THE TIME MACHINE

                              by

                          John Logan






























                                            February 22, 2000





	INT.  COLUMBIA UNIVERSITY - LECTURE HALL - DAY

	Darkness.  Then a sound...

	Click-clack, click-clack, click-clack...

	The familiar sound of chalk writing on a blackboard.

	Fade up to see...

	A hand zooming across a blackboard at incredible speed,
	forming an endless algebraic equation.

	Amazingly, when the writer reaches the end of the blackboard
	he does not lift the chalk and return to the left side to
	begin a new line -- instead he simply loops around and
	continues writing, right to left, upside down.

	The college students in his class -- all male and dressed in
	late Victorian clothes -- smile at this familiar peculiarity
	and tilt their heads to try and read the endless equation,
	copying furiously into notebooks.

	The hand continues to zoom along the blackboard... and then
	slows... and then stops... the students wait... the hand taps
	the chalk on the blackboard for a moment and we finally
	see...

	ALEXANDER HARTDEGEN, a handsome young man not much older than
	his students, standing at the blackboard.  He is gazing out a
	window, looking at a bird on a tree branch.  He smiles.

	The students glance to one another.

	Alexander remembers himself and turns back to the blackboard,
	his hand again flying as:

				ALEXANDER
		So -- length, width, breadth --
		formulate the area and of course we
		arrive at solid mass.  But imagine
		if we continue the equation as I've
		done -- can't we begin to recognize
		another dimension beyond the first
		three?  I theorize we begin to find
		duration -- the object's place in
		time.  Let's note that as "D"
		here...

	Alexander reaches the left side of the blackboard and loops
	around again in an unbroken line to continue the equation
	from left to right again.

	The students are hopelessly lost.  They finally stop copying
	and just watch Alexander work, admiring his brilliant
	innovation.

	Meanwhile, a man watches from the back of the lecture hall. 
	He is DAVID PHILBY, Alexander's closest friend, a bit older.

				ALEXANDER
		... If we accept the theoretical
		possibility of duration as a fourth
		dimension we find that our equation
		might -- no, that's not right --

	He erases some numbers quickly with his hand, sending up a
	cloud of chalk dust, he coughs.

				ALEXANDER
		-- there, that looks more like
		it...

	He continues to scribble at lightning speed.  Then...

	He begins humming to himself.

	The students watch, amused.  Philby smiles.

	Alexander finally stops humming and writing.  Steps back and
	looks at the equation.  Then he turns to his students.

				ALEXANDER
		Does this make any sense to you?

	The students are confused.  One offers:

				STUDENT
		Sir, if I may, wouldn't it be
		easier if you applied a Fibonacci
		sequence to the differential
		coefficient?

				ALEXANDER
			(smiles)
		It's not supposed to be easy, it's
		supposed to be beautiful... All of
		you think about that tonight and
		we'll press on tomorrow.  Good
		afternoon.

	The students begin to rise, class over.  They leave the
	classroom talking eagerly about Alexander's theories,
	inspired.

	A sudden new angle: from above we see Alexander going to
	Philby, leaving the classroom talking with him.  We are in
	the upper balcony of the classroom.  A solitary figure looks
	down, watching them.

	This new figure is a thin man with pale skin, dry like
	parchment.  Somehow ominous.

	INT.  COLUMBIA - HALLWAY - DAY

	Alexander walks with Philby:

				ALEXANDER
		... The point is I know it will
		work once the, um, numbers and such
		are in order.

				PHILBY
		Do you know you were humming?

				ALEXANDER
		I was not.

				PHILBY
		Somewhere around "D+2xy something
		something."

				ALEXANDER
		Damned if I can keep her out of my
		equations.

				PHILBY
		Tonight's the night?

				ALEXANDER
			(checking pocket watch)
		God, and I'm running late --

	A PRIM WOMAN appears before them:

				PRIM WOMAN
		Dr. Hartdegen, Dr. Philby... Dean
		Fulton would like to see you.

	Alexander and Philby exchange a look.  Gulp.  They follow the
	prim woman.

	INT.  COLUMBIA - DEAN FULTON'S OFFICE - DAY

	They follow the prim woman, Dean Fulton's secretary, into his
	dark, paneled office.

				PRIM WOMAN
		He's outside.

	Alexander and Philby move through the office and out to a
	garden courtyard...

	EXT.  COLUMBIA - GARDEN COURTYARD - DAY

	Oddly, chickens are clucking about the courtyard.

	The thin man we saw before, DEAN FULTON, is casually tossing
	down feed for the chickens.  With his other hand he carries
	an umbrella to protect himself from the sun.  He does not
	look up.

				DEAN FULTON
		Gentlemen, watch your step.

	Alexander and Philby stop.  Dean Fulton looks up and smiles,
	benevolent.

				DEAN FULTON
		My fowl have polluted the yard.

				PHILBY
		Dean Fulton...

	Dean Fulton continues to lazily scatter feed for his
	chickens.

				DEAN FULTON
		Dr. Philby, Dr. Hartdegen.  I
		received the most extraordinary
		letter last week.  From a parent. 
		We are always pleased to receive
		letters from parents.  They are our
		employers, after all.  This
		gentleman's son is in your class,
		Dr. Hartdegen.

				ALEXANDER
			(knows what's coming)
		I see.

				DEAN FULTON
		As I recall the syllabus the name
		of your tutorial is "Applied
		Mathematics and Engineering", am I
		correct?

				ALEXANDER
		Exactly correct, sir.

	Dean Fulton stops scattering feed and gazes at Alexander with
	a smile.  This is an old game between them and they both
	rather enjoy it.  To a point.

				DEAN FULTON
		Well, just as I thought.  Surely
		it's all been a terrible mistake. 
		This parent actually suggested that
		your freshman course in applied
		mathematics has somehow become a
		seminar on theoretical physics!

				ALEXANDER
		Imagine that.

				DEAN FULTON
		But I know that none of my faculty
		would ever deviate from the
		assigned curriculum.

				ALEXANDER
		Well... perhaps I have "deviated"
		the tiniest bit.

				DEAN FULTON
		Might I ask why?

				ALEXANDER
		Because the assigned curriculum is
		boring.

	Philby groans very quietly.

				ALEXANDER
		Sir, that curriculum is forty years
		out of date.  The students today
		are looking toward the new century 
		-- they want to be challenged and
		inspired, not spoon-fed dusty old
		equations that have been proved a
		thousand times.  They want to
		explore.

				DEAN FULTON
		Do they?

	Dean Fulton smiles and then begins to scatter feed again.

				DEAN FULTON
		What are these animals, gentlemen?

	Alexander and Philby exchange a look.

				PHILBY
		Um, your chickens, sir.

	Alexander helpfully offers:

				ALEXANDER
		And roosters.

				DEAN FULTON
		No, Dr. Hartdegen, they are not
		just chickens and roosters.  They
		are science.  Perhaps they aren't
		"inspiring" to you.  Perhaps they
		don't "challenge" you --

				ALEXANDER
		No, sir --

				DEAN FULTON
		Animal husbandry is science, Dr.
		Hartdegen.  I have been breeding
		these fowl for fourteen years.  I
		have filled a library with
		information on their feeding
		patterns, social behavior and
		breeding.  Empirical, exacting,
		quantifiable records.

				ALEXANDER
		Sir --

	Dean Fulton looks up at him, his eyes cold:

				DEAN FULTON
		"Duration" is not a dimension. 
		Scientists do not imagine the world
		around them.  They do not wool-
		gather or cloud-spin.  They prove. 
		They demonstrate.  Columbia
		University does not teach fantasy.

	Philby shoots Alexander a warning look, but Alexander can't
	help himself:

				ALEXANDER
		With respect, sir, would we have
		the telegraph without fantasy? 
		Would we have radium and X-rays
		without someone first dreaming we
		could?

				DEAN FULTON
		The advances you speak of were the
		result of countless years of study
		and empirical experimentation, a
		careful evolutionary process, not
		chalkboard parlor-tricks.

				ALEXANDER
		My equations are not parlor-tricks!

				DEAN FULTON
		Abstract mathematics, relativity of
		dimensions, geometrical "durations"
		-- even allowing for the uses of
		speculation, what is the point?

				ALEXANDER
		Because it's a new way of seeing
		the world!  Of seeing our place in
		it!

				PHILBY
		Sir, if I may --

				DEAN FULTON
			(with finality, to
			Alexander)
		Young man, we have a way of doing
		things here.  Radical theorizing is
		not acceptable.  Have I made myself
		understood?

				ALEXANDER
		Yes, sir.

				DEAN FULTON
		Very good.  Now if you will excuse
		us for a moment.

	Alexander goes back into the office.

				PHILBY
		If I might explain, sir --

				DEAN FULTON
		You supported his application, Dr.
		Philby.  You are his senior,
		advisor.  I depend upon you to
		restrain his... excesses.  Any
		repetition of the behavior I
		witnessed in his classroom today
		and there will be consequences for
		you both.

				PHILBY
		Yes, sir.

				DEAN FULTON
		Now you are upsetting my fowl. 
		Please go.

	Philby extricates himself from a chicken pecking at his shoe
	and goes.

				ALEXANDER (V.O.)
		He's a dinosaur.  He's already
		extinct, he just doesn't know it...

	EXT.  STREETCAR - DAY

	Alexander and Philby are in an open horse-drawn streetcar,
	heading downtown.  Everywhere around them, the massive city
	bustles.

	New York City at the end of the 19th Century.  It is vibrant
	to the point of frenzy; reaching for the future in a furious
	upheaval of construction.

	Title: NEW YORK CITY - MAY 12, 1895 - 5:17 p.m.

				ALEXANDER
		... One day he'll be discovered by
		some future archeologists and they
		won't know what to make of him. 
		The thick brow, so lacking in
		imagination.  The dim little eyes,
		devoid of curiosity.

				PHILBY
		You know generally teachers are
		supposed to teach real equations
		that add up to real numbers.

				ALEXANDER
		Where's the challenge in that?

				PHILBY
		Alex, this is your first year as an
		associate professor.  You might
		want to play things a little more
		conservatively.

				ALEXANDER
		You sound like my father...

	Alexander points to the masses of grey businessmen, all in
	identical bowler hats, marching along the sidewalk:

				ALEXANDER
		Look at them, Philby, all alike,
		everyone in an identical bowler
		hat.  Do you want your students to
		turn out like them?

				PHILBY
		I want my students to emerge with
		theoretical and practical
		knowledge.

				ALEXANDER
		I don't.  I want them to run along
		this street and knock off every
		bowler they see.

				PHILBY
		You may not like it, but this is
		the world we live in, Alex.  Little
		grey men with little grey hats.

				ALEXANDER
		But shouldn't it be better? 
		Shouldn't we be teaching our
		students to imagine a world beyond
		all this?

	Alexander points to a new building going up, a complex
	spider's web of steel girders.

				ALEXANDER
		Look at that, Philby.  A steel
		frame building.  Ten years ago it
		was unheard of.  No little grey man
		thought of that.  The new Century
		belongs to men who are willing to
		imagine the impossible...

	Their streetcar passes a few huddled beggars on the curb. 
	The businessmen ignore them.  Alexander watches them, his
	eyes sad.

				ALEXANDER
			(quietly)
		In the future, we'll be better.

				PHILBY
		What?

				ALEXANDER
		Nothing.

	EXT.  ALEXANDER'S HOUSE - EVENING

	Alexander's sprawling Victorian house sits on a quiet street.

	There is a quaint shop right across the street.  The shop
	features a window showing a female mannequin dressed in
	period clothes.  The sign above the shop: BRANSON'S APPAREL
	AND HABERDASHERY.

	Alexander and Philby hurry into his house...

	INT.  ALEXANDER'S HOUSE - EVENING

	Alexander's house is a lovely world of Victorian elegance
	constantly at war with his erratic and creative enterprises.

	Everywhere Alexander's scientific passions are evident:
	animal skulls rest alongside leather-bound tomes; mechanical
	inventions in various states of completion rest atop heavy
	mahogany tables; test tubes and microscopes are spread out on
	an unused piano.

	The one facet that most immediately reflects Alexander is
	aural: the ticking of scores of clocks; a steady metronomic
	cadence.

	Alexander bounds in, Philby following.

				ALEXANDER
		MRS. WATCHIT!  MRS. WATCHIT!

	MRS. WATCHIT, Alexander's housekeeper, troops down the
	stairs.  She is a wry and commanding British woman in her
	60's.

				MRS. WATCHIT
		Oh huzzah, the master's home.

				ALEXANDER
		Do you have it?!

				MRS. WATCHIT
		Hello, Mr. Philby.

				PHILBY
		Hello, Mrs. Watchit.  You're
		looking in the pink.

				MRS. WATCHIT
		Must be all the exercise I get
		scampering up and down these stairs
		like a wee lamb.

				ALEXANDER
		Don't torture me -- do you have it?

				MRS. WATCHIT
		I have it, but don't you think for
		one moment I'll be letting you go
		out in that filthy coat -- now go
		upstairs and change.  I've laid out
		your green coat.

				ALEXANDER
		What's the matter with -- ?
			(he notes he is covered
			in chalk dust)
		-- What would I do without you,
		Mrs. Watchit?

	He bounds up the stairs.  Phiby follows.

				MRS. WATCHIT
		And change your tie!

	She bustles off, grumbling happily.

	INT.  ALEXANDER'S BEDROOM - EVENING

	Charles Darwin stares at us.  Imposing.  Inspiring. 
	Challenging.

	A bust of Darwin looms over Alexander's bedroom.

	Alexander, in a new coat, is trying to work a complicated
	knot in his tie.  His eyes study the problem in a mirror.

				ALEXANDER
		Emma actually likes chalk dust --
		says it smells like me.

				PHILBY
		How romantic...

	Philby goes to Alexander, helps him with his tie.

				PHILBY
		The most able inventor I know and
		you can't tie a simple four-in-
		hand.

				ALEXANDER
		That's how I knew we were destined
		to be together.  When I met her
		parents for the first time I came
		right from class and I was covered
		in chalk.  They sniffed and
		snorted, but she just smiled.  At
		that moment -- I just knew.  How
		did you know with Molly?

				PHILBY
		She made the best Shepherd's pie I
		ever tasted.

				ALEXANDER
		Do you have a romantic bone in your
		body?

				PHILBY
			(completing the tie)
		No, I'm all bowler hat, remember?

	Alexander quickly goes to his old coat and transfers his
	pocket watch, journal and many loose scraps of paper covered
	in equations to the new coat as:

				PHILBY
		Alex, really... good luck tonight. 
		She's a fine girl, and she's done
		wonderful things for you.

				ALEXANDER
		Oh?

				PHILBY
			(smiles)
		She's gotten into your equations.

	Alexander stops, looks at him.  Smiles.

				ALEXANDER
		I guess she has.

	He glances at his pocket watch.

				ALEXANDER
		I've got to hurry...

	He hurries out, Philby following...

	INT.  ALEXANDER'S HOUSE - STAIRS - EVENING

	Alexander races down the stairs, tucking the watch into his
	vest.

	They pass a series of clocks of every size and shape that run
	down the wall along the stairway.

				PHILBY
		All these clocks -- how can you
		constantly be running late?!

				ALEXANDER
		Perseverance.

	INT.  ALEXANDER'S HOUSE - ENTRY HALL - EVENING

	Mrs. Watchit waits.  Alexander and Philby appear down the
	stairs.

				MRS. WATCHIT
		Now that's more like it.  You look
		a proper gentlemen for once.

				ALEXANDER
		Then if Emma turns me down will you
		marry me?

