The City of Absurdity   The Elephant Man
Screenplay

 
T H E

E L E P H A N T

M A N


By: Christopher De Vore
Eric Bergren
David Lynch

Based on THE ELEPHANT MAN (A Study in Human Dignity)
by Ashley Montagu





BLACK

FADE IN: ABSTRACT DREAM '

CLOSE-UP of a gold framed miniature portrait of JOHN 
MERRICK'S MOTHER (tune or melody over her picture, 
heartbeat), which DISSOLVES TO CLOSE-UP of real Mother smiling 
- a shadow comes over her face - CLOSE-UP of elephant ears, 
trunks, faces moving.

Dark, heavy feet stomping - elephant trumpet - rearing up.

Powerful hit and the Mother falls - darker - trunk slides 
over Mother's face and breasts and stomach, leaving a moist 
trail.

MOTHER'S POV of elephant's mouth, eyes, skin - Mother's
face twists and freezes in a blurred snap roll.

BLACK again - knock, knock sound - curtain opens to horrified
faces.

CUT TO BLACK AND SILENCE

CIRCUS

FADE IN TO steam shooting out of a huge old half-rusted 
calliope.  The music is very loud and raucous.  Moving up 
and back we see the black awning entrance to the freak tent, 
where FREDERICK TREVES, Resident Surgeon and Lecturer on 
anatomy at the London Hospital, is standing with his back 
to us observing the posters of the freaks.

Coming along a muddy walkway at the side of the tent is 
Treves' wife, ANNE, and their two DAUGHTERS.  The shrill., 
over-whelming music seems to engulf her.  She looks discomfited, 
vulnerable, and protective of her daughters.  The girls, 
oblivious to any fear, are finishing their chocolate sweets.

CLOSE-UP of Treves looking at a poster.

He hears:
				#1 DAUGHTER
		Poppa!

Treves turns and looks down to a chocolate-covered face.  He
smiles at the children and Anne.


Anne sees the dirty faces and begins cleaning one of them.


	The other daughter looks into the freak tent.

				#2 DAUGHTER
		Poppa...  may we go in there?

				ANNE
		Alright... Your turn.

She turns the girl away from the freak tent and begins cleaning 
her face.

Her kerchief pulls and distorts the little daughter's face.
Suddenly the girl sees a ring of elephants in the distance.

				#2 DAUGHTER
		Oh,look M-ummy!  Elephants!

				ANNE
		Oh, elephants!  We'll go see them.

She stands.

				ANNE			
			   (to Treves)
			You won't be long?


				TREVES
			I'll join you shortly.

She takes the children off toward the elephants.

Treves watches them go for a moment, then turns and we go 
with him into the dark freak tent.  He pauses to pay 
admission at a small booth, then disappears within.

DARKNESS.  We hear what could be the trumpeting of an
elephant.

Treves parts the black canvas and enters the main part of 
the tent.  Off to his left he sees a man wrapped in a black 
cape, holding a conch shell aloft and blowing powerfully into 
it. The tent is dimly lit with flickering oil lamps.  People 
mill about through the weaving corridors.  To Treves' right, 
he sees a sign reading, "The Deadly Fruit of the Original Sin," 
over a small, very dark corridor.

Treves enters the passage and disappears into the shadows.

The corridor has a series of flaps and turns to disorient 
the spectator.  Treves carefully pushes his way through 
and arrives at the inner chamber.

In a roped-off space stands a small stage set at eve-level, 
with curtains on three sides.  On the stage is a bell jar 
filled with grey-murky fluid lit from behind with casts 
an eerie alow in the chamber.  Suspended in the fluid is 
the life-sized body of a baby-doll with the attached head 
of a large snake.  At the join of head and body is a blob 
of unidentifiable organic matter.  It is obviously phony, 
but the effect is still very disquieting.  At the bottom 
of the jar, in the muck, sits an apple with two large bites 
out of it.  Behind the jar is a painting on the order of 
a religious triptych, portraying Adam on one side, Eve on 
the other, and the tree flowering over the jar.

Treves' impassive face is bathed in the watery glow.  He 
studies the strange object with a critical eye.  In the 
passage we hear movement, and an OLDER GENTLEMAN enters.  
He seems visibly impressed with "The Deadly Fruit of the 
Original Sin."


				OLDER MAN
			A wicked birth...

After a moment, Treves quietly leaves the inner chamber.

As he pushes his way through the corridor, the noise grows 
and becomes a cacophony of strange sounds.  He exits and 
hears a booming roar and the rush of air as a series of
twelve candles, mounted in a row on a ten-foot stand, are 
blown out by "THE INCREDIBLE WIND-MAN." His BARKER steps 
up and talks to the people.

				BARKER
		Ladies and Gentlemen, his lungs are 
		larger than this mammoth blacksmith's 
		bellows.  So great is his power of 
		exhalation, rivaling even that of the 
		Great North Wind, that he will now 
		challenge two grown men to attempt 
		to hold the bellows shut as he applies 
		the mighty blast of his herculean 
		breath!  Are there any volunteers?

A few people raise their hands.  The Barker scans the 
crowd and then points over the heads of the volunteers to 
TWO MEN toward the back.

				BARKER
		Ah! I see two likely lads!  Come 
		forward!  Come forward!  Pit your 
		strength against the Mighty Wind-Man!

During the above, The Incredible Wind-Man removes his cape, 
revealing his great barrel chest and pot-belly supported by 
spindly, white, hairless legs.  As the Barker sets the 
"Volunteers," the Wind-Man walks about the small platform, 
huffing and puffing and blowing on the conch shell.

The "Volunteers" set, the Wind-Man steps up to the end of 
the bellows, takes an eno=ous breath, and twirls his black 
handlebar moustache as a signal to the Barker.

				BARKER
		Gentlemen... Are you ready?

				THE LADS
		Yes we are... Right... etc.

				BARKER
		Ladies and Gentlemen!... Let the
		demonstration begin!!

The Wind-Man clamps his mouth to the bellows, and with great 
show begins to exhale, savagely stamping his feet.  The 
Two Lads struggle obviously, and then pretend to be forced 
apart.

The Barker triumphantly lifts the WindMan's hand.  The 
Wind-Man ceases to blow, removes his lips from the bellows 
and the Two Lads instantly collapse together on the floor.

				BARKER
		Ladies and Gentlemen!... "THE
		INCREDIBLE WIND-MAN!!!

The crowd cheers, while the Wind-Man puts the conch shell 
to his lips and proudly stamms his feet, circling about the 
Two Lads.

Amidst this applause, Treves smiles indulgently.  He moves
on, looking for something genuine.

TWO BOBBIES move through the crowd, intent upon a certain
destination.  Treves conveys a casual interest in them.

Treves moves on to A BEARDED LADY who combs her beard, busily
chewing tobacco and spitting into a spittoon.

Treves continues to work his way through the crowd.  Up ahead
he sees the Bobbies.

				BOBBIES
		Make way!  Make way!

They round a corner.

				WOMAN (V.0.)
		Oh yes they are, they're yours alright.

We hear the laughter of a crowd.

Treves moves closer to see a FAT LADY seated in a chair on 
the next platform.  On each knee she holds a DWARF.  They 
are dressed as babies.  A SKELETON MAN stands beside her.

				SKELETON MAN
		I refuse to believe it!  I will 
		not accept it!  Those babies are 
		simply too ugly, they cannot be 
		mine!

The crowd laughs uproariously.

				SKELETON MAN
		I don't want them!  Get rid of
		them!  I don't want to see them!


				FAT LADY
		Darling, don't be difficult!  Let's 
		take our sweet lovely children on 
		an outing.

				SKELETON MAN
		We'll take these miserable whelps 
		on an outing, alright!  We'll take 
		them to the zoo... WHERE THEY WILL 
		STAY!

From the direction the Bobbies have gone, we hear several
screams.

				FAT LADY
			(pausing at the screams) 
		Children save yourselves!  Prevail 
		upon your Pappa!

The two Dwarves get down from her knees and approach the
Skeleton Man.  They kneel and tug at his thin legs.

				DWARVES
		Poppa!  Poppa!  Poppa, please!

At this point, a FATHER holding his YOUNG SON in his arms 
passes by Treves.  The Young Boy clutches his Father's 
neck in fear, hiding his face.

				FATHER
		(out loud, to no one in particular)
		This is too much!  They should not
		allow it!  They should not allow it!

Treves, very curious now, along with several others, make
their way around the corner.

Before him, Treves sees an agitated crowd staring at something 
that from his point of view he cannot see.  Brushing 
past him is a WOMAN pulling a small, confused and frightened 
LITTLE GIRL.  Getting closer to the commotion, he sees 
four BOBBIES standing with.a well-dressed alderman, arguing with 
the OWNER of this particular exhibit.

A distraught, almost hysterical WOMAN is ineffectually 
striking the Owner with her fists about his head and 
shoulders, crying weakly and incoherently.

				WOMAN
		Beast, Beast...

Treves is just about to see whatever it is that is causing
the alarm, when one of the Bobbies says:

				BOBBY
		No! That's right out!  Drop the
		curtain!

As the curtain drops, Treves just glimpses baggy trouser 
cuffs and two horribly deformed, root-like feet. The distraught 
Woman has been pulled away from the Owner and is 
sobbing on a Bobby's shoulder.

				OWNER
		You can't do that!  I've got my
		rights!

				ALDERMAN
		I have the authority to close you
		down, and I'm doing just that!

In the crowd, Treves notices a YOUNG BOY staring open-mouthed, 
blankly at the curtain.  Treves pushes through 
the glut of people to join the Boy and get a better view.  
The curtain is actually a large canvas.

On it is a life-sized portrait, crudely painted, of a creature 
that could only be possible in a nightmare.  It is the 
figure of a man turing into an elephant.  The transformation, 
however,is not complete; there is still more of the 
man than beast.  Palm trees in the background suggest the 
jungle habitat in which this Perverted object might have 
once roamed.

Filled with curiosity, Treves moves toward the curtain.

				ALDERMAN
		This exhibit degrades all who see 
		it, as well as the poor creature 
		himself.

				OWNER
		He's a freak!  How else can he live?

				ALDERMAN
		Freaks are one thing.  No one objects 
		to freaks, but this is entirely different.  
		This is monstrous, and ought 
		not to be allowed.  These officers will 
		see to it that you are on your way as 
		soon as possible.  Good day.

The alderman turns and leaves the tent.

				OWNER
			(to himself)
		...Movin' again!

He shakes his head in disgust.

Now at the canvas, Treves tries to lift the edge to get a 
peek inside the wagon, but the meaty hand of the Owner 
clamps down on his wrist.

				OWNER
		Have a care, guv'nor.

The two men look at each other for a solid moment.

				TREVES
		Forgive me...

Treves backs away and returns his gaze to the painted canvas.

FADE TO BLACK

OPERATING ROOM - THE LONDON HOSPITAL

We see a bellows pumping air into the open grate of a castiron 
stove.  We hear moaning in the background.  The coals 
flare to a fierce glow.  From the mouth of the stove protrude 
the handles of several cauterizing irons, their heads 
imbedded in the coals.  Up above the irons, Treves stands 
by a waist-high coerating table covered with black leather.  
His face is illuminated bv an oil lantern held by a nurse.

The room is fairly dark owing to the oppressive overcast 
sky seen through two windows.  There is also a large sink, 
a cupboard containing dressings, gags, manacles, emetics 
and other unattractive things, and two hard chairs.

TWO STUDENTS and two other DOCTORS, MR. FOX and MR. HILL, are 
present.  The two Students are pulling with constant pressure 
on a rope tied to the patient's leg.  Treves and Mr. Fox 
are working on a chest wound caused by a machine accident.  
There are gear-wheel marks getting progressively deeper as 
they near a great open gash.  Mr. Hill places a cotton mask 
over the patient's nose and mouth and applies drops of 
chloroform.  The patient struggles, but soon his moans 
subside and he is unconscious.

				TREVES
		How long has this man been here?

				FOX
		Three quarters of an hour.

				TREVES
		Mmmm.  Hodges, Pierce come closer. 
		Mr. Hill, take hold of the rope 
		please.  It's a machine accident.  
		I expect you'll be seeing a good 
		deal of this.

The two medical Students come forward.  They stare uneasily 
at the gaping wound, which bubbles each time the man takes 
an agonized breath.

Treves and Fox quickly and expertly tend the wound as Hodges
and Pierce look on.

				TREVES
			(of fhandedly)
		Abominable things these machines.
		One can't reason with them.

				FOX
		What a mess.

Treves now notices that the student's faces have gone a
trifle ashen.

				TREVES
		What got you into medicine, Hodges?

				HODGES
		My father, sir.  He's built quite a 
		successful practice.  I home to take 
		it over one day.

				TREVES
		Is that your case as well, Pierce?

				PIERCE
		Yes sir.  Though of course I do 
		have a great desire to help my 
		fellowman.

Treves smiles at them knowingly.

				TREVES
		Of course you do realize that medicine 
		has changed quite a bit since 
		your father's time. In those days 
		we didn't even wash our coats.  In 
		fact, the sign of a truly accomplished 
		surgeon - was his black operatitg 
		coat, so stiff with dried blood 
		and pus that it could stand up by 
		itself in the corner.  I've still 
		got mine upstairs... You don't mind 
		blood, do you?

				HODGES & PIERCE
		Oh no, sir. (etc.)

				TREVES
		Good, that's one thing we've always
		plenty of.

HALLWAY

A hospital MESSENGER BOY, dressed in a blue uniform and a 
can is making his way down the hall.  He stops and looks 
into an operating room much like the one we have just seen.

Inside, the room is empty.  The Boy closes the door and 
continues on to another operating room.  The Doctors move 
with great urgency around the operating table.  Blood is 
draining down into a white porcelain bowl.  A Woman can be 
heard moaning.  The Boy looks carefully, but finally closes 
the door and continues on his way.

TREVES' OPERATING ROOM

There is a hissing sound and steam from the cauterizing of 
the wound comes up obscuring part of Treves' face.  The 
patient is being held down firmly by the other men.

The door opens and Treves looks up.  The Boy pops his head
in.

				BOY
		Excuse me, Mr. Treves, sir.

				TREVES
		Yes?

				BOY
		I found it.

				TREVES
			(studying the Boy carefully)
		Did you see it?

The Boy shakes his head slowly, "No."

				TREVES
		I'll be with you in a moment ...

The Boy closes the door.

				FOX
			(quietly)
		I say Freddie, what are you about?

				TREVES 
		oh nothing... nothing of any great 
		importance.

AERIAL SHOT from third floor of the London Hospital looking
down on the hospital square.

Below, Treves is walking briskly across the square, through
a gate and into the slums beyond.

The aerial shot is actually FOX'S POV, and now we see Fox
filled with curiosity, watching the figure from a window.

Looking down from above and to the side of him, we follow 
Treves walking through a cobblestone street still wet from 
a recent rain, covered with horse manure and filth of all 
sorts.  The air is smoky from meat burning fires.  Rounding 
a corner, we see and approach the painted canvas sign of 
"The Elephant Man" covering the front of a small, dingy 
shop.  The door of the shop is windowless and padlocked.  
Treves walks into the picture, studies the whole scene for 
a moment, goes to the shoe door and finds that it is padlocked.

Treves tries to look under an edge of the canvas.  To his
left he sees a SZIALL BOY watching him intently.

				TREVES
		Do you know where the proprietor
		is?

He holds a coin out.  The Boy nods, snatches the coin and
I disappears around the corner.

Treves turns back to the canvas.

A PUB

A noisy pub, long and narrow.  Benches run the length of 
the back wall, with small tables up against them.  Men are 
clustered around the bar, talking in groups.

We see the Boy standing at one of the tables talking to the 
Owner, greedily consuming his lunch as he listens.  The Boy 
gestures outside.

OUTSIDE THE PUB

The Boy comes out the door, quickly followed by the Owner 
hurriedly putting on his coat, fumbling with a riding crop, 
the last of his sandwich stuffed in his mouth.

AT THE CORNER

The Boy and the Owner are carefully looking around the corner
at Treves still in front of the portrait.

				OWNER
		He's not a peeler ...

				BOY
		No, I don It think so.


				OWNER
		No...  I don't think so.

They walk into the street.

IN FRONT OF THE SHOP

The Owner and the Boy walk up to Treves.

				TREVES
		Are you the proprietor?

				OWNER
		And who might you be, sir?

				TREVES
		Just one of the curious.  I'd like
		to see it.

				OWNER
		I don't think so.  No sir, we're
		closed.

Treves pulls a purse from his coat, extracts a coin and
holds it out.

				TREVES
		I'd pay handsomely for a private
		showing.  Are you the proprietor?

				OWNER
		Handsomely?...  Who sent you?

				TREVES
		Pardon me?

				OWNER
		Never mind.  I'm the owner.

He snatches the money.

INSIDE THE SHOP

Total darkness.  We hear the sound of the padlock being removed.  
The door opens and light streams in.  The canvas 
covering the windows at the front of the shop obscures all 
other light.  The Owner enters, followed by Treves and the 
Boy.  From his expression, as well as Treves', we can tell 
there must be an awful stench in the room.

No one says a word.  The Boy closes the door, while the 
owner lights a small gas light.  We can now see the shop.  
It it empty, grey with dust, cold and dank.  Some old tins 
and a few shriveled potatoes occupy a shelf.  The far end 
of the shop is blocked off by a curtain suspended from 
a cord by a few rings.

The Owner approaches it.

				OWNER
		Here we are sir.
			(ticking it off by rote)
		Life is full of surprises.  Ladies 
		and gentlemen, consider the fate of 
		this creature's poor mother.  In the 
		fourth month of her maternal condition, 
		she was struct down by a wild 
		elephant
			(leering)
		Struck down, if you take my meaning, 
		on an uncharted African isle.  The 
		result is plain to see ladies and 
		gentlemen... THE TERRIBLE ELEPHANT 
		MAN!

The rings rattle back, and the curtain is omen.  We see a 
bent figure crouching on a stool, covered by a brown blanket.  
In front of it on a tripod is a large brick, heated from 
below by a bunsen burner.  From the blanket protrudes a 
perfectly normal left arm and hand warming itself over the 
brick.  It does not move when the curtain is drawn.

Treves steps closer.  The Owner, watching his every move, 
turns-and smiles at him.  He bangs his riding crop on the 
wall and yells to the crouched figure, as if speaking to a 
dog.

				OWNER
		Stand up!

The Boy, excited by his own fear, mimics the Owner.

				BOY
		Stand up!

The figure comes forward and lets the blanket fall to the
ground and we see the ELEPHANT MAN himself.

Treves, his eyes wide with horror and wonder, his mouth 
frozen open, steps backward in an instinctive movement 
of self preservation.

The Owner laughs.

The Elephant Man is naked to the waist, his feet are bare 
and he wears a pair of worn trousers from a fat man's dress 
suit.  He is a little below average height, and looks shorter 
from the bowing of his back.  His head is enormous and misshapen, 
as big around as a man's waist.  From his brow projects 
a huge boney mass, almost obscuring his right eve.  His 
nose is a nose of flesh, recognizable only from its position.

From the upper jaw projects another mass of bone protruding 
from the mouth like a stump, turning the upper lip inside 
out, making a slobbering aperture.  It almost gives the impression 
of a rudimentary trunk or tusk.  On top of his 
head is a handful of lank, black hair.  At the back of it 
hangs a bag of spongy skin, resembling cauliflower.  These 
loathsome growths cover his back and hang down to the middle 
of his thighs.  The right arm is enormous and shapeless, the 
hand like a knot of tuberous roots.  His left arm is not only 
normal, but delicately shaped, with fine skin and a hand that 
any woman might envy.  From his chest hangs another bag of 
flesh, like the dewlap of a lizard.  His legs are also grossly 
deformed, his feet great stumps.  Behind him, as painted in 
the portrait, are two crudely constructed palm trees.

The Owner harshly raps again.

				OWNER
		Turn around!

The Elephant Man begins to turn.  The boy filled with malicious 
glee at seeing the monster obey, screams.

				BOY
		Turn around!  Turn around!

The Elephant Man completes his turn and comes to rest.

We see a CLOSE-UP of the Elephant Man looking at Treves.
His face is utterly devoid, and incapable, of expression.

We see the Elephant Man's eyes.  He closes them.

OUTSIDE THE SHOP

The Owner is locking up.

Treves, facing the street, drinks in the fresh air.  He is
trying to forget his shock, put everything into focus.

He looks at the garrish portrait again.

Treves produces his purse.

The Owner, smelling money, turns.

Treves hands him several coins.

				TREVES
		So you'll bring him to me, tomorrow,
		10:00 a.m.? Mr.... ?

				OWNER
		Bytes. Mr. Bytes.  He'll be there.

				TREVES
		I'll send a cab.  Here is my card.

Treves hands the Owner a card.  The Owner, greasy and dirty,
shakes Treves' hand and squeezes his arm.

				OWNER
		Now we got a deal... We understand 
		each other... guv.  We understand 
		each other completely.

The Owner gives Treves the evil look of a conspirator.

Treves walks off, disoriented.

The Owner reads the card and smiles at Treves walking away
down the street.

DISSOLVE TO OUTSIDE THE 8HOP

A CABMAN is knocking on the door of the shop, staring at 
the portrait.  The door opens, revealing a figure in a 
floor-length black cloak.  On his head is an extremely large 
hat, cut to the lines of a yachting cap.  A grey-flannel 
curtain hangs from the bottom of the cap all the way around, 
hiding his fade.  There is a horizontal slit in front for 
the eyes.  On the figure's feet are large, bag-like slippers.  
The only part of the body seen at all is the left arm and 
hand, which protrudes from the cloak, holding a crude walking 
stick.  The figure seems to loathe being in the open.  We 
can just barely see in the darkness within the Owner standing 
to one side of the door, obviously enjoying the surprise 
on the Cabman's face.  The Owner steps abruptly into his 
view.

