Fifteen original Brown Line drawings by Mentor Huebner from the production
of The Time Machine went up for auction on May 7, 2023 in Sun Valley California. I was lucky enough to purchase the large sheet of page one scene one. I got out bid on the others.

The street image is originally 27"x 21" the others were all 9" x 12"
Script excerpts are from the final shooting script with last minute changes.

I captured an image from the film for the scenes listed in the brown line drawings and the script page associated with it. Mentor Huebner created these drawings as reference for construction of the sets and the final results are seen here from  the film. Mr. Huebner was involved with the design  of the machine as well and had access to lot 2. As you can see, what was filmed is very accurate to his drawings,

These fifteen start from the beginning of the film to about where he first stops in 1917. Maybe one day more of these will surface, until then enjoy what we have found.

 

Right click on Brown line to download as an 8" x10" at 300dpi.
for personal reference use only.

 

Script Page 1 Scene 1

FADE IN:
EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE)

Warm lights pour through the windows, spreading
over the snow-patched countryside. Only the
laboratory, a converted greenhouse, is dark, shaded
from the moonlight by a majestic, leafless oak.
A two-horse carriage, in the style of the turn of
the century, lingers in the driveway. Beyond all
this, the River Thames takes a sharp curve.

Page 5 Scene 7B

MRS. WATCHETT
Dinner is served, gentlemen!

BRIDEWELL (puts his glass down)
First sensible thing I've heard all evening.

He rises and starts for the dining room. The others follow.

 

Script page 7 Scene 10

CORRIDOR THROUGH DOORWAY - FULL SHOT

We see the figure of a man approaching, a black
silhouette against the pale glow at the end of
the passage. He is bent with exhaustion and
sways as he moves forward, limping. The man comes
closer, his features still blacked out by shadows,
but as he nears the doorway, the light from the
room strikes first his legs, then his body and
finally his face. Here he stops.

This is our first meeting with the TIME TRAVELLER
(for so it will be convenient to speak of him). At
this instant he is in a sorry state. His clothing
is tattered and dirty, his face pale, bruised and
scratched and his eyes glazed with fatigue. For
a moment he hesitates as if dazzled by the light
and then takes another swaying step into the room.

Script page 14 Scene 16

INSERT;    MODEL OF THE TIME MACHINE  -  CLOSE SHOT

It glitters and the MUSIC UNDERSCORES this.

Script page 30 Scene 63

INT. LABORATORY - FULL SHOT - (NIGHT) 63

The laboratory has the appearance of having once been
a greenhouse. Only a few potted plants remain. The
glass walls are obscured from view from the garden by
rows of tall growing plants. Only the glass skylight
is clear. Thick, dark, low-hanging clouds are pass-
ing beneath the moon, dimming its light and leaving
the interior a maze of dark shadows. As the slow mov-
ing clouds pass overhead, a shaft of moonlight seeps
through and we SEE workbenches, numerous tools, sheets
of drawings and scientific instruments situated around
the perimeter.

But the most conspicuous object in the room is the
Time Machine. It is a duplicate of the miniature model
already seen.

However, its size gives it a majestic quality. Nickel,
ivory and crystalline quartz gleam and sparkle. While
the miniature possessed a delicate, appealing note, the
full size Machine has an ominous look. The wavering
moonlight seems to render it alive and give it the
power of movement.

Script page 30 Scene 64A

CLOSE ON TIME TRAVELLER - MOVING SHOT

Staring at the Machine, hypnotized by his own crafts-
manship, he locks the door with accustomed movement,
then crosses to a workbench and lights a candle. Here
a crystalline lever is attached to a polishing buffer.
The Time Traveller sets it in motion, polishing the
crystal lever until its rough edges disappear and it
sparkles like a fine cut diamond. As he works, his
lips purse and he softly STARTS TO WHISTLE the melancholy
strains of "The Land Of The Leal." A clock near him on
the workbench reads: "9:30."

Satisfied with the buffing, he removes the gleaming
handle and crosses to the Machine. He settles into the
saddle and affixes the crystalline lever. There is no
sign of urgency in his movements to betray that his
settling himself into the saddle is any more than a
routine position he has taken before to work on the
Machine.

Then he leans back in the saddle and gazes up at:

Script page 32 Scene 74

TIME TRAVELLER IN THE MACHINE - MED. SHOT

The rays of the early Morning sun slide down the lab-
oratory wall and sweep across the Time Traveller and
his Machine. A trace of a smile -- and then, he looks
up and squints.

TIME TRAVELLER'S VOICE
It was disconcerting to see the sun...

Script page 36 Scene 89

TIME TRAVELLER - MED. SHOT

The CAMERA PULLS BACK as he steps out of his Machine
and glances with astonishment around the interior
of the laboratory. The once clear windows are now
dirty and boarded up. The world outside is
completely obscured from view. Only faint light
penetrating cracks indicates that it is day out-
doors. He crosses to the door. Dust falls as he
opens it and enters the corridor.

Script page 40 Scene 100

CLOSE ON TIME TRAVELLER

The FLICKERS of days and nights, as well as the
HUMMING, INCREASES and DECREASES, in accordance
with his manipulation of the controls. Over this:

TIME TRAVELLER'S VOICE
As I went along, I gained experience
in handling the Machine. I found
that I could stop for a day, an hour,
or even for a second to observe, then
go ahead for a year or two. - Thus I
was able to see the changing world
in a series of glimpses.

Something catches his interest. He pulls back
the lever to SLOW DOWN.

Script page 111 Scene 409


INT. LABORATORY - LONG SHOT - (NIGHT)

The Time Machine has returned, but it is resting
in the far corner of the room instead of in the
spot where we originally saw it.

In the gloom, the Time Traveller clambers pain-
fully from the Machine. Then, FOLLOWED BY CAMERA,
he staggers to the workbench and sinks onto it.
His eyes explore the room and finally come to rest
on the clock. It is "8:04".

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