				MRS. WATCHIT
			(dry)
		Oh, I'm already swooning.

				ALEXANDER
		Ouch -- all right, wish me luck.

	He begins to sprint out the door -- Mrs. Watchit stops him
	with:

				MRS. WATCHIT
		You might be wanting this?

	She holds up a velvet ring box.  He takes the box.

				ALEXANDER
		Oh -- Thanks.  Well...
			(a wink to Philby)
		... Time's a wastin'!

	With that he is out the door.

	Mrs. Watchit and Philby stand for a moment, catching their
	breath after Alexander's tornado of enthusiasm.

				PHILBY
		I wonder if that poor girl has any
		idea what she's in for?

				MRS. WATCHIT
		For our sake, I hope not.

	EXT.  FIFTH AVENUE - NIGHT

	The many luxurious horse-drawn carriages glide along Fifth
	Avenue with stately dignity.  Rich pedestrians stroll along
	the sidewalk.

	Alexander leaps out of a carriage and begins to stride toward
	an entrance to Central Park.

	He passes a Flower Seller.

				FLOWER SELLER
		Have some flowers, sir?

				ALEXANDER
		Not tonight, thanks.

	He continues on toward the entrance to the Park -- stops.

				ALEXANDER
		No -- I promised her flowers.

	He turns around and hurries back toward the Flower Seller. 
	But...

	A sudden mechanical clanking sound makes him stop dead in his
	tracks.  The Siren's song...

	He turns...

	Pulled over to the curb is a magnificent Stanley Steamer
	automobile.  It is a glorious collection of bronze and copper
	and steel and wooden dashboard and leather upholstery and
	groaning steam tank and clanking engine.  Alexander stares,
	transfixed.

	Alexander glances at his watch -- running late -- but he just
	can't resist this new marvel.  Flowers forgotten, Alexander
	steps to the MOTORIST, currently tinkering with the car's
	engine.

				ALEXANDER
		It's spectacular...

				MOTORIST
		Thanks.  Old Nell's my girl all
		right.  Al least when she decides
		to move, stubborn beast.

				ALEXANDER
			(walking around the car,
			admiring)
		I've only read about them -- and
		the new internals.

				MOTORIST
		Now that's what I call plain crazy 
		-- internal combustion is just too
		dangerous, all those little
		explosions, never catch on.

				ALEXANDER
		How do you keep the water
		temperature stable?

				MOTORIST
		There's a cantilevered gasket on
		the --

	Suddenly -- the car lurches forward dangerously -- Alexander
	instantly grabs the brake lever and hauls it back -- the car
	screeches to a stop.

				MOTORIST
		God -- could have killed me -- bad
		girl, Nell!  How did you know to do
		that?

				ALEXANDER
		I just love mechanical things.

				MOTORIST
		Well, much obliged -- I'm always
		forgetting the confounded brake --
		say, if you wait until I get her up
		and running I'll give you a
		perambulation.  Tell you all about
		her.

				ALEXANDER
			(pained)
		Ahhh... I'm afraid I've got a prior
		commitment.

				MOTORIST
		Next time then.  We perambulate
		here most every night.

				ALEXANDER
		You have my word...
			(he takes a last, longing
			look at the car)
		... She's just a beauty.

	He sprints off into Central Park.

	EXT.  PAVILION - CENTRAL PARK - NIGHT

	A full moon shines in the night sky.

	Gentle period music from a band, glowing lanterns hanging
	down and the swaying shapes of dancers.

	We are at a beautiful pavilion in Central Park.  A magical
	antique setting of ease and grace.  White linen suits and
	straw boaters.  Parasols and high-button shoes.

	A beautiful woman stands with her back to us watching the
	dancers... she slowly turns...

	EMMA smiles.

	Alexander stands, just watching her, bewitched.

	Then they come together and kiss lightly, as befits 1895
	decency.

				EMMA
		You're late.

				ALEXANDER
		Got here as soon as I could.

				EMMA
		Dance with me...

				ALEXANDER
		You know I can't.

				EMMA
		Trust me...

	She takes his hand and they dance.  She is a natural dancer,
	smooth and gentle.  He does his best, following her minute
	cues with great sensitivity.

	As they dance:

				EMMA
		You promised me flowers.

				ALEXANDER
		What?

				EMMA
		You promised me flowers tonight,
		don't you even remember?

				ALEXANDER
		Sorry... I was distracted.

				EMMA
			(lightly)
		Well there's something new.

				ALEXANDER
		I need to... um... talk to you.

				EMMA
		Talk away, Professor.

				ALEXANDER
		Not here... alone.  May we? 
		Please?

	She leads him from the dance floor.

				EMMA
		Let's walk through the park...

	EXT.  CENTRAL PARK - PATH - NIGHT

	Alexander and Emma walk through the park, arm in arm,
	enjoying the exquisite night.

	Flickering gaslights provide a dim illumination on the path
	they follow as it winds through the dark foliage.

				EMMA
			(looking at
			constellations)
		... Orion's belt, pointing to the
		earth.  You see it over the rocks
		there?  Sailors consider that an
		omen of good fortune; the hunter
		watching over them on their
		travels... Are you listening to me,
		Alex?

				ALEXANDER
			(glancing up)
		What?  Yes -- Orion -- good fortune
		-- sailors.

				EMMA
		All right, what is it now?

				ALEXANDER
			(nervously)
		Emma, you know I have great...
		admiration for you.

				EMMA
		Admiration?  My my.

				ALEXANDER
		I mean... well... affection.

				EMMA
		You're getting warmer.

	He stops.

				ALEXANDER
		Oh dammit, I love you!  I can't
		eat, I can't sleep, I can't think,
		all I do is moon over you and --
		hum, apparently.

				EMMA
			(mock seriously)
		And what do you propose, Professor? 
		Shall we hold a seminar to study
		the problem?

	A beat.  He takes a huge gulp of air and then commits himself
	-- he dramatically drops to one knee -- and then in a great
	rush of words:

				ALEXANDER
		Marry me.  I'll do everything I can
		to make you happy and build a life
		and have babies and make you proud
		and be worthy of you and... ah...
		make you happy, did I say that?

	She looks down at him, tears of joy coming to her eyes.

				EMMA
		Oh, Professor...

	He leaps up and embraces her.  A long, joyous embrace.

	He stops --

				ALEXANDER
		Wait, I have something for you.

	He searches through his many pockets -- coat, vest, pants --
	begins plucking out the loose scraps of paper covered with
	equations -- but can't seem to find the jewelry box.

	She watches him for a moment, amused, loving him all the more
	for his befuddlement.

				EMMA
		You know, the moment is rather
		dying here.

				ALEXANDER
		Hold on... I know I have it...

	He finally finds the velvet jewelry box.  Snaps it open. 
	Inside is a lovely moonstone ring.  The gem is a pale,
	translucent blue mirroring the full moon above.

				ALEXANDER
		I know it's not a diamond but --

				EMMA
		A moonstone.

				ALEXANDER
		Your birth stone.  I thought --

	She holds a finger to his lips.

				EMMA
		You thought right.

	He slips the ring on her finger.  She holds it up to the
	moonlight, deeply moved.

				EMMA
		Look, it matches the moon...

	Then...

	A low voice from the thick trees next to them.

				VOICE
		I just might cry.

	Alexander and Emma turn to see a tall THIN MAN stepping from
	the trees.  His hands are buried deep in his overcoat
	pockets.

				THIN MAN
		Couldn't help but overhearing.  Two
		fine young people starting out on
		the road of life.  I wish you the
		very best.

				ALEXANDER
		Thank you...

				THIN MAN
		I hope it's a happy journey for you
		both -- and much as I hate to do
		this, moved as I am by your
		protestations of love, I'll be
		needing your money now.

				ALEXANDER
			(smiles)
		Sir...?

				THIN MAN
		And your jewelry too.  I guess we
		could consider this your first
		little bump on the road to married
		bliss.

				ALEXANDER
		I don't understand.

	The Thin Man removes a hand from his pocket.  He holds a
	small revolver.

				THIN MAN
		Now don't make a scene... there's
		no cause for that.  Just hand over
		your wallet, will you?

	He holds the gun up, lethal, a sudden glint as the barrel
	shines in the moonlight.

				THIN MAN
		Did you hear me, lad?

				ALEXANDER
		All right, all right -- here --
		everything --

	Alexander swiftly gives the man his billfold.

				THIN MAN
		And the watch.

	Alexander hands over his pocket watch as the Thin Man eyes
	Emma's ring.

				THIN MAN
		And the ring.

				EMMA
		No --

				THIN MAN
		I'm afraid so, darling.  Maybe
		he'll buy you a diamond now.

				ALEXANDER
		Please, not that -- look --

	The Thin Man pulls back the hammer of the revolver.  Click.

				THIN MAN
		Give me the ring.

				EMMA
		No...

	The Thin Man suddenly lurches forward and grabs Emma's arm --
	trying to wrench the ring violently from her finger --
	Alexander instantly springs to her defense -- a struggle --

	The gun fires -- the flash of cruel, phosphorous light
	momentarily illuminating them all starkly --

	Emma recoils to Alexander -- Alexander looks at the Thin Man,
	disbelieving --

	The Thin Man glares at him --

				THIN MAN
		Why did you do that?!  It's only a
		ring!

	The Thin Man races away into the darkness.

	Alexander holds Emma, she clings to him, blood flowing over
	his fingers.  He snatches her up and carries her -- running
	urgently through some trees to a carriage path beyond --

	Carriages filled with young lovers float past.

				ALEXANDER
		HELP ME!  PLEASE!

	An empty carriage finally stops -- Alexander lurches into the
	carriage with Emma --

	INT./ EXT.  CARRIAGE - CENTRAL PARK - NIGHT

	-- Alexander holds Emma in the back of a carriage.  He
	urgently screams to the driver:

				ALEXANDER
		GET TO COLUMBUS HOSPITAL!  NOW!

	The driver whips his horses and the carriage takes off.

				ALEXANDER
		PLEASE HURRY!  WE'VE NO TIME!

				CARRIAGE DRIVER
		I'M TRYING SIR -- !

	Emma clings to Alexander, her hand clasped tight to his vest,
	blood flowing out of her, pooling.  Her dying eyes just
	watching him.

				ALEXANDER
		GOD HURRY PLEASE -- JUST GET OUT OF
		THE PARK --

	And then the carriage slows -- stops -- Alexander stabs his
	head out the window and sees --

	A long line of carriage ahead of them.  A traffic jam.  Pairs
	of lovers enjoying the beautiful night, gazing up at the
	stars.

				ALEXANDER
		Oh God...

	A distant bell begins to toll.  Time inexorably, cruelly
	moving on.

				ALEXANDER
		PLEASE -- HURRY!

	The driver whips the horse -- tries to maneuver the carriage
	through the traffic jam -- a jumble of horses -- their horse
	shies -- can't get through.

	Emma's hand clutches Alexander's vest, fingers moving
	slightly.  The bell continues to toll.  Time running out. 
	Her lips move noiselessly, her eyes stare up at him, praying
	for one parting glance.

	He continues to shout to the driver, fighting time, not
	looking at her:

				ALEXANDER
			(desperate)
		FOR GOD SAKE DO SOMETHING!! --
		JUST -- GET OFF THE PATH!

				CARRIAGE DRIVER
		I'm trying, sir! -- I can't get
		through!

	Alexander glances down to Emma.  She is dead.  Her eyes open. 
	He stares at her.  Not wanting to believe.  The bell
	continues to toll.

	Fade to Black...

	And then a strange sound in the darkness...

	The roar of a tiger -- distorted, echoing...

	Then another sound...

	Click-clack, click-clack, click-clack...

	Chalk racing across a blackboard.

	Title: FOUR YEARS LATER.

	Fade up to...

	INT.  ALEXANDER'S HOUSE - LAB - DAY

	An endless equation -- Alexander's hand speeds across a
	blackboard -- manic, ferocious.  We pull back to reveal...

	An enormous blackboard, floor to ceiling, two stories high,
	filling one wall -- and two other blackboards, filling two
	other walls, also covered with equations.  A shocking flash
	of Alexander's fevered mind.

	He stands with his back to us, perched high on a rolling
	library ladder, his hand violently scrawling numbers in a
	frenzied rush.  He pulls the ladder along as he works,
	totally absorbed.

	Title: AUGUST 7, 1899 - 5:23 p.m.

	The drapes around the room are drawn tight against any hint
	of the day outside.  Windows sealed.

	In the flickering gaslight we see a cacophony of scientific
	equipment and experiments filling every inch of the chamber
	below him, two stories filled with beakers and test tubes;
	microscopes and coils; engineering blueprints and gyroscopes;
	and the huge chalkboards crowded with layers upon layers of
	intense calculus and geometry and equations.

	There is another large part of the lab, jutting off from the
	house.  A closed curtain conceals this part of the lab.

	And all the clocks have stopped.  The steady metronomic
	cadence that was the aural life of Alexander's house is no
	more.  We see a number of clocks around the lab.  All have
	been allowed to run down.

	A knock at the door -- Alexander ignores it -- another knock.

	He finally turns from the blackboard.

				ALEXANDER
		What?!

	And we see him -- Alexander is very different now: cadaverous
	and intense, a face that looks as if it has not seen the sun
	in years.  And eyes marked by tragedy.

	Mrs. Watchit enters.  The years of dealing with his
	heartbreak have taken a toll on her as well.

				MRS. WATCHIT
		Sir, Mr. Philby is here.

				ALEXANDER
		Here?

				MRS. WATCHIT
		Yes, sir, he --

				ALEXANDER
		Tell him to go away --

	Philby pushes past Mrs. Watchit.  He wears an overcoat and a
	bowler hat.

				PHILBY
		I won't go away, Alex.

	Alexander stares down at Philby.  Philby is shocked at the
	change in his friend.

				ALEXANDER
		All right, Mrs. Watchit.  You can
		go.

				MRS. WATCHIT
		May I get you some --

				ALEXANDER
		That'll be all.

	She leaves the lab.

				PHILBY
		My God, Alex, what's happened to
		you?

	Alexander climbs down the ladder as:

				ALEXANDER
		I've been working.

				PHILBY
		I came by the house every day after
		the funeral.  And then every week. 
		Then every other month.  Then I
		stopped coming.  Did you even
		notice?

				ALEXANDER
		I'm sorry, David.

				PHILBY
		It hurt me, Alex.  Very much.

				ALEXANDER
		Then why are you here?

	Alexander proceeds to obsessively tidy the lab, almost hiding
	things from Philby.  Philby is increasingly disturbed by this
	behavior, as:

				PHILBY
		It's my Jamie's birthday today. 
		Your godson.  He's nine years old. 
		At his party he asked me if Uncle
		Alex was coming.  I told him no. 
		Then he asked me if you didn't like
		him anymore.

				ALEXANDER
		For God's Sake, David --

				PHILBY
		There are some things I need to say
		to you.  You may not like hearing
		them, but I don't know if I'll ever
		get another chance --

				ALEXANDER
		You care for me.  And you're
		concerned.  And I have to start
		living my life again.  I hear it
		from Mrs. Watchit every day.

				PHILBY
		But you won't listen.  You won't
		see me, you won't see anyone.  What
		would you like me to tell Jamie? 
		That Uncle Alex is busy?  That
		Uncle Alex is hiding up there in
		his laboratory --

				ALEXANDER
		Hiding?

				PHILBY
		You know that's what it is.  Mrs. 
		Watchit tells me you're here at all
		hours -- day and night --

				ALEXANDER
			(sharply)
		That's because I'm working.  You
		remember that?  You used to care
		about your work.