				OWNER
		Don't just stand there.    Help
		him up.

The Cabman, does so, while a small, curious crowd forms.  
The Owner gives the Cabman the card.  The Cabman jumps up 
onto the seat and off they go.

THE RECEIVING ROOM - LONDON HOSPITAL

The receiving room is a bare hall, painted stone color.  It 
has rows of benches and a long desk where entries are made, 
and certificates and other papers are issued.  It is a cold, 
harsh place.

				CABMAN
		Not at all, sir.  My... pleasure.

He exits.

Treves turns and sees the Matron, staring.

				TREVES
		I'll be in my rooms, Mothershead.
		I'm not to be disturbed.

She nods silently.  Treves looks at the figure for a moment.

				TREVES
		Come with me, please.

He starts to go out of the room.  The hooded figure just
stands there, motionless.

We see the whole room, the people now silent.  They all stare
at the figure.  No one makes a move.

				MATRON
		You heard the doctor...   Go on.

Treves turns to look at the hooded figure who stands there 
a moment, then slowly shuffles after him.  Mrs. Mothershead 
and the people in the room watch him go.  When he is out of 
sight, they all begin to talk excitedly. Mothershead stands 
fixed and watches too, ignoring the noisy room.

TREVES' OFFICE

The door opens and Treves leads the hooded figure to a chair 
in front of his desk and helps him to sit down, furtively 
trying to look into the eye-slit of the mask.  In the small 
room the smell of the Elephant Man is over whelming.  Treves 
goes to the window and opens it.  He nervously tries to compose 
himself, then turns to the hooded figure.

				TREVES
		My name is Frederick Treves... I am 
		a surgeon here at the London Hospital, 
		and I lecture in anatomy at the Medical 
		College... I would very much like 
		to examine you.  'Rould that be all 
		right?

The figure in the chair is still.  Treves is at a loss.  His 
sense of discomfort is growing.  He looks at the floor for a 
moment, then locks his eyes on the figure's left arm.

				TREVES
		Ah... yes.  Um, first I would 
		like to ask you a few questions, 
		would that be alright?

The figure does nothing.  Treves sits down at his desk and
picks up a pencil.

				TREVES
		Good.  Now, let's see.  Your 
		Owner... um, the man who... 
		who looks after you tells me 
		that you are English and your 
		name is John Merrick.  Is that 
		correct?

The figure does nothing.

				TREVES           
		Do you know where you were born?
		Where you come from?

The figure does nothing.

				TREVES
		I tell you what, I'll ask you a 
		question, and you shake your head 
		like this for "no" and nod like this 
		for "yes", alright?  Do you understand?

The figure following Treves' movements nods very slowly,
"yes".  Treves sighs with relief.

				TREVES
		Are you in any pain?

The figure begins to babble incoherently.  Treves, alarmed,
interrupts.

				TREVES
		Um, no.  Just nod your head like 
		this for "yes" and shake it like 
		this for "no".  Now, are you in 
		any pain?

Again the figure, following Treves movements, shakes his head 
"no".

				TREVES
		Are your parents still alive?

The figure does nothing.  Treves is quite nervous.

				TREVES
		Do you understand?  Are they 
		dead?  Your father... 
		your mother?

The figure begins to moan.  There are two sharp raps at the
door.  The hooded figure flinches.

The door opens and Fox pokes his head into the room.

				FOX
		Freddie, what you doing for... I
		say do open a window in here or ...

He notices the hooded figure.

				FOX
		Oh, I'm dreadfully sorry, I had
		no idea that... I say!

Treves quickly rises and pushes Fox out into the hallway,
following him and closing the door.

IN THE HALLWAY

Treves and Fox are standing outside the door to Treves' office.

				FOX
		Good Lord, Freddie!  What have you
		got in there?

				TREVES
		You'll know presently.  At the 
		meeting of the society.  But until 
		then, I beg of you Fox, keep 
		it to yourself.

				FOX
		Certainly, if you insist.  You must
		have quite a find there.

				TREVES
		I don't know what I've got.

				FOX
		Nothing of any importance, eh?

Treves turns to go back in, then stops.

				TREVES
		I'll tell you this much, Fox, 
		it's beyond anything you or I 
		have ever dealt with.  Keep it 
		to yourself, please.

He goes back in, shutting the door.

				TREVES' OFFICE

Treves turns the key in the door.  He turns to the chair
the figure had been occupying, but he is not there.

The figure is hiding in the corner, crouched behind a black 
frock operating coat, so stiff with dried blood and pus it 
stands up by itself.

Treves looks quickly around the room and finally' sees him.
He looks at the figure for a moment.

				TREVES
		Come sit down.

The frightened figure just crouches there looking at him.
Treves goes to him, pulls him up and over to the chair.

				TREVES
		Sit... down.

The figure sits.  Treves pauses uncertainly.

				TREVES
		I think I'll examine you now.  I'll 
		save the questions for later... 
		Will you take off your hat now, 
		please?

The figure does nothing.  Treves moves to him.

				TREVES
		Don't be frightened, I simply want
		to look at you.  Do you understand?

The figure leans back fearfully.  From behind him we see just
the top of his wide hooded head.

Treves, standing before him, lifts the hood up and back.

				TREVES
			(more to himself)
		That's right, don't be frightened.
		Don't be frightened.

A SMALL ROOM - LONDON HOSPITAL

We see two cameras set up, their OPERATORS next to them 
staring at something we cannot see.  Treves stands beside 
them concentrating on the same sight.  All three are speechless.  
Treves suddenly remembers himself.

				TREVES
		Are you ready?

The Cameramen mumble, "Yes", and gratefully disappear beneath
the black cloths of their cameras.

				TREVES
		Go ahead.

They trigger the flash powder.  In the blinding flashes we 
briefly see the silhouette of a tremendously bulky figure, 
starting at the light.

DISSOLVE TO LECTURE HALL - PATHOLOGICAL SOCIETY OF LONDON

BRIGHT LIGHT

As we pull back and down in a slow spiral we see the light 
is coming through high windows.  We now see several rows 
of distinguished doctors talking to each other in anticipation.  
As we continue to spiral down we see Treves before 
them at a podium.  Behind him are two ASSISTANTS standing 
beside a curtained stall.  Treves raps a pointer stick on 
the podium to bring the meeting to order.  We move behind 
the stall as the Assistants part the curtains and we see the 
silhouette of the Elephant Man.  The doctors talk among 
themselves quietly.

				TREVES
		He is English, he is twenty-one 
		years of age and his name is John 
		Merrick.  Gentlemen, in the course 
		of my profession I have come upon 
		lamentable deformities of the face 
		due to injury or disease, as well as 
		mutilations and contortions of the 
		body, depending upon like causes; but, 
		at no time have I met with such a 
		dearaded or perverted version of a 
		human being as this man.  I wish to 
		draw your attention to the insidious 
		conditions affecting this patient.  
		Note, if you will, the extreme 
		enlargement of the skull ... and upper 
		limb, which is totally useless.  The 
		alarming curvature of the spine ... 
		Turn him, please ...

				TREVES (V.0.)
		... the looseness of the skin, and 
		the varying fibrous tumors that 
		cover 90% of the body.

Treves' voice fades as we DISSOLVE TO the Doctors, who at 
first were rigid and flustered, and now bent forward, 
concentrating, obviously consumed with interest.

Spiraling down again we see Treves finishing his lecture.

				TREVES
		... And there is every indication 
		that these afflictions have been 
		in existence, and have progressed 
		rapidly, since birth.  The Patient 
		also suffers from chronic bronchitis.  
		As an interesting side-note, in 
		spite of the afore-mentioned anomilies, 
		the patient's genitals remain entirely 
		intact and unaffected.

Treves nods to the Assistants and they go the Elephant Man.
We see them in shadow untying the loose knot of the loin cloth.

CLOSE-UP of the shadow of the head of the Elephant Man. it
goes up for a breath.

				TREVES
		So then, gentlemen, owing to this 
		series of deformities: The congenital 
		exostoses of the skull; 
		extensive papillomatous growths and 
		large pendulous masses in connection 
		with the skin; the great 
		enlargement of the right upper limb, 
		involving all the bones; the massive 
		distortion of the head and the 
		extensive areas covered by papillomatous growth, 
		the patient has been called, 
		"The Elephant Man.'

TREVES OFFICE

The Elephant Man (hereafter the E.M.) wearing his cloak, is 
seated by the desk.  Treves stands behind him, measuring his 
head with calipers.  'He removes the calipers and notes the 
span, then sets them on the desk.  He places the hood over the 
E.M.'s head.  Treves sits at his desk and makes some final 
notes.  He becomes more absorbed in his notes than in the E.M. 
The E.M. makes an unintelligible sound.

				TREVES
		Hmm?

The E.M. is silent.  Treves, only now realizing that the E.M.
has said something, looks up at him.

				TREVES

		Hmm?

The E.M. is silent.  Treves passes it off as a sigh and turns
back to his work.

				TREVES
		It's been a long day for everyone.

He closes his notebook and rises.  He remembers something.

				TREVES
		Oh, yes, you'll need a cab. .
			(to the E.M.)
		Stay.

He exits.  The E.M. is alone. He rises and shuffles slowly 
about, investigating the room.  He goes to the desk and begins 
touching things, including the calipers.  He notices the card 
Treves gave to the Owner tucked in the back pages.  He pauses 
for a moment and then takes the card.  His hand disappears into 
the cloak, and he moves back into the corner behind the stiff, 
black operating coat.

Treves re-enters.

				TREVES
		Come with me.

The E.M. takes up his stick and follows Treves out.

UPSTATRS HALLWAY - THE LONDON HOSPITAL

We see Treves and Fox alone at a window.  They are looking 
down on the hospital square Treves had previously crossed 
and see the E.M., lit by gaslight and moving to a waiting 
cab.

				FOX
		You never mentioned his mental
		state.

				TREVES
		He's imbecile, no doubt from birth.  
		He speaks, but... it's all gibberish.  
		No, the man's a homeless idiot...
			(to himself)
		I pray God he's an idiot.

The E.M., as he is getting into the cab, stops, turns and 
looks to the upper stories of the hospital.  Treves and Fox 
are joined by three laughing colleagues who clap Treves on 
the back.

				THE FIRST
		Quite a coup, Freddie.  You'll
		look splendid in the journal.

				THE SECOND
		Where ever did you find that
		creature?

From the upper story we watch the cab drive away.

				THE THIRD (V.0.)
		It's a pity.

				FOX (V. 0.)
		I pity the poor cab driver, myself.

From outside the window we see Treves surrounded by his laughing 
friends.

ENTRY HALL - TREVES' HOME

We see a door.  It opens and Treves walks in.  He shuts the 
door, locks it, goes to a coat rack on the wall and hangs up 
his overcoat and hat.  He notices his reflection in a mirror 
and examines himself wearily.  Anne's smiling reflection appears 
beside his.

				ANNE
		Did it go well, darling?

				TREVES 
		Yes, very well, I think.  
		Are the girls in bed?

				ANNE
		Yes, and they send their kisses.
		Would you like your sherry now?

				TREVES
		No, I think a whiskey.

We move past Anne's reflection to a CU of Treves.

WHITECHAPEL - NIGHT

We now see a bunsen burner roar of flame reflected in Bytes' 
eyes.  Pulling back we see Bytes, quite drunk, sitting, cooking 
sausages over the hot brick.  He takes another drink from 
his gin bottle.  Up comes a wet belch and he takes another 
drink.

The E.M. is crouched against the wall with a bowl of potatoes 
and a cup of water in front of him.  With his good hand, he 
is picking tiny pieces of potato and feeding himself.  The 
eating is fairly loud and animal-like.  The drinking is even 
worse.

The Boy is across the room asleep, wrapped in ragged little
blankets.

The E.M. takes a drink of water, making a loud smacking, 
slurping sound.  Bytes looks up from his cooking with a 
smouldering look, just waiting for him to make the sound 
again.  He does and Bytes takes his crop and violently jabs 
him.

				BYTES
		Belt up, you misbegotten garbage.
			(mumbling to himself)
		How can I eat with that?

Bytes takes a mouthful of gin and mockingly slurps it mimicking
the E.M.'s sound.

				BYTES
			(yelling)
		How can I eat with THAT?

The E.M. picks and eats some more and then drinks again very 
tentatively.  Because of his fear the water catches in his 
throat and he spits and coughs out onto the floor, gasping 
and wheezing for breath.

Bvtes is up and whacks him with his riding crop.

				BYTES
		Out of my sight!

The E.M. struggles to get up, carrying his food.

				BYTES
		(not satisfied with his speed)
		NOW!

He jabs the E.M. again, spilling his potatoes and water onto
the floor.

				BYTES
		You clumsy sod!

He pushes the E.M. again, then slips on the potatoes and falls 
heavily to the floor, crying out in shock.  Then rage hits 
him.  The E.M. backs up.

				BYTES
		YOU!

The Boy wakes up in fear.  Bytes moves quickly toward the 
E.M. raising his crop.  The E.M. stumbles and falls backward 
onto the floor. His head goes back and he begins gasping for 
air.  Bytes yanks him up and hits him in the face with his 
riding crop.  The force of the blow knocks a glob of spit 
into the air from the E.M.'s mouth.  The E.M. gasps and 
wheezes horribly as Bytes hits him again and again.

From across the room.

				BOY
		Bytes!  DON'T...

Bytes goes right on with the beating.

				BYTES
		This won't do, my lad.  This
		just won't do!

RECEIVING ROOM - LONDON HOSPITAL

We see the eyes of the Boy.  As we pull back from them, they
widen with recognition.

WIDE SHOT of the Receiving Room.  Treves has entered and the
Boy walks quickly up to him.

				BOY
		Our man is sick.  Come right
		away.

				TREVES
		What is it?

				BOY
		Like this.
			(he breathes heavily in and 
			out to demonstrate the E.M.'s 
			difficulty)

				TREVES
		I'll get my bag.

INSIDE THE SHOP

We hear the sound of wheezing coming from the E.M. who is 
sitting propped up against the stage, wrapped in a blanket.  
His head bent forward toward his knees.  Bytes is going to 
the door as it opens and the Boy leads Treves in.  Treves 
immediately goes to the E.M.

				BYTES
		What did you do to him?  He's been
		like this all night!

				TREVES
		What do you mean?

				BYTES
		He was fine when he left here, and
		now look at him.

				TREVES
		I intend to.

Treves pulls the blanket away from the E.M. exposing several 
bruises and bloody cuts.  Treves freezes at the sight and 
slowly turns to look at Bytes.

				TREVES
		What happened?

				BYTES
		He fell.
			(guardedly)
		He falls.

				TREVES
		He must have taken quite a fall.

He looks up at the riding crop in the hand of Bytes, then to
the strangely nervous and silent Boy.

				BYTES
		He's a clumsy git.  Never watches
		where he is going.

				TREVES
		Why is he sitting up like this?  He
		needs rest.

				BYTES
		That's the way he sleeps.  If he 
		lays down, he'll die.
			(he points to his neck and 
			leans his head back) 
		Head's too heavy.

Treves turns his attention to the E.M. He lifts his head 
higher and examines the E.M.'s eyes.  The E.M., who had 
been oblivious up until this point, looks into Treves' eyes
and recognizes him.  With his good hand, he reaches up and
touches Treves' arm almost as if appealing to him.    Treves'
eyes lock on his.

				TREVES
		This man belongs in hospital.

				BYTES
			(apprehensively)
		Can't you fix him up here?
		... He's my livelihood.  Listen.

				TREVES
		You listen, you're not going to 
		have much of a livelihood if this 
		man dies.  He's got the rale, he's 
		very weak, and I don't know how 
		much damage has been done by his 
		"fall".  Now stop wasting time and 
		fetch a cab.

Bytes considers and then snaps his fingers at the Boy who 
runs out.  He then breaks into an ingratiating grin and leans 
down over Treves who busily examines the wheezing E.M.

				BYTES
		I really appreciate this, guv.  
		You know, there's lot of things 
		that I can do for you.  I move in 
		the proper circles, for this type 
		of thing...
			(motioning toward the E.M.) 
		In fact, anything at all, if you 
		take my meaning.

Treves, uncomfortable, rises.  Bytes grips his hand and with
the other gathers the material of his sleeve in a slow deliberate
squeeze.

				BYTES
		I like doing business with you.  
		You and I understand each other, 
		completely.  I know I can trust 
		you.  Can't I?

				TREVES
			(gazing at him levelly)
		Everything will be seen to.

MORNING - AERIAL SHOT LOOKING DOWN ON HOSPITAL SQUARE

Through a window we see Treves and the E.M. walking through 
a back gate and across the square. MR. CARR GOMM, Hospital 
Chairman, turns and moves away from the window.

HALLWAY

NURSE NORA IRELAND is pushing a cart fiill of empty breakfast 
trays down the hall.  She glances into the stairwell and 
sees Treves and the E.M. coming through the door.  She 
continues on, startled by the sight of the mysterious hooded 
figure.  At the end of the hall, she goes into the kitchen.

STAIRWAY

Treves and the E.M. are laboriously climbing a flight of 
stairs.  The E.M. is puffing and wheezing with the effort.  
Treves supports him under his right arm.

KITCHEN

Nora enters with the cart and waits for it to be restocked.  
She leans out the door for another look, but the hall is 
empty.  A Nurse ladles mush into bowls.  There is a lot of 
activity in the kitchen.  Nora takes the cart stacked with 
full trays and pushes it out the door and down the hallway.

HALLWAY

Treves and the E.M. cross the hallway and head up a narrow 
stairway towards the attic.  There is a sign reading 
"Isolation".

Carr Gomm is leaning out the door to his office, unseen by
Treves. He closes the door.

GENERAL WARD - LONDON HOSPITAL - MORNING

It is a long, high ceilinged room with large windows along
one wall.  Beds run the length of both sides of the room.  
It is a wcman's ward and nurses are serving the patients 
breakfast.  Nora enters and nurses take trays from her cart.  
Nora's mind is on what she has just seen.  We see Mothershead 
come in the door behind her.

				MOTHERSHEAD
			(startling Nora)
		Nora!  Mind your duties ... if 
		you don't concentrate dear, you'll 
		only make more work for the rest 
		of us.  Now, get about your business.
			(pauses, seeing Nora's collar) 
		... and 00 get your collar straight, 
		dear.

				NORA
			(fumbling with her collar)
		I'm so sorry, Mrs. Mothershead.

				MOTHERSHEAD
		Do get on with it, Nora.

Mothershead walks on, as Nora now very flustered, picks up a
tray.

ISOLATION WARD

CU of a bottle of dark fluid and a bottle of light fluid.  Treves 
mixes the two in a glass.  We are in a small oddly shaped room 
off the attic ward.  There is one tiny barred window located 
high up on the far wall.  There is also a bed, two hard chairs 
and a table.  The E.M. is sitting on the bed in shadow and his 
disguise is now hanging from a peg on the wall beside him.  He 
is still wheezing and appears to be very weak. Treves serves 
the mixture to the E.M., who sputters and gags on it, but 
manages to get it down.  Treves goes to the table and puts 
the two bottles in his bag.  He goes to the door and turns 
to the E.M.

				TREVES
		I don't know if you will understand 
		this, but you will never 
		go back to that man again.  You're 
		safe now.  No one will ever harm 
		you.  Do you understand?

The two men just look at each other.

KITCHEN - LONDON HOSPITAL

Treves enters the kitchen and nicks up a bowl.  A NURSE ladles
some porridge for him.

				NURSE
		Breakfasting with the patients this
		morning, Mr. Treves?

				TREVES
		It's for a patient.

Treves exits and the nurses admiringly watch him go.

FIRST FLOOR LANDING AND HALLWAY

Treves climbs the stairs onto the landing.  Down the hall, 
Mr. Carr Gomm is walking toward his office.  Treves tries 
not to be seen, but to no avail.

				CARR
		Mr. Treves, come over here a
		moment, won't you?

Treves hesitates, trying to hide the bowl, but gives up and
goes down the hall to meet Carr Gomm.

				CARR
		Good morning, Treves.

				TREVES
		Good morning, sir.

				CARR
			(seeing the bowl)
		You've acquired a taste for
		this?

				TREVES
		It's quite nutritious, sir.

				CARR
		Don't be mad.  This muck can kill
		you.

Carr Gomm calls a Nurse from a nearby ward over.  It is
Nora.  He takes the bowl from Treves and hands it to her.

				CARR
		Take this up, to to the man in the 
		isolation ward when you have a 
		moment, won't you?

				NORA
			(apprehensively)
		Yes, sir.

				TREVES
		Don't be frightened.  He won't
		hurt you.

				CARR
		Indeed!

He gestures toward his office door.  As he and Treves enter 
the office, Nora looks apprehensively up the isolation ward 
stairs.

MR. CARR GOMM'S OFFICE

It is a small, elegantly furnished room with a large window.  
The two men sit, Carr Gomm behind his desk and Treves in a 
leather chair.

				CARR
		A hospital is no place for secrecy, 
		Mr. Treves.  Doctors spiriting 
		hooded figures about are liable 
		to cause comment.  Why wasn't this 
		patient properly admitted, and why 
		is he in isolation? is he contagious?

				TREVES
		No sir, he's got bronchitis and he's
		been badly beaten.

				CARR
		Why isn't he in the General Ward,
		then?

				TREVES
		Well sir, he's quite seriously deformed, 
		and I fear the other patients would 
		find him... rather shocking.

				CARR
		Deformed?  Is that it.  Then am I to
		assume that he is ultimately incurable?

				TREVES
		Yes sir.

				CARR
		What are your plans then, Treves... 
		You are aware that the London does 
		not accept incurables.  The rules 
		are quite clear on that point.

