent. A weeping birch tree barely touches its
outspread wings.
THE TIME TRAVELLER - MED. SHOT 146
He shakes the cobwebs out of his head and, FOLLOWED
BY THE CAMERA, rises with difficulty. Still half-
dazed he presses a handkerchief to his temple, as
he loosens his collar, then reaches into the Machine,
pockets the lever and surveys his surroundings.
LANDSCAPE - LONG SHOT - (MATTE) 147
It looks like a garden untended for centuries. The
trees and shrubs are laden with strange blossoms or
exotic fruits.
In the distance there is a building that might once
have been a temple. Vines mat the ancient walls,
seemingly holding them together.
BACK TO TIME TRAVELLER 148
He smiles.
TIME TRAVELLER (to himself)
At last I've found a Paradise.
He starts off toward the building WHISTLING his
favorite tune, "The Land Of The Leal". The CAMERA
ACCOMPANIES him as he looks about with interest.
WHAT HE SEES - MOVING SHOT 149
Strange, exotic fruits bend the branches of the
TREES, some purplish and gourd-shaped, others
suggesting giant raspberries, mangoes, etc.
TIME TRAVELLER'S VOICE
Nature tamed completely and more
bountiful than ever before.
VARIETY OF FLOWERS - MOVING SHOT 150
The CAMERA PANS under boughs laden with orchids and
a multitude of other gorgeous blossoms.
TIME TRAVELLER'S VOICE
Flowers everywhere...the whole landscape
one vast garden with no sign of weeds or
briars.
EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT - (DAY) 151
The Time Traveller pauses and looks up at the building.
ACROSS FACADE - PAN DOWN - (MINIATURE?) 152
Vines creep up the crevices. The ornamental stone
work, while rich in detail, is weathered and
broken with age.
TIME TRAVELLER'S VOICE
(surprised)
Unrepaired for centuries! Maybe
unlived in for as long.
(then)
It would be no Paradise if it
belonged to me alone.
INT. ENTRANCE - MED. SHOT 153
Shooting through the ARCHWAY we see the Time
Traveller mount the steps and enter the building.
INT. THE GREAT HALL - FULL SHOT - (MATTE) - (DAY) 154
In the background across the hall, the Time Traveller
halts. He is dwarfed by the height of the vaulted
ceiling. Although ancient in appearance, everything
is ultra modern in design. Sunlight streams through
windows where half the panes of stained glass are
broken. Faded curtains droop in dusty folds along
the walls, and at random about the floor are low
tables, some heavily fractured, loaded with bowls
of fruit.
His FOOTSTEPS ECHO through the great hall as the
Time Traveller crosses to:
A TABLE - MED. SHOT 155
The Time Traveller glances down at the spread of
exotic fruit. Everything looks fresh and clean as
though newly prepared. Yet there is no indication
of life or sound, either human or animal. The air
hangs in a deathlike stillness. Slowly the Time
Traveller turns and looks around the walls, his
eyes searching, scrutinizing for some clue to
this strange place. There is none.
Then he picks up an empty marble plate and POUNDS
with it on the top of the table.
TIME TRAVELLER (shouting)
Anyone here?
But an ECHO is his only answer. Curiously he re-
traces his steps and leaves the great hall.
EXT. LANDSCAPE - FULL SHOT - (DAY) 156
Pick up the Time Traveller as he walks slowly along.
Every sense he possesses is on the alert. His eyes
probe every bush and tree and object that could
possibly conceal some person or thing.
SERIES OF SHOTS 157-161
As the Time Traveller takes this long, slow walk,
INTERCUT INSERTS of the various innocent objects
he looks at with CLOSEUPS of Time Traveller as he
reacts to the bewildering SILENCE and lack of life
or movement.
The continued stretch of emptiness builds up a wave
of apprehension in the Time Traveller which grows
as he moves along. The apprehension mounts into
tension and gradually but inevitably approaches
the state of horror that a human being would
experience in a strange place where he had just
come from an innocent freshly set table of ripe
fruits and stepped outside into a beautiful but
weird vacuum.
EXT. WOODED AREA - LONG SHOT 162
As the Time Traveller reaches the edge of the trees,
he hesitates, then moves into the forest.