				PHILBY
		I care more about my life.  And
		yours.

	A difficult beat.

				PHILBY
		Alex... Alex, please stand still
		and look at me.

	Alexander stops.  Looks at Philby.

				PHILBY
			(gently)
		What happened to Emma will never go
		away.  It's part of you now and it
		always will be.  But you have to
		learn to live with it...

				ALEXANDER
		I live with it every minute of
		every day.

				PHILBY
		I know that --

				ALEXANDER
		You don't know that.  You couldn't
		possibly.  If I'd only done this,
		or that, if I'd arrived ten minutes
		earlier, or later.  If we'd taken a
		different path or I hadn't fought
		the man for the ring.  You have no
		idea what it is to relive every
		moment of that night -- consider
		every action you made -- and every
		one of them wrong.

				PHILBY
		It wasn't your fault, Alex.

				ALEXANDER
		Wasn't it?... I have a dream almost
		every night now.  The Lady and the
		Tiger, you remember that story?  In
		the dream I'm alone in a huge
		chamber with a thousand doors. 
		Behind every door, save one, is a
		tiger.  I have to make the
		decision.  Which door conceals
		Emma?  And I just stand there...
		looking at the doors...

				PHILBY
		Do you find her?

	Alexander doesn't answer.  A beat.

				PHILBY
		Alex, nothing will ever change what
		happened, but --

				ALEXANDER
		That's where you're wrong.  I will
		change it.

	A beat.  Philby looks at him.  Alexander offers nothing more,
	continues to scurry around the lab.

				ALEXANDER
		David... I appreciate your concern,
		I do.  But I ask you to have faith
		in me.  Just for a little while
		longer.  I'm working on something
		now.  Something... extraordinary.

				PHILBY
		What is it?

				ALEXANDER
		You wouldn't believe me.

				PHILBY
		I would.

				ALEXANDER
		I'll tell you what... come by for
		dinner in a week and I'll show you.

				PHILBY
		Why don't you come to our house
		instead?

				ALEXANDER
		I can't do that --

				PHILBY
		When's the last time you were
		outside this house --
			(notes a disheveled cot in
			the corner)
		-- or this room?

				ALEXANDER
			(tense)
		I can't leave when I'm so close.

				PHILBY
		There are trains leaving Grand
		Central every then minutes.  A
		dozen liners leaving the harbor. 
		Get on one of them.  Go to
		Singapore, Scotland, Manchuria,
		anywhere, just away from here --

				ALEXANDER
		That's absurd --

				PHILBY
		You're dying here.  Don't you see
		that?!

	A tense beat.

				ALEXANDER
		You won't say that in a week.

				PHILBY
		I pray to God that in a week you're
		not here.

	A beat.

				PHILBY
		All right.  I'll come for dinner. 
		And in the meantime... you'll think
		about what we discussed?

				ALEXANDER
		In a week... we will never have had
		this conversation.

	Philby looks at him, mystified and concerned.

				ALEXANDER
		Good night, David.

				PHILBY
		Good night, Alex.

	Philby turns to go.

				ALEXANDER
		Still wearing that bowler hat.

	Philby stops.  Turns back.

				PHILBY
		It's raining outside.  Open the
		drapes and you might know that.

	He goes.

	Alexander stands for a moment.

	INT.  ALEXANDER'S HOUSE - LAB - NIGHT

	Alexander sits, drinking a glass of brandy.  He is staring at
	the curtain concealing the other part of the lab.

	We notice that all the chalkboards have been wiped clean.

	He drains the glass of brandy.  Bon voyage.

	Then he rises and moves to the curtain.  He pulls the curtain
	back and reveals...

	The magnificent creation itself: The Time Machine.

	We take in this beautiful creation of curving brass and thick
	velvet, elegant lines and a hopeful feeling of Victorian
	futurism, as Alexander moves to the windows by the machine.

	He slowly pulls back all the drapes on the windows.  The Time
	Machine sits in an area of the lab that juts off, like a
	greenhouse with windows offering a generous view of the world
	around him: his quiet garden and the small dress shop across
	the street.

	Alexander moves to the Time Machine.  He sits, nervously
	settling in.

	The brass control panel ahead of him has a simple display
	showing the year and date -- AUGUST 7, 1899 -- and a control
	lever that moves forward and back.

	A beat.  He takes a deep breath and then... reaches for the
	control lever --

								CUT TO:

	EXT.  PAVILION - CENTRAL PARK - NIGHT

	All is as it was.  Gentle period music from a band, glowing
	lanterns hanging down and the swaying shapes of dancers.

	A beautiful woman stands with her back to us watching the
	dancers... she slowly turns.

	Emma smiles.

	Alexander stands, just watching her, his eyes wide,
	incredibly moved.  We note that Alexander wears the clothes
	he was wearing when he got into the Time Machine.  It is the
	older Alex, pale and thin.

	She goes to him and kisses him.

				EMMA
		You're late.

				ALEXANDER
			(with difficulty)
		Got here as soon as I could.

				EMMA
		Dance with me...

				ALEXANDER
		You know I can't.

				EMMA
		Trust me...

	She takes his hand and they dance.  She is, again, a natural
	dancer, smooth and gentle.  He tries to follow her minute
	cues but the experience of holding her in his arms again is
	almost too much for him.  He is overcome with emotion.

				EMMA
		Alex, what is it?

				ALEXANDER
		Holding you... again.

				EMMA
		Darling.

				ALEXANDER
		I need... to talk to you.

				EMMA
		All right...

				ALEXANDER
		Not here... alone.  Please.

	She leads him from the dance floor.

				EMMA
		Let's walk through the park...

				ALEXANDER
		No... let's walk through the city.

				EMMA
			(a little mystified)
		All right...

	He takes her hand and leads her away from the pavilion --

	Then he stops, sees he must lead her through one of a number
	of tree-lined paths out of the park.  The gaping darkness of
	the park is strangely ominous.  Behind each door a tiger.

				EMMA
		Alex, what is it?

				ALEXANDER
		Nothing -- let's just get out of
		the park.

	He takes her arm and makes his decision -- he pulls her
	quickly down one of the paths.

	EXT.  CENTRAL PARK - PATH - NIGHT

	Alexander pulls Emma toward an exit to the city, going as
	quickly as he can.  His eyes dart nervously into the dark
	trees around them.

				EMMA
		Alex...?!

				ALEXANDER
		Shhh.  Let's just hurry on here. 
		We don't have to talk, all right?

	She stops, pulling him.

				EMMA
		Why do we have to race for heaven's
		sake?!

				ALEXANDER
			(looking around, alert)
		I want to get into the light,
		that's all.  Please...

	He pulls her along.

				EMMA
		This running along is all well for
		you -- you're not wearing a corset.

	Then a sound stops him -- an unholy echo through the night,
	tormenting him from his nightmares -- the roar of a tiger.

				ALEXANDER
		My God...

				EMMA
		Alex, it's just the zoo.

	He grabs her and pulls more quickly, a little desperate.

				ALEXANDER
		Please, Emma, it's just a little
		further.

	He hurries her along.  They finally reach the exit and emerge
	from Central Park to Fifth Avenue...

	EXT.  FIFTH AVENUE - PARK EXIT - NIGHT

	He stops, looks around, sees lots of pedestrians and
	carriages and gaslight.  Safety.  Victory.

	He breathes deeply and smiles.  He offers her his arm.

				EMMA
		Oh, now you're all gallant.

	She shakes her head and then takes his arm.  They stroll.

	EXT.  FIFTH AVENUE - NIGHT

	A bit later.  Alexander and Emma make their way down this
	most magnificent of boulevards.  He holds her arm tightly, as
	if in fear of losing her again.

				EMMA
		You're so pale... I hope you're not
		coming down with something.

				ALEXANDER
		No, I'm fine.  I'm...
			(laughs)
		... wonderful.  Just walking down
		the street with you again.

				EMMA
		We took a walk three days ago.

				ALEXANDER
		Not like this.  Never like this. 
		Emma, I swear to you -- if I've
		learned one thing, it's that
		moments like this are rare.  And I
		will thank God for them every
		moment of every day.

	She is confused at his strange intensity, but respects his
	seriousness.

				EMMA
		They are rare...
			(she glances up at the
			constellations above)
		... Orion's belt, pointing to the
		earth --

				ALEXANDER
			(smiles)
		The sailor's omen of good fortune. 
		The hunter watching over him on his
		travels.

				EMMA
		So it's astronomy now, is it?

	They are passing by the Stanley Steamer at the curb Alexander
	saw earlier.  The Motorist is still tinkering with the
	engine.

				EMMA
		Heavens, look at that now!

				ALEXANDER
		I've seen it.

	He continues escorting her along.

				EMMA
		Now I know you're ill -- passing up
		the chance to explore some new
		gadget.

				ALEXANDER
		It's only a machine.

	She stops.  Genuinely concerned now.

				EMMA
		Alexander... tell me what's going
		on.  Is something wrong?

	He looks at her deeply:

				ALEXANDER
		No, Emma.  Everything is finally
		right.  Tonight we're going to
		start all over again.  And this
		time... I'm never going to let you
		go.

	He kisses her deeply.  She is shocked at this public display
	of affection, pulling back slightly.

				EMMA
		Alex... people are staring.

				ALEXANDER
		Let them.

	He kisses her again.

				EMMA
		Let them.

				ALEXANDER
		I have something for you...

	He pats his pockets, feels the jewelry box, smiles.  Then he
	notes the Flower Seller he saw before.

				ALEXANDER
			(smiles)
		Wait -- I want to do it right this
		time -- stay here, don't move...

	Emma stands, mystified, as he goes to the Flower Seller.

				FLOWER SELLER
		Have some flowers, sir?

				ALEXANDER
		Yes, as many as you have!

	A sudden sound makes him spin back --

	A frenzy of movement -- on the curb, the Stanley Steamer
	suddenly lurches forward -- the brake not set -- the Motorist
	jumps out of the way -- the Steamer slams forward to the
	street full of horse-drawn carriages -- a horse rears and
	bolts -- panic, screams -- the horse lurches to the curb --
	toward Emma -- the carriage topples over --

	Burying Emma in a violent crash.

	Alexander races to Emma -- too late.  A crowd begins to form. 
	Alexander folds himself over her in wordless torment.

	INT.  ALEXANDER'S HOUSE - LAB - NIGHT

	Alexander sits in his lab, glaring at the Time Machine. 
	Tormented.  Eyes haunted.  Drinking a glass of brandy.  Not
	his first.

	He glares at the Time Machine, his fury building -- then he
	bolts up -- flings the brandy glass away from him -- it
	shatters -- strides across the lab -- throws himself into the
	Machine.

				ALEXANDER
		Time heals all wounds -- then let
		it!

	He SLAMS the control lever forward violently -- in fury -- a
	high-pitched whine -- building -- the world undulating around
	Alexander --

	Suddenly all the silent clocks in Alexander's lab begin to
	tick --

	TIME TRAVEL

	Alexander's spine immediately arches back -- he screams in
	pain --

	The molecules of his body revolt as they are torn forward
	through time -- as time tears through him -- his whole body
	suffers as he bends and floats and rips through time -- when
	he turns his head his whole face seems to elongate --

	He's going too fast -- he eases back on the control lever --
	the pain receding somewhat --

	And the world around him changes --

	The sun rises and then sets and then rises; in his garden
	snails zoom past flowers that bloom and die in an instant;
	apples grow ripe and then fall and decay in his garden; a
	complicated spider's web grows in a corner of his laboratory
	in seconds --

	The sun and moon now shoot through the sky, a strobe-like
	flashing of day and night, finally settling into a strange,
	perpetual grey light.

	He begins to control the lever a bit more -- it is sensitive
	to his touch -- soon he can glance around a bit without
	absolute agony -- and then with no pain at all --

	In the window of the dress shop across the street he watches
	a female mannequin as she is redressed, her clothes morphing
	from style to style, a swirl of styles and outfits.  And new
	buildings spring up across the street as the seasons pass in
	a blur, summer-fall-winter-spring-summer-fall-winter-spring.

	His journey is accompanied by a strange symphony -- sound
	bending around him; voices, music, period radio news reports,
	industry.  Sounds that float and flit through his
	consciousness, distorted, barely recognizable.

	And bizarre shapes move through his world as well -- ghost
	like apparitions -- strange and eerie as they bend and morph
	through space -- people.

	He can almost control the appearance of the people as he
	gently modulates his speed with the control lever -- he sees
	Mrs. Watchit bending through time -- Philby, concerned --
	then people he doesn't know, architects with blueprints,
	pointing --

	Then the world directly around him is changing -- his lab
	changing -- walls being torn down --

	His lab is now a GARAGE -- a series of swiftly morphing cars
	denoting the passing time as years spin by on his control
	panel display in a dizzying blur: 1905... 1919... 1924...

	In the distance he sees New York City expanding -- the
	Chrysler Building (1930) and the Empire State Building (1931)
	shoot up.

	Then the garage is torn down around him -- another
	construction going up -- larger -- a RESTAURANT.

	He modulates the control lever -- controlling the ebb and
	flow of time -- the patrons of the restaurant huddled around
	a radio, a news report, FDR's voice... "December 7... A day
	that will live in infamy..."

	He notes a store going up next to the dress shop: a newspaper
	shop -- sees banner headlines as the years sweep past -- 
	D-DAY! -- VE DAY! -- VJ DAY! -- an enormous celebration in
	the street.

	The years spin by on his control panel: 1946... 1953...
	1957...

	The strange aural symphony continues as he hears music and
	news, the music evolving from swing to early rock...

	The restaurant dissolves around him and a HOUSE grows up --
	he is in a den -- a black-and-white TV on -- Alexander gapes 
	-- slowly, slightly...

	On the TV: JFK's funeral... in the den he sees the shape of a
	family nestled together, watching the funeral, weeping...

	He presses on.  The years spin by on his control panel:
	1963... 1966... 1969...

	On the new color TV in the den: news reports of the Apollo
	11, Neil Armstrong stepping on the moon... "One small step
	for man..."  Alexander stares, amazed.

	The aural and visual symphony continues... rock segueing to
	disco, Vietnam news...

	He is shocked to see the mannequin in a miniskirt!  He sees
	the dress shop becoming a department store and the newspaper
	store becoming a high tech electronics shop --

	On a bank of TVs in the electronics shop window he sees Nixon
	leaving the White House for the last time, August 9, 1974,
	walking to the helicopter, the ferocious victory "V"...

	Then Alexander is suddenly outside as the house is demolished
	-- quickly eroding around him -- he is in a VACANT LOT...

	He is stunned to see the towers of the World Trade Center
	looming in the distance -- the rollerskaters with boom boxes
	swirling past with the grace of ballet dancers -- and
	something so fantastical that Alexander can only gape...

	An airplane soaring above.

	The years zip by on his control panel: 1979... 1985...
	1989...

	More disjointed sounds and images, TV reports and radio news
	and music: oil crisis, plop-plop-fizz-fizz-oh-what-a-relief
	it-is, Ronald Reagan, punk rock, Gulf War, Clinton...

	Then order from the chaos -- the overgrown vacant lot is
	landscaped -- becoming a beautiful PARK...

	He slows a bit, almost stopping -- intrigued by a
	transformation across the street: the banks of TV screens are
	replaced by an informational kiosk of some kind.

	The control panel display clicks more slowly... February
	2005... April 2005... May 2005...