				TREVES
		Yes, I'm well aware of that.  But
		this case is quite exceptional.

				CARR
		Oh, is he a friend of yours?

				TREVES
		No, more of an acquaintance.

ISOLATION WARD (A) AND STAIRWAY (B)  CARR GOMM'S OFFICE (C)

(A)	The E.M. is asleep in his sleeping posture on the bed.

(B)	Nora, with the bowl, is climbing the stairs to the attic
ward.  She pauses in sight of the door and looks apprehensively 
at it.  She begins to hum to give herself courage, and 
continues up the stairs.

(A)	The E.M. awakens, hears the footsteps, and now the humming, 
which grows in volume.  He becomes fearful and reaches 
for his cloak.  The humming stops.  He freezes and listens.

(C) Treves and Carr Gomm seated as before.

				CARR
		I certainly sympathize with your 
		problem, Treves... Why don't you 
		try the British Home, or the Royal
		Hospital for               Perhaps 
		they would have a place for him.

				TREVES
		Yes sir, I'll look into that.
			(he rises)
		Would you like to meet him sir?

(B) Nora stands outside the door, listening.  She is barely
breathing.

(A) The E.M., still listening, slowly lets his hand drop away
from the cloak.

(B)	Nora opens the door.

(A)	The E.M. grabs for the cloak as the door swings open
flooding him with light.  We see him for the first time in 
his entirety.  CU of Nora screaming and dropping the tray.  
CU of the caught E.M.

(C)	The shrill scream is heard from upstairs.

				TREVES
		Excuse me, sir.

Treves rushes out.  Carr Gomm just sits for a moment, thinking.

				CARR
		The Elephant Man?

ISOLATION WARD LANDING

Treves, rushing up the stairs, reaches the landing.  Nora is 
at the railing, crying.  The door is open, the breakfast tray 
littering the floor.  The E.M. is on the bed trying to squeeze 
into the corner.  Treves quickly closes the door and tries to 
comfort Nora.

				TREVES
		I'm sorry, my dear, I should have 
		warned you.  I'm so terribly sorry, 
		please forgive me.  There, you're 
		alright now.  Go downstairs and 
		please ask Mrs.  Mothershead to come 
		up. Tell her to knock on the door 
		and wait for me.  Alright?

				NORA
		Yes Sir.  I'm sorry, Sir.

Drying her eyes, she goes downstairs.

ISOLATION WARD

Closing the door, Treves steps over the spilt breakfast and
goes to the E.M.

				TREVES
		I'm very sorry about that.  Are
		you resting well?

The E.M. makes a garbled sound.

Treves, alone with the E.M., once more finds himself becoming
uncomfortable.

				TREVES
		Ah good.  Well then... oh yes, 
		we'll have to get you some more 
		food.  I'm sure you must be simply 
		famished.  Hmm?

The E.M. is silent.

				TREVES
		Of course you are.  Now then, I 
		think you'll be quite comfortable 
		up here for awhile.  I'll see to 
		it you have everything you need, 
		and, uh... yes.

Treves puts out a comforting hand to the E.M. who flinches
back.  The two men just look at each other.

GENERAL WARD

Several Nurses are taking bath things off a cart.  At the 
other end of the room, Mothershead is talking to a patient.  
Nora enters and walks over to Mothershead.  They talk, and 
Mothershead exits.  Nora joins the other nurses.

				OTHER NURSES
		Did you see him?

				NORA
		Yes.

				OTHER NURSES
		What's wrong with him?

We see Nora's face.  She is silent.

ISOLATION WARD LANDING

Mothershead knocks on the door.  Treves opens it, comes
out onto the landing and closes the door.

				TREVES
		Ah, Mothershead.  How are you
		feeling today?

				MOTHERSHEAD
			(suspiciously)
		Fine.

				TREVES
		Good.  Excellent.  Now then, Mrs. 
		Mothershead, I want you to come 
		into this room with me.  Inside 
		there is a man with a rather... 
		unfortunate appearance.

				MOTHERSHEAD

		I've heard.

				TREVES
		Yes... Well, I want you to clear 
		up a little mess, a breakfast tray 
		was spilt.  And bring up another 
		breakfast.  When you've done that, 
		you and I shall give the man a bath.  
		But, Mothershead, I'm counting on 
		your many years of experience to 
		get you through this, Above all, 
		do not scream, do not cry out, or in 
		any way show this man that 
		you are frightened of him...

				MOTHERSHEAD
		Sir, you don't have to worry about 
		me. I'm not the sort to cry out.  
		Shall we go in?

				TREVES
		Yes...  Yes, let's go in.

Treves opens the door.

ISOLATION WARD

Mothershead goes right to the mess.

				TREVES
			(to the E.M., hereafter Merrick)
		I would like you to meet Mrs.
		Mothershead - Mrs.  Mothershead,
		Mr. John Merrick.

Merrick looks up to Mothershead, then averts his eyes.  He looks
back at her and sees she has no difficulty being in his presence.

				MOTHERSHEAD
		How do you do?

ISOLATION WARD LANDING

At the door of Merrick's attic room stand two buckets of 
very dirty water.  We hear footsteps coming up stairs and 
see a young porter carrying two buckets of clean, steaming 
water.  He puts them down, knocks on the door, and takes 
the dirty water downstairs.  The door opens, Mrs. Mothershead 
picks up the steaming buckets and takes them inside, 
shutting the door.

ISOLATION WARD

Merrick's seated in a tin bathtub trying to hide his nakedness. 
Mrs.  Mothershead pours the water in.  She scrubs his 
back with obvious distaste, but does her job. Months of 
filth and accumulated escresence are turning the bath water 
a murky black.  As Mothershead scrubs, Merrick slowly leans 
forward in the bath, closing his eyes, apparently oblivious 
to his surroundings.  Treves sits beside him.

				TREVES
		The disease is shocking.

Merrick's eyes flicker.

				TREVES
		I wonder how far it can go before
		it...

Merrick flinches and pulls away.

				MOTHERSHEAD
		Sit still.  Don't wiggle about 
		like a pup.  I won't stand for 
		any foolishness.

Treves leans forward and looks at Merrick.  Merrick grows
still, his eyes closed, apparently in a reverie.

				TREVES (V.0.)
		It's pretty certain that if he 
		had the disease as a child, he was 
		abandoned.  But in that case, he'd 
		have to have had care.  The very 
		fact that he's alive bears that 
		out...

			(cut to Treves)
		But, where?

Merrick is listening.

				MOTHERSHEAD
		The workhouse.

				TREVES	
		Yes!  The workhouse!

At this word, Merrick begins to babble wildly. Obviously 
alarmed, he thrashes about in the tub, spilling water onto 
the floor.  Treves, alarmed now himself, attempts to calm 
Merrick, who, still babbling, tries to rise from the tub.  
Mothershead clamps a hand on Merrick's left arm.  At her 
touch, he is instantly subdued, at least physically.  He 
sinks back into the tub and begins to weep.  Treves and Mothershead 
are astounded by the tears rolling down Merrick's cheeks.  
They stand motionless looking down at the agonized, naked 
elephant man.

				TREVES
			(softly)
		The workhouse.

FOLLOWING BUCKETS OF DIRTY WATER DOWN A HALLWAY

BACK ENTRANCE - ALLEY

The young PORTER is exiting with great difficulty through a 
large iron door carrying the two buckets.  He sets one of 
the buckets down, takes the other and splashes it out into 
the alley.  Some thick sludge dribbles from the empty bucket.  
Unseen by him, the NIGHT PORTER is standing just to the side 
and he now comes forward.  The young Porter seems nervous in 
his presence.

The Night Porter looks at his spattered shoes, then up to
the Young Porter.

				NIGHT PORTER
		What's all this, then?

				YOUNG PORTER
		Mr. Treves is scrubbing his Elephant
		Man.

				NIGHT PORTER
		Elephant Man?

				YOUNG PORTER
		Yeah... I hear it's a real horror -
		even made Mothershead scream.

				NIGHT PORTER 
		Friend of the night, eh?  The 
		Elephant Man.  I think I'll 
		have me a look at that.

Suddenly the Night Porter kicks the other bucket of filthy 
water violently, sending it splashing all over the young 
Porter.

				NIGHT PORTER
		Now, you need the scrubbing, ducks!

He lets his cigarette drop to the ground, then stamps and 
grinds it with his brass-heeled boot, all the while smiling.  
Then he turns on his heel and leaves.

						CUT TO:

Dark clouds rolling through an evening sky.

ATTIC WARD

Through the high barred window, we see the dark sky.  The E.M. 
is on his bed in his sleeping posture.  A dim gaslight burns 
in the room.

CLOSE-UP of his head on the points of his knees.  His
breathing is more regular now.

A GENERAL WARD

Lights are being turned off.

ANOTHER WARD

Lights go off.

BACK ENTRANCE

Large iron door is closed.

HALLWAY

Half the lights go off.

HALLWAY

Nurses leave for their quarters - half the lights go off.

SECOND FLOOR HALLWAY

We hear the slow metallic footfalls of the Night Porter's 
boots.  He appears and walks into a darkened women's 
ward.  The women are all asleep.  Some coughing fitfully, 
others moaning quietly.  The Night Porter walks down the 
aisle between the beds.  We see several of the sleeping 
women as he passes them.  Finally, he comes to a young 
beautiful woman, her eyes wide open, watching him with 
intense fear.  On either side of her are two very ancient 
women, snoring deeply.  The young woman has her arms tied, 
suspended in traction above her.  The Night Porter moves 
to her, his shadow engulfing her.  She starts to move, 
rattling the apparatus above her.  The Porter puts a 
finger to his lips.

				NIGHT PORTER
		Hush, love, I told you before -
		one word from me, they'll toss 
		you back on the street, and then 
		those pretty little arms of yours 
		will never grow straight.  Now 
		close your eyes.

She turns her head away, closing her eyes.  He moves in.

CLOSE-UP of a gas light in a hallway.  The leaping flame
makes a low roar.

CUT TO ANOTHER HALLWAY

Somewhere a door is opened and the squeak sounds vaguely 
like the trumpeting of an elephant.  We hear again the 
metallic footfalls of the Night Porter's boots, and he 
appears.  He goes to the narrow stairway marked, "Isolation".  
He stops and casually looks about.  He takes 
a swig of his gin, then starts up the stairs.

ATTIC WARD

Merrick as before the light is very dim.  We hear the 
echoing footfalls of the Night Porter coming up the stairs.  
Merrick's head immediately comes up from his knees.  As 
it does, a small object falls from where his head rested.  
He picks it up and puts it in a pocket of his cloak. it 
is the portrait of the beautiful woman, which he saw in 
his dream.

Suddenly the door swings open and the Night Porter, bottle 
in hand, is standing there.  He walks into the room and sees 
Merrick's shape on the bed.

				NIGHT PORTER
		Here he is, the old fiend of the 
		night, the terror of the London.  
		Let's have a look at you.  Let's 
		see what makes 'em scream...

He turns up the light and sees Merrick clearly.  The
Night Porter jumps back, awe struck.

				NIGHT PORTER
		Cor Blimey!

Merrick is trembling.  The Night Porter, hardly able to 
believe his eyes, moves slowly toward Merrick.  He is 
afraid but as he reaches the bed, Merrick flinches back.  
The Night Porter grins, his fear gone now.  He is in control.

				NIGHT PORTER
		So this is the Elephant Man.  I 
		ain't never seen nothing like you 
		before.  What the bleedin' hell 
		happened to you?

Merrick cowers as far away from the Night Porter as possible.

				NIGHT PORTER
		Oh...  dumb, eh?

He takes a big swallow of the gin and smiles.

				NIGHT PORTER 
		Good.  I likes people what can 
		keep quiet.

He offers Merrick his bottle with a swift, almost jabbing
motion. Merrick pulls away from him.

				NIGHT PORTER 
		Like a drink?  Go on... Go on 
		have some.  No?  You should try 
		being more sociable, mate.

He tentatively presses the bottom of the bottle up against 
the hanging growth on Merrick's chest.  Encouraged, he 
touches him with his fingers.  Merrick makes a small 
whimpering sound.

				NIGHT PORTER
			(grinning)
		You and I are going to be good
		friends, we are.  And, I've got
		lots of friends who I know would
		like to meet you.  And they will,
		mate... they will.

He moves to the door and turns.  CLOSE-UP of Night Porter's
face.

				NIGHT PORTER
		Welcome to the London.

He moves out the door and it closes.  In the bed, Merrick 
looks at the door with terror as the heavy footfalls of 
the Night Porter recede down the stairs.

WHITECHAPEL ROAD

We see a horse's head in CU, snorting steam into the chill 
morning air.  The horse is harnessed to a milk wagon 
parked in front of the London.  Through the open back 
of the wagon we see the MILKMAN, and past him Treves, 
walking towards us.

				MILKMAN
		Here early again, eh Mr. Treves?  
		If you don't mind my saying so, 
		sir, with your early habits, 
		you'd 'a made a fine milkman.

				TREVES
		Good morning, Charley.  I'll keep
		that in mind!

Treves walks up the path into the hospital.

HALLWAY (MORNING)

Treves, carrying a bowl, crosses the upper hall and starts 
to the narrow stairway to the Isolation Ward.  Over his 
shoulder we see him knock twice on the door.  As the door
swings open, the camera pushes past him and we see the 
room.  The lamp is still burning, but Merrick is nowhere 
to be seen.  Treves enters, looking about for him.

				TREVES
		Mr. Merrick?

There's movement in the corner beside the bed.  Merrick 
rises slightly from the shadow.  The light from the lamp 
hits his frightened eyes.

				TREVES
		....Good morning...  John.  I've
		brought your breakfast.

Treves is unsettled by the sight of Merrick cowering down 
on the floor.  Merrick begins to babble.  Treves enters 
the room, placing the bowl on the table and going to 
Merrick.

				TREVES
		What are you doing down there?  Come 
		up John, come up on the bed.  The 
		cold floor is bad for you.  I won't 
		hurt you, come on now...

He helps Merrick up onto the bed and goe@ back to the
table for the bowl.

				TREVES
		You must eat. We must keep your 
		strength...

He has turned back to the bed, but Merrick has slipped 
to the floor again, still trying to hide himself in the 
corner.

				TREVES
		... What on earth is the matter
		with you?

He puts the bowl down again and goes back to Merrick,
who seems very upset at leaving his hiding place.

				TREVES
		Now please, John, you must do as
		I say.  Come up from there.

He starts to help Merrick up, but Merrick just presses 
himself farther back in the corner, still babbling.
There are two raps at the door.  Treves goes to it and 
lets Motherthead in.

				MOTHERSHEAD
		Good morning, Mr. Treves.  It'll be
		his bath-time soon.  Has he eaten?

				TREVES
		Not quite yet, Mrs.  Mothershead.  
		There seems to be some difficulty 
		this morning.

They both look at the bed.  Merrick has almost disappeared
under it.

				MOTHERSHEAD
		Won't come out, eh?

				TREVES
		No, he's very upset about something.

				MOTHERSHEAD
		Just being obstinate, sir.  I'll
		handle it.

She goes to Merrick and takes hold of his left wrist.

				MOTHERSHEAD
		Alright, my son, none of this fuss.
		Come up from there, this instant.

She starts to force him up from the floor.  Merrick is
moaning now, still trying to get away.

				TREVES
		No! Don't pull at him like that.  
		We don't want to frighten him 
		more than he already is.

By this time Mothershead has almost got him back on the
bed.

				MOTHERSHEAD
		Honestly, sir, you must be very 
		firm with this sort.  Otherwise 
		they'd lay about on the floor 
		gibbering all day long.  All he 
		understands is a good smack.

They help Merrick settle back on the pillow.  Merrick is
still making desperate, unintelligible sounds.

				TREVES
		He's had his share of "smacks", 
		Mothershead.  I expect that's what 
		drives him under the bed.  We must 
		use patience and understanding 
		with this man.

				MOTHERSHEAD
		Perhaps you've got the time for 
		that, Mr. Treves, I certainly 
		don't.  I've got an entire hospital 
		to look after, and you have 
		your real patients.  Don't waste 
		your time with him sir, it's like 
		talking to a wall.  I don't mean 
		to be harsh, but truthfully what 
		can you do for him?  I'll be back 
		later for his bath.  And Mr. Carr 
		Gomm would like to see you when you 
		have a moment.  Good day sir.

She exits.  Treves shuts the door behind her and turns back to
the bed.

				TREVES
			(to himself)
		What good am I to you...?

He goes to the bed and sits down in front of Merrick, angered by
his own seeming uselessness in the situation.

				TREVES
		... What is my purpose? ... It's 
		so important that I understand 
		you.  I want to help you, I want 
		to be your doctor...
			(directly to Merrick)
		but I can't help you unless you 
		help me, unless I know what you 
		are feeling.  I believe there's 
		something back there, there's 
		something you want to say, but 
		I've got to understand you.  Do 
		you understand me?

Merrick hesitates, then starts babbling again.

				TREVES
		No! You are going to talk to me!  
		We are going to show them!  We're 
		going to show them that you're not 
		a wall. We are going to talk!  Do 
		you understand?  Nod your head if 
		you understand me!

Slowly Merrick nods yes.

				TREVES
		You do understand me!  You understand.  
		Now you're going to say it. 
		I've got to hear how you say 
		things.  Now, very slowly, say 
		"yes."

Treves carefully mouths the word.

				TREVES
		"Yes."

Merrick is still hesitant, from years of fear, but his eyes 
betray a growing excitement.  Slowly, he tries to talk, his 
voice a tremulous whisper.

				MERRICK
		Yyyy... Yyye... yyyess.

				TREVES
			(grabbing Merrick's arm)
		Yes John!

Throughout their dialogue, Merrick is still very garbled, 
but he no longer babbles.  He makes a great effort to speak 
slowly, to form words the way Treves forms them, to be understood.

				MERRICK
		...Yyes

				TREVES
		Yyyess.

				MERRICK
		Yyess.

				TREVES
		That's much better.  I could
		understand that "yes".

				MERRICK
			(pleased)
		Yes!

				TREVES
		Very good!  Oh yes!  Now listen.  
		I'm going to say some things to 
		you and I want you to repeat them 
		... um... I want you to say them 
		back to me.  Do you understand?  
		I'm going to say some things to you 
		and I want you to say them back to 
		me. Do you understand?

				MERRICK
		Yes.

				TREVES
		Excellent!  Now, say  ..."Hello" 

				MERRICK
		Hello...

				TREVES
		My name is ...

				MERRICK
		My... name is...

				TREVES
		John Merrick.

				MERRICK
		John... Merrick

				TREVES
		Say "Merrick".

				MERRICK
		Merrick...

				TREVES
		Say "Mmmerrick."

				MERRICK
		Mmmerrick.

				TREVES
		Say "Mmmerrick."

				MERRICK
		Mmmerrick.

				TREVES
		Well, that's alright.  I understand 
		you.  Now, say the whole thing again,
		Hello ...

				MERRICK
			(haltingly)
		Hello...  my name is...
		John Merrick.

DISSOLVE TO HALLWAY

Mrs. Mothershead comes out of the kitchen with a supper tray 
and walks down the hall, passing the open ward door.  We see 
nurses serving patients their supper.  Nora comes out of the 
ward with a tray which she holds tightly against her.  A bowl 
of soup is spilling on her apron.  She catches up with Mothershead.  
They speak as they walk.                                  -

				NORA
		Oh, Mrs. Mothershead, please forgive 
		my behavior yesterday.  I'm sorry if 
		you're having to do extra work on my
		account, It was just seeing it...

				MOTHERSHEAD
		Patients here are not "its".  They 
		are either "he's" or "she's", but 
		that's alright, Ireland.  This one's 
		going to be more work for all of 
		us. Good God girl!  Mind your 
		broth.

Mothershead continues on.  Nora guiltily watches her go.

ISOLATION WARD

Treves and Merrick are absorbed in their work.  A knock comes
at the door.

				TREVES
		Come in.

Mothershead enters.

				TREVES
		Why, my dear Mrs. Mothershead, how 
		good of you to join us.  Mr.  Merrick,
		will you please introduce yourself?

				MERRICK
			(hesitantly)
		Hello, my name is John Merrick.

				MOTHERSHEAD
		Good Lord, Mr. Treves!

				TREVES
			(exuberantly)
		We've made tremendous strides today,
		Mothershead.  He listens and repeats
		with great attention, and this cer-
		tainly isn't easy for him.

				MOTHERSHEAD
		Parrots can do as much, Mr. Treves.  
		It's all very nice, but I don't see 
		the point.  You know they won't let 
		him stay here.

				TREVES
			(lowering his voice)
		I'm sure that if Mr. Merrick made 
		a good impression on the hospital 
		committee they'd see that he's the 
		exception to their rule.  Now I'm 
		not expecting miracles.  I'm not 
		saying he'll be able to read or 
		write, but I do think that I can 
		get him to speak for himself.  I'm 
		going to arrange things with Carr 
		Gomm right now.
			(to Merrick)
		That was very good, John, very good.  
		That's all for today.  We shall do 
		some more tomorrow.  Mothershead?

Mrs. Mothershead sets the tray down beside Merrick.

				TREVES
		I'll see you soon.

He and Mothershead exit. Merrick watches the door close.  He 
sighs quietly, looks about, and sees the Bible on the bedside 
table.  He picks it up and, gently runs his fingers over the 
cover.

RECEIVING ROOM - THE LONDON

There is total pandemonium in the receiving room.  The room 
is filled with screaming men, women and children.  Two 
drunken women have been fighting with broken bottles and 
are now covered with blood and cuts.  The women are still 
hysterical, one minute they're sobbing, then in an instant 
screaming and intent unon fighting again.  The crowd keeps 
them apart.  Two Bobbies stand in the background making no 
move to intercede.