SERIES OF SHOTS 163-166
The trees are thick and deep shadows cut patches of
darkness through the bright sunlight which struggles
to penetrate the maze. The Time Traveller walks
with continued wariness through the trees, glancing
from left to right and occasionally stopping dead
still and quickly darting a glance behind him at
what he imagines to be some sound of movement.
But all this is imaginary on his part. There is
nothing that moves or makes a sound in this forest.
Suddenly he stops as he distinctly hears a familar
and quite HUMAN combination of NOISES. The SOUND
SPLASHING WATER and LAUGHTER. He hurries to some
dense foliage where he stops to cautiously peer out.
EXT. THE POOL - LONG SHOT - (DAY) 167
The Time Traveller's VIEW is partially obscured by
the leaves. At considerable distance upstream, the
PEOPLE OF THE FUTURE are swimming in a natural pool
and sunning themselves on a beach of white sand.
They are small, but delicately formed. Their grace
and beauty fits perfectly into this splendid new
world. The spot is also extremely lovely, surrounded
by fern trees, and with the water plunging into it
from a high waterfall. Below the pool the stream
emerges in a swift torrent.
ANOTHER, CLOSER SHOT 168
A beautiful GIRL, dressed in a silken robe of white
and gold, starts running. As she runs, she loosens
her robe which drifts to the sand and she dives deep
into the crystal water.
CLOSE ON TIME TRAVELLER 169
He smiles philosophically and leans back against a
tree trunk, watching the distant swimmers, reassured.
TIME TRAVELLER (musingly,
to himself)
So this is man's future...
GROUP SHOT 170
The people, apparently without any cares of the
world, play, romp and swim.
TIME TRAVELLER (o.s.)
...to bask in the sunlight, bathe in
the clear streams and eat the fruits
of earth with all knowledge of work
and hardship forgotten.
BACK TO TIME TRAVELLER 171
He pauses, thinking back on what he has just said.
TIME TRAVELLER
Well, and why not?
Suddenly a SHRILL SCREAM COMES OVER from the pool.
He turns.
THE POOL - LONG SHOT 172
The Girl has swum out too far and is caught by the
swift torrent. She CRIES OUT PITEOUSLY.
The other people turn their heads toward her, but
make no move to help.
CLOSE ON GIRL 173
She has caught a ledge of rock and clings. Two
little men, their bare feet dangling in the water,
sit nearby but ignore the Girl's plight.
TIME TRAVELLER - MOVING SHOT 174
He jumps out from the foliage, rushes to the bank,
points toward the Girl and tries to attract the
attention of those near her on the bank.
TIME TRAVELLER
Help her!...
No one moves. He runs toward the ledge.
BACK TO THE GIRL 175
Her grasp on the ledge grows weaker. She is at
the point of letting go.
TIME TRAVELLER - MOVING SHOT 176
Reaching the ledge, he pushes past the people nearby
and grasps the Girl's wrist just as her fingers
slip. Quickly, he pulls her out of the river's
turbulent current and lifts her up in his arms.
GIRL - EXTREME CLOSE UP 177
Looking up at the Time Traveller bewildered, she
shows neither fear nor gratitude.
TIME TRAVELLER - EXTREME CLOSE UP 178
Gazing back at the Girl thoroughly puzzled. He
turns and glances down at the two little people
on the ledge.
CLOSE TWO SHOT 179
These two men will later be known as the YOUNG MAN
and the MAN IN WHITE. They return the Time Travel-
ler's look of scorn with pleasant smiles as if they
do not know the meaning of a mean look.
TIME TRAVELLER & GIRL - EXTREME CLOSE, MOVING SHOT 180
Trying to avoid looking at the dripping, robeless
Girl - after all he is a Victorian - he carries her
to the safety of the bank and sets her down on the
sandy beach beneath the trees. The CAMERA FOLLOWS
him as he straightens, then quickly takes off his
jacket and throws it around her.
He looks at her for the first time sees the almost
ultimate in feminine beauty.
TIME TRAVELLER
Are you all right?
TIME TRAVELLER & GIRL - FULL SHOT 181
Wearing his velvet jacket very appealingly, she
calmly rises, turns and, without a word, walks
away. The Time Traveller stares after her in
astonishment.