	Alexander continues to stare at the information kiosk as he
	comes to a stop, briefly, at: MAY 24, 2005

	EXT.  PARK (2005) - DAY

	Alexander sits unnoticed in the Time Machine as he watches a
	group of schoolchildren and their teacher gathering around
	the informational kiosk.  It is a public information booth
	with a video screen showing the word VOX.  A glowing red blip
	within the "O".

	The Vox kiosk is activated when the TEACHER steps in front of
	a sensor eye.

				VOX KIOSK (V.O.)
		May I help you?

				TEACHER
		Yes, please... tell us about the
		terraforming.

	The children watch, delighted, as images of the moon and
	renderings and videos of some massive engineering project
	appear on the Vox screen.

				VOX KIOSK (V.O.)
		The joint United Nations/Microsoft
		terraforming operation began nine
		months ago with the Moon Base Alpha
		landings.  After establishing
		Plymouth Center the terraformers
		began colony construction.  Can I
		tell you more?

				CHILD
		What are they doing now?

	Alexander watches, stunned.  A machine that converses with
	people.

				VOX KIOSK (V.O.)
		Currently, the terraformers are
		preparing the first excavation
		demolitions for the subterranean
		chambers.  It is projected that the
		first lunar colonists should be
		landing within the decade.  Can I
		tell you more?

	Alexander gapes at the Vox kiosk.  Magnificent renderings of
	a vast underground metropolis.  People living on the moon.

	He must see this grand adventure out.  He presses on...

	TIME TRAVEL

	But almost immediately the Time Machine is lurching and
	buffeting -- a strange darkness spreading over it as air raid
	sirens scream --

	Alexander is alarmed -- he begins to pull back on the control
	lever -- the date on the display clicks to: AUGUST 26, 2007.

	And Alexander and the Time Machine suddenly topple over as
	the ground lurches below them --

	EXT.  PARK (2007) - DAY

	Alexander looks up from the grass...

	Right into the eyes of a small albino alligator.

	The alligator blinks at him and then slithers off, a brood of
	other alligators with it.

	Alexander glances to the street -- sees an enormous pack of
	rats emerging from a sewer drain -- a thick, undulating
	carpet of rats --

	And Alexander feels the vibrations.  The earth, a steady
	rumble.  His eye is drawn to a small puddle of water near
	him.  The water swirls around strangely and then -- whoosh --
	forms into a vortex and spirals away into the sky --

	Alexander follows the water with his eyes and finally sees
	it...

	The Moon.

	Filling the sky as if it were falling toward the Earth.

	Parts of the moon are beginning to sheer off -- violently
	peeling away like the skin of an onion -- as it impacts the
	gravitational Roche Limit, 7,300 miles above the Earth.  (The
	moon is currently 230,000 miles above the Earth.)

	The people on the street race around, tense and desperate,
	flowing along the streets and sidewalks.  National Guard
	soldiers are trying to retain order, urgent voices into
	megaphones --

	Alexander hauls himself up -- and races into the mob --

	EXT.  STREET (2007) - DAY

	He grabs a man --

				ALEXANDER
		What's going on -- ?!

	The Man pulls away from him, terrified -- Alexander is
	bustled along the sidewalk in the mass of people -- He turns
	to a woman:

				ALEXANDER
		Please tell me -- what's
		happening?!

	She ignores him -- he is buffeted along in the mob of people 
	-- then, a voice, remarkably calm in the chaos, a familiar
	voice:

				CALM VOICE
		May I help you?... May I help
		you?... May I help you?...

	Alexander pushes his way through the frenzy of people toward
	the voice.  Finds himself at...

	The front steps of the Fifth Avenue New York Public Library. 
	The twin stone lions looming over the chaos on the street.

	The calm voice is coming from another Vox kiosk, an upgrade
	of the one he saw previously.  Alexander unintentionally
	activates the unit by stepping in front of a red sensor eye.

				VOX KIOSK (V.O.)
		May I help you?

				ALEXANDER
		I -- what are you?!

				VOX KIOSK (V.O.)
		I am the Fifth Avenue Public
		Library informational kiosk.  VOX
		registration NY-114.  May I help
		you?

				ALEXANDER
		What's happening to the moon?!

	Informational videos appear on the screen, showing the cause
	and horror of the moon's fall, as:

				VOX KIOSK (V.O.)
		The 2005 terraforming demolitions
		for the lunar excavations sent the
		moon into a diminishing retrograde
		orbit resulting in global
		gravitational fluctuations,
		increased seismic activity and
		tidal anomalies.  Can I tell you
		more?

				ALEXANDER
		No -- wait -- the moon's falling
		out of orbit -- that's not
		possible!

				VOX KIOSK (V.O.)
		Well, considering it is, in fact,
		happening, I would assume it's
		possible.  The retrograde orbit
		began in 2005 when the demolitions
		for the lunar colonies --

				ALEXANDER
		Why is it -- breaking up?

				VOX KIOSK (V.O.)
		I was getting to that... The moon
		has reached the gravitational Roche
		Limit, 7,300 miles above the
		surface of the Earth.  This has
		created pressure on the lunar
		stratum beyond gravitational
		tolerances.  It might be helpful to
		know that the nearest public
		evacuation shelters can be found at
		Grand Central Station, Madison
		Square Garden --

	Then -- behind Alexander -- the entire street EXPLODES up --
	the asphalt twisting crazily -- people tossed through the
	air --

	And Hell has come to earth.

	The earth begins to shake and quake and undulate violently --
	as if gravity itself is rebelling.

	Above -- a huge part of the moon breaks away --

	Alexander gapes around -- horrified to see violent seismic
	and gravitational upheavals -- the tectonic plates shifting
	wildly, jutting up at harsh angles -- the East River swirling
	into a twisting cyclone of water spiraling into the sky --

	And most shocking of all: a volcanic mountain BURSTING up
	through Manhattan.

	A National Guard soldier races to him --

				SOLDIER
		Underground -- we have to -- !

	His words are drowned out by a DEAFENING BLAST -- the
	reverberation sending SHOCK WAVES down the street -- people
	are thrown through the air, blood streaming from some
	punctured eardrums --

	In the distance, the volcano is ERUPTING --

	The soldier hustles a mass of people toward a subway entrance
	-- they scurry down --

	Alexander spins around and races back, towards the Time
	Machine.

	As the Vox Kiosk continues its lonely chore:

				VOX KIOSK (V.O.)
		May I help you?... May I help you?

	EXT.  STREET (2007) - DAY

	Alexander sprints down the street, passing horrific flashes
	of the end:

	-- Looters, lighting fires and taking nihilistic joy in their
	   useless treasures...

	-- A family, kneeling in prayer, holding hands...

	-- Doomsday cultists, celebrating the end.  A macabre Dance
	   of Death as the city dies...

	-- A man standing quite calmly, trying to use his cell
	   phone...

	-- A taxi trying to drive through the mayhem, desperate
	   people attacking the taxi, trying to get in, trying to get
	   away...

	Then -- the earth HEAVES violently and Alexander is thrown to
	the ground -- in the distance, but much closer, another
	VOLCANO BLASTS UP -- THRUSTING through the earth -- RIPPING
	aside the Empire State Building and most of midtown
	Manhattan --

	Alexander barely has time to pull himself to his feet before
	it happens again --

	The THUNDEROUS explosion -- the cascading SHOCK WAVE --
	Alexander is hurled through the air --

	He SMASHES into a parked car, shattering the windshield -- he
	rolls off the car, his coat shredded, a gaping wound in his
	side --

	As the new, closer volcano ERUPTS in a torrent of spewing
	lava -- great rivers and explosions of lava everywhere --

	JETS of lava SHOOT through the air -- incinerating everything
	in sight --

	Gasping through his pain, Alexander rises and hurries down
	the street -- he tosses off his shredded coat -- his injury
	slows him, but he goes as quickly as he can --

	But a vast TIDAL WAVE OF LAVA is careening after him --
	burning everything --

	And then he see it... the park... the Time Machine.

	It is a race against time as Alexander sprints for the Time
	Machine -- the lava closer and closer --

	Alexander leaps to the Time Machine and hauls it to its
	upright position -- the lava is almost on him -- he dives
	into the Time Machine and SLAMS the lever forward --

	A high-pitched whine -- building -- the world undulating
	around Alexander --

	JUST as the tidal wave of lava ROARS over him --

	TIME TRAVEL

	Alexander lurches back in agony -- quickly slows the Time
	Machine's momentum -- he pants for breath as the red, molten
	lava glows and then quickly cools into --

	Darkness.

	The eerie blue glow from the Time Machine's control panel is
	the only light.

	Alexander is now inside a mountain, the perfect sphere of
	time-energy around the Machine his only salvation.

	He pushes the lever forward more -- the years spin by on his
	control panel in a blur -- he grits his teeth in pain -- the
	rapid bending through time assaulting him --

	Time passes...

	Alexander is having real trouble breathing now --

	The years continue to spin past on his control panel in a
	dizzying blur.

	Time passes...

	Alexander is in agony -- his body writhes from the assault of
	time -- every movement is torture -- his skin vibrates and
	stretches bizarrely -- and he is almost out of air, panting
	for breath --

	He takes one last deep gasp of air --

	And holds the breath -- the seconds tick away -- the years
	shoot past on his control panel, truly a race against time --

	He's not going to make it -- he can't hold his breath a
	second longer --

	Suddenly -- a flash of blinding sunlight --

	The mountain around the Time Machine begins to erode --
	quickly wearing away --

	Alexander immediately pulls back on the control lever --
	reducing his momentum and the assault on his body -- he takes
	a deep, gasping breath --

	The date on the display quickly clicks forward and finally
	stops at: JULY 12, 802,701.

	Alexander looks at the date, stunned, gasps for breath,
	fainting...

	Fade to black...

	INT.  HOUSE - VISIONS - DAY/NIGHT

	Visions as Alexander fades in and out of consciousness.

	-- Night.  Candles...

	-- Night.  Emma's face... close, concerned... a beautiful
	   angel welcoming him to death... No, not Emma... Another
	   woman.

	-- Day.  Hands, dressing the wound on his side.  Tender...

	-- Day.  A room.  In a pleasant, rustic house...

	-- Night.  The woman again.  Not Emma.  But close,
	   concerned...

	INT.  MARA AND KALEN'S HOUSE - SUNSET

	Alexander awakes.  Looks around.  A simple room in a simple
	house.  He sees his wound has been dressed and cared for.

	He slowly rises and pulls on his shirt and vest.  Goes to the
	door of the house...

	EXT.  ELOI VILLAGE - SUNSET

	Alexander emerges from the house...

	And finds himself in a village built around a large central
	square.  All the buildings are unadorned and designed with
	architectural simplicity.  It has an agrarian and peaceful
	feeling.

	And it is totally deserted.

	The entire village is enclosed by a great, wooden wall. 
	Large gates open to the world beyond.  Everywhere beyond this
	barricade is lovely mountainous and forest scenery.

	Alexander wanders to the square.

				ALEXANDER
		Hello...?

	Nothing.  His word echoes around the eerily empty village.

	He notes that several tables are waiting in the square.  Set
	for dinner.  Plates and cups and utensils.  No food.

				ALEXANDER
		Is anyone here...?

	Again.  Nothing.

	He goes to the open gates and steps out...

	EXT.  OUTSIDE THE ELOI VILLAGE - SUNSET

	A path leads away from the village, cutting through a
	magnificent forest with lush foliage.

	He begins to follow the path -- then stops when a curious
	squirrel scampers onto the path.  The squirrel looks at him,
	large eyes, tilting inquisitive head.

	Alexander smiles at seeing something so familiar in this
	strange time.

				ALEXANDER
		Hello...

	The startled squirrel turns and scampers away -- and
	Alexander is shocked to see a flash of vermillion scales on
	its back.  Not a squirrel at all.

	Alexander continues on for a bit.  Most of the lush
	vegetation is alien to him: enormous fruit hanging on
	colorful vines; gentle petals and dandelion-like wisps that
	float on the breezes.  It is an untamed wilderness exploding
	with verdant beauty.

	And then he hears something...

	Voices.

	He stops, alert.

	Then he sees figures, heading up the path towards him.

	And Alexander sees the ELOI.  About two hundred of them are
	trooping up the path.  They are completely human-looking. 
	Very healthy.  Simple clothing, not unlike what Alexander is
	wearing.  And not one is over the age of 30.

	Alexander braces himself, not sure what to expect.

	The Eloi see him... And go to him enthusiastically. 
	Alexander instinctively steps back.  No need.  The beautiful
	woman who was tending his wounds, MARA, is first to him.

				MARA
		You're up!  You must be feeling
		better --

				ALEXANDER
		Yes...

	More Eloi crowd around him, all very friendly.  A slightly
	older Eloi, late 20's, KORUS, steps to him.

				KORUS
		And hungry, I'd say.  You had such
		a long journey.

				ALEXANDER
		I did...

				KORUS
		Well, we're happy you're here. 
		Come inside.

				MARA
		We want to hear all about it.

	Korus and Mara lead Alexander back toward the village.

	KALEN, Mara's nine-year-old son, grabs Alexander's hand. 
	Alexander is surprised.  The Eloi are seemingly a bit more
	tactile than we are.

				KALEN
		How did you get hurt?

				MARA
		Kalen...

				KALEN
			(eagerly)
		I found you.  I saved your life. 
		You were bleeding all over the
		place!

				MARA
		That's quite enough, Kalen.

	Korus claps an arm around Alexander's shoulders
	enthusiastically, Alexander rocks from the hearty embrace.

				KORUS
		Let the poor man eat first, then he
		can tell us the whole story!

	He leads the befuddled Alexander back toward the village.

	EXT.  ELOI VILLAGE - NIGHT

	The gates to the village are now securely locked, a heavy
	crossbar in place.

	Alexander and the Eloi are eating dinner, the tables now full
	of fruits and vegetables.  Braziers burn around the central
	square.  Everyone strains to see and hear Alexander.

	Mara watches him particularly closely from across the table,
	her cautious eyes never leaving him.

				ALEXANDER
		"Eloi"?

				KORUS
		What are your people called?

				ALEXANDER
		Well, I guess you'd call us... New
		Yorkers.

				KORUS
			(savoring the words)
		New Yorkers.

				MARA
		How long did you travel?

				ALEXANDER
		Well it seems like a long time --
		but it wasn't really.  It's rather
		hard to explain.

				KALEN
		It must have been hard, leaving
		your work.

				ALEXANDER
		The journey is part of my work.

				KORUS
		You can work with us as soon as
		you're feeling better... Looks like
		a climber to me.

	The Eloi agree.  Definitely a "climber."

				KORUS
		We had another visitor from beyond
		the valley about four years ago. 
		His name was Moren.  Do you know
		him?

				ALEXANDER
		No...

				KORUS
		He said he traveled for two months.

				ALEXANDER
		I took a different route.

				KALEN
		What did you do at night?

				MARA
			(a bit quickly)
		What's it like where you come from?

				ALEXANDER
		Oh, very different.  But not
		entirely... I mean we have lots of,
		um, trees and such.  But not
		everywhere.  And more roads.  And
		buildings.

				KORUS
		Why?

				ALEXANDER
		To live in.  There's a lot of us...
		beyond the valley.

				KORUS
		New Yorkers.

				ALEXANDER
		Yes.  I hope you won't take this
		the wrong way but is there someone
		older I could talk to?  An elder or
		patriarch of some kind?

	The Eloi look at him a little oddly.

				KORUS
		I am the oldest.

				ALEXANDER
		No, I mean someone considerably
		older.  Your father perhaps?

				KORUS
		My father has gone to a better
		place.