To the side we see Bytes watching everything.  It is still 
too violent a scene for the Nurses to come to the women's 
aide and they stand up in the front of the room waiting.  Bytes 
makes his way along the side of the crowd waiting for a chance 
to get behind the Nurses and on into the hospital.  Now the 
women begin sobbing again and things quiet some.  The Nurses 
come forward into the crowd.  Bytes moves over closer to the 
hallways.  When the Nurses have all aone into the crowd he 
seizes the chance and disappears into the hospital.

CUT TO:

Bytes appears and walks down hospital hallway looking about.

CARR GOMM'S OFFICE

The door opens and Treves enters.

				CARR (V.0.)
		Ah, Treves...

Treves sits in the armchair.  Carr Gomm is sitting at his
desk.

				CARR
		Have you contacted the British Rome
		and the Royal Hospital?

				TREVES
		Ah, no sir.  I had planned to see them
		in the morning.

				CARR
		Good!  How is the patient?

				TREVES
		He's doing very well.  In fact that's 
		why I came to see.you. I think that 
		if I were to present Mr. Merrick to the 
		hospital committee, then they would 
		have a chance to see for themselves 
		not only the extraordinary nature of 
		the disease, but of the man as well.  
		If the committee had a chance to speak 
		with him, hear him say a few words for 
		himself, I'm sure they would see him 
		as a patient, rather than as a violation 
		of the rules.

				CARR
		A few words?  I thought he was imbecile?

				TREVES
		Well sir, perhaps I should explain...

				CARR
		I really don't think that's necessary 
		Treves.  I'm quite sure the 
		committee will be able to make an 
		equitable decision on the merits of 
		the case, such as they are.

				TREVES
		I don't agree.  No one can make a 
		reasonable decision about this man's 
		future without at least meeting him.  
		No doctor would presume to diagnose 
		a patient he had never met-

				CARR
		No, Treves, it's out of the question.  
		Now if it was up to me, I'd say 
		"Certainly, let's meet the fellow, 
		by all means," I'm sorry, I simply 
		can't speak for the other members of 
		the committee.

				TREVES
		Then will you meet him, as a representative 
		of the committee.

				CARR
		Mr. Treves, it's out of the question.  
		I want to hear as soon as possible 
		what the other hospitals can do.  I'm 
		sorry.

HALLWAY - STAIRCASE - THE LONDON

We see Treves leave Carr Gomm's office and walk toward us 
to the stairwell.  As Treves begins down the stairs, he 
sees Bytes on the next landing coming up.  Bytes spots him 
and goes toward him.

				BYTES
		I want my man back.

				TREVES
		Just a moment, how did you get
		in here?

				BYTES
		Never mind that, I want my man!

				TREVES
		He's still very sick.  Please come 
		downstairs with me.  I'll explain 
		the situation.

				BYTES
			(shouting)
		DON'T... Don't muck me about.  
		You've had plenty of time to fix 
		him up, and he's leaving with me, 
		NOW.  Do you understand me?  Now, 
		Mr. Treves.  We had a bargain!

				TREVES
		You misunderstood.  This man suffered 
		a severe fall, if you take my meaning.  
		He's my patient now and I must do 
		what ...

				BYTES
		Pull the other one, why don't you!
		We made a deal!

				TREVES
		I know what you've done to him and
		he's never going back to that.

				BYTES
		He's a freak!  That's how they live.  
		We're partners, him and I, business 
		partners.  You're willfully deprivin' 
		me of my livlihood!

				TREVES
		All you do is profit from another
		man's misery!

				BYTES
		You think you're better 'n me?  YOU 
		wanted the freak to show all your 
		doctor chums and make a name for 
		yourself , you guv.  So I gave him 
		to you.  On trust, in the name of 
		science!  And now I want him back.

				TREVES
		You don't own this man!

				BYTES
		I want him back!

				TREVES
		So you can beat him?  So you can 
		starve him?  A dog in the street 
		would fare better with you!

				BYTES
		I've got my rights, damn you, and
		I'm going to the authorities!

				CARR (V. 0. )
		Well, go to the authorities   ...

Now we see Carr Gomm standing above them, at the top of the
stairs.

				CARR
		By all means do so.  In fact, I'll 
		fetch them myself.  I'm quite sure 
		they'd be very interested in your 
		story, as well as ours.

Livid, Bytes looks from Carr Gomm to Treves, at a loss
for words.

				TREVES
		Now I think we really do understand 
		one another.

				BYTES
			(venomously)
		Right... Right.

He backs slowly down to the landing eyeing Treves and Carr 
Gomm.  At the landing he casually turns and disappears down 
more stairs.  Treves turns and gazes at Carr Gomm.

				CARR
		Singularly unpleasant chap...	uh...
		I don't suppose there would be any
		harm in my meeting your... patient,
		Mr. Treves.

				TREVES
			(gratefully)
		Thank you very much Sir.  Shall we
		say in a few days then?

				CARR
		Shall we say two o'clock tomorrow
		afternoon?

				TREVES
			(slightly taken aback)
		Wh... whatever is most convenient
		for you, sir.

				CARR
		Two o'clock then... you know Treves 
		... It seems this acquaintance of 
		yours has become rather more than 
		just an acquaintance.

				TREVES
		... Yes, Sir.

They part company.  We follow Treves down the stairs.

				TREVES
			(muttering)
		Two O'clock?

Then we follow Carr Gomm to his office door.  He stops short.

				CARR
			(mumbling out loud)
		Elephant Man?  I don't want to
		meet an Elephant Man.

HALLWAYS - THE LONDON (NIGHT)

Again, the hospital is closing down for the night.  Lights go
off in each hallway.  The staff is vacating the hospital.   As
the last light goes off, we hear the great iron door slam shut.

TREVES' HOUSE - BEDROOM (NIGHT)

Anne is at her dressing table, brushing out her hair.  She is 
in a very flattering dressing gown, ready to turn in.  We see 
her reflected in the mirror as well as Treves who is in his 
robe in the background seated at his side of their bed, deep in 
thought.  Anne looks at Treves and smiles affectionately.

				ANNE
			(coyly)
		Freddie?

Getting no response she renews her efforts.

				ANNE
		Freddie?... Freddie, don't look
		so discouraged.

				TREVES
		I shouldn't be.  We made great 
		progress today.  I taught him to 
		repeat a few basic phrases.  He did 
		rather well, too, but I had to lead 
		him every step of the way.  Though 
		frankly, at times I was unsure of 
		who was leading whom.

				ANNE
		What do you mean?

				TREVES
		Well, I wasn't sure whether he was 
		parroting me because that's all he 
		was capable of, or whether he sensed 
		that that's all I wanted to hear, and 
		he was trying to please me.

				ANNE
		But I thought you said that he was
		rather... simple?

				TREVES
		He is.  I mean, I've always thought 
		he was.  I think he must be.  Is he 
		simple? Or is that just something 
		I've wished upon him to make things 
		simpler for myself?

Anne puts down the brush and rises.

				ANNE
		Frederick, why are you so interested
		in this particular case?

				TREVES
		I don't know.  I can't explain it.  
		If this is an intelligent man, 
		trapped in the body of a monster, 
		then I'm under a moral obligation 
		to help free that mind, free that 
		spirit as best I can, to help him 
		live as full and content a life as 
		possible.  But! If he's an imbecile, 
		who's body I can't treat and 
		who's mind I can't touch, well, then 
		my obligation is discharged.  They can 
		put him where they will; he won't 
		be bothered, I won't be bothered, 
		and everyone's conscience can remain 
		free and untroubled.  And that is my 
		dilemma ... what is in his mind?

Anne, sympathizing with his concerns goes to him and puts her
arms around him.

				ANNE
		Perhaps you're just polishing a stone, 
		endowing this Elephant Man with qualities 
		he doesn't possess?

				TREVES
			(impatiently)
		And what qualities are those?
		Intelligence or stupidity?

				ANNE
			(slightly hurt)
		I'm sure I don't know, Freddie.

She releases Treves and lies down.  Treves realizes that perhaps 
he has been unkind.

				TREVES
		I'm sorry...  I don't know either.
		I just don't know.

				ANNE
		Well, these things take time.

				TREVES
		I've only got until two o'clock 
		tomorrow afternoon, when Carr Gomm 
		meets him.  Somehow, between now and 
		then I've got to make John Merrick 
		at least seem like an intelligent 
		man... Why am I fooling myself?  
		Nothing short of John delivering the 
		Sermon on the Mount is going to sway 
		Carr Gomm...

Anne sits back up and gently places her hand over Treves' mouth.
As she does so she leans forward and turns out the light.

ISOLATION WARD

Merrick is propped up in bed.  Suddenly the door bursts open.  
The Night Porter, an arm around a drunken giggling tart, stands 
in the doorway.  As soon as the Charwoman sees Merrick, she 
screams as does Merrick, and she wriggles free, making for the 
stairs.  The Night Porter watches her go and then turns to 
Merrick laughing noisily.  He then pulls the door shut with a 
bang.  Merrick, very frightened, crawls down into his hiding place.

BEDROOM (MORNING)

We see Anne alone in bed, asleep.  Treves is finished dressing 
and leaves the room. The sound of the door closing awaktans 
Anne.  She looks around for Treves.  A clock reads 5:30.

ISOLATION WARD

Merrick's disguise hangs on the wall.

				MERRICK (V.O.)
		The Lord is my shepherd, I shall 
		not want, he maketh me to lie down 
		in green pastures; He leadeth me 
		beside still waters.  He restoreth 
		my soul: He Guideth me in the 
		paths of righteousness...

				TREVES
		Righteousness ...

				MERRICK (V.0.)
		Righteousness for his namesake.

We now see Treves and Merrick

				TREVES
		Very good, very good.  Now, when 
		your visitor comes today I want 
		you to say it exactly the way you 
		said it just now.  I will introduce 
		him to you and you will say 
		the words you've learned. If you 
		have any trouble with any of the 
		words, I'll help you.  I'm sure 
		you'll be just fine.  If you do as 
		well for him as you've done for me 
		these last two davs, then I'm sure 
		our visitor will be very pleased. 
		Now, let's go through the whole 
		thing again, shall we?  I will say 
		"May I introduce you to Mr. Carr 
		Gomm." And you will say...


				MERRICK
		Hello, my name is John Merrick.  I
		am very pleased to meet you!

HALLWAY

Treves and Carr Gomm are speaking together as they walk along.

				TREVES
		It's only a physical problem.  He 
		has trouble with certain sounds 
		because of the constrictive deformity 
		of the mouth.  But he can talk, 
		and has a great eagerness to make 
		contact with people who will let 
		him.  So if you have any difficulty 
		understanding what he is saying, 
		just tell me and I'll make it clear.

				CARR
		Speaking is one thing, Treves, but
		can the man comprehend?

Treves cannot easily answer this question.

				TREVES
		... As I said, it's only a physical 
		problem... but I do feel that Mr. 
		Merrick is very flattered that you're 
				(continued)

				TREVES (Cont'd.) 
		taking the time and trouble to 
		meet him, and he's most anxious to 
		make a good impression, so he might 
		seem rather nervous.

				CARR
		He needn't.  I have no desire to 
		cause him any discomfort.  Did you 
		make those inquiries we spoke about?

				TREVES
		Yes, I spoke to both the British 
		Home and Royal Hospital for Incurables.  
		I'm afraid that they weren't very 
		encouraging, but they said they'd bring 
		it up at their next committee meeting, 
		so we should have their answers shortly.

				CARR
		Fine, fine.  You know, vour dedication 
		to this patient is an inspiring thing, 
		Treves.  But you must remember that 
		this is a hospital, and there are many 
		patients here.  Patients who can be 
		made well, and you owe them your first 
		consideration.  Just don't become so 
		obsessed, old man, that you beain to neglect them.



Carr Gomm starts up the stairs.  Treves remains behind, watching
him for a moment, then follows.

ISOLATION WARD

Merrick is standing beside his disguise on its hook.  He 
nervously smooths the cloak down, repositions the Bible on 
the bedside table and smooths the cloak again.  He looks at 
the door, expecting it to open.  It doesn't.  His hands smooths 
the cloak over and over again. Voices can be heard outside the 
door.  Merrick freezes.



There are two raps at the door. Merrick flinches, clutching
the cloak. The raps are repeated.  He pulls himself together
and walks to the middle of the room.  He takes a deep breath
and closes his eyes.

				MERRICK
		Come in.

The door opens and Treves and Carr Gomm enter.  Carr Gomm's
eyes are rivited on Merrick, but he contains his shock.

Merrick is breathing unevenly, his eyes still closed.  Treves 
goes to him and touches his shoulder.  Merrick opens his eyes 
and looks up at Treves.  Treves turns to Carr Gomm, as does 
Merrick.  Carr Gomm lowers his eyes.

				TREVES
		John, may I introduce you to Sir.
		Carr Gomm.

				MERRICK
		Hello... my name is John Merrick.
		I am very pleased to meet vou.

Carr Gomm, still shaken, instinctively offers his hand.

				CARR
		I'm very...  pleased to meet you.

Before Carr Gomm can withdraw his hand, Merrick grasps it with 
his left hand.  There is an uncomfortable silence. Merrick 
releases it.  Carr Gomn, nervously clears his throat.

				CARR
		How are vou feeling today?

				MERRICK
		I feel much better.  Thank you for
		asking.  And you?

				CARR
		I'm feeling very fit, thank you.
		How is your bronchitis?

				MERRICK
		I feel much better.  Thank you.

				CARR
		Are you comfortable here?

				MERRICK
		Everyone has been very kind.  I am
		extremely grateful.

				TREVES
		Mr.  Merrick likes the food here.
		Don't you John?

				MERRICK
		Oh yes!  It is much better than what
		I am used to.

				CARR
		Oh yes?

				TREVES 
			(after a pause) 
		And what was that, John?

				MERRICK
		Potatoes...

There is another agonizing silence.

				TREVES
			(to Carr Gomm)
		...Yes potatoes... but...

				MERRICK
		But the variety of food here is
		very pleasing... I commend you.

				CARR
			(after a pause)
		I understand that you were beaten?

Merrick is at a loss.  This is not part of the expected scenario.

				DIERRICK
		Oh no, everyone has been very
		kind.

				CARR
		No, I meant in your former situation.

Merrick doesn't seem to understand.

				MERRICK
		I'm feeling much better now ...

Carr Gomm stares levelly at Treves for a moment, then asks
Merrick:

				CARR
		Tell me, how do you like Mr. Treves?
		As a teacher?

Treves stiffens.

				MERRICK
		... I...  everyone has been very
		kind to me.

				CARR
		Of course.  How long did you and Mr.
		Treves prepare for this interview?

Merrick looks at Treves for guidance, but Treves cannot look
him in the eye.

				MERRICK
		... everyone has been very kind.

				CARR
		Yes, of course...  Well, it's been a
		pleasure meeting you, Mr. Merrick.
		Good day.

				TREVES
				(to John)
		Thank you, John.  You did very well.

Treves and Carr Gomm go out the door onto the landing.  Merrick 
sees his chance escaping him and tries to recapture their attention.

				MERRICK
		(his voice is gaining strength) 
		The Lord is my shepherd, I shall not 
		want.  He maketh me to lie down in
		green pastures...
			(he continues through the following 
			dialogue)

Treves and Carr Gomm are alone on the landing, speaking quietly.

				CARR
		It was a nice try, Treves, but the
		man is so obviously mouthing your
		words.

				TREVES
		Yes, I'm very sorry to have wasted 
		your time, sir.  I just felt that 
		I had to do anything I could to 
		protect him.

				CARR
		I'm sorry too.  He simply doesn't 
		belong here.  He's be much happier 
		somewhere else, where he could be 
		constantly looked after.  Believe 
		me, Frederick, it's better that it 
		worked out this way.  Good day.

Merrick has come to the end of what Treves taught him to say.
He makes one last, desperate attempt to be heard.

Treves, disheartened, stands on the landing as Carr Gomm starts
down the stairs.

				MERRICK (V.0.)
			(now full voice)
		Yea, though I walk through the 
		valley of the shadow of death, I 
		will fear no evil, for Thou art with 
		me; Thy rod and Thy staff, they 
		comfort me...

Treves is staring, open-mouthed, back into the room.  Carr
Gomm looks up at him.

				CARR
		What is it, Treves?

				MERRICK (V.0.)
		Thou preparest a table before me 
		in the presence of mine enemies, 
		Thou anointest my head with oil...

				TREVES
		I didn't teach him that part!

Treves rushes back into the room, followed by Carr Gomm.

				MERRICK
		My cup runneth over.  Surely goodness 
		and loving kindness shall 
		follow me all the days of my life, 
		and I shall dwell in the house of 
		the Lord forever.

There is a long silence as all three men stare at each other.

				TREVES
		How did you,know the rest?  I
		never taught you the rest of it.

				CARR
		I don't understand.

				TREVES
		Tell me, John, how did you know the
		rest of the 23rd Psalm?

				MERRICK
			(hesitantly)
		I...	I used to read the Bible every
		day. 	I know it very well.  The
		Bible, and the Book of Common 
		Prayer.  The 23rd Psalm is very 
		beautiful.

ISOLATION WARD

A few minutes later.  We hear voices inside the room.

				CARR (V.0.)
		It was a great pleasure to meet
		you, Mr. Merrick.

				MERRICK
		I am very pleased to meet you.

				CARR
		I hope we can talk together again
		sometime.  Good day.

The door opens and Carr Gomm and Treves come out.

				TREVES
			(to Merrick)
		I'll be right back.

He closes the door.

				CARR
		I want to see you in my office as 
		soon as you're through up here.  
		We've a good deal to discuss.

He starts down the stairs.

				TREVES
		Of course, sir.  Thank you, thank
		you very much.

Carr Gomm stops on the stairs.

				CARR
		Treves.  Well done.

				TREVES
		Not me, sir.  Mr. Merrick.  He 
		succeeded in spite of my 
		shortsightedness.

ISOLATION WARD

Merrick is on the bed, propped up by pillows.  The door opens.  
Treves comes in, shuts the door and leans against it.  They 
look at each other for a moment.

				TREVES
		Why did you let me go on like 
		that, teaching you what you 
		already knew?  Why didn't you tell 
		me you could read?

				MERRICK
		You did not ask me.

				TREVES
		I never thought to ask.  How can
		you ever forgive me?

				MERRICK
		Oh, no do not say that.  You have 
		been so kind to me.  I was afraid 
		to say too much.  People always 
		want me to be quiet.  You wanted 
		me to speak, but I was afraid.  
		Forgive me.

				TREVES
		We do have a lot to talk about, don't
		we?

CARR GOMM'S OFFICE

Carr Gomm is seated at the window, looking out silently.  There 
is a knock at the door and Treves enters.  He quietly closes 
the door and walks to the window.  Carr Gomm never moves.

				CARR
		Can you imaaine what his life has
		been like?

				TREVES
		Yes, I think I can.

				CARR
		No you can't.  You can't begin to
		know, no one can.

Carr Gomm suddenly stands and faces Treves.

				CARR
		You are quite right, Treves, this is 
		an exceptional case.  And I quite 
		agree that the committee should 
		see Mr. Merrick.

				TREVES
		I could easily arrange ...

				CARR
		No, not that way.  Broadneck and the
		others don't like to deal with patients
		directly.  It makes them queasy...   Do
		you have any photographs of Mr.  Merrick?

				TREVES
		Well, yes.

				CARR
		Excellent.  We shall present them, 
		along with the other particulars 
		of the case to the committee.  I 
		want them to see, exactly, how 
		horribly his body has been affected.  
		You and I shall vouch for his inner 
		qualities.

				TREVES
		Do you think they'll go along with
		us?

				CARR
		Of course they will.  They're reasonable 
		men.

				ISOLATION WARD

Merrick is in bed, very tired.  It's been an exhausting day.  
Suddenly the door opens and Mothershead comes into the room.  
Merrick looks up at her very apprehensively.  She walks over 
to the bed, picks up the Bible from the table, opens it and 
hands it to Merrick.

				MOTHERSHEAD
		Read it.

Merrick looks down at the Bible.

				MERRICK
		Thou heardest my voice; hide not 
		thine ear at my breathing, At my 
		cry.

Mothershead backs slowly to the door, deeply disturbed.  She
stares at Merrick for a moment.

				MOTHERSHEAD 
		Credit where credit is due.  
		You'll have the paper every 
		morning at breakfast.

She quickly turns and exits.  Merrick looks down at the Bible.
It is open to "Lamentations".

HALLWAY - THE LONDON (NIGHT)

As before the lights are going off in one hallway after another.
The hallways are empty, dark and silent.  We hear the great iron
door close with a bang.

ISOLATION WARD (NIGHT)

Merrick is in his bed as always.  He holds the portrait of the 
beautiful woman, gazing at it longingly.  He hears a door  
close far away in the silence of the hospital.

Suddenly we hear the heavy footfalls of the Night Porter's 
boots.  As they get louder and louder we move slowly closer 
to Merrick's face.

The sound is very close now, and Merrick's eyes are visibly 
agitated.  Finally, the door bursts open and the Night Porter 
is standing there.  He stares malevolently at Merrick for a 
long moment and then walks to him menacingly.

				NIGHT PORTER 
		I hear you have some trouble 
		sleepin'. .

He grabs Merrick fiercely by the hair and jerks his head back.
Merrick imediately starts to wheeze and gasp.

				NIGHT PORTER
		Head's too heavy, eh?

He pulls Merrick all the way down onto the bed, so that he is
prone, struggling for breath.

				NIGHT PORTER
		And I heard a nasty rumor about 
		you; I heard you can talk but 
		you can't, can you... can you
		... can you? ...

				MERRICK
			(struggling)
		Nocoo!

The Night Porter is as first surprised, and then pleased at the
desperate sound.

