A Report of the Time Machine

The Time Machine is a science fiction written by H. G. Wells, first published in 1895. The novel tells us a man who travelled through time by a special vehicle and his special experience in the future society.

The writer H. G. Wells was a socialist and a pacifist. This novel The Time Machine reflects Wells's own socialist political views. We can find it in the future world he described in the story.

This novel describes a time traveler to travel by inventing a time machine to the year AD 802701. There are two kinds of people. One kind of people called Eloi. They are well-dressed, doing no work, and pursue an easy life. And the other kind of strange white ape-like creatures the Eloi called Morlocks. This group of creatures lives underground. They are very cruel. When they come out of the underground in the night, they begin to kill and eat Eloi as their food. The time traveler helps Eloi and fights against Morlocks. Morlocks hide his time machine into a statue, but He finally gets it, and use the machine into the future. But he makes some mistakes, and travels thirty million years into the future. He finds the life is almost extinct at that time. However, he returns to the present time in the end.

In the story, the author describes two kinds of people. He compares the rich people in the present society to Eloi, and the poor to Morlock. The relation between Eloi and Morlock likes the relation between the people at present society. It gives us a warning in some degree, and makes us to think about the peace life and our earth’s environment deeply. By the description of thirty million years later, we can see the disadvantage of the pollution in present society would cause. In my opinion, we should protect our environment and treasure the peace life if we don’t want the future to be like that in the story. Although human conquer everything, but with the extinction of the animals and plant. The earth will not be a home, but a hell.

 

第二篇：英语电影剧本时间机器The Time Machine

THE TIME MACHINEbyJohn LoganFebruary 22, 2000INT. COLUMBIA UNIVERSITY - LECTURE HALL - DAYDarkness. 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 blackboardhe does not lift the chalk and return to the left side tobegin a new line -- instead he simply loops around andcontinues writing, right to left, upside down.The college students in his class -- all male and dressed inlate Victorian clothes -- smile at this familiar peculiarityand tilt their heads to try and read the endless equation,copying furiously into notebooks.The hand continues to zoom along the blackboard... and thenslows... and then stops... the students wait... the hand tapsthe chalk on the blackboard for a moment and we finallysee...ALEXANDER HARTDEGEN, a handsome young man not much older thanhis students, standing at the blackboard. He is gazing out awindow, 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:ALEXANDERSo -- length, width, breadth --formulate the area and of course wearrive at solid mass. But imagineif we continue the equation as I'vedone -- can't we begin to recognizeanother dimension beyond the firstthree? I theorize we begin to findduration -- the object's place intime. Let's note that as "D"here...Alexander reaches the left side of the blackboard and loopsaround again in an unbroken line to continue the equationfrom left to right again.The students are hopelessly lost. They finally stop copyingand just watch Alexander work, admiring his brilliantinnovation.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 theoreticalpossibility of duration as a fourthdimension we find that our equationmight -- no, that's not right --He erases some numbers quickly with his hand, sending up acloud of chalk dust, he coughs.ALEXANDER-- there, that looks more likeit...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.ALEXANDERDoes this make any sense to you?The students are confused. One offers:STUDENTSir, if I may, wouldn't it beeasier if you applied a Fibonaccisequence to the differentialcoefficient?ALEXANDER(smiles)It's not supposed to be easy, it'ssupposed to be beautiful... All ofyou think about that tonight andwe'll press on tomorrow. Goodafternoon.The students begin to rise, class over. They leave theclassroom talking eagerly about Alexander's theories,inspired.A sudden new angle: from above we see Alexander going toPhilby, leaving the classroom talking with him. We are inthe upper balcony of the classroom. A solitary figure looksdown, watching them.This new figure is a thin man with pale skin, dry likeparchment. Somehow ominous.INT. COLUMBIA - HALLWAY - DAYAlexander walks with Philby:ALEXANDER... The point is I know it willwork once the, um, numbers and suchare in order.PHILBYDo you know you were humming?ALEXANDERI was not.PHILBYSomewhere around "D+2xy somethingsomething."ALEXANDERDamned if I can keep her out of myequations.PHILBYTonight's the night?ALEXANDER(checking pocket watch)God, and I'm running late --A PRIM WOMAN appears before them:PRIM WOMANDr. Hartdegen, Dr. Philby... DeanFulton would like to see you.Alexander and Philby exchange a look. Gulp. They follow theprim woman.INT. COLUMBIA - DEAN FULTON'S OFFICE - DAYThey follow the prim woman, Dean Fulton's secretary, into hisdark, paneled office.PRIM WOMANHe's outside.Alexander and Philby move through the office and out to agarden courtyard...EXT. COLUMBIA - GARDEN COURTYARD - DAYOddly, chickens are clucking about the courtyard.The thin man we saw before, DEAN FULTON, is casually tossingdown feed for the chickens. With his other hand he carriesan umbrella to protect himself from the sun. He does notlook up.DEAN FULTONGentlemen, watch your step.Alexander and Philby stop. Dean Fulton looks up and smiles,benevolent.DEAN FULTONMy fowl have polluted the yard.PHILBYDean Fulton...Dean Fulton continues to lazily scatter feed for hischickens.DEAN FULTONDr. Philby, Dr. Hartdegen. Ireceived the most