				ALEXANDER
		I'm sorry, I didn't mean to...

				KORUS
		Of course.  You're just tired. 
		Mara, will you look after Alexander
		tonight?

				MARA
		Yes.

				ALEXANDER
		Thank you.

				KORUS
			(stands, toasting)
		Friends, join me in welcoming our
		brother from beyond the valley,
		Alexander.

	The Eloi stand and toast.  Applause and good fellowship. 
	Before Alexander can open his mouth to respond the Eloi are
	clearing the table.  A bit abruptly.

	Mara and Kalen go to Alexander, they head back to their
	house.

				KALEN
		Now how did you get hurt?

				ALEXANDER
		I had an accident.

				KALEN
		I figured that.  What kind of
		accident?

				MARA
		Kalen, don't be morbid.

	Kalen grabs Alexander's hand and pulls him along.

				KALEN
		What do you do on the towers?

				ALEXANDER
		On the towers?

				KALEN
		I'm training to be a high climber.

				MARA
		We'll see about that.

				KALEN
		I am.  Are you a climber?

				ALEXANDER
		Ah... no.

				KALEN
		Don't tell me you're a mud carrier.

				ALEXANDER
		'Fraid so.  Just a regular old...
		mud carrier.

	Kalen is disappointed.

				MARA
		That's all right, Kalen...
			(a wry glance to
			Alexander)
		... Mud carriers are important too.

	They continue on toward their house.

	INT.  MARA AND KALEN'S HOUSE - NIGHT

	Alexander sits with Kalen and Mara.  The boys's eyes alive
	with wonder.

				ALEXANDER
		... Thousands and thousands of
		people.  And sometimes we live in
		great buildings that reach up five
		or ten stories.

				KALEN
		And everyone looks like us?

				ALEXANDER
		Exactly like you.  Well, maybe not
		as healthy.

				MARA
		Is there a lot of illness?

				ALEXANDER
		Some.  But I mean we aren't all
		so... handsome.

				KALEN
		I want to see your home.  Will you
		take me?

				MARA
		Kalen, right now you need to go up
		to bed.  You're exhausting
		Alexander.

				KALEN
		You'll tell me more tomorrow?

				ALEXANDER
		I will.  Good night.

	Kalen kisses his mother and then kisses Alexander.  He goes
	up the stairs, disappearing to another part of the house.

				ALEXANDER
		His curiosity is amazing.

				MARA
		Mm.

	A beat.  Mara gazing at Alexander.

				MARA
		Come to the roof.  We can talk
		there.

	EXT.  MARA AND KALEN'S HOUSE - ROOF - NIGHT

	Alexander and Mara emerge from a stairway to the flat roof of
	the house.

	Alexander stops, looking up...

	The moon -- or what's left of the moon -- shines in the
	night.  Oddly shaped shards are spread out in uneven
	intervals.  It is bizarrely beautiful.

				ALEXANDER
		My God...

	Mara notes his reaction as she sits at the edge of the roof
	by a large brazier.  She lights a fire in the brazier as:

				MARA
		Sit with me.

	He goes to her and sits.

	He notices that other Eloi are also sitting on their roofs
	all around the village, braziers burning like campfires
	through the night.

				MARA
		Kalen will tire you out if you let
		him.  He's always been curious. 
		His father was firm with him but...
		it's just his way.

				ALEXANDER
		Your husband is dead?

				MARA
		He's gone to a better place.

	He looks over the peaceful night.

				ALEXANDER
		It's hard for me to imagine a
		better place.  Where I come from
		there's so much... frenzy.  Day and
		night.  It seems we're all running
		faster and faster...
			(he smiles)
		... All in identical bowler hats.

				MARA
		You're not from beyond the valley.

				ALEXANDER
		What makes you say that?

	She reaches into her clothing and pulls out his pocket watch. 
	She holds it up.

				MARA
		We don't have anything like this. 
		Or the machine where Kalen found
		you.  And I doubt they do beyond
		the valley... Now where do you come
		from?

				ALEXANDER
		You might find the truth rather
		hard to understand.

				MARA
			(dry)
		Then you can speak slowly.

	He smiles.  Fair enough.

				ALEXANDER
		All right... I'm from here.  Around
		here anyway.  The machine where you
		found me allowed me to travel
		through time... I'm from the past.

	She looks at him.

				MARA
		Oh, that explains everything.

				ALEXANDER
		I know it's hard to believe, but
		it's true.

				MARA
		That machine --

				ALEXANDER
		Allowed me to travel from my time
		to yours.

				MARA
		How long ago?

				ALEXANDER
		More than 800,000 years.

	She looks at him.  She looks at his pocket watch.  Then back
	at him.

				MARA
		Why?

				ALEXANDER
		Why not?

				MARA
		Why would you do that?

	Alexander doesn't respond.

				MARA
		I might find the truth rather hard
		to understand?... Can you go back?

				ALEXANDER
		Yes.  Or forward into the future. 
		I suppose I really should check on
		the machine, see that it hasn't
		been damaged...

				MARA
		I'll take you tomorrow... You must
		have seen a lot on your journey.

				ALEXANDER
		For a time it was astounding.  I
		saw the years spinning by, I was in
		the years spinning by.  We made
		such advances.  I don't understand
		half of them.  There was a machine
		that talked to me and others that
		flew through the sky... We must
		have been incredible thinkers and
		artists --

	A sudden scream cuts through the night -- Kalen -- Mara bolts
	up, races down into the house, Alexander following --

	INT.  KALEN'S ROOM - NIGHT

	Kalen is sitting up in bed, eyes wide, screaming -- Mara runs
	to him, holds him closely -- Alexander stands in the doorway.

				MARA
		Kalen, it's all right, I'm here --

				KALEN
			(terror)
		They're here!  They're inside the
		house -- !

				MARA
		No, you're safe --

				KALEN
		They're inside --

				MARA
			(calming)
		Kalen, look at me.  There's no one
		here but us.  You see... I'm here,
		you're here, Alexander's here. 
		There are no Morlocks.  It was just
		a dream...

	She holds him closely, he is weeping uncontrollably.

				MARA
		You're safe...

	Alexander moves away, allowing them their privacy.

	EXT.  MARA AND KALEN'S HOUSE - ROOF - NIGHT

	Alexander sits, looking over the night.  He notes that most
	of the Eloi have gone in, but, oddly, their fires still burn
	on the rooftops.

	He glances up at the stars, gazing at the dazzling mosaic of
	beautiful lights.

				MARA'S VOICE
		He's asleep.

	Alexander turns.  Mara is standing at the entrance to the
	roof.

				ALEXANDER
		Is he all right?

				MARA
		Just a dream.  You should sleep
		too.  You're still not well.

	A beat.

				MARA
		I'm going to sit with Kalen.  Keep
		the fire burning if you can.

				ALEXANDER
		I will...

	A beat.  She doesn't move.

				MARA
		I'll take you to your machine
		tomorrow.

				ALEXANDER
		Thank you...

	A beat.  She doesn't move.

				MARA
		You seem fascinated by the stars.

				ALEXANDER
		You can see so many here.

				MARA
			(smiles)
		Don't then have stars where you
		come from?

				ALEXANDER
		Not like this... They don't seem so
		bright with all the city lights.  I
		never really noticed them much...

	A beat.  He is on the verge of asking her to join him in
	enjoying the night.

				MARA
		Good night, then.

				ALEXANDER
		Good night.

	She turns to go...

				ALEXANDER
		Mara... what's a "Morlock"?

	She stops.

				MARA
		A child's nightmare, that's all.

	She goes into the house.

	He sits for a moment, looking over the beautiful night.  He
	glances up at the shards of the moon.

	O Brave New World...

	EXT.  DREAMSCAPE - DAY/SUNSET

	We are moving through the Eloi world.  Through lush jungles
	and glades and forests.  Everywhere around us there are
	fascinating geological and botanical wonders to behold...

	Bucolic and beautiful.  Idyllic...

	And then the landscape is more mountainous, rocks and the
	beginning of a splendid desert... the sun is setting... the
	desert sand burns red in the sunset... still beautiful...

	And then a shape appears in the distance -- we sweep toward
	it -- it is hulking -- predatory -- terrifying -- sparkling
	red as if the setting sun is reflecting from shinning
	metal --

	INT.  MARA AND KALEN'S HOUSE - DAY

	-- Alexander bolts awake.  Unsettled by the dream.

	EXT.  FOREST PATH - HILL - DAY

	Alexander and Mara are making their way up an ascending path
	through the forest with the rest of the Eloi.  Kalen is ahead
	of them with some other children.

	Korus comes to them:

				KORUS
		Good morning, Alexander.  Feeling
		up to some work?

				ALEXANDER
		I suppose so.

				MARA
		I'm going to take him to where
		Kalen found him first.

				KORUS
		And then you'll join us?

				MARA
		Yes.

				KORUS
		Good.  We'll see you later then.

	He moves ahead, walking briskly.  Excited about a day of
	work.

				ALEXANDER
		Mara, I had a strange dream last
		night.  I was here, walking through
		a forest very much like this, and
		then...

				MARA
		Then you came to a desert and
		mountains...

				ALEXANDER
		Yes.

				MARA
		And you saw a shape ahead of you...

				ALEXANDER
		Yes!

				MARA
		We all have that dream.

				ALEXANDER
		All of you?

				MARA
		Every night.

				ALEXANDER
		You share dreams?  That's
		incredible.

				MARA
		We share everything.

	He slows, looking ahead, amazed.

	In the distance, just over the crest of the hill he sees a
	strange point, like the top of a high steeple, jutting up to
	the sky.

	They approach the crest of the hill...

	EXT.  HILLTOP - DAY

	Alexander stands, utterly staggered, looking down into a
	valley.

	And he sees...

	A city... not exactly... s sculpture... no...

	Imagine Monument Valley.  Man-made.

	Twisting spires and towers and monoliths shoot up for a
	hundred feet, swirling multicolored constructions of sand and
	stone.  They are mammoth creations that bend and twist and
	soar, filling the valley.  There is a bizarre sort of
	architectural order to the creation, yet it is also inspired
	and mad and emotional.

				MARA
		Our work.

	They begin to descend into the valley with the rest of the
	Eloi.

	EXT.  VALLEY - ELOI CREATIONS - DAY

	Among the towers now, Alexander sees the fabulous detail to
	the constructions.  They are beautiful, soaring combinations
	of mud and stone sculpture; fabric and wood; sand and
	flowers.

	It is ethereal pyramid building: primitive creation of
	stunning artistic courage and clarity.

	Already the Eloi are busy.

	Like a race of master builders, they climb wooden
	scaffoldings and scale ropes -- swarming busily around the
	towers like insects -- unified in their task of amazing
	artistic creation.

	Alexander and Mara move through the towers.

				ALEXANDER
		This is magnificent...

				MARA
		Thank you.

				ALEXANDER
		And this is your "work"?

				MARA
		Yes.

	They pass some Eloi carrying mud from a nearby river to the
	towers.

				MARA
			(dry)
		The mud carriers.

				ALEXANDER
		I can see Kalen's point.

				MARA
		Want to be a high climber now, do
		you?

				ALEXANDER
		What you need is an engineer.  If
		you set up a system of pulleys and
		counterweights, some basic block
		and tackle mechanism, you could to
		this a lot more easily.

				MARA
		It's not supposed to be easy, it's
		supposed to be beautiful.

				ALEXANDER
		What's it all for?

				MARA
		I don't understand.

				ALEXANDER
		I mean, why do you do it?  What
		purpose does it serve?

				MARA
		It has no purpose.  It's just
		beautiful... Does everything have a
		purpose where you come from?

				ALEXANDER
		Most things.  We're very high on
		purpose.

				MARA
		It's always been this way here.  We
		work on the towers all our lives. 
		When we're young we train to be
		planners or climbers or
		sculptors...

				ALEXANDER
		Or mud carriers.

				MARA
		And there's no shame to that.  It's
		all the same here.  Everyone has an
		important job to do.  We all work
		together and couldn't survive
		without each other.

				ALEXANDER
		What are you?

				MARA
		I'm a planner.  I help decide where
		the new towers go and what they
		should look like.

				ALEXANDER
		How do you decide?

				MARA
		I try to imagine how they'll look
		when they're done.  I try to
		imagine how we'll fit in with
		them... our place in the world.

	Alexander is impressed with her quiet words, so much like his
	own creative passion.

	He stops, taking in the communal activity everywhere around
	him for a moment.  Enjoying the warm sunshine and peaceful
	surroundings.  

	Paradise.

	He continues to gaze at the towers, smiling.  Mara looks at
	him, almost on the verge of saying something.  She decides
	against it.

				MARA
		We should go if you want to see
		your machine.

	They continue on.

	EXT.  FIELD - NEAR SUNSET

	The first stars are beginning to shine in the night sky as
	Alexander and Mara make their way across an open field.

				ALEXANDER
		... It was a great city.  The
		greatest city in the world.

				MARA
		You liked it there.

				ALEXANDER
		Oh, very much...
			(he points)
		... I used to work somewhere in
		that direction, I think.  A huge
		university where we taught
		everything from botany to history
		to literature.

				MARA
		Learning was important?

				ALEXANDER
		Oh very.  Learning, commerce, the
		arts -- the whole place was buzzing
		all the time.  Night and day.

				MARA
		Did you have fires at night?

				ALEXANDER
		Only to keep warm.  For
		illumination we had gaslights on
		most of the streets and a new
		invention called electrical
		lighting that made it seem like
		daylight all through the night.

				MARA
		It must have been safe.

				ALEXANDER
		Oh, it was...
			(beat)
		... Most of the time.

				MARA
		It sounds like a wonderful place to
		live.

				ALEXANDER
		Looking back... I suppose it was. 
		I didn't quite realize it at the
		time but...

	Alexander stops, frozen.  Staring up.

				MARA
		Alexander...?

				ALEXANDER
			(quietly)
		Orion's belt...

	The constellation gleams in the sky.  The string of three
	stars pointing to the earth.  Exactly as it was on the night
	Emma died.  Alexander looks around, amazed, getting his
	bearings:

				ALEXANDER
		Those rocks, over there... they're
		the same... this is... Central
		Park.

				MARA
		You know this?

				ALEXANDER
		Over there was Fifth Avenue -- and
		the Plaza Hotel was there... this
		is... the carriage path.  We're on
		the carriage path.

	A stunning realization for Alexander.  The stars and rock
	formations confirming his thoughts.

				ALEXANDER
		The whole world is different.  But
		this never changes...

	A long beat as he looks around, his eyes full of pain.

				ALEXANDER
		This is where my journey started...
		right here.

				MARA
		You lost someone.

				ALEXANDER
		Yes.

				MARA
		Someone you loved very much.

				ALEXANDER
		Yes... After her death, it was
		intolerable for me here... The
		future had to be better.

				MARA
		Is it?

				ALEXANDER
		If you only knew...

	A beat.  He looks at her deeply.

				ALEXANDER
		You've welcomed me into your home. 
		Into your lives.  Everyone has...
		For the first time in a long time
		it doesn't hurt quite so much.  I
		thank you for that.

				MARA
		I know what it is to lose someone. 
		When my husband was taken from
		us... I thought the pain would
		never end.

	She gently touches his face.

				MARA
		But time helps.

	A beat.  She breaks the moment, turning:

				MARA
		Now let's see this amazing machine
		of yours.

	She moves off.  He takes one final glance at Orion's belt,
	and then follows.