				NIGHT PORTER
		No... No you can't!  One word about 
		me out of that stinking cakehole... 
		Just ONE word, and you'll have no 
		trouble at sleepin'... no trouble at 
		all.  You understand me?  Do you!!

				MERRICK
			(croaking)
		Yyyesss.

Satisfied, the Night Porter rights Merrick who is just able
to catch his breath.  The Night Porter smiles and pats Merrick
on the shoulder.

				NIGHT PORTER
		There now, that's better, i'n'
		it?

HALLWAY

Treves and Carr Gomm are on their way to the committee meeting, 
confident of their position.  Treves is holding a folder, and 
Carr Gomm is looking at the photographs of Merrick.

				CARR
		As far as I can see, the only 
		obstacle might be Broadneck.  He has 
		enormous influence over the others, 
		very old school, not an easy man to 
		impress. in any case, if worse 
		does come to worse, we still have 
		the British and Royal Homes to fall 
		back on, don't we.

Treves is silent.  They stop.

				CARR
		Don't we?

				TREVES
		No, we don't.  Their committees have 
		informed me that they're unwilling 
		to take Mr. Merrick, even if they were 
		supplied with funds.  They don't want 
		him.

				CARR
		Well, it's up to us then, isn't it?

They continue walking.

				CARR
		Don't worry Treves, we'll make
		them see it our way.

He looks at the pictures.

				CARR
		They've eyes, haven't they?

They go through a door marked "Committee Room".

COMMITTEE ROOM - THE LONDON HOSPITAL

We see a pair of hands.  One of the photographs of Merrick 
is passed to them.  They hold it for a moment, then lay it 
down flat on the table.  One of the hands covers the photograph 
with a piece of paper.

				TREVES (V.0.)
		... Due to the progressive nature 
		of the disease, I feel sure that 
		the patient does not have much 
		longer to live.

We pan up from the hands to see BROADNECK, his face pinched
with disgust.  He sniffs, and gazes coolly at Treves.

				TREVES
		Forgive the redundancy, gentlemen, but 
		there is no other place for him.  Both 
		the Royal Hospital and the British Home 
		have turned him down even if sufficient 
		funds for his care were provided.  The 
		workhouse is certainly out of the question.  
		The patient has an overwhelming 
		fear of returning to the horrors of his 
		past.  His appearance is so disturbing 
		that all shrink from him.  He cannot, in 
		justice to others, be put in the general 
		ward of the workhouse.  The police 
		rightly prevent his being exhibited, 
		and he is mobbed in the streets wherever 
		he goes.  What is to be done with him?

				BROADNECK
		I, for one, am sick and tired of this 
		competitive freak-hunting by these 
		overly ambitious young doctors, trying 
		to make names for themselves.  To 
		parade then about in front of the pathological 
		society is one thing, but to 
		waste this comittee's valuable time 
		with requests for shelter for these 
		abominations of nature is quite another.

				TREVES
		Gentlemen, John Merrick is not an animal, 
		he is a man, fully aware of his condition.  
		An intelligent, sensitive, literate man, 
		with an intimate knowledge of the Bible.  
		His horrible infirmities do not reduce him
		to anything less than what he is, a man;
				(Continued)

				TREVES (Cont'd.) 
		and it would be criminal if we of 
		the London Hospital, his final refuge, 
		the last place on earth where this man 
		can find peace, were to cast him out.

Carr Gomm, from his chair on the committee, pounds his gavel.

				CARR
		Gentlemen, may I make a suggestion.  
		There are two small rooms off Bedstead 
		Square that are no longer in use and 
		would be admirably suited to Mr. 
		Merrick's needs.  I also propose to 
		write a letter to The Times, appealing 
		to their readers for assistance.  
		Knowing the generosity of the British 
		public, I feel we would have little 
		trouble in raising the funds for his 
		maintenance. Indeed, this hospital's 
		rules do preclude the admission of 
		incurables, but if ever there was 
		an exception to the rule, it is this 
		patient.  So therefore, I propose, if 
		Mr.  Treves is finished, that we put it 
		to a vote.  All those in favor of 
		keeping Mr. Merrick here?

Carr Gomm and another committee member raise their hands.
Broadneck is displeased.

				BROADNECK
		One moment,
			(showing the picture of Merrick) 
		as far as I'm concerned this creature 
		has no business being in our hospital.  
		I think Mr. Carr Gomm's letter would 
		be an excellent idea,
			(to Carr Gomm)
		and when you appeal for funds, I think 
		you should appeal for a more appropriate 
		place for him as well.  I agree 
		the British public is generous, and 
		I'm sure that somewhere the creature 
		will find a happy and permanent home, 
		but not here.


One of the committee members says "I quite agree".  Carr Gomm
scowls a bit.

				CARR
		I see.  All, then, that move we keep
		Mr. Merrick here?

Carr Gomm raises his hand.  None of the others do.  Treves 
and Carr Gomm exchange hopeless glances.  Carr Gomm looks 
at the man who had originally raised his hand.  He looks away, 
ashamed.

				CARR
		All those opposed?

Broadneck and the rest raise their hands.

				CARR
		I see.

				BROADNECK
			(triumphantly)
		Well then.  In the meantime, of 
		course, he needn't be turned out.  
		He may stay in the rooms off 
		Bedstead Square until such time as 
		more suitable arrangements can be 
		made, thus freeing the Isolation 
		Ward for more deserving patients.  
		Well then, Mr. Chairman, if there 
		is nothing further to discuss, I 
		move that we adjourn this meeting 
		and all go bout our normal business.

Carr Gomm cannot conceal his contempt.

				CARR
		I second the motion gentlemen.  This
		meeting is adjourned.

The others cough their agreement and hurriedly leave the room.  
Treves walks over to the committee table and takes the paper 
off the photograph.  He stares sadly at Merrick's picture.

				CARR (V. 0. ) 
		Somehow I don't think they quite 
		understand.

THEATRE DRESSING RCOM

We see a very lovely WOMAN seated in a chair before a mirror.  
She is reading aloud from The Times.  Her hair is being brushed 
by a YOUNG GIRL.

				W0MAN
		...	terrible though his appearance
		is, so terrible indeed that women
		and nervous persons fly in terror
		from the sight of him, and that he 
		is debarred from seeking to earn his 
		livelihood in any ordinary way, yet 
		he is superior in intelligence, can 
		read and write, is quiet, gentle, not 
		to say even refined in his mind.

She turns to the girl thoughtfully.

				WOMAN
		I'd very much like to meet that gentleman. 
		He sounds almost Shakespearean.

DINING HALL - THE LONDON

The room is elegantly furnished and heavily carpeted.  The 
walls are panelled in richly gleaming walnut with finely 
wrought brass lamps spaced regularly along their length. In 
the center of the room is a long oak table with a fine linen 
table cloth, around which sits a number of Doctors, among 
them, Fox.  Some of them are still eating.  A waiter is 
clearing away a few plates and several Doctors are helping 
themselves to port wine kept in decanters in the center of 
the table and to cigars in humidors.  One of them is reading 
The Times.  At one end of the table sits Treves, picking at 
his food.

				#1 DOCTOR
		"... in life until he came under 
		the kind care of the nursing staff 
		of the London Hospital and the 
		surgeon who has befriended him..."

				#2 DOCTOR
		Good publicity for the Hospital, at
		any rate.

				#3 DOCTOR
		Treves comes off well too, eh Freddie?

				#4 DOCTOR
		It was pleasant of you to join us
		this evening, Frederick.

				#2 DOCTOR
		Your Elephant Man dining out this
		evening?

				#4 DOCTOR
		I understand the kitchen ran out of
		hay this morning.

The group laughs.

				FOX
			(slightly sourly)
		Do continue reading, Mr. Stanley,
		please.

				#1 DOCTOR
		"... it is a case of singular affliction 
		brought about through no fault 
		of himself; he can but hope for quiet 
		and privacy during a life which 
		Mr. Treves assures me is not likely to 
		be long,"

There is a short pause.

				#4 DOCTOR
		The Elephant Man.  Makes you sound 
		rather more like a zoo-keeper than 
		a surgeon, Frederick.

The group again laughs.   Treves clears his throat and rises.

				TREVES
		Excuse me gentlemen.  I seem to have
		lost my appetite.  Good evening.

Treves leaves the room.

				#4 DOCTOR
		I say, what's he on about?

				#3 DOCTOR
		He's getting a bit of a swelled head,
		if you ask me.

				FOX
			(coldly)
		Well, no one did ask you Atkins.  
		Frederick Treves is not only the 
		most skillful surgical operator 
		here, he's also a humanitarian of 
		the highest order.  You sound like 
		a pack of whining school boys with 
		your petty jealousies.

				#3 DOCTOR
		Look here, Fox, I simply said.

				FOX
		Oh belt up!

A deep silence falls over the Doctors.

BEDSTEAD SQUARE ROOMS (NIGHT)

We see a small, very dusty, dirty room, filled with boxes and 
bedsteads and other things stored over the years.  The one 
grimy window is locked shut.

The door opens and two middle-aged CHARWOMEN enter.  They 
look around at the room with distaste and drop their mops 
and buckets.

				1ST WOMAN
		There are cleaner rooms in the
		gasworks.

She reaches into her apron pocket and pulls out a pint bottle
of gin.  She takes a drink and passes it to her friend.

				1ST WOMAN
		Who's all the fuss for, then?

				2ND WOMAN 
			(wiping her mouth) 
		Don't you know?  It's for that 
		strange one.

				1ST WOMAN
		Mr. Treves' Elephant Man?  I hear
		he's got a trunk.

				2ND WOMAN
		Right, right.

The lst Woman takes the bottle and walks across the room.
She forces open the balky window and sits on the sill.

				2ND WOMAN
		Blimey, now we're cleanin' up for
		circus animals!

The lst Woman, laughing, takes another healthy swig from the 
bottle.  We see past her through the window, the dark silhouette 
of the main spire of St. Philip's Cathedral against the sky.

It fills the screen.  DISSOLVE TO:

ISOLATION WARD

Merrick sitting on his bed, hunched over in concentration 
reading an Illustrated London News.  He is staring at a picture 
of the Eddystone Lighthouse.

				MERRICK
			(reading softly)
		"A silent shaft of stone on a 
		deserted promontory, the lonely 
		Eddystone is a beacon of aid and
		comfort to mariners of all nations."

He looks at the picture silently.  There is a knock at the
door.  Merrick says, "Come in".  Treves enters, holding a book.

				TREVES
		Good evening.  How are you feeling?

				MERRICK
		Good evening.  Very well, thank you.
		And you?

				TREVES
		Very well, thank you.  I have something 
		for you, John.  I'm sure you'll 
		enjoy it, it's very popular.

He holds the book out to him.  It's an "Alice In Wonderland".

				MERRICK
			(surprised)
		Thank you ... so much ... oh it's
		beautiful!

He lovingly feels the leather binding and looks at Treves with
speechless gratitude.

Merrick carefully opens the book to a colored frontpiece, 
the picture of Alice grown too large for a hallway, looking 
imploringly at the dwarfed White Rabbit.  The caption reads 
"... curiouser and curiouser".  He leafs through the pages 
looking at the other illustrations as Treves, delighted with 
the gift's effect, looks on.

				TREVES
		I came to tell you that I'll be 
		here early tomorrow morning.  We're 
		moving you to your permanent home.  
		I'm sure you'll be very happy there, 
		John.  So get a good night's rest, 
		there'll be new people to meet tomorrow.  
		Good night.

Treves smiles broadly and exits.

				MERRICK
			(weakly)
		Good night.

Treves' words have disturbed Merrick.  He sinks into the pillows, 
the book before him.  We see the picture of the Mock Turtle 
perched upon his rock, great tears rolling down his cow-like 
face, as Alice and the Gryphon look on with intense sympathy.  
Merrick looks up at his disguise hanging on the wall.

THE PEACOCK PUB - WHITECHAPEL

The Night Porter enters and saunters over to the noisy crowd.  
As they welcome him, he slaps down The Times on the bar counter 
for all to see.

				NIGHT PORTER
		Here... listen to this.  This is a 
		letter to THE London Times from the 
		guvnor of the hospital.
			(starts to read)
		There is now in a little room off 
		one of our attic wards a man named 
		John Merrick, so dreadful a sight 
		that he is unable even to come out by 
		daylight to the garden.  He has been 
		called The Elephant Man on account of 
		his terrible deformity...

The Night Porter has the undivided attention of the people in
the pub.

				NIGHT PORTER
		.. His appearance is so terrible 
		that woman and nervous persons fly 
		in terror at the sight of him.
			(pauses)
		... and guess who can get you tickets 
		to see him?  Your own Sunny Jim!

				YOUNG MAN IN CROWD
		Let's go see him, then!

				NIGHT PORTER
		Keep your shirts on.
			(shaking his finger at them)
		...When the time is right.
		Right now he's in the attic but 
		tomorrow they're movin' him into 
		Bedstead Square, right into my lap 
		... then... for the right price you'll 
		see something you'll never see again 
		in your life.

He lifts his glass to his lips.  We move back to see Bytes' 
boys who, having heard the Night Porter's words, slips 
unnoticed from the pub.

				MERRICK
			(wheezing)
		Workhouse!

HALLWAY - MOVING DAY

Merrick, in his disguise, and Treves, one arm around him, are
walking together.  Merrick seems very uneasy.

A Nurse, on duty early or late getting off, passes them.  She
stares at the hooded figure.  They continue on in silence.

BEDSTEAD SQUARE ROOM

The room is now spotless.  It is furnished with a bed and 
the required pillows, a small table and chair by the window, 
now curtained.  Adjoining this room is a smaller one which 
contains a bathtub.

Merrick enters and looks around, confused.  Treves stands in
the doorway.  Merrick turns to him.

				TREVES
		This is your new home, John.

Merrick pulls off his hood.  His eyes are bewildered.

				MERRICK
		This...  is my new home?

				TREVES
		Yes.

				MERRICK
			(incredulous)
		The hospital?

				TREVES
		Of course!  What did you think?

Merrick's eyes glisten with held back tears.  He lowers them.

				MERRICK
			(almost sobbing)
		How long will I stay here?

				TREVES
		I promise you.  You will never see 
		the inside of that horrible place 
		again.  You will never, ever go 
		back to the workhouse... or that 
		man.  It's a splendid room, don't 
		you think?

Merrick inspects his new home.  He seems pleased-by the
bathtub, by the table, by the window to the outside world.

Merrick pulls the curtain aside and opens the window.  He looks 
out and then up with a small intake of breath.  Before him, 
beyond the hospital fence, the spire of St. Phillips Cathedral 
stands resplendently in the morning light.

				MERRICK
		When I'm next moved may I go to a
		lighthouse?...  or to a blind-asylum?

HALLWAY

We see Carr Gomm walking to his office.  He is met at the door
by an anxious Treves.

				TREVES
		Has the response picked up?

				CARR
		Frankly, Treves, it's not what
		I'd expected.  A few small cheques.  
		Well-wishers.  Don't worry, these 
		things undoubtedly take time.

				TREVES
		But he's so afraid he's going to 
		be carted off.  I've promised him 
		that won't happen.

				CARR
		Well...  I'll let you know if there's
		something in the afternoon post.

				TREVES
		Please do.

Carr Gomm goes back into his office and Treves walks off.  

MERRICK'S ROOM (A WHILE LATER)

There is no one in the room.  The bathroom door opens and Nora 
and another nurse enter, carrying buckets which they set down 
by the hall door.  They straighten up and lean back against it.

Mrs. Mothershead enters from the bathroom, speaking over her
shoulder to Merrick.

				MOTHERSHEAD
		Well, I think I can safely hand the 
		duties over to you girls now.  Mr. 
		Merrick will require a bath every 
		day... that way he won't pong quite
				(continued)

				MOTHERSHEAD (Cont'd.)
		so much.  Nora, you can instruct 
		Kathleen on the finer points of Mr. 
		Merrick's bath. . You'll be on your own 
		tomorrow.

The girls try to keep bright faces.

				MOTHERSHEAD
		Don't look so glum girls.  Such 
		enthusiastic volunteers should be 
		more cheerful.

Mothershead starts to exit.

				MOTHERSHEAD
		Oh, and girls, under no circumstances 
		are there to be any mirrors 
		brought into this room.

She exits.

				KATHLEEN
		He's... so ugly!

				NORA
		Ugly or not, you're going to help me.

Merrick quietly enters the room, dressed in a billowy white 
shirt and baggy black pants.  The two nurses try to smile, 
but he cannot look at them.

				NORA
		Feeling better now, Mr. Merrick?

				MERRICK
		Yes,

Kathleen's eyes go wide at the sound.

				NORA
		You look very nice in your new
		clothes.

Merrick looks down at himself.

				MERRICK
		Thank you very much.

				NORA
		Well., if there is nothing more, I
		suppose we'll be leaving you now.

				MERRICK
		No, nothing.

The girls leave, taking the buckets.

Merrick, alone, walks about the room getting the feel of his
new clothes.  There is a knock at the door and Treves enters.

				TREVES
		You look splendid, John.

				MERRICK
		Thank you very much.

				TREVES
		When one is invited to tea, one
		must look one's best.

CUT TO:

ENTRY HALL AND SITTING ROOM - TREVES' HOME

The door opens.  Merrick, disguised, enters, followed by Treves 
who closes it and hangs up Merrick's mask on the coat rack.  
The mirror has been removed, leaving a faint outline on the 
wall.

Merrick is enchanted by the house.  Treves takes him by the 
arm and leads him into the sitting room.  Anne appears at the 
top of the stairs.

				TREVES (V.O.)
		Make yourself comfortable, John.

Treves comes back to the foot of the stairs and smiles up at
Anne.

				TREVES
		Come and meet our quest, my love.

Anne manages a smile, comes down the stairs and together they
go into the sitting room.

Merrick is examining everything in the room.  Nothing in this 
almost magical world escapes his attention.  The furniture, the 
personal mementoes, particularly the pictures on the fireplace.  
He turns around when he hears them enter, lowering his eyes.

				TREVES
		John Merrick, I'd like you to meet
		my wife, Anne Treves.

Anne is startled, but conceals it very well.

				ANNE
			(smiling)
		I'm very pleased to meet you, Mr.
		Merrick.

Anne extends her hand.  John takes her hand and looks up very
slowly meeting her eyes.  Anne smiles.

				MERRICK
		I'm very...

Then, Merrick bursts into tears.  Anne is at a loss as to what 
to do.  Merrick takes his hand from hers and covers his eyes, 
weeping pitiously.  Treves puts his hand on Merrick's shoulder.

				TREVES
		John...  what's the matter?  John
		... why are you upset?

				MERRICK
			(sobbing)
		I'm not used to such kindness.
		from a beautiful woman.

Treves and Anne exchange worried looks.

				ANNNE
		Would you like a nice cup of tea,
		Mr. Merrick?

				MERRICK
			(still sobbing)
		Yes...  thank you.

				TREVES
		Yes, a cup of tea would go nicely.

Anne goes now to get the tea.

				TREVES
		John...  would you like to see the
		rest of the house?

Merrick cannot answer through his sobs.

				TREVES (Cont'd.) 
		Come with me, John.  I'll show it 
		to you.

KITCHEN

Anne is composing herself by busily fixing the tea and cakes.  
She stops for a moment, takes a breath, and then resumes her 
activity.

DISSOLVE TO:

Treves and Merrick coming down the stairs.  Merrick is calm 
now.  They go into the sitting room, where Anne is just setting 
the tea tray out.  Treves ushers Merrick to a highbacked 
sofa and sits him down.  Merrick is very shy of Anne.  Treves 
and Anne sit on the other side of the table.

				ANNE
		Mr. Merrick, sugar?

				MERRICK
		Yes please, two.

				ANNE
		One or two?

				MERRICK
		Two, please.

Anne serves the tea.

				TREVES
		John loves the house.

				ANNE
		Do you?

				MERRICK
		Oh yes.  You have so many nice
		things, and so much room.

				ANNE
		Oh?

				TREVES
		Yes, we do have a lot of room.  But 
		you should see the place on weekends, 
		when I see patients here.  Sometimes 
		there are so many, we have to set 
		them down wherever we can.  In fact, 
		Mrs. Treves sometimes says that the 
		only room she can call her own is the 
		bedroom.

Treves and Anne laugh good-naturedly.  Merrick's face, as
always, is quite blank.

				MERRICK
			(earnestly)
		Well, it's a lovely bedroom.  What 
		do you call that thing above the 
		bed?

				TREVES
		That's a canopy, John.

				MERRICK
		Ohhh...

				TREVES
		How is your tea, John?

				MERRICK
		It's very good.  I'm enjoying my 
		visit with you very much.  It's so 
		very kind of you to have me as a 
		guest in your home.  I'm sorry I 
		made a spectacle of myself.

				TREVES
		Not at all, John.

				MERRICK
		I love the way you've arranged your 
		pictures on the mantlepiece.  Is that 
		the way it's done in most houses?

				TREVES
		Oh yes.

				MERRICK
		Who are they of?

				TREVES
		Oh, our relatives... the children.

				MERRICK
		The children! May I see?

				TREVES
		Of course.

Treves goes to the fireplace and takes down a few pictures.  He
hands a picture of the girls to Merrick.

				MERRICK
			(as if looking at an icon)
		The Children. Where are your
		children

				TREVES
		Oh, they're gone for the day...
		with friends.

				MERRICK
			(the word gives him pleasure)
		Friends.  Ah yes, friends!  How nice.

				ANNE
		And here is one of Frederick's
		mother.

				MERRICK
		How lovely.

				TREVES
		Yes.

				ANNE
		And here are my mother and father.

				MERRICK
		They have noble faces.

				ANNE
			(a cord is struck)
		I've always thought that myself.

				MERRICK
		Oh, yes.