extraordinaryletter last week. From a parent. We are always pleased to receiveletters from parents. They are ouremployers, after all. Thisgentleman's son is in your class,Dr. Hartdegen.ALEXANDER(knows what's coming)I see.DEAN FULTONAs I recall the syllabus the nameof your tutorial is "AppliedMathematics and Engineering", am Icorrect?ALEXANDERExactly correct, sir.Dean Fulton stops scattering feed and gazes at Alexander witha smile. This is an old game between them and they bothrather enjoy it. To a point.DEAN FULTONWell, just as I thought. Surelyit's all been a terrible mistake. This parent actually suggested thatyour freshman course in appliedmathematics has somehow become aseminar on theoretical physics!ALEXANDERImagine that.DEAN FULTONBut I know that none of my facultywould ever deviate from theassigned curriculum.ALEXANDERWell... perhaps I have "deviated"the tiniest bit.DEAN FULTONMight I ask why?ALEXANDERBecause the assigned curriculum isboring.Philby groans very quietly.ALEXANDERSir, that curriculum is forty yearsout of date. The students todayare looking toward the new century -- they want to be challenged andinspired, not spoon-fed dusty oldequations that have been proved athousand times. They want toexplore.DEAN FULTONDo they?Dean Fulton smiles and then begins to scatter feed again.DEAN FULTONWhat are these animals, gentlemen?Alexander and Philby exchange a look.PHILBYUm, your chickens, sir.Alexander helpfully offers:ALEXANDERAnd roosters.DEAN FULTONNo, Dr. Hartdegen, they are notjust chickens and roosters. Theyare science. Perhaps they aren't"inspiring" to you. Perhaps theydon't "challenge" you --ALEXANDERNo, sir --DEAN FULTONAnimal husbandry is science, Dr.Hartdegen. I have been breedingthese fowl for fourteen years. Ihave filled a library withinformation on their feedingpatterns, social behavior andbreeding. Empirical, exacting,quantifiable records.

ALEXANDERSir --Dean Fulton looks up at him, his eyes cold:DEAN FULTON"Duration" is not a dimension. Scientists do not imagine the worldaround them. They do not wool-gather or cloud-spin. They prove. They demonstrate. ColumbiaUniversity does not teach fantasy.Philby shoots Alexander a warning look, but Alexander can'thelp himself:ALEXANDERWith respect, sir, would we havethe telegraph without fantasy? Would we have radium and X-rayswithout someone first dreaming wecould?DEAN FULTONThe advances you speak of were theresult of countless years of studyand empirical experimentation, acareful evolutionary process, notchalkboard parlor-tricks.ALEXANDERMy equations are not parlor-tricks!DEAN FULTONAbstract mathematics, relativity ofdimensions, geometrical "durations"-- even allowing for the uses ofspeculation, what is the point?ALEXANDERBecause it's a new way of seeingthe world! Of seeing our place init!PHILBYSir, if I may --DEAN FULTON(with finality, toAlexander)Young man, we have a way of doingthings here. Radical theorizing isnot acceptable. Have I made myselfunderstood?ALEXANDERYes, sir.DEAN FULTONVery good. Now if you will excuseus for a moment.Alexander goes back into the office.PHILBYIf I might explain, sir --DEAN FULTONYou supported his application, Dr.Philby. You are his senior,advisor. I depend upon you torestrain his... excesses. Anyrepetition of the behavior Iwitnessed in his classroom todayand there will be consequences foryou both.PHILBYYes, sir.DEAN FULTONNow you are upsetting my fowl. Please go.Philby extricates himself from a chicken pecking at his shoeand goes.ALEXANDER (V.O.)He's a dinosaur. He's alreadyextinct, he just doesn't know it...EXT. STREETCAR - DAYAlexander and Philby are in an open horse-drawn streetcar,heading downtown. Everywhere around them, the massive citybustles.New York City at the end of the 19th Century. It is vibrantto the point of frenzy; reaching for the future in a furiousupheaval of construction.Title:

NEW YORK CITY - MAY 12, 1895 - 5:17 p.m.ALEXANDER... One day he'll be discovered bysome future archeologists and theywon't know what to make of him. The thick brow, so lacking inimagination. The dim little eyes,devoid of curiosity.PHILBYYou know generally teachers aresupposed to teach real equationsthat add up to real numbers.ALEXANDERWhere's the challenge in that?PHILBYAlex, this is your first year as anassociate professor. You mightwant to play things a little moreconservatively.ALEXANDERYou sound like my father...Alexander points to the masses of grey businessmen, all inidentical bowler hats, marching along the sidewalk:ALEXANDERLook at them, Philby, all alike,everyone in an identical bowlerhat. Do you want your students toturn out like them?PHILBYI want my students to emerge withtheoretical and practicalknowledge.ALEXANDERI don't. I want them to run alongthis street and knock off everybowler they see.PHILBYYou may not like it, but this isthe world we live in, Alex. Littlegrey men with little grey hats.ALEXANDERBut shouldn't it be better? Shouldn't we be teaching ourstudents to imagine a world beyondall this?Alexander points to a new building going up, a complexspider's web of steel girders.ALEXANDERLook at that, Philby. A steelframe building. Ten years ago itwas unheard of. No little grey manthought of that. The new Centurybelongs to men who are willing toimagine the impossible...Their streetcar passes a few huddled beggars on the curb. The businessmen ignore them. Alexander watches them, hiseyes sad.ALEXANDER(quietly)In the future, we'll be better.PHILBYWhat?ALEXANDERNothing.EXT. ALEXANDER'S HOUSE - EVENINGAlexander's sprawling Victorian house sits on a quiet street.There is a quaint shop right across the street. The shopfeatures a window showing a female mannequin dressed inperiod clothes. The sign above the shop: BRANSON'S APPARELAND HABERDASHERY.Alexander and Philby hurry into his house...INT. ALEXANDER'S HOUSE - EVENINGAlexander's house is a lovely world of Victorian eleganceconstantly at war with his erratic and creative enterprises.Everywh

ere Alexander's scientific passions are evident:animal skulls rest alongside leather-bound tomes; mechanicalinventions in various states of completion rest atop heavymahogany tables; test tubes and microscopes are spread out onan unused piano.The one facet that most immediately reflects Alexander isaural: the ticking of scores of clocks; a steady metronomiccadence.Alexander bounds in, Philby following.ALEXANDERMRS. WATCHIT! MRS. WATCHIT!MRS. WATCHIT, Alexander's housekeeper, troops down thestairs. She is a wry and commanding British woman in her60's.MRS. WATCHITOh huzzah, the master's home.ALEXANDERDo you have it?!MRS. WATCHITHello, Mr. Philby.PHILBYHello, Mrs. Watchit. You'relooking in the pink.MRS. WATCHITMust be all the exercise I getscampering up and down these stairslike a wee lamb.ALEXANDERDon't torture me -- do you have it?MRS. WATCHITI have it, but don't you think forone moment I'll be letting you goout in that filthy coat -- now goupstairs and change. I've laid outyour green coat.ALEXANDERWhat's the matter with -- ?(he notes he is coveredin chalk dust)-- What would I do without you,Mrs. Watchit?He bounds up the stairs. Phiby follows.MRS. WATCHITAnd change your tie!She bustles off, grumbling happily.INT. ALEXANDER'S BEDROOM - EVENINGCharles 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 complicatedknot in his tie. His eyes study the problem in a mirror.ALEXANDEREmma actually likes chalk dust --says it smells like me.PHILBYHow romantic...Philby goes to Alexander, helps him with his tie.PHILBYThe most able inventor I know andyou can't tie a simple four-in-hand.ALEXANDERThat's how I knew we were destinedto be together. When I met herparents for the first time I cameright from class and I was coveredin chalk. They sniffed andsnorted, but she just smiled. Atthat moment -- I just knew. Howdid you know with Molly?PHILBYShe made the best Shepherd's pie Iever tasted.ALEXANDERDo you have a romantic bone in yourbody?