The disconcerned people, now all dressed in multi-
colored robes, are leaving the pool. They walk
past the Time Traveller as though he was a part of
the scenery, merely adding to his confusion.
CLOSE ON TIME TRAVELLER 182
Perplexed.
DISSOLVE TO:
EXT. ENTRANCE TO THE GREAT BUILDING - (SUNSET) 183
Shooting toward the ARCHWAY. The sun is sinking as
the last stragglers of the little people enter the
great hall. The Time Traveller slowly follows them.
He pauses on the steps to see if any will turn back
to either welcome him or resent his intrusion, but
they move on with lack of interest, completely. He
sits down on the steps, thoroughly perplexed at this
utter indifference.
TIME TRAVELLER - MED. SHOT 184
Seated on the steps leaning against a column. He
senses another's presence, looks about, sees no one,
then turns to glance over his shoulder. The Girl, now
wearing her robe and holding his jacket over her arm,
appears from behind the column. He looks at her and
smiles reassuringly, but makes no move toward her. -
She comes closer, then sits on the step above him and
returns his jacket. While he slowly slips it on,
she slides down a step to sit alongside him.
THE GIRL
Why did you?
TIME TRAVELLER
Why did I what?
THE GIRL
Come after me.
TIME TRAVELLER (ironic)
I did it to save your life, young
lady, which I'm afraid doesn't hold
much meaning for you or anyone else.
THE GIRL (simply)
It doesn't.
TIME TRAVELLER
Must have been fifty of your friends
watching you drown. Not one of
them so much as lifted a finger. -
(shakes his head)
A curious attitude - in a curious
world.
(a pause, then a
smile)
Aren't you the least bit interested
in what I am...where I come from?
THE GIRL (innocently)
Should I be?
TIME TRAVELLER (smiles)
Perhaps you'd better take me to
someone a bit older I can talk to.
THE GIRL
There is no one older.
The Time Traveller is suddenly struck by the truth
of her words. All of the little people seem to be
of the Girl's age or younger.
TIME TRAVELLER
Doesn't anyone age in this land
of yours?
The Girl makes no reply. Instead she gazes off at the
sun which is low in the heavens. Shadows have already
fallen over the distant hills.
TIME TRAVELLER
What's your name?
THE GIRL
Weena.
TIME TRAVELLER
How do you spell that?
WEENA
Spell?
TIME TRAVELLER
Write! - Can't you write? Look!
He bends over, picks up a stick and starts to draw
on the ground.
INSERT: DUST 185
As the stick writes out: " W E E N A "
BACK TO SCENE 186
She shows little interest.
TIME TRAVELLER
And what are your people called?
WEENA (as if he ought to know)
Eloi.
INSERT OF DUST 187
The stick now writes in the dust: " E L O I "
BACK TO SCENE 188
A shadow crosses her face. Suddenly she springs
to her feet, concerned.
WEENA
Come. We must go in.
TIME TRAVELLER (rising)
Why? What's wrong?
WEENA (anxiously)
It is getting dark.
She grabs his hand and pulls him toward:
INT. THE GREAT HALL - LONG SHOT - (MATTE?) - (DAY) 189
Crowded now. The people of the future are sitting
on cushions around the tables, having their evening
meal. The glowing orange light of the setting sun
pierces the broken windows, lending a curious at-
mosphere to the place. No one pays attention to
Weena or to the Time Traveller as they enter in the
b.g.
AT THE MAIN TABLE - MED. SHOT 190
A score of attractive young men and young women are
enjoying their dinner. There is a general atmos-
phere of bubbling good humor. They don't even look
up as Weena and the Time Traveller sit down at the
table. She hands him an orange-sized raspberry. He
takes it, looks at the Young Man and the Man in White
who sit across the table from him and tries to engage
them in conversation.
TIME TRAVELLER (directed to
Young Man, but meant for the
entire group)
I don't mind telling you, I'm quite
hungry. I've come a long, long way.
Looks around for some kind of a reaction. There is
none.
CLOSE ON TIME TRAVELLER 191
He bites into the fruit. It's good. While he is
eating he searches for another way to bring up the
subject.
TIME TRAVELLER
In my time a berry this size would
have made news in every civilized
country.