Merrick sets the picture down carefully.

				MERRICK
			(ever so timidly)
		Would you...  would you like to
		see my mother?

				TREVES
			(startled)
		Your mother?

				MERRICK
		Here.

He reaches into his cloak and brings out the small portrait of
the beautiful woman.  Treves is absolutely amazed. Merrick 
gently hands the picture to Anne.

				ANNE
		Oh... why Mr. Merrick she's beautiful.

				MERRICK
		She has the face of an angel ...
		She was an angel.  She was so kind
		... so kind to me. it's not her
		fault, for in the fourth month of 
		her maternal condition she was knocked 
		down by an elephant.  I'm sure I 
		must have been a great disappointment 
		to her.

				ANNE
			(visibly touched)
		Oh no, Mr. Merrick.  No. No son 
		as loving as you are could ever be 
		a disappointment.

				MERRICK
		If only I could find her.  If only 
		she could see me now, here, with 
		such lovely kind friends.  You, Mrs. 
		Treves, and you, Mr. Treves.  Then 
		maybe she would love me as I am.  
		I've tried to hard to be good.

At this, Anne is so extremely touched that she begins to cry.  
She tries to hold it in, but to no avail.  She reaches a hand 
out to Merrick and he takes it.  He tries to comfort her.

				MERRICK
		Please... please...

But Anne goes on, as Treves, in wonder, watches her and Merrick
locked together in the communication of intense sympathy.

REAR ENTRANCE - THE LONDON

Merrick, in the dimly lit rear hall, is huddled over a trash 
can tucked underneath a stairway.  He pulls out a discarded 
drug box.  He holds it closely to his chest and goes into his 
room.

MERRICK'S ROOM

Merrick goes to his table and puts the box down.  He hangs up 
his disguise, then goes back to the window and pulls the curtains 
aside.  Moonlight bathes the table, illuminating the 
portrait of his Mother.  John seats himself and sets the box 
in front of him.  He reaches for a pencil, and then begins to 
draw windows on the front of the box.

OUTSIDE MERRICK'S ROOM (MORNING)

Nora is coming down the hall with a breakfast tray.  She stops
at Merrick's door and raises a hand to knock.

MERRICK'S ROOM

Merrick, as before, is hunched over the table, pencil in 
hand.  The sides of the box are covered with carefully drawn 
windows and archways.

There is a knock at the door and Merrick, startled, looks up.  
Nora enters and puts the tray on the table.  She glances at 
the box.

				NORA
		Good morning, Mr. Merrick.

				MERRICK
		Good morning.

She turns and walks to the cabinet for linen and bath supplies.  
She opens it and takes out a clean towel and a blanket.  She 
pauses, and turns to look back at the table.

Merrick is concentrated on his work.  Nora, curious now, walks 
to the table.  Merrick, conscious of her presence, leans back 
in his chair and looks up at her.

				NORA
		What is this that you're doing?

Merrick is silent.

				NORA
			(pointing at the box)
		What is it?

Merrick points through the window.

				NORA
		What?  Oh!  I see!  It's St. 
		Phillips.  Oh, of course.  Why 
		... why that's very good, I 
		mean you've gotten the windows 
		and arches just right.

				MERRICK
		Yes.

				NORA
		But it's so good, I mean...  it's
		so very good.

				MERRICK
		Thank you...  very much.

				NORA
		Where did you get this box?

Merrick points out toward the hallway.

				NORA
		The hallway?  Oh, the wastecan!

				MRRRICK
		I meant no harm, it was the only 
		place where I could find cardboard.  
		I thought it has been 
		thrown away.

				NORA
		It's alright, it was thrown away.  
		No one wants it.  It's just that 
		it's a little dirty, that's all.

She sets the towel and blanket down as she leans closer to
Insect the box.  She points to a circle drawn on top.

				NORA
		What's this?

				MERRICK
		The main spire.

				NORA
		The... oh, the spire!  How silly 
		of me, it's as plain as day... Mr. 
		Merrick, where did you learn to 
		do this?

				MERRICK
		... I learned a long time ago.

Nora looks at the box.

				NORA
		Oh, but how will you finish it?
		You haven't any more cardboard.

Merrick, at a loss, shrugs his shoulders.  The movement makes
Nora aware of his body, and he is the Elephant Man once again.

				MERRICK
		I'll have to find some more.

				NORA
			(uncomfortably)
		Yes... well, good day, Mr.Merrick.

She quickly exits.  Merrick watches her go and then turns back 
to his work.  He sees the towel and the blanket.  He turns 
quickly to call after Nora, but stops himself.  Merrick takes 
up the towel and blanket, walks into the bathroom,.and carefully 
drapes the towel over the back of the bath.

MERRICK'S ROOM

Merrick is at his table working on his cathedral.  There is a
knock at the door.

				MERRICK
		Come in.

Treves enters.

				TREVES
		Good morning, John.

				MERRICK
		Good morning.

				TREVES
		John, there's someone here who would
		like to meet you.  Would that be al-
		right?

Merrick is a trifle apprehensive, but he agrees.  Treves ushers 
MRS. KENDAL through the door.  At the sight of her, Merrick's 
eyes go wide.

				TREVES
		John, I'd like you to meet one of 
		the brightest lights of the British 
		stage, Mrs. Kendal.  Mrs.  Kendal, 
		John Merrick.

				KENDAL
		Good day, Mr. Merrick.

				MERRICK
		Good day...!

				KENDAL 
		I've brought you some things.  I 
		hope you'll like, Mr.  Merrick.  I
		hope you don't think it too forward.

				MERRICK
		Oh, no.

				KENDAL
		I knew you'd understand.  Here.

She-hands Merrick a nicely framed picture of herself. Merrick
is speechless, overjoyed by the gift.

				KENDAL
		I want you to know that I don't 
		go about giving my pictures to 
		just anyone.

				MERRICK
		Oh, no.  I would never think it!  
		It's so beautiful.  You are so... 
		I'll give it a place of honor, here, 
		next to my mother.

He places it, with great care, next to his mother's portrait.

				KENDAL
		She's very pretty, your mother.

				MERRICK
		Yes.

Treves smiles at them.

Merrick is a trifle nervous but Mrs. Kendal smiles at him and
he relaxes a little.


				MERRICK
		Mr. Treves says that you are in
		the theatre.  Do you live there?

				KENDAL
		Oh no, Mr. Merrick.  I just work
		there.

				MERRICK
		Well, even to work there would be
		wonderful.  Is it beautiful?

				KENDAL
		You've never been?

				MERRICK
		Alas, no.

				KENDAL
		Well you must go.  It is one of the 
		most beautiful places on earth.  Of 
		course, I'm rather partial.

				MERRICK
		Tell me about it, please!

				KENDAL
		It's very difficult to put into a 
		nutshell, but I should say the 
		theater is the shrine of the 
		imagination, where one may suspend 
		disbelief and travel anywhere in 
		the world, to any time you desire.  
		You may look over the shoulders of 
		kings, unobserved, battle with ruthless 
		tyrants, and marry the beautiful 
		princess, all in the space of a few 
		hours.  Onstage you may be whoever 
		you wish to be, do anything you 
		please, and always, always live happily 
		ever after.  The theatre is all the 
		brightest and best things of the 
		world, Mr. Merrick.  It is lights 
		and music, gaiety and joy.  It's... 
		well, it's romance.

				MERRICK
			(the magic word)
		Romance! 

				KENDAL
		That's one thing the theatre has 
		in great store. which reminds me.  
		I have something else for you ...

She produces a beautiful leather-bound volume of Shakespeare's 
works.  Merrick takes it with reverence and begins to leaf 
through it.

				KENDAL
		Have you read it?

				MERRICK
		No, but I certainly shall.

Merrick finds a place and begins to read.

				MERRICK
		Romeo and Juliet.  I know of this... 
		"If I profane with my unworthiest 
		hand,
		This holy shrine, the gentle fine 
		is this:
		My lips, two blushing pilgrims,
		ready stand,
		To smooth that rough touch with a 
		tender kiss."

Merrick, embarrased by these last words, starts to close the
book.

Mrs. Kendal knows Juliet's lines by heart.  She looks at
Merrick for a moment, then replies tenderly.

				KENDAL
		Good pilgrim, you do wrong your 
		hand too much,
		Which mannerly devotion shows in 
		this;
		For saints have hands that pilgrims 
		hands do touch,
		And palm to palm is holy palmer's 
		kiss.

Merrick pauses, looking at Kendal, then continues.

				MERRICK
		Have not saints lips, and holy
		palmers too?

				KENDAL
		Ay, pilgrim, lips that they must
		use in prayer.

				MERRICK
		0, then, dear saint, let lips do 
		what hands do.
		They pray, grant thou, lest faith 
		turn to despair.

They both look at each other for a long, silent moment.  Treves
is touched and amazed.

				KENDAL
		Why, Mr. Merrick, you're not an
		Elephant Man at all ...

				MERRICK
		Oh no ?

				KENDAL
		Oh no...  no...  you're a Romeo.

DISSOLVE TO:

THE PEACOCK - WHITECHAPEL

People are happily drinking and singing and laughing.  Bytes and 
the boy are keeping a watchful eye on the Night Porter, who is 
making a deal with a couple of men at a table.  They hand over
a few coins and follow the Night Porter out of the pub.  Bytes 
finishes his beer and thumps the glass down on the bar.  He 
wipes his mouth with his sleeve and he and the boy casually 
follow the other three men out.

Bytes and the boy stand by the pub door, watching the men 
cross the street and go to the back gate of the hospital which 
the Night Porter unlocks, and leaves unlocked, but closed, 
behind them.  They walk into Bedstead Square, laughing quietly.

Bytes crosses the street and goes to the gate.  He walks along 
the iron fence and watches the Night Porter and his "customers".  
He stops and waits to see where they go.

The Night Porter stands the two men before a window and motions 
for them to wait.  He goes through a door into the hospital.  
After a few moments the window opens wide, and there, neatly 
framed and silhouetted, stand Merrick and the Night Porter, 
gripping Merrick's neck.  The two men outside start back in 
shock, but stand mesmerized by what they see.  We hear the 
laughter of the Night Porter echo across the empty square.

Bytes smiles broadly and says softly to himself.

				BYTES
		So, there you are, my boy, my
		treasure.

A SITTING ROOM

We see a small circle of women having tea and gossip.  One 
of their daughters, off to the side, is reading a newspaper 
society page.

				GIRL
		Mummy, listen to this!

				MUMMY
		Hush, Jennifer, can't you see
		Mummy's talking?

				GIRL
		But it's about Mrs.  Kendal, mummy!
		The actress you go on so much about!

She has got the women's attention.

				GIRL
		"Mrs.  Kendal, always at the forefront 
		of fashion and form, was seen leaving 
		The London the other afternoon.  No, 
		dear readers, the most facile actress 
		of our day has not been taken ill, but 
		rather said she was 'visiting a friend'.  
		And who was the lucky recipient of this 
		attention?  Quick enquiries proved it 
		to be none other than Mr. John Merrick, 
		The Elephant Man, with whom our readers 
		are undoubtedly familiar.  After a chat 
		of three-quarters of an hour, Mrs. Kendal 
		was kind enough to leave Mr. Merrick 
		with an autographed portrait of herself.

		Owing to a disfigurement of the most 
		extreme nature, Mr. Merrick has never 
		been properly presented to London 
		society.  But knowing that wherever 
		Mrs. Kendal goes, others inevitably 
		follow, the questions arises: Will 
		London society present itself to him?"

LONDON HOSPITAL GATE

A carriage draws up in the street outside the hospital. A 
nicely dressed woman sticks her head out the window, looks 
around and scowls disappointedly.

Nearby is parked another carriage and driver.

				WOMAN
			(to her driver)
		Parkins, whose carriage is that?

				DRIVER
		Well mum, that looks like Alexander,
		Lord Waddington's driver.

		WOMAN
		Lord and Lady Waddington!  Well.
		drive back to the house.
			(indicating her clothing)
		I can't be seen in this.

They drive off.

Above Merrick's bookshelf we see a row of framed pictures of 
prettily smiling society women.  Mrs. Kendal has started a fad.  
We pan slowly by them and down to Merrick's table where his 
Mother and Mrs.  Kendal have their place of honor.  The cathedral 
is also there.  Beside it is a modest tea service.

We now see a GENTLEMAN standing behind a seated LADY.  They hold 
teacups.  They are both very attractive and empty-headed, and 
seem on the verge of screaming.  They smile at Merrick who has 
been talking the whole while.  Merrick holds an elegant, silvertipped 
walking stick across his lap, and admires a ring that 
only fits his little finger.

				MERRICK
		Thank you for your kind gifts.  I 
		can't say enough about this ring.  
		And this walking stick is ever so 
		dashing.  So much more elegant than 
		my old one.  More tea?

The Lady and Gentleman nod nervously.  John takes the teapot 
from the service and refills their cups.  The Lady's hand 
shakes, rattling the cup against the saucer.

				MERRICK
		If you have a chill I can close the
		window.

				THE LADY
		Oh no, no, no, I'm fine.  Please...
		I mean, thank you.

				MERRICK
		I don't get out as often as I'd like 
		to, for some people DO find my appearance 
		disturbing.  Of course, I can't 
		fault them.

We see the smiling pictures.

				MERRICK (V.0.) 
		People are often frightened by 
		what they don't understand.

We see the picture of Merrick's Mother.

				MERRICK (V.0.)
		And it is hard to understand, even 
		for myself, for you see, Mother 
		was so very beautiful.

We draw close to his Mother's picture.

				MERRICK (V.0.)
		How's your tea?

THE RECEIVING ROOM

Treves walks the Lord and Lady, their faces locked in terrible 
silence, to the door.  Mothershead, at her desk, watches them 
pass with great disapproval.

				MOTHERSHEAD 
			(under her breath) 
		Watery headed bunch.

				TREVES
		I regret that I must leave you here, 
		m' Lord, m' Lady.  Thank you so 
		much for coming.  It was an act of 
		the greatest charity.

				LADY WADDINGTON
		Oh no, Mr. Treves, the pleasure was
		all ours.  Good day.

As they turn to go, their faces drop, their loathing 
undisguised.  Treves closes the door.  He goes to Mothershead.

				TREVES
		Incredible, isn't it?  Well, I think 
		John has had enough visitors for one 
		day, Mothershead.  I've got a lecture 
		at the college, I'll be back this 
		evening.

				MOTHERSHEAD
		Excuse me, sir.  I'd like to have a
		word with you.
	
				TREVES
		Oh?... Well, quickly please, Mothershead, 
		I'm overdue.

				MOTHERSHEAD
		I can't understand why you let those
		people go in there, sir.

				TREVES
		Now Mothershead, you have to understand 
		that this is very good for 
		John.  He relishes contact with 
		people outside the hospital.. 

				MOTHERSHEAD
		But you saw them, sir.  They couldn't 
		hide their disgust.  They don't care 
		anything for John, they're just trying 
		to impress their friends.

				TREVES
		Aren't you being just a little harsh, 
		Mothershead?  You yourself hardly 
		treated John with much loving kindness 
		when he first arrived.

				MOTHERSHEAD
		I bathed him, didn't I? I fed him 
		and cleaned up after him!  If loving 
		kindness can be called care and practical 
		concern, then yes, I did treat 
		him with loving kindness, and I'm not 
		ashamed to say it.

				TREVES
		You're right, Mothershead, please forgive 
		me... Of course, I appreciate 
		everything you've done for John, and 
		I'm glad that you are concerned about 
		his welfare.  But, I'm the physician 
		in charge and I must do what I think 
		best.  I'm also very late, so please 
		forgive me.

He starts to go.  Mothershead steps in front of him, detaining
him.

				MOTHERSHEAD
		If you ask me, sir, he's just 
		being stared at all over again.


MERRRICK'S ROOM

We pan across Merrick's bookcase, now quite full, and we see 
a few titles: "Moll Flanders", "Emma', "Jane Eyre", "Pamela", 
and then to Merrick.  He and Treves are reading poetry together.

				MERRICK
		When will the stream be aweary 
		of flowing under my eye?  
		When will the wind be aweary 
		of blowing over the sky?  
		When will the clouds be aweary 
		of fleeting?
		When will the heart be aweary 
		of beating, and nature die?

				TREVES
		Never, oh!  Never, nothing will die.
		the stream flows
		the wind blows
		the heart beats
		Nothing will die.

Merrick closes his book and sits silently for a moment.

				MERRICK
		Mr. Treves, there is something I've 
		been meaning to ask you for some 
		time ...

				TREVES
		Yes, John?

				MERRICK
		... Can you cure me?

Treves is taken aback.  He considers, then says tentatively.

				TREVES
		No John, I can't.  I can care for
		you, but I can't cure you.

				MERRICK
		I thought as much.

Merrick rises.  Treves ponders over what Merrick has just said.  
He looks at Merrick and something very odd happens.  Merrick 
is looking levelly at him.  For the first and only time, we 
see expression on his face.  It is a calm, knowing look, almost 
a benign smile.  At that very moment there is a bright flash of 
light behind Merrick's head, seemingly from the window.  Treves 
blinks, unable to comprehend what has just happened.  When he 
looks again, the moment has passed.  Merrick, his back to Treves, 
moves to the bookcase to replace the volume.

				TREVES
		John. . . ?

There's a knock at the door.

				MERRICK
		Come in.

Nora enters with a brown paper parcel tied with string.  Merrick
says nothing.

				TREVES
Are you looking for me, Sister?

				NORA 
		No sir, Mr. Merrick. (to Merrick)
		I have something for you.

She puts the parcel on the table and opens it.  We see several 
squares of new cardboard, a cutting knife, a pastepot, and a 
few brushes and some paint.

				NORA
		I thought these things would be
		helpful with your cathedral.

Merrick examines the materials with reverence, and thanks her 
profusely.  Treves is moved and a little disconcerted.  Merrick 
lays the things aside carefully and begins to pull the 
crude spires from the discarded box.  Nora smiles at the busy 
Merrick and exits.

				TREVES
		The cathedral is coming along
		nicely.

				MERRICK
			(bending over the model) 
		Yes, soon I will start the main 
		spire, but I must finish these 
		columns first, How kind of her!

Treves notices to his dismay that the growths on Merrick's 
head are larger.  He finds it very difficult to disguise his 
concern.

				TREVES
		How blind of me.  Is there anything 
		else, John, anything at all that I 
		could get for you?

				MERRICK
		Oh no!  There is nothing!  I have 
		everything, you have given me 
		everything I could possibly want.  
		I am havpy every hour of the day.  I 
		only wish there was something I could 
		give to you.

				TREVES
		Please John, it would give me so 
		much pleasure to give you something.  
		Something just for yourself.  Isn't 
		there something you would like to 
		have?

Merrick is silent.  He goes over to his cloak, reaches into it 
and pulls out a folded up advertisement.  He hands it to 
Treves, who examines it closely.  It is an advertisement for 
an-elegant gentleman's dressing bag, boasting ivory brushes, 
silver fittings and Moroccan silk lining.

				TREVES
		You want a dressing bag, John?

				MERRICK
		You don't think it's too gaudy,
		do you?

HALLWAY

Mrs. Mothershead finds Treves walking slowly down the hall,
looking at the ad.

				MOTHERSHEAD 
		Mr. Treves, some more books 
		arrived for Mr. Merrick.

				TREVES
		Thank you, Mothershead.  Have a
		porter put them in my office.

				MOTHERSHEAD
		Yes sir.
			(seeing the ad)
		What's that?

				TREVES
		A dressing bag.

				MOTHERSHEAD
		Very smart indeed.

				TREVES
		Yes.  John wants it.

				MOTHERSHEAD
		A dressing bag?

				TREVES
		You don't think it's too gaudy,
		do you.

				MOTHERSHEAD
		Well...

				TREVES
		John thinks it's very dashing.  
		Something no gentleman should be 
		without.  I'm inclined to . agree.

He walks off.

				MOTHERSHEAD
		A dressing bag?

MERRICK'S ROOM (DUSK)

Merrick is still at his cathedral working away.  Suddenly, 
he looks up at the window and the Night Porter is standing 
there smiling wickedly, pointing a finger at him.

				MERRICK
		Night!

FADE TO BLACK

SITTING ROOM - TREVES' HOME

Treves is standing by a table on which are two stacks of books.  
Treves selects books from the stacks and puts them into a box.  
Treves looks troubled.  He takes one from the pile and examines 
it.  It's a copy of "Frankenstein".

				TREVES
		You stay with me.

				ANNE
			(calling from the next room) 
		Dinner will be served, shortly, dear.

Getting no response, she enters.

				ANNE
		More romances for John?

				TREVES
			(far away)
		Hmmm?

				ANNE
		... Freddie!  What's the matter?
		You've been like this all evening.

				TREVES
		Oh... I've just been thinking 
		about something that man Bytes 
		said.

				ANNE
		Oh, Freddie.  What could that
		wretched vampire say to upset you?

				TREVES
		That I am very little different
		from him.

				ANNE
		Oh that's absurd, Frederick.

				ANNE
		No, no Frederick, that's all wrong!  
		John is happier and more fulfilled 
		now than he has ever been in his 
		entire life.  And, that is completely 
		due to you.

				TREVES
		But why did I do it?  What was this 
		all for?  So John Merrick could 
		live out his last days in peace 
		and comfort?  Or so I could become 
		famous?

				ANNE
		Frederick, just what is it that you
		are saying?

				TREVES 
		... Am I a good man or am I a bad man?

				ANNE
		Oh Frederick.

She holds him in her arms.

				ANNE
		You're a good man.  A very good
		man.

		We see from Treves' eyes that he is not reassured.

BASEMENT - THE LONDON

It is very dark.  There is a dim red glow coming f rom the holes 
in a furnace door.  We hear a door open and footsteps coming 
downstairs.  A man comes into the basement carrying something 
large and black.  He approaches the furnace and opens the door.