PHILBY(completing the tie)No, I'm all bowler hat, remember?Alexander quickly goes to his old coat and transfers hispocket watch, journal and many loose scraps of paper coveredin equations to the new coat as:PHILBYAlex, really... good luck tonight. She's a fine girl, and she's donewonderful things for you.ALEXANDEROh?PHILBY(smiles)She's gotten into your equations.Alexander stops, looks at him. Smiles.ALEXANDERI guess she has.He glances at his pocket watch.ALEXANDERI've got to hurry...He hurries out, Philby following...INT. ALEXANDER'S HOUSE - STAIRS - EVENINGAlexander races down the stairs, tucking the watch into hisvest.They pass a series of clocks of every size and shape that rundown the wall along the stairway.PHILBYAll these clocks -- how can youconstantly be running late?!ALEXANDERPerseverance.INT. ALEXANDER'S HOUSE - ENTRY HALL - EVENINGMrs. Watchit waits. Alexander and Philby appear down thestairs.MRS. WATCHITNow that's more like it. You looka proper gentlemen for once.ALEXANDERThen if Emma turns me down will youmarry me?MRS. WATCHIT(dry)Oh, I'm already swooning.ALEXANDEROuch -- all right, wish me luck.He begins to sprint out the door -- Mrs. Watchit stops himwith:MRS. WATCHITYou might be wanting this?She holds up a velvet ring box. He takes the box.ALEXANDEROh -- 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 theirbreath after Alexander's tornado of enthusiasm.PHILBYI wonder if that poor girl has anyidea what she's in for?MRS. WATCHITFor our sake, I hope not.EXT. FIFTH AVENUE - NIGHTThe many luxurious horse-drawn carriages glide along FifthAvenue with stately dignity. Rich pedestrians stroll alongthe sidewalk.Alexander leaps out of a carriage and begins to stride towardan entrance to Central Park.He passes a Flower Seller.FLOWER SELLERHave some flowers, sir?ALEXANDERNot tonight, thanks.He continues on toward the entrance to the Park -- stops.ALEXANDERNo -- 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 histracks. The Siren's song...He turns...Pulled over to the curb is a magnificent Stanley Steamerautomobile. It is a glorious collection of bronze and copperand steel and wooden dashboard and leather upholstery andgroaning steam tank and clanking engine. Alexander stares,transfixed.Alexander glances at his watch -- running late -- but he justcan't resist this new marvel. Flowers forgotten, Alexandersteps to the MOTORIST, currently tinkering with the car'sengine.ALEXANDERIt's spectacular...MOTORISTThanks. Old Nell's my girl allright. Al least when she decidesto move, stubborn beast.ALEXANDER(walking around the car,admiring)I've only read about them -- andthe new internals.MOTORISTNow that's what I call plain crazy -- internal combustion is just toodangerous, all those littleexplosions, never catch on.ALEXANDERHow do you keep the watertemperature stable?MOTORISTThere's a cantilevered gasket onthe --Suddenly -- the car lurches forward dangerously -- Alexanderinstantly grabs the brake lever and hauls it back -- the carscreeches to a stop.MOTORISTGod -- could have killed me -- badgirl, Nell! How did you know to dothat?ALEXANDERI just love mechanical things.MOTORISTWell, much obliged -- I'm alwaysforgetting the confounded brake --say, if you wait until I get her upand running I'll give you aperambulation. Tell you all abouther.ALEXANDER(pained)Ahhh... I'm afraid I've got a priorcommitment.MOTORISTNext time then. We perambulatehere most every night.ALEXANDERYou have my word...(he takes a last, longinglook at the car)... She's just a beauty.He sprints off into Central Park.EXT. PAVILION - CENTRAL PARK - NIGHTA full moon shines in the night sky.Gentle period music from a band, glowing lanterns hangingdown and the swaying shapes of dancers.We are at a beautiful pavilion in Central Park. A magicalantique setting of ease and grace. White linen suits andstraw boaters. Parasols and high-button shoes.A beautiful woman stands with her back to us watching thedancers... she slowly turns...EMMA smiles.Alexander stands, just watching her, bewitched.Then they come together and kiss lightly, as befits 1895