GROUP SHOT 192
There is no reaction, so he addresses the Young Man
again.
TIME TRAVELLER
Sir, perhaps curiosity has died.
Perhaps even courtesy has died, but
I have come a long way and there are
things I would like to know.
YOUNG MAN (considers a
moment, then)
Why?
TIME TRAVELLER
Because I shall return to my time
and they will ask questions such as
what kind of government rules your
world.
MAN IN WHITE
We have no government.
TIME TRAVELLER (speaking
as though to a child)
You must have a body of men who pass
and enforce laws.
MAN IN WHITE
There are no laws.
TIME TRAVELLER (taken aback,
then)
How do you get your food and clothing?
The Man in White looks at the Young Man beside him.
They both shrug their shoulders.
TIME TRAVELLER
Doesn't anyone work?
MAN IN WHITE
No.
TIME TRAVELLER (picks up
fruit)
Then where does this come from?
MAN IN WHITE
It grows. It always grows.
TIME TRAVELLER
But it must be planted, cultivated,
nurtured...unless...
(with mistaken insight as he
observes no reaction to this
last query)
Unless you have an economy so well
organized that you can devote all your
time to study and experimentation.
Am I right?
MAN IN WHITE
You ask many questions.
TIME TRAVELLER (annoyed)
Yes! And I'm not ashamed of it.
That is how man has learned and
bettered himself. I must learn about
you and your civilization. You have
books, don't you?
YOUNG MAN (recognizing a
half-forgotten word)
Books. - Books! Yes, we have books.
He rises and beckons. The Time Traveller's brow
clears.
TIME TRAVELLER
Books will tell me what I want to
know. Books will tell me all about
you.
He too gets up and follows the Young Man.
AT THE WALL - LONG SHOT 193
The Young Man leading. He reaches the wall and
seizes an ancient curtain which covers it. A
cloud of dust rises as he tugs it aside and the
curtain falls, almost crumbling. Shelves and
shelves of books are disclosed. The books are
old even though many of them have futuristic de-
signs. The bindings of once proud volumes hang in
brown tatters. The Time Traveller steps to the
books.
CLOSE ON TIME TRAVELLER 194
The realization of the true state of affairs shows
on his face. He is appalled. Carefully he pulls
a volume from the shelf. Its binding breaks as
he opens it and, when his hand touches the pages,
they crumple like ashes and drift to the floor.
He drops the book. His voice is a shocked WHISPER.
TIME TRAVELLER
Yes...they do tell me all about you!
With sudden violence he slams his fist into a whole
shelf of books. His hand plows through them and
the dust swirls into the air. He turns back in
anger.
TIME TRAVELLER
What have you done? Thousands of
years of building and rebuilding
creating and re-creating so that
you can let it crumble to dust.
With one hand he grabs the Young Man and shakes him.
TIME TRAVELLER
A million yesterdays of sensitive
men dying for their dreams. For
what? So you can swim and dance
and play.
He releases him and leaves.
THE HALL - MOVING SHOT 195
The Time Traveller stomps among the Eloi, hating
them for their dissipation.
Without emotion they watch him walk toward the
entrance. Only Weena jumps to her feet. Her
former indifference is gone.
AT THE ENTRANCE 196
From the top step, the Time Traveller looks down
at them.
TIME TRAVELLER
I am returning to my time! Not to
tell of the uselessness of the
struggle - not to tell of the
hopeless future - but only so that
I can die among men!
He turns and strides toward the door.
EXT. ENTRANCE - MED. SHOT - (DUSK) 197
The Time Traveller bursts out of the building. A
moment later Weena appears in the archway. She
stands there, looking after him.
DISSOLVE TO:
EXT. FOREST - LONG SHOT - (NIGHT) 198
There are patches of mist and haze between the
trees. With a blazing torch the Time Traveller
strides across.
EXT. TIME TRAVELLER ON THE PATH - (NIGHT) 199
Coming from the distance the CAMERA PANS HIM TO
THE EDGE OF LAWN, where he stops short, jerking
the pipe from his mouth, his eyes wide with con-
sternation. He raises the torch high to see:
EXT. THE LAWN - FULL SHOT - (NIGHT) 200
There is no Time Machine.