The man is Treves.  He is holding the stiff black surgeon's 
coat of which he was once so proud.  He looks at it for a 
moment, and then stuffs it into the furnace.  Inside, the coat 
starts to smoke heavily, then bursts into flames.

Treves watches it burn, and then closes the door.

HALLWAY - THE LONDON HOSPITAL

We see Carr Gomm walking down the hall to his office.  Broadneck
appears, going the other way.

				CARR
		Ahh!  Broadneck!  You'll no doubt 
		be pleased to know that we've 
		received a smashing response to my 
		letter.  It's all very heartwarming, 
		though several letters do mention 
		how beastly it would be to part the 
		poor fellow from Mr. Treves and the 
		staff, but since the committee insists...

				BROADNECK
			(scowling)
		Good day, Carr Gomm.

Broadneck walks on.  Carr Gomm goes into his office.

CARR'S OFFICE

Mothershead is standing by the desk looking through a small
stack of mail.

				MOTHERSHEAD
		Is this all there is for John?

				CARR
		I'm afraid so, Mrs. Mothershead.
		Perhaps tomorrow.

CUT TO:

HALLWAY

We see in a pair of hands holding a buff colored envelope 
embossed with the Royal Seal.  We follow the hands down the 
hall to a door where one of the hands knocks next to the 
"F.C. Carr Gomm" sign, then enters the office.

CARR'S OFFICE

Carr Gomm and Mothershead look up to see a porter with the 
buff envelope enter.  Carr Gomm takes the letter and the porter 
exits.  Carr Gomm opens the letter and reads, his expression 
changing from concern to delight.

				MOTHERSHEAD
		What is it?  What is it?

Carr Gomm hands her the letter.  Never having touched Royal
stationary before, Mothershead handles it delicately.  She begins
to read.

COMMITTEE ROOM - THE LONDON

Broadneck and the other committee members are seated at their 
table, anxious to get the meeting underway.  They talk among 
themselves.

The door opens and Carr Gomm and Treves enter.  Treves seems
quite nervous, but Carr Gomm is relaxed and smiling.

				TREVES
		Don't you think this is a bit premature?
		We don't have the backing yet to ...

				CARR
		Steady on, Treves.  Have a seat.

Treves sits and Carr Gomm takes his place at the head of the
table and raps his gavel.

				CARR
		Gentlemen, I know we begin every 
		meeting by reading the minutes, but 
		in the interest of speed I think we 
		should conclude a matter discussed 
		previously, to wit, that of Mr. John 
		Merrick, the Elephant Man...

Broadneck explodes to his feet.  Carr Gomm smiles at Treves,
who looks quite grim.

				CARR
		Mr. Broadneck?

				BROADNECK
		Mr. Chairman!  I was under the 
		distinct impression that we had 
		concluded discussion of this 
		disagreeable matter.  Had we not 
		ascertained that an Elephant Man is 
		not acceptable as a patient?  Have 
		we not, very generously, allowed 
		the creature to use two of our rooms 
		until such time as he could be 
		properly disposed of?  Have we not...

CUT TO MERRICK'S ROOM

Merrick is working on his cathedral, painting details with a very
fine brush.  As he lifts the brush from the paint jar, a drop
falls on the table. Merrick carefully lays down the brush and
wipes up the spilled paint with a cloth.

				MERRICK
		I must be more careful!

CUT TO COMMITTEE ROOM

				BROADNECK
		Which brings to mind my next 
		point.  The rules, gentlemen, the 
		rules.  In a society such as ours, 
		it is of paramount importance that 
		we not stray from the established 
		order.  Has that order not already 
		been fearfully strained by allowing 
		this ... this ... sideshow exhibit to 
		take up residence, however temporary, 
		in two very useful rooms, the purpose 
		of which would be far better served 
		in accomodating treatable patients, 
		patients to whom this hospital was 
		originally dedicated?  I believe we 
		have a duty...

Carr Gomm still smiles.  Treves is about to spring to Merrick's
defense, but Carr Gomm catches his eyes and motions for him to 
remain silent.  Treves is perplexed.  Carr Gomm checks his 
pocket watch.

CUT TO MERRICK'S ROOM

Merrick as before, busily working away.  We see a ladybug crawling 
slowly across the roof of the cathedral.  Merrick notices
it and watches for a moment, then reaches up and lays a finger
alongside the bug. The bug crawls onto his finger and Merrick
holds it closer to him.

				MERRICK
		... Ladybug, ladybug, fly away home... 
		it's cloudy out, I know, but remember; 
		behind the clouds there is always the 
		sun.

CUT TO WHITECHAPEL ROAD

We see a Royal carriage glide to a stop in front of the hospital.  
A footman jumps down and opens the door.  A very elegantly 
dressed woman begins to emerge.

CUT TO COMMITTEE ROOM

Broadneck is still talking.

				BROADNECK
		... In light of these facts, our 
		course is clear.  The question is 
		not whether to accept this creature 
		as a patient, the question is when 
		will those rooms be vacated for 
		use by better qualified, more 
		deserving cases?  I move that this 
				(continued)

				BROADNECK (Cont'd.) 
		Elephant Man be removed from the 
		premises immediately.  We have a 
		sacred duty to cure the sick, not 
		care for circus animals.  That is my 
		last word on the subject.  Mr. Chairman, 
		shall we vote?


Broadneck turns to Carr Gomm.  Carr Gomm checks his watch and
clears his throat.

				CARR GOMM
		I take it, Mr. Broadneck, that your
		mind is fixed on this matter?

Broadneck blusters with rage.

				BROADNECK
		Mr.  Chairman! Don't you have ears?
		I am unalterably opposed to any...

Carr Gomm smiles and again checks his watch.  Treves is very
nervous.

CUT TO HALLWAY

We see two nurses, their backs to us, walking down the hall.  
They start to go in a doorway when they stop suddenly, very 
startled, and curtsey deeply.  Mothershead comes into the hall, 
also curtseying madly.  She is followed by the elegantly dressed 
woman, who is followed in turn by two footmen.  They walk regally 
down the hall.

CUT TO COMMITTEE ROOM

				BROADNECK
		... No, my mind is made up on 
		this, and I am resolved to stand 
		firm.  You shall not sway me.  
		May we now vote, Mr. Chairman, at  
		long last?

Carr Gomm checks his watch.  The door to the room begins to
open.  He smiles.

				CARR
		Yes, I believe that time has come.

The two footmen enter the room.

				1ST FOOTMAN
		Gentlemen, Her Royal Highness
		Alexandra, Princess of Wales.

The elegantly dressed woman enters.  Everyone rises.

				ALIX
		Good morning, gentlemen.  I hope
		I am not interrupting?

				CARR
		Indeed not, your Highness.  Your 
		presence is always greatly appreciated.  
		We were just about to put 
		the matter of Mr. Merrick to a vote.
			(he turns to the other
			committee members)
		The Princess is very interested in 
		Mr. Merrick's fate.

				ALIX
		Indeed I am sir, as it the Queen. 
		I have a brief communication from 
		her Highness which she has requested 
		I read to you: To the Governing 
		Committee, London Hospital.  I would 
		very much like to commend you for the 
		charitable face you have shown Mr. 
		John Merrick, the Elephant Man.  It 
		is laudable that you have provided 
		one of England's most unfortunate sons 
		with a safe and tranquil harbour, a 
		home.  For this immeasurable kindness, 
		as well as the many other acts of mercy 
		on behalf of the poor, of which Mr. Carr 
		Gomm has kept me informed, I gratefully 
		thank you.  Signed Victoria, Empress of 
		India, Queen of the United Kingdom of 
		Great Britain and Ireland.
			(looking straight at Broadneck) 
		I am sure you gentlemen may be counted 
		on to do the Christian thing.

Alix seats herself.

				CARR
		Thank you verv much, your Highness,
		you may be sure we shall.

Broadneck seems very unnerved.

				CARR
		Well then, I move that Mr. John 
		Merrick be admitted to the London 
		Hospital on a permanent basis, on 
		condition that the Hospital shall 
		receive a yearly payment equal to 
		the cost of occupying one bed, and 
				(continued)

				CARR (Cont'd.)
		that the funds for his care shall 
		be clearly separate from hospital 
		funds.  All those in favor.

Carr Gonm raises his hand.  The other members, puzzled, look 
at Broadneck.  Quite red in the face, Broadneck looks at Carr 
Gomm, then to Treves, then to the Princess.  He seems to 
almost deflate, then slowly raises his hand.  The other members, 
now thoroughly confused, raise their hands as well.  Carr Gomm 
bangs his gavel, smiling broadly.  Treves is almost beside 
himself with happiness, and the Princess is obviously very 
pleased.

				CARR
		The motion is carried.

Broadneck, humiliated, cannot look at anyone.

				CARR
		Well, now we may go about our normal
		business.

MERRICK'S ROOM

Merrick is working on his cathedral.  It is almost finished.  He 
is detailing the spire, carefully painting in the stonework.  
There is a knock at the door.

				MERRICK
		Please, come in.

Treves enters carrying a wrapped parcel, followed by Carr
Gomm, and Mothershead.

				TREVES
			(smiling broadly)
		Good afternoon, John, Mr. Carr 
		Gomm has something he would like 
		to say to you.

Treves defers to Carr Gomm.

				CARR
		Mr. Merrick, it is my great pleasure 
		to welcome you, officially to The 
		London Hospital.  The Governing 
		Committee this morning voted unanimously 
		to provide you these rooms on a 
		permanent basis.  This is your home now.  
		I'm so very, very pleased for you.

Merrick is speechless.   He just looks from Treves to Carr Gomm
to Mothershead.

				TREVES
		So you see, John, there's no need 
		for a lighthouse.  All your friends 
		are here.

				MOTHERSHEAD
		Welcome home, John.

Merrick finds it very difficult to speak.

				MERRICK
		... my... home?

				TREVES
		Yes, John.

				MERRICK
		You did this for me?

				TREVES
		Yes.

				MERRICK
		Please... please thank the governing 
		committee for me.  I will do my 
		utmost to merit their kindness.

Merrick looks about him at his rooms. It's beginning to dawn 
on him that this is indeed his, that at last he has a real home, 
a place of his own.

				MERRICK
			(trying the words on for size)
		My home.

				TREVES
		There is one more thing, John.
		Here.


Treves hands Merrick the package.  Merrick carefully pulls 
off the wrapping paper.  Treves smiles.  It's the dressing 
bag.  Merrick is overjoyed with the gift.  He lovingly handles 
the articles, taking them in and out of their compartments 
opening and closing the bag.

				TREVES
		Is it the one you wanted?

				MERRICK
		Oh, Mr. Treves. Mr.  Treves.

				TREVES
		Are you sure?  Because I can take
		it back.

				MERRICK
		Mr. Treves.  Thank you my...
		friends.

NIGHT TIME SKY

Clouds billowing, moving swiftly.

MERRICK'S ROOM

Merrick is alone, wearing his cloak and standing by the table, 
cradling the dressing bag.  He takes each article out of the 
bag and lays it carefully on the table, all in very neat order.  
He stares at the elegant objects, then rearranges them.

Merrick picks up the toothbrush, examining it with a sort of 
reverence.  He does the same with the ivory-handled razors 
and the comb.

THE PEACOCK - WHITECHAPEL

There's a good crowd in tonight; lots of drinking and shouting 
and glasses breaking.  Several of the neighborhood "working 
girls" are having a bit of a rest, looking for a laugh.  The 
Night Porter is rounding up customers, his pockets ringing with 
coins.  People have their hands raised urging the Night Porter 
to take them along to see The Elephant Man.  The Night Porter 
goes to a table where a MAN sits with two of the girls.

				MAN
		Here now, these lovely ladies
		ain't never seen it!

				NIGHT PORTER
			(to Man)
		You're on mate.
			(to all the others) 
		Alright, alright, that's 
		enough for this performance.

The others all moan their disappointment.

				NIGHT PORTER
		Hang on, hang on, there's always
		tomorrow night.  Not to worry.

Bytes, sitting at his usual place at the bar, sees that tonight 
is his chance.  The Night Porter rounds up his "customers", 
all twelve of them.  Bytes saunters over to the Night Porter.

				BYTES
		Room for one more?

				NIGHT PORTER
		At the right price ...

Bytes drops several coins in the Night Porter's hand.

				NIGHT PORTER
		There's room.

				BYTES
		Well, let's be off then.

The whole group happily leaves the pub, several still holding 
their gin bottles.  The Ladies are rather unstead on their 
feet.  As they all leave, the Night Porter says:

				NIGHT PORTER
		Quietly now!  Quietly!  We don't 
		want to scare him.
			(he laughs)

MERRICK'S ROOM

(Merrick as before) he reaches over to the picture of Mrs. 
Kendal and picks it up. We see his face reflected in the 
glass.  Merrick sets the picture down on the table.  He 
takes up one of the silver brushes and, using the picture as 
a mirror, neatly brushes his hair over his monstrous skull.  
He lays the brush down in its specific spot.

Merrick takes his ring and puts it on his left hand.  He opens 
the cigarette case and stuffs one into his right hand.  He takes 
up his walking stick, breathes deeply, then walks around the 
room in a slow circle.  Merrick is transforming himself. 
Merrick comes back to the table and examines his reflection in 
the picture.  With the ring, the stick, the cigarette and his 
neatly brushed hair, Merrick is the very image of a dashing 
young man about town.  He inclines his head to the picture.

				MERRICK
		Hello, my name is John Merrick.  
		I am very, VERY pleased to meet 
		you!

At this moment the door bursts open.  The Night Porter stands
grinning.

				NIGHT PORTER
		Curtain time!!!

Merrick is frozen, caught.  Seeing Merrick in his outfit, the 
Night Porter's jaw drops.  They both stare at each other.  The 
Night Porter begins to laugh hysterically.  Merrick frantically 
begins to put away his dressing bag articles.  When Merrick 
starts taking off his ring, the Night Porter comes over to him 
and grabs him by the cloak.

				NIGHT PORTER
		No, no!  You look lovely.  Don't 
		change a thing, darling.  You look 
		like the bleedin' Prince of Wales.

The Night Porter drags him by the neck to the window.  He 
throws the window open out in the square is the waiting 
audience.

				NIGHT PORTER
		My friends...  The Elephant Man!

He strips off Merrick's cloak.  The audience gasps.  A few
people who have been before laugh and clap.

				MAN (w/the whores)
			(laughing and clapping) 
		Horrible... I told you it was 
		horrible... just horrible.

He starts kissing each whore.  The crowd is mesmerized. Bytes 
moves in behind the Man with the Whores.

				BYTES
			(to Man)
		Perhaps the ladies would like
		a closer look?

The Man begins to laugh.  The Whores laugh drunkenly and 
halfheartedly resist being taken in to see The Elephant Man.  As 
they are pushed through the door,

				WHORES
		Come on Jack...  No...  No, don't.
			(laughter)
		Etc.

The Whores reluctantly enter the room.  The Night Porter laughs
at their discomfort. The Man notices all of Merrick's pictures
of women.

				MAN
		'Cor, he's a real ladies' man, come
		on... give the ladies' man a kiss.

He lets one of the whores go and grabs the other one from behind
at the wrists.

				MAN
		Come on, you'll give him a kiss.

				WHORE
			(still laughing but a trifle scared)
		Come on, Jack.

The Night Porter has turned Merrick and is holding him for the 
approaching kiss.  The crowd is egging them on.  The man 
forces the Woman closer and closer and raises her arms to 
force her into an embrace.  As Merrick and the Woman touch, 
being pressed together, the Woman begins to scream.  The 
Night Porter, the Man and the crowd all laugh with glee.  
Merrick and the whore now have their faces pressed together.  The 
Whore is screaming and Merrick is crying out and screaming too.

				MAN
		Here that's enough romance.
		Now into bed.

Merrick and the Whore are pushed onto Merrick's bed.  The Night
Porter grabs the other Whore now.  She begins screaming wildly.

				NIGHT PORTER
		A prince needs a harem!

He pushes the screaming Whore down onto Merrick.  Her screaming 
face goes right into his.  Merrick tries to move away and 
as he does his head goes too far back and his cried turn to 
horrible wheezing.

				NIGHT PORTER
		Mind his head...  You'll kill him.

The crowd outside is trying to see in the window.  Five or six 
more have gone into Merrick's room to see.  All are laughing 
and screaming and trying to get a close look at The Elephant 
Man.

				NIGHT PORTER
			(yelling)
		Quiet down.  Quiet down.  You'll
		have the whole place down on us.

				BYTES
			(outside, yelling loudly) 
		Bring him. out then, so's we all 
		can see him.

Merrick recognizes his voice and looks frantically around for 
his former owner.  The Night Porter pulls Merrick up by the 
window again.  He then begins pushing the crowd out the door.

				NIGHT PORTER
		Everyone outside!!!

Suddenly one of the crowd outside reaches up and grabs Merrick's 
good hand and pulls him half out the window.  Others follow 
suit and haul him all the way through.  The cathedral falls 
to the floor, breaking into several pieces.

Because of the horror of touching him, the crowd outside lets
Merrick fall to the ground.

The Night Porter whirls around and sees that Merrick is gone.
He pushes the rest of the people outside and quickly goes to
Merrick, lifting him to his feet.

Unseen by anyone, Bytes slips into Merrick's room.  Merrick is 
now standing.  The crowd moves in.  The Night Porter is enjoying 
the festivities, but looks around nervously for trouble.

				ONE MAN
		Give 'im a drink.

The Man grabs Merrick and pours some gin into his mouth, then 
pushes him away.  He's caught by another man, fed liquor and 
pushed away.  He's pushed now from person to person faster 
and faster.  Finally Merrick falls to the ground, dizzy and 
a bottle of gin on Merrick's head.  He coughs and moans through 
the wheezing.  The crowd is now strangely silent circling The 
Elephant Man like a pack of dogs closing in on a terrified 
rabbit.  Suddenly Merrick starts to wail.  The crowd joins in 
and they hoist him above their heads, screaming with laughter, 
around and around, joincing him all the while.

Now we see a window reflecting the scene of terror.  A curtain 
is pulled aside and we see through the reflection the face of 
the Young Porter, watching everyting.

				NIGHT PORTER (V.0. the reflection)
		Here now... Here now... He's had 
		enough...  show's over!

Merrick is lowered down into the crowd. it parts and the Night
Porter emerges walking Merrick toward us to his room.

				NIGHT PORTER
			(to the crowd behind him)
		Meet you at the Peacock.

				ONE OF THE CROWD
		Bring your friend.

				NIGHT PORTER
			(laughs drunkenly)
		He's had 'is fill for one night.

The crowd moves through the iron gate of Bedstead Sauare.  In 
the background we see Bytes' boy sitting on top of a wagon.  
The Night Porter takes Merrick into his room and puts him on 
the bed.  He drunkenly stumbles about trying to out the room 
in order.  He places the smashed hulk of the cathedral back 
up on its table, inadvertently leaving the spire and a few 
columns on the floor.  He picks the cloak up and replaces it 
on the peg.

				NIGHT PORTER
			(to Merrick)
		I did real well tonight.

He takes a purse full of coins out of his pocket.  He removes
one small coin and flips it on the floor in front of Merrick.

				NIGHT PORTER
		Here... buy yourself a sweet.

The Night Porter turns and leaves.

Merrick, alone now, hears the Night Porter's echoing footsteps 
and the distant sound of the gate being closed.  There is a 
long silence as Merrick collects himself.  He then leans back 
into his pillows with a deep sigh.  His eyes close.
	
				BYTES     (V. 0. )
		My treasure...

Merrick's eyes flash open.  We see Bytes coming toward him.

				BYTES
		Aren't you glad to see me?

				MERRICK
		Bytes!

Bytes lifts Merrick uD off the bed.  He reaches out for 
Merrick's cloak.  We slowly PAN over all the smiling women's 
faces as we hear the following:

				BYTES (V.0.)
		Get into your cloak...
			(rustling sound)
		... now, your hood... do it!

				MERRICK (V.O.)
		... Alright.

Rustling sound.  We now glide slowly on to Merrick's Mother's
picture.

				BYTES (V.O.)
		Let's go.

Merrick's good hand comes into the frame trying to reach his
mother's picture.  He grabs at the table cloth and pulls.

Now we see Bytes gripping Merrick's arm and pulling.  We see
the picture fall to the ground with a THUD.

CUT TO:

In the sky the heavy clouds are moving.

CUT:

MERRICK'S ROOM (MORNING)

Morning sunlight on the floor of Merrick's room. We move 
slowly around, discovering the church spire, the columns, 
the penny and Merrick's mother's picture.

Over this, the sound of knocking on the door.  Through the door,
we hear Treves calling, "John?... John?" More knocking.  The
door opens.

				TREVES
		John?

Treves surveys the empty room.  Quickly he goes into the side 
bathroom.  He comes out with a very worried face.  He goes to 
the cathedral model and is horrified by its condition.  He 
finds the spire and then Merrick's Mother's picture.  He quickly 
leaves the room and walks down the hall.  The Young Porter, 
waiting in the hall, approaches Treves and stops him.

				YOUNG PORTER
		Mr. Treves?

Now we see Mrs. Mothershead entering Merrick's room surveying 
the same scene.  Her face hardens as she sees the picture 
of Merrick's Mother.

				MOTHERSHEAD
		Good God... John?

Now we see Treves filled with anger.  He's got the information
from the Young Porter and bolts down the hall at full speed.

Mothershead, still in Merrick's room, now become activated 
with determination to get to the bottom of all this herself. 
She leaves the room. In the distance is Treves marching off.  
Closer to her is the Young Porter, looking worried.  She calls 
him to her.

CLOSE-UP of Treves angrily walking.