decency.EMMAYou're late.ALEXANDERGot here as soon as I could.EMMADance with me...ALEXANDERYou know I can't.EMMATrust me...She takes his hand and they dance. She is a natural dancer,smooth and gentle. He does his best, following her minutecues with great sensitivity.As they dance:EMMAYou promised me flowers.ALEXANDERWhat?EMMAYou promised me flowers tonight,don't you even remember?ALEXANDERSorry... I was distracted.EMMA(lightly)Well there's something new.ALEXANDERI need to... um... talk to you.EMMATalk away, Professor.ALEXANDERNot here... alone. May we? Please?She leads him from the dance floor.EMMALet's walk through the park...EXT. CENTRAL PARK - PATH - NIGHTAlexander and Emma walk through the park, arm in arm,enjoying the exquisite night.Flickering gaslights provide a dim illumination on the paththey follow as it winds through the dark foliage.EMMA(looking atconstellations)... Orion's belt, pointing to theearth. You see it over the rocksthere? Sailors consider that anomen of good fortune; the hunterwatching over them on theirtravels... Are you listening to me,Alex?ALEXANDER(glancing up)What? Yes -- Orion -- good fortune-- sailors.EMMAAll right, what is it now?ALEXANDER(nervously)Emma, you know I have great...admiration for you.EMMAAdmiration? My my.ALEXANDERI mean... well... affection.EMMAYou're getting warmer.He stops.ALEXANDEROh dammit, I love you! I can'teat, 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 studythe problem?A beat. He takes a huge gulp of air and then commits himself-- he dramatically drops to one knee -- and then in a greatrush of words:ALEXANDERMarry me. I'll do everything I canto make you happy and build a lifeand ha

ve babies and make you proudand 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.EMMAOh, Professor...He leaps up and embraces her. A long, joyous embrace.He stops --ALEXANDERWait, I have something for you.He searches through his many pockets -- coat, vest, pants --begins plucking out the loose scraps of paper covered withequations -- but can't seem to find the jewelry box.She watches him for a moment, amused, loving him all the morefor his befuddlement.EMMAYou know, the moment is ratherdying here.ALEXANDERHold 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.ALEXANDERI know it's not a diamond but --EMMAA moonstone.ALEXANDERYour birth stone. I thought --She holds a finger to his lips.EMMAYou thought right.He slips the ring on her finger. She holds it up to themoonlight, deeply moved.EMMALook, it matches the moon...Then...A low voice from the thick trees next to them.VOICEI just might cry.Alexander and Emma turn to see a tall THIN MAN stepping fromthe trees. His hands are buried deep in his overcoatpockets.THIN MANCouldn't help but overhearing. Twofine young people starting out onthe road of life. I wish you thevery best.ALEXANDERThank you...THIN MANI hope it's a happy journey for youboth -- and much as I hate to dothis, moved as I am by yourprotestations of love, I'll beneeding your money now.ALEXANDER(smiles)Sir...?THIN MANAnd your jewelry too. I guess wecould consider this your firstlittle bump on the road to marriedbliss.ALEXANDERI don't understand.The Thin Man removes a hand from his pocket. He holds asmall revolver.THIN MANNow don't make a scene... there'sno cause for that. Just hand overyour wallet, will you?He holds the gun up, lethal, a sudden glint as the barrelshines in the moonlight.THIN MANDid you hear me, lad?ALEXANDERAll right, all right -- here --everything --Alexander swiftly g