CLOSE ON TIME TRAVELLER 201
In stunned shock.
THE PATH - FULL SHOT 202
Holding his torch high, the Time Traveller hurries
toward the bushes around the edge of the lawn
looking for his Machine, beating the branches with
his free hand. After he passes one of the bushes,
a white indistinct creature dashes out of it and
disappears in the darkness. Unaware of this, the
Time Traveller stops in the mindle of the lawn
where the Machine was last seen.
(NOTE: The surrounding is suggestive of the spot
where the Time Traveller's house once stood.)
He looks about, slowly turning in a complete circle.
Meanwhile the CAMERA MOVES IN CLOSE. Then, sud-
denly remembering, he digs his free hand into the
pocket of his trouser, drawing out the lever he
had removed and looks at it with self-assurance.
Returning the lever to his pocket, he drops to his
knees and by the light of his torch, scrutinizes
the grass.
THE GROUND - TIME TRAVELLER'S P.O.V. 203
The turf has been ripped in parallel grooves as
though some heavy object had been dragged across.
CAMERA MOVES SLOWLY FORWARD following these grooves
and HALTS where small misshapen, half-human foot-
prints stand out clearly in the freshly turned
earth.
TIME TRAVELLER - MOVING SHOT 204
He straightens slowly, his eyes narrowed.
Nervously he looks around, then steps on follow-
ing the grooves.
BACK TO THE FOOTPRINTS 205
THE CAMERA CONTINUES TO FOLLOW the grooves
straight across the lawn to the flagstones around
the white sphinx. There are dark scratches on the
stones leading to the wide panel in the base of
the pedestal. Here the marks end.
AT THE PEDESTAL - MED. SHOT 206
The Time Traveller pauses, then gives the panel an
exploratory KNOCK. It responds with a HOLLOW SOUND.
The Time Traveller thrusts his torch between the
claws of the sphinx. With both hands now free,
he tries unsuccessfully to push the panel either
to right or left or up or down. Taking a penknife
from his pocket, he runs the blade around the panel's
edge hunting for a secret latch. No success.
Then he pauses, searching for a tool, and sees a
loosened flagstone. He picks it up. With this
heavy weight he batters the panel. At each blow
it RESOUNDS LOUDLY, not unlike a gong. Four times
he strikes, and then on the fifth blow the rock
shatters in his hands. He stops in despair.
CLOSE ON TIME TRAVELLER 207
He senses he is under observation by an unseen
presence. Alarmed, he whips around then looks up
to:
THE SPHINX - LOW ANGLE - (MINIATURE OR MATTE) 208
The marble face looks baleful, almost smiling in
the torch light.
BACK ON TIME TRAVELLER 209
He turns and peers toward:
THE BUSHES 210
In the shadows, beyond reach of the light, is a
wide semi-circle of luminous eyes, reflecting the
flame of the torch.
TIME TRAVELLER - FULL SHOT 211-213
He grabs his torch from the pedestal and slowly
paces toward the nearest bush. But as he ap-
proaches, the glowing eyes vanish in the haze,
followed by a ghostly impression of pale,
fleeing creatures.
The Time Traveller halts and turns in another
direction. The same thing happens.
Then he has an idea. Bending, he beats the torch
against the moist soil and extinguishes it. Now
in the darkness he straightens and waits, peering
around until he hears a twig CRACK, then moves
into the deep shadow of a tall bush, looking off.
THE PATH 214
Through the mist in the foliage a pale figure
approaches slowly. It emerges onto the lawn.
TIME TRAVELLER - MED. SHOT 215
The CAMERA FOLLOWS as he leaps forward, grapples the
other figure and bears it to earth. For a moment
there is a struggle and then the other figure lies
perfectly still. The Time Traveller rears back to
get a look at it.
THE FIGURE ON THE GROUND - EXTREME CLOSE SHOT 216
It is Weena. The moving shadow of the Time Traveller
reveals her pale face, with closed eyes, wearing an
expression of helpless terror. She appears to be
waiting for the inevitable end, but when it does
not come, she slowly opens her eyes. She sees the
Time Traveller and her face records a wave of
relief.
The CAMERA WITHDRAWS TO TWO SHOT as the Time
Traveller, embarrassed, helps her sit up.