	One of the squirrel-like creatures scampers after them and
	then stops -- and something bizarre happens -- the squirrel's
	jaws distend unnaturally -- and it vomits forth an eyeball --

	The human-looking eyeball oscillates on a thick mechanical
	tendril.  Watching Alexander and Mara.  Spying.

	EXT.  JUNGLE - SUNSET

	The Time Machine awaits.  It sits at the edge of some thick
	jungle foliage.

	Alexander goes to it.  Mara following.  He circles the
	machine, checking it.

				ALEXANDER
		Good -- it looks fine.  We had
		quite a ride together...

				MARA
		It's undamaged?

				ALEXANDER
		Yes... a little scorching on the
		upholstery but otherwise all ship-
		shape.

				MARA
		So you can use it now?

				ALEXANDER
		Yes... I suppose so.

				MARA
		Go back to your own time?

				ALEXANDER
		I could...

	Suddenly, she is a different person -- she takes his arm
	firmly, her eyes burning into his:

				MARA
			(urgently)
		Alexander, take my son away.  Take
		him back to your time.  Will you do
		that?

				ALEXANDER
		Mara --

				MARA
		Please, I beg you.  Take him away
		from here --

	And then...

	A mournful wailing stabs through the night.  A distant horn.

	Mara freezes.  Her eyes wide in horror.

				MARA
		Kalen...

				ALEXANDER
		Mara...?

				MARA
		No!

	She turns and bolts, racing away from him.

				ALEXANDER
		Mara!?

	He runs after her -- leaving the Time Machine behind --

				ALEXANDER
		Wait -- tell me -- !

	Then a frenzy of movement draws his attention back to the
	Time Machine for a moment --

	He just sees the Time Machine as it is DRAGGED AWAY --
	amazingly quickly -- something violently hauling it into the
	darkness of the jungle in an instant -- the jungle swallowing
	it up --

	Alexander slams to a stop -- amazed -- and then turns to
	follow Mara --

	EXT.  FOREST - SUNSET

	Alexander and Mara race through the deep forest -- she is
	running flat out -- he struggles to keep up --

				ALEXANDER
		Mara -- what -- ?!

				MARA
		Kalen -- we have to get Kalen -- !

	A building thunder in the forest behind them --

	Something approaching -- a crashing cacophony of something
	thrashing quickly through the trees -- closer and closer --
	the earth vibrating, something pounding after them --

	Another horn call, closer --

	Dark shapes sweeping through the forest behind them --

	EXT.  VALLEY - ELOI CREATIONS - SUNSET

	Alexander and Mara speed into the valley from the darkness of
	the forest --

	The Eloi ahead of them are just standing.  Waiting.  A
	terrible moment of stasis, terror in their eyes.  The world
	coiled.

				MARA
		Kalen -- !

	An EXPLOSION of horror as the MORLOCKS appear --

	They erupt from the dark forest into the valley --

	The Morlocks are horrible, muscular creatures with
	unnaturally long and distended jaws and ferocious, huge claws
	like those of a mole --

	And they ride horribly mutated horses and let out ferocious,
	animal roars.

	About twenty mounted Morlocks sweep into the valley -- the
	Eloi scatter in terror.

	It is a hunt.

	The Eloi race in panic, so utterly unlike the beatific calm
	of the rest of their lives -- and everywhere the Morlocks
	pursue -- weaving in and out of the Eloi towers and swinging
	heavy nets -- capturing Eloi and dragging them away --

	The Eloi scramble desperately to protect their children --
	the Morlocks are brutal -- great claws slamming Eloi aside or
	snatching them up -- nets swinging -- the Eloi never really
	resist -- once they are captured they allow the Morlocks to
	pull them away --

	By now the sun is fully setting and it is an unearthly
	spectacle in the blood red dusk, made even more bizarre by
	the glowing red eyes of the Morlocks --

	Mara and Alexander race through the mammoth constructions.

				MARA
		KALEN! -- KALEN!

	Everywhere around them the Morlocks are netting Eloi and
	dragging them away --

	But it is not random.  The Morlocks seem to target particular
	Eloi.

	A Morlock spins on his horse, his glowing red eyes fasten on
	Mara.  He spurs his horse and gallops toward Mara and
	Alexander.

	Alexander sees the Morlock pursuing --

				ALEXANDER
		This way!

	He pulls Mara towards one of the towers --

	The Morlock gallops toward them -- swinging his net -- the
	net traps Mara -- Alexander spins around and grabs the net --
	he yanks at it violently and pulls the Morlock from his
	horse --

	The Morlock slams to the ground -- the horse bolts off -- the
	Morlock snarls and slashes at Alexander quickly and then, to
	his absolute shock, the Morlock dives into the earth -- he
	tunnels away with his huge claws in a frenzy of movement --
	disappearing into the ground --

	Alexander pulls Mara from the net and hauls her up --

	He pulls her to one of the towers and begins climbing,
	hauling her after him, away from the Morlocks --

	Another Morlock fastens his crimson eyes on Mara, gallops
	toward them -- swings his net up -- can't reach them.  He
	glares up at Alexander and Mara and then snaps open his huge
	jaws, screeching in frustration --

	Then the Morlock below VAULTS from his horse and scales up
	the tower after Alexander and Mara -- he climbs very quickly,
	his great jaws snapping -- they scramble to keep above him,
	desperately climbing -- the Morlock is almost on them when --

	They see Kalen -- lost amidst the panic below -- the Morlock
	horses pounding around him -- a frenzy of horror --

				ALEXANDER
		KALEN! --
			(to Mara)
		-- GO GET HIM -- !

	Alexander instantly leaps down on the Morlock pursing them --
	allowing Mara to scale down after Kalen --

	The Morlock grapples with Alexander briefly -- essentially
	tossing him aside -- Alexander falls and then lands hard on a
	scaffolding below --

	As Mara leaps down and begins racing through the chaos for
	Kalen --

	The Morlock on the tower spins around and scales down after
	her quickly --

	But Alexander sees that Mara is almost to Kalen --

	When SUDDENLY the ground ERUPTS directly before Mara -- a
	Morlock BURST up from the hole and LEAPS on Mara like a lion
	on a gazelle --

	He grabs her with his great claws -- Alexander watches,
	impotent -- as the Morlock drags Mara down the hole,
	amazingly quickly --

	Then from the forest -- another blast of the horn.

	And everything abruptly stops.  The Morlock instantly stop
	pursuing -- the Eloi stop running.

	A frozen moment and then...

	The horn call ends.

	The Morlock spin their horses and gallop into the dark
	forest, disappearing with their prey.

	The Eloi look around, slightly dazed, their panic ended as if
	someone flipped a switch.

	Alexander sees Kalen's face.  It is too painful.  Alexander
	closes his eyes.

	EXT.  ELOI VILLAGE - NIGHT

	Alexander stands, frustrated, with Korus and a few Eloi. 
	Braziers burn around the village.

				ALEXANDER
		Where do they take them?!

				KORUS
		We don't know.

				ALEXANDER
		We have to go after them, find
		where -- !

				KORUS
		Alexander, I know you're trying to
		help.  But they don't come back.

				ALEXANDER
		What do you mean?!

				KORUS
		They've gone to a better place.

				ALEXANDER
		You know that's not true.

				KORUS
		We choose to believe it.

				ALEXANDER
		My God!  How can you just do
		nothing!?  They're your friends,
		your family.  You all knew Mara. 
		You ate with her and worked with
		her... Your work in the valley,
		what is that for if not to --

				ELOI MAN
		To find our place in the world
		and --

				ALEXANDER
		No -- it's more than that.  When
		you create something you say to the
		world: I was here.  I mean
		something.  How can you just let
		that be taken away from you?!

				KORUS
		This is out life, Alexander.  It's
		a hard life but it is how we have
		always lived.

				ALEXANDER
		Then it's time to change that --

				KORUS
			(firm)
		We are what we are.

	A tense beat.

				ALEXANDER
		You won't even try?

				KORUS
		We can't change the day and the
		night, Alexander.  This is the
		world.

	Alexander sees Kalen standing at the door to his house.

				ALEXANDER
		Why don't you try telling him that?

	He strides off toward Kalen.

	INT.  MARA AND KALEN'S HOUSE - NIGHT

	Alexander sits across from Kalen.

	Silence.

	Kalen goes to him.  Sits next to him.  Strangely comforting.

				KALEN
		This is how things happen.  It
		happened to my father.  My mother
		said if we remember him every day
		he'll always be here and we'll feel
		better.

	A beat.

				KALEN
		I remember him before I go to
		sleep.  We built a table once.  I
		remember that.

	He leans his head on Alexander's shoulder.  Both remembering.

	EXT.  DREAMSCAPE - SUNSET

	More of the shared Eloi dream we saw before...

	We are moving through the desert... the sun is setting... the
	desert sand burns red in the sunset...

	And then a shape appears in the distance -- we sweep forward 
	-- it is hulking -- predatory -- sparkling red as if the
	setting sun is reflecting from shining metal --

	Glowing red -- a great bird of prey -- blazing in the sunset
	now -- enormous coiled shoulders -- sharp talons -- strangely
	metallic --

	Then the huge head lunges forward -- the curved beak snapping
	open -- devouring us --

	INT.  MARA AND KALEN'S HOUSE - DAY

	Alexander bolts awake -- sweating -- terrified.

	INT.  MARA AND KALEN'S HOUSE - LATER

	Alexander stands at the doorway, watching the Eloi troop off
	to work.

				KALEN'S VOICE
		You're thinking about her...

	Alexander turns, Kalen is standing in the room.

				ALEXANDER
		Yes.

	Kalen goes to him.

				KALEN
		She didn't want me to be a climber. 
		She wanted me to be a planner like
		her.

				ALEXANDER
		I'm so sorry, Kalen.

	They watch the Eloi troop off to work for a moment.

				ALEXANDER
		How can they just go back to work
		as if nothing happened?

				KALEN
		What else can they do?

				ALEXANDER
		Kalen... Do you have any idea where
		they take them?

				KALEN
		We're not supposed to think about
		it.  But I dream about it
		sometimes...

	Kalen is deep in thought.  He finally comes out with it,
	hesitant.

				KALEN
		There's a place that might help...
		we could try going there.

				ALEXANDER
		Where?

				KALEN
		The Hall of Books.

				ALEXANDER
		You have books?!  Kalen, you've got
		to take me there.  There might be
		history.  Records.  Something to
		help us find where the Morlocks
		took --

				KALEN
		I shouldn't have mentioned it.  We
		can't go there.

				KALEN
		Why?

	Kalen looks at him.  Deadly serious.

				KALEN
		Because it's haunted.

	EXT.  JUNGLE - DAY

	Alexander and Kalen are making their way through a dense
	jungle path, long overgrown.

				KALEN
		No one ever comes here.  My mother
		told me stories about it late at
		night.  They tell all the children.

				ALEXANDER
		What kind of stories?

				KALEN
		About the voice in the darkness. 
		About the ghosts...

	They push through some tangled vines.  A gaping tunnel opens
	into the earth ahead of them.

	They stop.  Kalen considers the dark opening.  He bravely
	steels himself.

				KALEN
		Climbers should go first.

	Then he continues on, Alexander following.  They begin to go
	down into the tunnel, pushing aside overgrown vines and
	foliage.  No one has been this way for a great many years.

	INT.  TUNNEL - DAY

	They descend the dank tunnel.  Here and there shafts of
	sunlight shoot down from holes above.

				KALEN
		I had a friend who came here once. 
		Sort of a dare.

				ALEXANDER
		What happened?

				KALEN
		He came back screaming... He never
		talked about it after that.  I
		don't think he even got this far.

	Not even noticing, they pass by an imposing figure buried
	deep in the sediment of the tunnel wall.  A stone lion, its
	great head just protruding from the rock.

	It is one of the lions from the entrance to the Fifth Avenue
	New York City Public Library.

	INT.  READING ROOM - DAY

	Alexander and Kalen slowly walk into a cavernous chamber --
	shrouded in dust, spiderwebs and cobwebs -- filthy, abandoned
	and echoing.  Eerie.

	Around the edges we can just glimpse a sense of something
	familiar, of our time.  They are, in fact, standing in the
	sad remains of the reading room of the New York City Public
	Library.  Massive walls of books.

	A dazzling shaft of sunlight shoots straight down from a hole
	above, creating a pillar of light.  Everything else is
	darkness.

	Except for a tiny red glow in a far corner of the room.

	Then a voice, echoing from the red glow:

				VOICE
		May I help you?

	Alexander and Kalen stop.

				VOICE
		... It has been one thousand, three
		hundred and seven years since I
		have seen a living soul...

	The glowing red light approaches, ominous...

				VOICE
		And you are alive.  I can feel your
		pulse from here...

	The glowing red light approaches...

				VOICE
		If I had known you were coming...

	The glowing red light stops just short of the ray of sunlight
	from above...

				VOICE
		I would have baked something.

	And VOX steps into the pillar of light.

	He is a truly horrifying sight.  A human-shaped robot of
	sorts.  A twisting, hideous collection of circuits and wires,
	pistons and metal.  A gaping face-plate.  Bits of ashen skin
	grafted uneasily to rubber and metal.  And one very human eye
	peering from his wretched visage.

	The glowing red light comes from deep within his incomplete
	chest cavity.  A power source of some kind.

	He has the same voice as the informational kiosk Alexander
	spoke to earlier.

	Vox moves with the strange, jerky gait of a machine well past
	his prime.  He lurches about, but with a bizarre sort of
	elegance.

				VOX
		My manners have become deplorable
		through lack of use.  The spiders
		and the scorpions don't care much,
		I'm afraid.

	He smiles, a truly ghastly sight, and perambulates to a
	bookcase.

				VOX
		What can I get you, let's see...
			(he flips through some
			books)
		... Henry James?  No, too dreary...
		Hemingway, perhaps?  No, too
		sweaty.  Plato?  Proust?  Poe? 
		Pinter?  Pound?  No, something
		else... ahhhh... I have it...
			(he hold up a book)
		... Jules Verne.

	He turns to Alexander.

				VOX
		Right up your alley, I would think. 
		You are from the past, yes?

				ALEXANDER
		How did you know?!

				VOX
		I can smell carcinogens and
		industrial pollutants on your skin
		that have not been known here for --
			(he leans forward and
			smells Alexander)
		-- 800,000 years perhaps.  Don't
		keep me in suspense.  What year?

				ALEXANDER
		1899.

				VOX
		I must say, you look remarkably
		good.  You don't want a book then?

				ALEXANDER
		What are you?

				VOX
		I'm the librarian.  I've always
		been the librarian.

				ALEXANDER
		I know you -- you're an automaton
		of some sort that --

				VOX
		An "automaton"?!  Please!  I'm a
		biomechanical organism.  Well,
		what's left of one.  What's left of
		all of them, actually.  I am the
		last...
			(he sweeps his arms to
			take in the whole
			chamber)
		... And "these fragments I have
		shored against my ruins."  T.S. 
		Eliot.  You wouldn't know him yet
		but you'll just love him, he's
		divine, if a little dour.  Very shy
		though... hiding over here...

	He jerks away toward another bookcase.

				ALEXANDER
		Sir... have you a name?

				VOX
		I am called Vox...
			(he jerks quickly to
			Kalen)
		... Now you are Eloi.

				KALEN
			(terrified)
		Yes...

				VOX
		Don't be frightened, Vox is here to
		help.  To serve.  How may I serve
		you, child?

	He leans very close to Kalen.  Then quietly and rather
	cruelly baaa's like a sheep.

				ALEXANDER
		Please, we need your help.  The
		Morlocks have taken --

				VOX
			(jerking at the word)
		Morlocks --

				ALEXANDER
		You know of them?