ives the man his billfold.THIN MANAnd the watch.Alexander hands over his pocket watch as the Thin Man eyesEmma's ring.THIN MANAnd the ring.EMMANo --THIN MANI'm afraid so, darling. Maybehe'll buy you a diamond now.ALEXANDERPlease, not that -- look --The Thin Man pulls back the hammer of the revolver. Click.THIN MANGive me the ring.EMMANo...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 lightmomentarily illuminating them all starkly --Emma recoils to Alexander -- Alexander looks at the Thin Man,disbelieving --The Thin Man glares at him --THIN MANWhy did you do that?! It's only aring!The Thin Man races away into the darkness.Alexander holds Emma, she clings to him, blood flowing overhis fingers. He snatches her up and carries her -- runningurgently through some trees to a carriage path beyond --Carriages filled with young lovers float past.ALEXANDERHELP ME! PLEASE!An empty carriage finally stops -- Alexander lurches into thecarriage with Emma --INT./ EXT. CARRIAGE - CENTRAL PARK - NIGHT-- Alexander holds Emma in the back of a carriage. Heurgently screams to the driver:ALEXANDERGET TO COLUMBUS HOSPITAL! NOW!The driver whips his horses and the carriage takes off.ALEXANDERPLEASE HURRY! WE'VE NO TIME!CARRIAGE DRIVERI'M TRYING SIR -- !Emma clings to Alexander, her hand clasped tight to his vest,blood flowing out of her, pooling. Her dying eyes justwatching him.ALEXANDERGOD HURRY PLEASE -- JUST GET OUT OFTHE PARK --And then the carriage slows -- stops -- Alexander stabs hishead out the window and sees --A long line of carriage ahead of them. A traffic jam. Pairsof lovers enjoying the beautiful night, gazing up at thestars.ALEXANDEROh God...A distant bell begins to toll. Time inexorably, cruellymoving on.ALEXANDERPLEASE -- HURRY!The driver whips the horse -- tries to maneuver the carriagethrough the traffic jam -- a jumble of horses -- their horseshies -- can't get through.Emma's hand clutches Alexander's vest, fingers movingslightly. The bell continues to toll. Time running out. Her lips move noiselessly, her eyes stare up at him, prayingfor one parting glance.He continues to shout to

the driver, fighting time, notlooking at her:ALEXANDER(desperate)FOR GOD SAKE DO SOMETHING!! --JUST -- GET OFF THE PATH!CARRIAGE DRIVERI'm trying, sir! -- I can't getthrough!Alexander glances down to Emma. She is dead. Her eyes open. He stares at her. Not wanting to believe. The bellcontinues 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 - DAYAn endless equation -- Alexander's hand speeds across ablackboard -- manic, ferocious. We pull back to reveal...An enormous blackboard, floor to ceiling, two stories high,filling one wall -- and two other blackboards, filling twoother walls, also covered with equations. A shocking flashof Alexander's fevered mind.He stands with his back to us, perched high on a rollinglibrary ladder, his hand violently scrawling numbers in afrenzied 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 hintof the day outside. Windows sealed.In the flickering gaslight we see a cacophony of scientificequipment and experiments filling every inch of the chamberbelow 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 ofintense calculus and geometry and equations.There is another large part of the lab, jutting off from thehouse. A closed curtain conceals this part of the lab.And all the clocks have stopped. The steady metronomiccadence that was the aural life of Alexander's house is nomore. We see a number of clocks around the lab. All havebeen allowed to run down.A knock at the door -- Alexander ignores it -- another knock.He finally turns from the blackboard.ALEXANDERWhat?!And we see him -- Alexander is very different now: cadaverousand intense, a face that looks as if it has not seen the sunin years. And eyes marked by tragedy.Mrs. Watchit enters. The years of dealing with hisheartbreak have taken a toll on her as well.MRS. WATCHITSir, Mr. Philby is here.ALEXANDERHere?MRS. WATCHITYes, sir, he --ALEXANDERTell him to go away --Philby pushes past Mrs. Watchit. He wears an overcoat and abowler hat.PHILBYI won't go away, Alex.Alexander stares down at Philby. Philby is shocked at thechange in his friend.

ALEXANDERAll right, Mrs. Watchit. You cango.MRS. WATCHITMay I get you some --ALEXANDERThat'll be all.She leaves the lab.PHILBYMy God, Alex, what's happened toyou?Alexander climbs down the ladder as:ALEXANDERI've been working.PHILBYI came by the house every day afterthe funeral. And then every week. Then every other month. Then Istopped coming. Did you evennotice?ALEXANDERI'm sorry, David.PHILBYIt hurt me, Alex. Very much.ALEXANDERThen why are you here?Alexander proceeds to obsessively tidy the lab, almost hidingthings from Philby. Philby is increasingly distur