WEENA
I heard you pounding...I came to
tell you...
TIME TRAVELLER
How do you open that panel?
WEENA
No one opens it. Only the Morlocks.
TIME TRAVELLER
Morlocks? - Who are the Morlocks?
A look of fear comes into her eyes. She drifts
her gaze away from his, too frightened to answer.
Gently he takes her by the shoulders and turns
her to face him.
TIME TRAVELLER
Why are you afraid of the Morlocks?
Again Weena drops her eyes from him, but he cups
his hand beneath her chin and tenderly turns her
head back so that her eyes meet his.
TIME TRAVELLER
Tell me.
WEENA
When they call, we must go below.
TIME TRAVELLER
Do the Morlocks live beneath the
earth?
(Weena nods)
Why must you obey their command?
WEENA
They give us the food we eat, the
clothes we wear. We must do as
they command.
TIME TRAVELLER
What happens to your people when
they go below?
WEENA (repressing an in-
voluntary shudder)
No one knows. No one has ever
returned.
TIME TRAVELLER (smiling
at her warmly, reassuringly)
It won't happen to you.
Weena looks up at him, her fears dwindling, find-
ing comfort in this strange being whom she cannot
understand. Then she glances high into the dark sky
and the old fear returns.
WEENA
It is night.
TIME TRAVELLER
Only children are frightened by
the dark. - But then you are a
child, aren't you?
(Weena glances around
warily into the shadows,
her anxiety mounting)
I'll build a fire.
WEENA (taking his
hand, rises)
Let us go from here.
TIME TRAVELLER (getting
up)
I can't, child.
(walking toward the sphinx)
My Machine is inside there, I
intend to wait here 'til morning,
then find some way of getting
inside.
WEENA (catching up)
No, you must not.
TIME TRAVELLER (stops,
then)
Help me gather some wood.
THE LAWN AND THE BASE - LONG SHOT 217
Reluctantly she helps him collect a few twigs which
she hands over to him.
WEENA
Where are you from?
TIME TRAVELLER (picks
up dry branches)
As a matter of fact, I'm from
right here.
(gesturing)
There's where my house stood many
thousands of years ago. Here - to
that monument, was my laboratory.
About there was my library where I
once sat talking with friends about
my Time Machine.
Meanwhile, Weena has seated herself near the
bushes in the f.g.
CLOSE ON WEENA 218
She watches every move he makes.
TIME TRAVELLER'S VOICE
(continuing)
I hoped to learn a great deal. I
hoped to take back the knowledge,
the advancement, mankind made...
instead what do I find? Vegetables!
Meanwhile a pair of pale, hairy hands rise slowly
from behind her.
TIME TRAVELLER - MED. SHOT 219
With his back turned, he is piling up the sticks.
TIME TRAVELLER (continuing)
The human race reduced to living
vegetables!
BACK TO WEENA 220
The hairy hands grab her shoulders. The fear
paralyzes her. She is unable to scream.
BACK TO TIME TRAVELLER 221
He is about to light a match, but finds he needs
more wood. Without turning he calls back to Weena.
TIME TRAVELLER
Get me a few more twigs.
When there is no answer he turns and looks.
AT THE BUSHES 222
Weena is gone. The CAMERA ZIPS TO LEFT, then to
RIGHT and finally STOPS on the limp legs of Weena
slowly disappearing under the brush.
TIME TRAVELLER - MOVING SHOT 223
We hear the RUSTLING OF BRANCHES and quick DIMINISHING
FOOTSTEPS as the CAMERA RUSHES with the Time Traveller
toward the bush. He helps Weena to her feet and draws
her to the pile of dry branches.
TIME TRAVELLER
(after calming her)
What was it?
WEENA (low)
Morlocks.
TIME TRAVELLER (strikes
match and holds it to twigs)
This seems to keep them away.
CLOSE ON WEENA 224
She gazes into the fire, with fascination. Slowly
she raises her hand and reaches out to grasps the
flame.
TWO SHOT 225
The Time Traveller grabs her hand. It is almost
too late. She looks at her burned hand with more
amazement than pain.
TIME TRAVELLER (while
examining her hand)
What ever made you put your hand in
the fire?
WEENA
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