				VOX
		Who doesn't know the Morlocks?

				ALEXANDER
		Do you know where they live?

				VOX
		Oh yes... They found our knowledge
		useful for a time.  They used us
		much as your people did.  Then they
		decided they had learned enough so
		they tore us up for spare parts.

				ALEXANDER
		But you escaped.

				VOX
		I was lucky.  The others weren't.

				ALEXANDER
		How have you survived so long?

	Vox touches the red glow in his chest cavity:

				VOX
		Regenerating fission reactor, you
		wouldn't understand.  It's power is
		well beyond your neanderthal
		cranial capacity.

				ALEXANDER
		Can you show us where they live?

				KALEN
		Please... it's important.

				VOX
		An Eloi who would seek out the
		Morlocks?  Aren't you a plucky
		little thing?

	He stares at Kalen, gauging him.  Kalen bravely returns his
	stare.

				ALEXANDER
		We need your help.

				VOX
			(with rising passion)
		Why should I help you?  You
		primates -- you great, lumbering,
		hairy animals, drenched in blood
		from the moment of your hideous
		conception -- what have you ever
		used knowledge for but destruction
		and bloodshed!  A little bit of
		learning and you lay waste to the
		world!  You're no better than the
		Morlocks!

				KALEN
		They took my mother!

				VOX
		THEY TOOK MY ENTIRE RACE!

	His thundering words echo around the chamber.

	A beat.  Vox calms down.  Takes in his massive walls of
	books.

				VOX
		But all that's ancient history. 
		I'm safe here.  Now I live in
		serene contemplation.  I commune
		with the great minds of history. 
		Socrates, Aristotle, Shakespeare,
		Martha Stewart.  Why should I risk
		all of that to help you?

	A beat.

				ALEXANDER
		Because you'll never die.

				VOX
		Excuse me?

				ALEXANDER
		You'll live like this forever. 
		Alone.  You were meant to help.  To
		be with people.  Not like this.

	A long beat.

				VOX
			(darkly)
		So, Relic, you want to open
		Pandora's box, do you?  See all the
		mysteries exposed?

				ALEXANDER
		Yes.

				VOX
		And if the truth is so horrible
		that it will haunt your dreams for
		all time?

				ALEXANDER
		I'm used to that.

	Vox stares at Alexander for a long beat.

				VOX
		All right, Dorothy, let's go and
		see the Wizard.

	EXT.  FOREST - DAY

	Alexander, Vox and Kalen are making their way down a forest
	path.  Kalen a bit ahead.

	Vox talks quietly to Alexander:

				VOX
		When was his mother taken?

				ALEXANDER
		Last night.

				VOX
		Send him away.

				ALEXANDER
		What?

				VOX
		Send him home.  You don't want him
		to see it.

				ALEXANDER
		Kalen... hold on a minute.

	Kalen stops.  Alexander kneels by him.

				ALEXANDER
		I think we should go on by
		ourselves.

				KALEN
		No...

				ALEXANDER
		Please, just listen to me... Your
		mother would be very cross with me
		if you got hurt.  I'll find her.

				KALEN
		But you're only a mud carrier.

				ALEXANDER
			(smiles)
		I'll be all right... You go back to
		the village and light the fire.  So
		we can find our way home.

	A beat.

				KALEN
		I'll wait for you.

	He hugs Alexander, tightly.  And then goes.

	A beat.

	Vox watches Alexander, actually moved.

				ALEXANDER
		Come on.

	He rises and they continue down the path.

	EXT.  DESERT - DAY

	Alexander and Vox are staring up, gazing at something ahead
	of them.  An odd shadow falling across them.

				ALEXANDER
		My God... I saw this.

				VOX
		It frightens you.

				ALEXANDER
		Yes...

				VOX
		It was meant to.

	And then we see it... like a vision from the shared Eloi
	dream... a great metallic bird of prey... coiled muscles...
	shining red in the light.

	It is, in fact, one of the gargoyles from the Chrysler
	Building.  The top of the building towers up from the sand. 
	Shattered and desolate, looming at an odd angle.

				VOX
		So, do we go on?

				ALEXANDER
		Yes.

				VOX
		Aren't you a plucky little -- ?

				ALEXANDER
		Oh, shut up.

	He bravely moves past the top of the Chrysler Building,
	keeping an eye on the frozen gargoyle as he passes.

	Vox smiles and follows.

	EXT.  CLIFFS - DAY

	Great cliffs soar up like dragon's teeth.  Alexander and Vox
	approach the tallest, sharpest cliff.  Like a knife cutting
	into the sky.

				VOX
		... The Morlocks never bother me. 
		Why should they?  I'm obsolete. 
		Where's the danger in a book no one
		wants to read?

	Vox notes one of the little squirrel-like creatures.  He
	calmly crushes it under his foot.

	Alexander is surprised but says nothing.

	Then Vox stops at the great cliff, gazing up, a complex
	tornado of emotions flashing across his one human eye.

				VOX
			(quietly)
		I have not seen this place for
		120,000 years... Very well, Relic. 
		Here's the way in.

	Alexander stares at the wall of impenetrable stone.

				VOX
		It's not what you think.  Touch it.

	Alexander slowly reaches forward -- his hand passes through
	the stone.

				VOX
		It's what they want you to see.

				ALEXANDER
		This is the way in?

				VOX
		Yes... Are you sure you want to do
		this?

				ALEXANDER
		Yes.  But you've done enough. 
		Thank you for your help... I hope
		someday people read your books
		again.

	And then Alexander takes a breath and... steps through the
	wall.  Disappearing.

	Vox stands for a moment.  Thinking.  And follows Alexander
	through the wall...

	INT.  MORLOCK CAVES - DAY

	Alexander turns.

				VOX
		In for a penny, in for a pound.  Do
		you know that saying?

				ALEXANDER
		Yes... Thank you.

	And they turn to face...

	The lair of the Morlocks.

	It is a serpentine network of tunnels that shoot off
	dramatically in all directions.  Some of the tunnels are
	rough and natural, stalagmites and stalactites gaping like
	teeth.  Others are smooth and architectural, seeming almost
	man-made.

	In the rocks around them, we can just glimpse relics from the
	Old World -- buried under thousands of years of rock
	formation and evolution -- treasures deep in the sediment.

	Bit of New York -- a building -- a car -- a soda machine --
	twisting subway tracks arching into the darkness.

	And in the background a steady inhalation and exhalation -- a
	constant rasping and hollow moaning -- as if the Earth itself
	was breathing.

	And the low thrum of machinery.

				ALEXANDER
		Machines?

				VOX
		Yes.

				ALEXANDER
		Do you know which way?

	Vox stands frozen... his nightmares coming back to haunt him.

				ALEXANDER
		Vox?

				VOX
		This way.

	They begin to move through a tunnel...

	INT.  MORLOCK CAVES - SUBWAY TUNNEL - DAY

	Although he doesn't know it -- and such a thing would be
	unknown to him anyway -- Alexander and Vox are traveling down
	the remains of a decaying New York City subway tunnel.

	They pass bits of crumbling tile on the wall -- the letters
	"I.R.T." and "42nd Street" are just visible through years of
	grime and geological growth.

	They move toward the next chamber, the source of the strange
	breathing and mechanical sounds seems to be coming from this
	new chamber...

	They emerge on a ledge high above...

	INT.  MORLOCK CAVES - MACHINERY CAVERN - DAY

	Alexander and Vox peer down, hidden.

	If Alexander had the knowledge of its existence he would know
	he is above the sunken remains of Madison Square Garden.  The
	whole Garden has fallen in on itself at some points, at
	others the cathedral of metal girders support the ceiling
	high above.

	The air around them vibrates and whooshes, the breathing
	sound roaring.  And at last Alexander can see the source...

	Machines.  Towering, sweating, industrial.  A network of
	enormous pipes and electrical cables and air channels like
	the circulator system of a body that twist off in every
	direction.  A sweatshop Hell.  A mechanized Dante's Inferno
	of wood and leather and steel.

	And the Morlocks are working.  All the machines are powered
	by the brute strength of the Morlocks alone.  They labor
	among the hellish machines -- slowly turning great wheels and
	pulling at enormous bellows and hauling ropes and grinding
	levers.  They are nightmare figures of a Bosch painting.

	Alexander looks down in amazement.

				ALEXANDER
		What's it all for?

				VOX
		The air... the power.

				ALEXANDER
		Why did they built it?

				VOX
		The Morlocks didn't build this.

	Alexander looks at him.

				VOX
		Alexander... Listen to me, it was
		wrong to bring you.  You're not
		going to find what you're looking
		for.

				ALEXANDER
		What do you mean?

				VOX
			(grim)
		Trust me... You don't want to see
		any more.

	A beat.

				ALEXANDER
		Show me.

	Vox looks at him for a moment.  And leads him down another
	tunnel...

	INT.  MORLOCK CAVES - HALL OF BONES - DAY

	The tunnel gradually opens out, getting wider and wider,
	opening to a vast chamber...

	And as the tunnel opens out, they get a stunning perspective
	of the whole...

	Bones.  Skeletons.  The entire chamber is a vast necropolis.

	They are standing in an enormous hall entirely made up of
	Eloi bones and skulls and rib cages and complete skeletons. 
	Some buried deep into the sediment -- some reaching out for
	them like grisly nightmare images -- an entire sweeping wall
	of skulls on one side.  At other places the bones glisten
	wetly, fresh kill.

	Here and there around the chamber holes drop away to
	blackness, gaping chasms.

	A silent beat as they take in the horror everywhere around
	them.

				VOX
		The slaughterhouse.

	Alexander looks around, shattered.

				VOX
		They raise them like cattle... Feed
		them until they're ready and then
		hunt them.

				ALEXANDER
		No...

				VOX
			(a whisper)
		How are your dreams now?

	His words hang in the air for a moment as Alexander takes in
	the gruesome chamber.

				ALEXANDER
		This has to end.

				VOX
		End...?

				ALEXANDER
		This has to end.

	Vox looks at him.

				VOX
		May I help you?

	Before Alexander can respond --

	The ground beside them suddenly EXPLODES up -- bones fly --

	Morlocks ERUPT up from the ground -- Alexander tries to
	resist -- but he is quickly overpowered --

	A Morlock grabs Vox and BRUTALLY flings him aside -- Vox
	falls into a gaping hole -- sailing down -- SLAMMING against
	the sides of the abyss -- his body RECOILING grotesquely like
	a rag doll, shattered -- he CRASHES to the bottom of the
	chasm, lies still --

	Above, a Morlock leans over the defeated Alexander, he opens
	his enormous jaws wide and screeches down at Alexander,
	inches away, Alexander can see into his throat.

	INT.  MORLOCK CAVES - EVOLVING TUNNEL - DAY

	Two Morlocks are leading Alexander down a long, sloping
	tunnel, deeper and deeper and deeper.  But this tunnel is
	different.

	It evolves from the natural subterranean and bone caves of
	the Morlocks to rough walls and then walls with decaying
	frescos and tapestries.  It is as if Alexander is walking
	through a microcosm of man's development.

	A tall figure is waiting ahead of them in the deep darkness
	of the tunnel.  The Morlocks stop, Alexander as well.

	Alexander peers at the figure, trying to see.  Too dark.

	Then a voice.  Surprisingly gentle.

				GENTLE VOICE
		I won't be what you expect...

	A beat.

				GENTLE VOICE
		We're not really so different, you
		and I.

	Then a light.  A pulsing bio-electric glow radiates from the
	figure, illuminating it from within, and Alexander sees...

	The UBER-MORLOCK OVERLORD.

	The Uber-Morlocks are strange creatures.  The centuries of
	living deep underground without any physical activity have
	left them anemic and enervated.  They are fragile, weak,
	elongated creatures.  Their skin is almost translucent --
	like bizarre mutations of a man and a silverfish.

	A beat as Alexander takes in this eerie figure.  The Overlord
	bears a disturbing resemblance to Dean Fulton.

				OVERLORD
		It's bio-electric illumination. 
		Like certain deep sea creatures
		from your own time.

	He moves to Alexander.  The Uber-Morlocks move slowly, almost
	having lost ambulatory power.  The Overlord stops close. 
	Studies Alexander.  Then smiles.

				OVERLORD
		Come... see your future.

	He ushers Alexander into...

	INT.  UBER-MORLOCK CHAMBERS - DAY

	A breathtaking cacophony of the past and the future.

	A serpentine honeycomb of chambers that combine a Victorian
	Jules Verne sense of the "future" with artifacts from our
	world: obelisks of cars and computers; towers of scientific
	equipment alongside rotting advertising posters and preserved
	animals floating in huge tanks.

	Mammoth columns of decaying books soaring up like monoliths. 
	Vast towers of enormous tomes of every description.

	Here and there in the murky darkness of the network of rooms
	we see flickering lights -- decaying power cables -- the hum
	and sputter of some machinery in the shadows.

	The Overlord slowly leads Alexander through the network of
	chambers, past the amazing artifacts.

				OVERLORD
		What's your name?

				ALEXANDER
		Alexander.

				OVERLORD
		Well, Alexander, as a fellow
		scientist I know you have a
		thousand questions --

				ALEXANDER
		You came underground when the world
		was ending above.  And you evolved. 
		Some into the Morlocks and others --

				OVERLORD
		No, we created the Morlocks.

				ALEXANDER
		Created?

				OVERLORD
		You wouldn't understand.  We
		genetically engineered the Morlock
		class to serve our needs.

				ALEXANDER
		As slaves.

				OVERLORD
		To work the machines and build the
		tunnels.  You can't imagine what it
		was like when it all started.  We
		survived for millennia, scraping
		the lichen and microscopic
		organisms from the rock with our
		teeth and digging for water with
		our nails.  Endlessly.  For
		generations.  And we... became.

	The Overlord continues to lead Alexander through the
	chambers, the two Morlocks following.  Alexander can see that
	the Morlocks are clearly terrified by the Overlord.

	A few other Uber-Morlocks lurk in the darkness of the corners
	and high walls of the chambers.

				OVERLORD
		And centuries later when we tried
		to emerge into the sun again, we
		couldn't.  Our adaptation was too
		successful.  We survived... we
		endured... for this.

				ALEXANDER
		How do you control the Morlocks?

				OVERLORD
		We make them see what we wish.

				ALEXANDER
		How?

				OVERLORD
		As our bodies atrophied our
		minds... compensated.

	The two Morlocks following suddenly stop -- mind control from
	the Overlord freezing them in their tracks.

	The Overlord continues to walk with Alexander.

				ALEXANDER
		And what of the Eloi?

				OVERLORD
		They survived above.  Became what
		they are.

				ALEXANDER
		No... they didn't survive only to
		be your food.  You did that.

				OVERLORD
		I'm afraid your indignation is lost
		here.  I have no more "human"
		response to the Eloi then you would
		have to a carrot.  It's just how we
		live now.

				ALEXANDER
		But this is barbaric!  Have you
		completely lost all sense of --

				OVERLORD
			(stops, calm)
		And who are you, Alexander?  Who
		are you to question thousands of
		years of evolution?  This is the
		world now.  I am fact.

				ALEXANDER
		It can't all be like this...

	They continue walking.

				OVERLORD
		Underground and above.  Light and
		dark.  Predator and prey.  There is
		nothing else.  There is not even a
		desire for anything else.  We have
		finally arrived at... stasis. 
		Which brings us to the problem of
		you... You can see that you have no
		place here.  Your blood, your
		offspring, your ideas just don't
		belong anymore.  So...

	They round a corner to another chamber.

	And the Time Machine is sitting before them.

				OVERLORD
		... You're free to go.

	A stunning bell tower looms through the sediment just above
	the Time Machine.  It is a huge clock face from the front of
	some long lost building.  The huge bell silent.  The hands
	still for generations.

				ALEXANDER
		What?

				OVERLORD
		Go back to where you came from.  Or
		die here.

				ALEXANDER
		Why would you let me go back?

				OVERLORD
		Because the past is immutable. 
		Frozen.  Dead... And you are the
		past.

	A beat as the Overlord gazed at Alexander dispassionately.

				ALEXANDER
		Say I just come back again?

				OVERLORD
		Alexander, yours is a world of
		brocade and velvet, not tooth and
		claw.  Why would you come back to
		this?  To save a few cattle?  No.

				ALEXANDER
		I could tell them.  Warm them of
		what's to come.

	The Overlord gazed at him deeply.  Then with strange
	poignancy.

				OVERLORD
		Please, warn them.  No one will
		ever believe... we have come to
		this.

	Then a weak voice, echoing from the darkness down the
	corridor...

				MARA'S VOICE
		Alexander...

	Alexander spins around -- races across the chamber -- the
	Overlord slowly follows --

	And Alexander discovers Mara, almost lost in the incredibly
	Baroque chaos of the chamber.  She is hanging on a wall,
	leather straps holding her in place.  Filthy plastic IV tubes
	connect her to some chugging medical equipment.

	Alexander reaches up to grasp her hand, can just reach her.

				ALEXANDER
		Mara...

	Mara weakly raises her head -- a shocking sight -- already
	her skin is becoming strangely translucent, her veins
	beginning to show through.

				ALEXANDER
		No...

	Mara tries to speak, cannot.  Alexander stands for a beat,
	holding her hand.  Then, without turning:

				ALEXANDER
		Why?

				OVERLORD
		We have lost the capacity to
		reproduce.  But the species must
		continue.

				ALEXANDER
		So you take their best...

				OVERLORD
		When a creature shows too much
		independent thought we remove them
		from the gene pool.  We're breeding
		them for submission.  Soon they
		will be fully domesticated.

				ALEXANDER
			(quietly)
		You took her because she helped me.

				OVERLORD
		Yes.  Initiative and daring are not
		desirable traits in the Eloi.  But
		you should be happy for her.  She
		won't remember the creature she
		was.  She will... become.

	A beat.  Alexander looks up at Mara deeply.

				OVERLORD
		She won't remember you.  None of
		them will.  You will be forgotten. 
		That is how history works.

				ALEXANDER
		A man can change his history.

				OVERLORD
		After all you've seen... after
		man's entire journey... you still
		believe that?

	Alexander slowly turns to the Overlord, his eyes burning, his
	fury mounting.

				OVERLORD
		Now will you go?

				ALEXANDER
		No...

	Alexander steps towards the Overlord, threatening.

				ALEXANDER
		This has to end.

	The Overlord steps back.  A frail creature, he is no match
	for Alexander.

	He has no defense.  But for one.

				OVERLORD
		Her name... was Emma.

	Alexander stops.

				OVERLORD
		If I can only find the right
		door... the lady or the tiger...

				ALEXANDER
		No...

				OVERLORD
		It's always the tiger for you,
		Alexander, haven't you learned that
		by now?...

	He glances to Mara, strapped to the wall, her head hanging
	limp.

				OVERLORD
		... It wasn't possible then and it
		isn't possible now...

	The Overlord slowly moves to Alexander, his eyes burning into
	Alexander's, his voice low and steady, hypnotic.

				OVERLORD
		Past... present... future... it's
		all the same ribbon.  You can't
		change a thing.  Not a moment.  Not
		a molecule... You never could.

	The Overlord is very close.  A whisper:

				OVERLORD
		You came 800,000 years not to
		relive it.  But you are reliving
		it.  How can you watch it again?

	Alexander looks at him, pain in his eyes.

				OVERLORD
		Go... before it's too late...
		Accept what is destined to be.  Go
		back to your own time.  The
		future's finished for you...

	Alexander looks at Mara.  Then he slowly turns his back on
	her and steps to the Time Machine.

				OVERLORD
		That's right... go back... Tell
		them of your journey.  Of your
		destiny.  This was all... meant to
		be.

	Alexander stands at the Time Machine.

	Then he reaches forward and gently throws the Time Machine's
	control lever --

	The Overlord is stunned --

	Alexander withdraws his hand and turns to the Overlord.

				ALEXANDER
		Not this time.

	A high-pitched whine -- building -- the world undulates
	around the Time Machine --

	And then it is gone.

	The Overlord gapes at Alexander.

				OVERLORD
		That was a foolish thing to do.

				ALEXANDER
		I'm a foolish man.

	Alexander begins to circle the Overlord.

				OVERLORD
		I could have a hundred Morlocks
		here in thirty seconds.

				ALEXANDER
		I know.

				OVERLORD
		Does this prove something to you? 
		Have you made some great stand of
		which I'm unaware?

	Alexander continues to circle, the Overlord matching him.

				ALEXANDER
		I'm tired of running.

				OVERLORD
		Oh, you won't be running for
		long...

	Alexander stops.  The Overlord stops as well.  The Overlord
	is now standing where the Time Machine was.  A tense stand
	off.

				OVERLORD
		But you've earned a reward for your
		valor.  I think you should become. 
		You'll like it here.  Once you get
		used to the darkness.

				ALEXANDER
		I don't think that's going to
		happen.

				OVERLORD
		And why not?

				ALEXANDER
		Because...

	He smiles.

				ALEXANDER
		Time's up.

	Before the Overlord can react -- a buzzing sound -- the world
	undulating around him -- his eyes shoot wide with
	realization --

	And the Time Machine reappears -- appearing through the
	Overlord -- the Overlord is torn apart -- the Time Machine
	forcing it's way through his body --

	Splat.

	The spacial and auditory vibration caused by the reappearance
	of the Time Machine cascades through the chamber -- and the
	great clock face above suddenly shifts -- its bell tolling
	loudly -- the bell swaying back and forth unsteadily --

	Alexander races to Mara -- urgently tearing her from the wall
	-- she collapses down into his arms --

	As the huge clock begins to crumble from the wall --

	Alexander turns to see --

	The great clock face finally falling --

	On top of the Time Machine.  Smashing it to pieces.

	Alexander gathers Mara up and begins racing out of the
	chamber.

	Another Uber-Morlock reaches for them from the shadows --
	Alexander easily knocks the anemic creature aside and
	continues on.

	INT.  MORLOCK CAVES - HALL OF BONES - DAY

	Alexander is carrying Mara quickly through the grisly Hall of
	Bones, trying to remember his way out --

	Then a hulking figure appears ahead of him.  And another. 
	Two Morlocks.  Alexander quickly sets Mara down and snatches
	up a bone to use as a weapon.

	The two Morlocks circle him, almost toying with him -- then
	they attack -- Alexander fights them but is almost
	immediately overpowered -- they roughly shove him to his
	knees, preparing to dispatch him when --

	A voice, Vox:

				VOX
		That's quite enough of that, you
		great bloated ticks.

	The Morlocks spin to Vox, surprised -- he stands proudly a
	few feet away -- Alexander instantly drives up and SLAMS into
	one of the Morlocks --

	The other springs for Vox -- jaws snapping -- Vox thrusts up
	an arm -- the Morlock crashes into him -- clamping his jaws
	down on Vox's forearms -- they fall to the ground --

	Alexander fights with his Morlock as best he can -- but he is
	woefully overpowered -- the Morlock slashes at him --

	The other Morlock continues to bite down on Vox's forearm --
	Vox smiles --

				VOX
		That's titanium, you idiot.

	He powers forward with his other hand and grabs the Morlock's
	throat, squeezing the life out of him as the Morlock slashes
	at him brutally --

	Meanwhile, Alexander is having a bad time of it -- the
	Morlock springs away from him into the darkness of the
	chamber -- clinging to the walls and scaling along them
	quickly like a spider -- and then vaults back and slashes at
	Alexander -- Alexander spins -- wounded -- falls.

	The Morlock hunches, coiling for the kill --

	Alexander rolls over, pulling something from his vest -- a
	box of matches -- the Morlock races forward to destroy him --

	Alexander desperately strikes a match -- a sudden
	phosphorescent flare from the match -- the Morlock stops,
	stunned, blinded for a moment --

	And then the Morlock jerks, stiffens -- amazed -- as Vox's
	titanium arm shoots through him from behind -- Vox's fist
	explodes through the Morlock's chest.

	Vox jerks his hand free as the Morlock falls.

	Then a look of surprise passes across Vox's face... he sinks
	to his knees.

				ALEXANDER
		Vox --

				VOX
		Imagine that... seems that little
		devil got my power relays...

	Viscous fluid begins to trickle down his face plate.

				VOX
			(smiles)
		Takes a licking but keeps on
		ticking...
			(his head jerks oddly)
		... For a while anyway.

				ALEXANDER
		What can I do?  Tell me what to do.

				VOX
		Nothing to do, I'm afraid.  I'm
		just a librarian after all.  Wasn't
		exactly made for all this
		swashbuckling.  Very Byronic end,
		though.  I appreciate that.  Do you
		know Byron?

				ALEXANDER
		Vox...

				VOX
		I'm babbling.  Good to have someone
		to talk to for a change... But you
		need to go.  Take her out of
		here...
			(he jerks again, in pain)
		... I don't have long.

				ALEXANDER
		I won't leave you like this.

				VOX
		Go back to the light.  You weren't
		made for this.  I was... I was made
		for this moment.

				ALEXANDER
		I don't understand.

				VOX
		I'm going to end it, Alexander.  As
		we discussed...

	He touches the red glow of the reactor in his chest.

				VOX
		... It'll only take a moment.  One
		interrupted circuit, a few atoms
		smashing together and this will all
		be history.  I'll give you as much
		time as I can... help me up.

	Alexander helps Vox to his feet.

				VOX
		Now get out of my sight, you
		hideous primate.

				ALEXANDER
		I'll never forget this.

				VOX
		I should hope not...
			(he jerks again in pain)
		... Alexander... Make them read my
		books.  Tell them who they are. 
		Who they could be.

				ALEXANDER
		I will...

	A difficult beat.

				VOX
		Tick-tick-tick -- better scamper
		along now.

	Alexander picks up Mara and sprints off.

	Vox slowly turns toward the Machinery Cavern.

	INT.  MORLOCK CAVES - SUBWAY TUNNEL - DAY

	Alexander makes his way with Mara up the decaying subway
	tunnel.

	Meanwhile --

	INT.  MORLOCK CAVES - MACHINERY CAVERN - DAY

	The Morlocks are absorbed in their mindless toil, as they
	have been for generations.  Slaving and sweating at the great
	machines.

	Vox slowly limps into the chamber.  He is near the end, fluid
	flowing down his face, moving with difficulty.

	The Morlocks notices him, surprised.  Vox just continues to
	limp into the center of the cavern.

	The Morlocks begin to surround him, circling him, predatory.

	Vox looks at the Morlocks surrounding him.  He smiles.

				VOX
		May I help you?

	Then he reaches deep into his gaping chest cavity --

	And the world explodes --

	A terrific reaction -- a cascading shock wave that tears
	through the chamber -- the entire cavern begins to implode
	from the violent percussions --

	INT.  MORLOCK CAVES - HALL OF BONES - DAY

	The shock wave from the explosion rips through the
	slaughterhouse -- destroying everything --

	INT.  UBER-MORLOCK CHAMBERS - DAY

	The shock wave tears through the chambers.  The entire Uber
	Morlock world crumbles, burying the artifacts of man's past
	in an avalanche of rock.

	INT.  MORLOCK CAVES - SUBWAY TUNNEL - DAY

	Alexander hears the shock wave nearing -- the world
	dissolving as the caverns collapse behind him -- he sprints
	forward with Mara -- the subway tunnels twist and writhe and
	implode behind him --

	Alexander sees sunlight ahead -- the way out -- he speeds
	toward the light --

	EXT.  CLIFFS - DAY

	Alexander races with Mara into the blinding sunlight --
	emerging from the gaping tunnel leading to the Morlock's
	caves --

	Just as the final tunnels collapse behind them.

	Alexander sinks to his knees and looks back.

	Dust and boulders and earth.  Vox has done it.  The Morlock
	world is no more.

	EXT.  ELOI VILLAGE - NIGHT

	Fires burn through the night.

	The Eloi are standing, amazed, not believing what they see...

	Alexander and Mara.  Alive.

	They walk through the stunned Eloi without a word.  Kalen
	emerges from his house and runs to them.

	Slow fade to...

	INT./ EXT.  FIELD/ALEXANDER'S HOUSE - DAY/NIGHT

	Alexander walks with Mara and Kalen across a green, grassy
	field.

				ALEXANDER
		... Well, you wanted to see it.

				KALEN
		This is it?

				ALEXANDER
		Around here.

	He stops.

				ALEXANDER
			(smiles)
		Yes.  Just about here.

				KALEN
		But there's nothing here.

				MARA
		It was different then.

				ALEXANDER
		My laboratory was about... here. 
		And the kitchen was over there,
		where that tree is.  Mrs. Watchit
		wouldn't allow me in much... but,
		yes, this is about the kitchen.

	They continue to move around the world that was Alexander's
	house as we become aware of something else...

	Almost like ghosts at first.  Philby and Mrs. Watchit. 
	Moving around Alexander's house in 1899.  Then we see the
	house and the field simultaneously.  The same space,
	centuries apart.

				MRS. WATCHIT
		I don't know what to tell you, sir. 
		He's been gone this whole week.

				PHILBY
		And you've no idea where he went?

				MRS. WATCHIT
		No, sir.

	Philby smiles.  They move into the study...

				ALEXANDER
		And this would be my study.  There
		was an elm tree outside the window
		then.

				PHILBY
		I'm glad.

				MRS. WATCHIT
		Sir?

				PHILBY
		I'm glad he's gone.  Maybe he's
		finally found a place where he can
		be happy.

				ALEXANDER
		This... was my home.

				PHILBY
		His home.

	Alexander puts an arm around Mara.  At peace with his past. 
	And his future.

				ALEXANDER
		Long ago.

	Alexander, Mara and Kalen and their time slowly disappear as
	we fully come to...

	INT.  ALEXANDER'S HOUSE - NIGHT

	Mrs. Watchit leads Philby to the front door.

				PHILBY
		You know, Molly and I were talking
		about engaging a nanny for Jamie. 
		Someone to live with us and take
		care of the boy.  Would you be
		interested?

	They stop at the front door.  Mrs. Watchit looks back at the
	empty house for a moment.  Then turns to Philby.

				MRS. WATCHIT
		I think I might be.  But there'll
		be some changes made.  I run a
		tight house.

				PHILBY
			(smiles)
		I have no doubt of that.  I'll come
		by in the morning and we'll arrange
		it.  Goodnight, Mrs. Watchit.

				MRS. WATCHIT
		Goodnight, Mr. Philby.

	He goes.

	Mrs. Watchit gently closes the door and turns back to the
	empty house.  She stands for a moment and then, quietly:

				MRS. WATCHIT
		Godspeed, my fine lad, Godspeed...

	EXT.  ALEXANDER'S HOUSE - NIGHT

	Philby walks away from the house, stops, takes one look back.

	And he looks up at the moon for a moment.

	Then he takes his bowler hat off and flings it away.

	He smiles.

	And continues away.

								FADE OUT.