CUT TO:

Mothershead leaves the Young Porter, furiously marching off in 
the same direction as Treves.

OPERATING THEATRE

The Night Porter is adding fresh coal to the operating room 
stove.  The old coals were still quite hot and now smoke begins 
to rise.  The Night Porter takes up the bellows and begins to 
pump the coals into a blaze.

The door bangs open and Treves is there, standing stock
still, in a cold murderous rage.

				TREVES
		WHERE IS HE?

The Night Porter, frightened by Treves' intensity, begins to
sputter.

				TREVES
		WHERE IS MR.  MERRICK?

				NIGHT PORTER
		I...  I don't know what you mean,
		Sir.

Treves stalks over to him.

				TREVES
		Don't like to me.  I know all about 
		it. You were SEEN.  Where did you 
		take him?

				NIGHT PORTER
		Take him?  Now wait... I didn't take 
		him anywhere.  We were just having 
		some fun.  We didn't hurt him... just 
		having a laugh, that's all.

				TREVES
		HE'S GONE!

				NIGHT PORTER
		When I left him, he was in his bed,
		safe and sound.

				TREVES
		YOU BASTARD!  You tortured him.  YOU
		TORTURED HIM, you bastard.  WHERE is
		HE?

				NIGHT PORTER
			(enraged)
		YOU'RE NOT LISTENING TO ME! I 
		ain't done nothing wrong.  People 
		pay to see your monster, Mr. Treves.  
		I just take the money.

				TREVES
		YOU'RE THE MONSTER!  YOU'RE THE FREAK!
		GET OUT!  YOU'RE FINISHED!

Treves takes the Night Porter by the arm and begins to drag
him out.  The Night Porter throws his hand off violently, whirls
around, his back to the door, and seizes the poker from the
stove.                                                    -

				NIGHT PORTER
		Have a care, Mr. Treves.  I ain't 
		afraid of you!  You and your bleedin' 
		Elephant Man!  I'm glad what I did!  
		And you can't do nothing!  Only 
		Mothershead can sack me.

Treves, blind with fury, tears the poker from the Night Porter's 
hand, and is on the verge of using it.  Unbeknownst to them, 
Mothershead has storm into the room, just in time to hear 
the last of the Night Porter's speech.  Without a break, she 
strides over to him and with a lightning movement, boxes him 
soundly on the ears.  The blow is staggering and makes quite 
a formidable sound.  The Night Porter falls to the floor, barely 
conscious.

				MOTHERSHEAD
		Done.

OUTSIDE THE SHOP (DAY)

Treves is standing in the street looking at the now bare shop 
front.  He walks to the window and tries to clean a small circle 
in the glass.  He peers in.  From inside, through the smeared 
dirty window, we see Treves' distorted face.

				CARR (V.0. throughout)
		I'd like to think I felt no less 
		for John than you, Treves, but 
		face the facts, the man has 
		disappeared, very likely to the 
		continent.  There's no question of 
		your going after him, you're 
		desperately needed here by your patients.  
		Remember Treves, you did everything 
		in your power... everything in your 
		power.

FADE TO BLACK:

INSIDE A WAGON

A moving circle of light in blackness.

As we move closer to the light, it becomes distinguishable as 
a peephole in the side of a wagon.  Through the peephole we see 
a dark overcast sky.  It is dusk.  We move even closer to the 
hole.  Just beside it we see the head of a horse with blinders 
on moving alongside.  We move closer still to see its rider, a 
policeman.  He notices the peephole and leans forward in the 
saddle, looking in.

From outside, we see the peephole and an eye gazing out.  The eye
is replaced by a plug.

The policeman starts back and pulls up on the reins.  As he 
falls behind we see the portrait of the E.M., from the front of 
the shop in London, on the back of the wagon.  The policeman 
looks at the poster.  The wagon moves on out of frame and the 
policeman slows his horse to a stop.

The wagon is being driven by Bytes.  The boy sits beside him.  
Another policeman rides abreast of him.  They ride a few yards
more and then the policeman stops by a sign at the fork of the 
road, reading "AALST 30 km".  "Brussells 80 km." The policeman 
gestures for Bytes to move on.  The wagon continues down the 
road.

CUT TO:

Bytes and the boy are riding along the road.  Bytes turns in his
seat and opens a hatch in the roof.  He looks down in.

Inside the wagon, lit by the last dregs of the sunset, is 
Merrick, huddled in his sleeping posture.  He feels the light and 
looks up weakly, wheezing, obviously very sick.  A small bowl 
of potatoes sets untouched beside him.

				BYTES
		Still haven't eaten, eh?

				MERRICK
		Bytes...	please!

				BYTES
		Eat, my treasure, I want you
		healthy.

He snaps the hatch shut and turns forward muttering to himself.

				BYTES
		I'm beginning to feel your weight.


FIELD & ROAD (MORNING)

We see a field with a road in the distance, leading to it. It 
is misty, the sun barely peeking through the rolling clouds 
above. on the road, the wagon is plodding toward us.  At the 
bottom of the frame a FEMALE PINHEAD in a dress comes into 
view.  She is watching the wagon.  A DWARF comes into view 
beside her.  She points to the wagon and she and the Dwarf 
excitedly confer.  They turn back to watch its progress and 
the Dwarf reaches up and takes the Pinhead's hand.

We move back slowly to reveal a ring of circus wagons in the
field.

ANOTHER DWARF comes up to the two other Freaks and watches the 
wagon.  We pull back further to see a small circus.  There are 
little stalls, and cages containing two mangey lions, some 
screeching spider monkeys and some squawking parrots.  The 
circus is abustle in the drab grey field.

CLOSE-UP of the Pinhead jumping up and down in her excitement.
There is a clap of thunder.

DISSOLVE TO:

A rainstorm over the freak show.  We pass along the row of 
freak wagons.  These freaks truly deserve the name.  They are  
quite different from the rather domestic ones we saw in the 
circus in England.  These are not fakes.  A rope cordons us 
off from them.

The audience, which we see all around us, is enjoying the 
freaks, but there is a sense of vulgarity in their gaiety.  
They seem hard, and cold and jaded.

We move by pinheads, a Hermaphrodite and a Legless Wonder.  Some 
Siamese Twins are playing cat's cradle.  Past them runs a 
Dwarf with a plumed hat playing a small flute.  Trailing behind 
him on a string is a small wooden ark on wheels.  A lionfaced 
man is combing the hair that covers his face.  A Rubber 
Man pulls the skin of his neck up over his face.  There is a 
fairly big crowd standing around a Tall Man, affectionately 
rubbing the Small Parasitic Twin, growing out of his chest.  
The Barker-Owners compete with each other and the occasional 
thunder.

Finally we hear the patter of Bytes, telling of the horrible 
fate of John Merrick's Mother on that African Isle so many years 
ago.  A very big crowd is listening to him.  They are looking 
at the poster at the back of the wagon, waiting impatiently to 
see the Elephant Man.

				BYTES
		... The result is plain to see.
		Ladies and Gentlemen... THE
		TERRIBLE ELEPHANT MAN!

He raps twice with Merrick's silver-tipped walking stick and 
pulls the poster up.  Merrick is standing unsteadily in the 
wagon.  He is quite sick.  The audience gasps and shudders.  
A few shrieks are heard.  The Elephant Man is always the 
Elephant Man.

				BYTES
		Turn around!

Merrick slowly turns around, the audience gasping at the sight
of the horrible tumors.  Bytes raps the walking stick twice.

				BYTES
		Dance!

Merrick begins a series of awkward movements, his pained version 
of a dance.  Without his walking stick it is very difficult for 
him, but he strives to do it.  Some of the crowd laughs at this, 
others shudder at the strange sight.  Suddenly Merrick falters 
and comes to a stop, breathing irregularly.  Seeing this, 
Bytes goes to him and bringing the stick behind Merrick, out 
of view of the audience, jabs him savagely in the back.

				BYTES
		Dance!

Merrick groans with pain and some of the people in the first 
row flinch back.  Merrick begins to dance again as people throw 
coins onto the stage, which the boy gathers and puts into a cap.

FADE OUT

CUT TO:

THE BACK OF THE WAGON - DAY

The poster is rolled up, Merrick on the floor of the wagon 
wheezing horribly.  Beside him on the floor is a bowl of what 
looks to be slop and potatoes.

Bytes is standing at the back of the wagon looking down at 
Merrick.  He picks up the bowl and jabs it at Merrick.

				BYTES
		Eat, my treasure.

Merrick looks wearily at the bowl but makes no move to accept it.

				BYTES
			(angry)
		Eat.  I said eat!

Merrick closes his eyes.  This really enrages Bytes.

				BYTES
		Eat, damn you.  EAT!  EAT!

He jabs the bowl at Merrick, almost as if he'd shove it down
his throat.

				BYTES
		I said EAT!!

At this last word he throws the contents of the bowl splattering 
in Merrick's face.  He stands for a moment looking down at 
Merrick who has lapsed into a coughing fit.

FADE OUT

CUT TO:

SIDE OF THE WAGON - DAY

There is a small crowd gathered in a circle on the grass.
Merrick stands amidst them on a small wooden stool, Bytes jabbing 
him from behind again.  Merrick is making a strance moaning cry, 
slightly renaniscent of the trumpet of an elephant.  The boy is 
passing amongst the people with a cap, collecting coins.  Merrick 
lifts his face to the sky, the sound of his own misery mingling 
with his elephant call.

FADE OUT

CUT TO:

SMALL CIRCUS - NIGHT

We see the poster of the Elephant Man.  Bytes stands before it
saying the last of the patter.

				BYTES
		The result is plain to see.  Ladies 
		and gentlemen... THE TERRIBLE 
		ELEPHANT MAN.

He raps twice with the walking stick and pulls the poster up.

Merrick is now extremely sick.  He almost looks as if he is 
unable to stand.  The audience, as always, is quite alarmed.  
Bytes smiles and comes forward.

				BYTES
		Turn around!

Merrick looks incapable of even this simple movement, but he 
slowly manages to turn.  The crowd reacts to the horrible 
condition of Merrick's back and head.  Bytes satisfied that 
the Elephant Man is having the proper effect, raps the walking 
stick again.

				BYTES
		Dance!

Merrick's eyes look painfully up to the heavens and he begins 
to shuffle clumsily about the platform.  Without his stick this 
is very difficult for him, causing him great pain.  It is a 
humiliating spectacle and the crowd unimpressed by the halting 
movements of the monster begins to heckle him.  Bytes seeing 
that the dancing isn't being received well moves to place a 
stool next to Merrick.

				BYTES
			(rapping)
		Up! Up!

Merrick, already exhausted by his little dance, wheezes and 
coughs, attempting to ascend the stool. It is useless, he is 
just too tired.  Again the audience shouts its disavoroval, 
booing and hissing the Elephant Man.  Bytes curses and raps 
again, demanding obedience from Merrick who again bravely tries 
to mount the stool.  He cannot do it!

Bytes, striving to save the moment and please the angry crowd, 
goes to Merrick and roughly helps him up.  Merrick teeters 
precariously on the stool.  Bytes raps the stick.

				BYTES
		Give the call of the elephant!

Merrick hesitates and Bytes bangs the stick on the wagon.  The 
audience quiets down to hear the elephant call.  Merrick senses 
this lull, but he is very frightened and sick.  He lifts his 
head wearily and makes a few wavering cries that sound very 
little like an elephant.

				BYTES
		Louder!

Merrick tries again but there is no improvement.  The crowd 
begins to jeer at Merrick, exhorting him to make the call of 
the elephant.  Merrick is now almost swaying on the stool.  He 
attempts to step down, but as he does it finally becomes too 
much for him and he collapses into a heap on the wagon floor.  
The crowd is no longer in the least bit challenged by this 
piteous mess and they break out into a vocal fury, throwing 
objects at the wagon.

Bytes is humiliated at first, and then is quickly angry.  He
turns to Merrick.

				BYTES
		Get up you miserable bastard!

But Merrick just lays there moaning and wheezing irregularly.

				BYTES
		I SAID, GET UP!

He jabs Merrick a few times with the silver-tipped walking-stick.
The crowd jeers even louder still.  There is a clap of thunder.

				BYTES
			(realizing it's no use)
		I'm beatin' a dead horse.

FADE OUT

CUT TO:

SMALL CIRCLE OF WAGONS (NIGHT)

Bytes is seated by a campfire drinking from a bottle of wine.  
He is very drunk.  From the wagon behind him we can hear 
Merrick coughing and wheezing.  We also hear the boy, almost pleading 
with Merrick to stop coughing and to try to eat.  As Bytes 
listens he gets angrier and angrier.  Finally he rises clumsily 
to his feet and stumbles over to the back of the wagon.

				BYTES
		Another bleedin' heart!

The boy is crouched over Merrick, who looks little better than
a corpse.  Bytes points a menacing finger at Merrick.

				BYTES
		You sly bastard.  You're doing this
		to spite me, aren't you!

				BOY
		Aw, Bytes, he's sick.

				BYTES
		He's doing it to spite me, I tell
		you, and it's got to stop!

				BOY
		He's sick, Bytes.  He's going to die.

				BYTES
			(enraged)
		If he does it's his own fault!  
		But I'm not burying that swollen 
		bag of flesh. 

He reaches in and grabs Merrick roughly by his arm, dragging
him out of the wagon.

				BOY
		What are you going to do?

				BYTES
		I'll show you!  I'll show you!

He drags Merrick across the way to a small monkey wagon.  The 
boy follows, his face filled with sympathy for Merrick. Bytes 
opens the cage door and stuffs Merrick in as the monkeys scream.

				BOY
		Don't!

				BYTES
		Shut up!

He slams the door and latches it.  Then he quickly turns, still 
in his rage, and starts for the wagon.  As he passes the boy, 
the boy tries to stop him.

				BOY
		Bytes, please...

Bytes knocks the boy down with the back of his hand.  He stalks 
to his wagon and climbs inside.  After some muffled sound, 
Merrick's food bowl comes flying out.  There are more muffled 
sounds as Merrick's stick, cloak and hood are also thrown out 
one by one.

				BYTES
		Out!

The boy looks to Merrick who is in a panic trying to keep 
himself away from the monkeys who scream loudly in all the excitement.  
We hear Bytes, cursing to himself, in the wagon.  The boy, 
frightened, goes to the fire and pulls a blanket around him.

Merrick crawls to one corner of the cage away from the screaming 
monkeys.  Suddenly one of the braver ones leaps at Merrick with 
a scream, biting him on the arm, and moving quickly away.  
Merrick yelps with pain and struggles to move away. The 
other monkeys have gotten the idea now and they begin to move warily 
toward Merrick, screeching threateningly.  Another leaps out
and clings to Merrick's shoulder, biting and scratching furiously
then he too jumps away.  Merrick cries out.

Now the monkeys are getting braver and more and more of them 
lash out at Merrick with their paws.  They jump onto him with 
savage screams, biting him on the head and neck and shoulders.  
Merrick's eyes search for escape.  The monkeys come on and on 
without a break, screaming madly all the while.

With his good hand Merrick begins to pull himself up with the 
aid of a bar.  The monkeys strive to pull him down.  Merrick 
looks through the bars at the wagon and screams frantically.

				MERRICK
		Bytes!  Bytes, please!!

But Bytes won't come.  Something is happening inside Merrick.  
A wave of feeling is growing, coming from a place in him very 
deep down and far away.  This feeling seems to give him strength 
and he is able to pull himself all the way up in spite of the 
hairy moving mass that now seems to cling to every part of his body.

The feeling is surging up inside Merrick making his body shake 
uncontrollably as if he were a volcano about to erupt.  The 
monkeys keep on biting and screeching, pulling at him.  Suddenly 
a formidable cry rings out of Merrick's mouth, with a power 
and assurance we have never heard from him before.  He whirls 
about and cries out again a shattering "No", the force of which 
scatters most of the monkeys away from him onto the cage floor, 
dumbfounded.  Merrick grabs a monkey who has managed to hang 
and throws it into the group of monkeys on the floor.

				MERRICK
		NO!  I AM NOT AN ELEPHANT!  I AM 
		NOT AN ANIMAL!!  I AM A HUMAN BEING!  
		I... AM... A MAN!  I AM A MAN!!

The monkeys have been shocked into silence, pushed into the 
other end of the cage.  Merrick, perhaps as surprised as the 
monkeys, rests against the bars of the cage.  The monkeys make 
no move toward him.  They sit across the cage from Merrick 
silently watching him with fear.

FADE OUT

CUT TO:

THE SILENT FACES OF THE MONKEYS

We now see Merrick crouched in a corner of the cage in his 
sleeping position.  We see the monkeys again, and hear whispering 
in the still night.  CU of merrick's head resting on his
knees.  The whispering continues and a shadow falls across 
Merrick.  Merrick begins to stir, his head comes up, and he 
looks around.  The whispering stops.

We pull back to see some of the freaks from the circus gathered around 
the monkey cage in a small group.  They are: 2 pinheads 
(male and female), the dwarf we saw earlier with the plumed 
hat and the ark on a string, another male dwarf, a female midget, 
a lion-faced man, and an armless wonder.  The female pinhead 
reaches into the cage and pats Merrick's head.

				PLUMED DWARF
		You alright?

				MERRICK
		y-y-yes -

				PLUMED DWARF
		Want to come out?

				MERRICK
		You're English.

				PLUMED DWARF
		Of course!  You want out?

				MERRICK
		Yes.

				PLUMED DWARF
		Won't be a moment.

He looks to the lion-faced man and speaks to him in a foreign 
tongue.  The lion-faced man unlatches the cage door.  Then, 
after further instruction, from the plumed dwarf, the freaks 
gently help Merrick out of the cage, closing the door behind 
him, The dwarf speaks to the others again and the lion-faced 
man and the armless wonder move to each side of Merrick.  The 
lion-faced man pulls Merrick's right arm over his shoulder.  
Merrick puts his left arm around the armless wonder.

				PLUMED DWARF
		We've decided...  You've got to get
		away from here..

He and the other dwarf light two lanters and they begin to move
off.  

The boy by the wagon has awakened.  He sees the small caravan of 
freaks moving in the darkness, the light from the lanters bobbing 
over the grass.  His first instinct is to call for Bytes, which he 
almost does, but then he thinks better of it.  He rises and goes 
to where Bytes threw Merrick's stick and disguise.  He nicks them 
up and goes to the small band of strangely shaped beings.  They 
stop and watch him warily.

				BOY
			(handing over the things)
		Here...  you'll need these.

Merrick looks the boy in the eye, and the boy holds his gaze.

				PLUIMED DWARF
		Good of you, mate.

				BOY
			(to Merrick)
		Good luck.

				MERRICK
		But...but...

				BOY
		I'll be alright.

The small band moves away through the wagons.  The boy watches 
the lantern light reseeding in the darkness.  He turns and 
looks to the wagon, the poster of the Elephant Man, and the 
dying fire.  He moves to the fire quickly collecting a few 
blankets and belongings.  Then taking one last look at the 
garrish poster just visible in the night, he runs off into the 
darkness.

CUT TO :

WOODS - NIGHT

We see the beams of the lanterns moving through the trees like 
will-o-the-wisps.  They help Merrick along, the plumed Dwarf 
directing them from time to time.  As they move along we see 
them pass a small still pond.  In the moonlight we can see 
them reflected in the water: Merrick supported by the freak 
band, the small ark on a string, pulled along behind the plumed 
Dwarf.

CUT TO:

A DIRT ROAD - NIGHT

The intrepid freaks approach a bend in the road. They go 
around the corner and before them stands a small train station, 
a train sitting amongst the steam by a platform.  The freaks 
stop just outside the light of the station and the plumed Dwarf's 
instruction get Merrick into his disguise.  The female pinhead, 
who has carried his stick, hands it to Merrick, squeezing his 
hand.

				MERRICK
		Thank you, my friends.

The plumed Dwarf relays the message and the freaks respond to
Merrick in their language.

				PLUMED DWARF 
		I'll go in with you, you'll 
		need a ticket.

He turns and confers with the freaks who all rifle through their 
pockets and produce some coins.  Then he and Merrick walk into 
the station, the freaks watching and waving.

ON THE PLATFORM

The train is about to leave.  At a barrier two ticket collectors
are taking tickets of a few last-minute passengers, who hurry
off.                                                       -

The Plumed Dwarf and Merrick appear and walk to the barrier.
The Plumed Dwarf hands over the ticket.

				PLUMED DWARF
		I'm just going to help my friend
		on board.

They walk off down the platform.  The collectors stare after them.

The Plumed Dwarf, his arm around Merrick, is helping him down 
the platform, as fast as possible, his ark trailing behind him.  As 
they pass the windows of the first-class carriages, we see the 
ornate interiors and the happy, handsome people on their plush
seats.

The Plumed Dwarf finds an empty compartment and opens the door.

				PLUMED DWARF
		This'll do.

He looks down the platform. The Ticket Collectors are watching
them with great interest.

Merrick climbs laboriously aboard.

The other people on board see Merrick, react, and move away
from him as far as they can in the cramped, 3rd class carriage.

The Plumed Dwarf notices this and sniffs at the people with
contempt.

				PLUMED DWARF
		I'm sorry I could only get you 
		a third class ticket, but it's 
		all we had.

				MERRICK
		Oh no, my friend ...

				PLUMED DWARF
		Say hello to London for me.  I
		miss her.

				MERRICK
		Oh, yes.

				PLUMED DWARF
		You know, I saw you once there,
		in London.  You're a great attraction.

He grins.  The whistle blows and the train slowly begins to 
move off.  The Plumed Dwarf still holding the door open, walks 
along with it.

				PLUMED DWARF
		Luck, my friend, luck.  Who needs
		it more than we?

Merrick nods "yes", and holds out his hand.  The train is 
moving a little faster.  The Plumed Dwarf grabs his hand and 
they shake.

He shuts the door.  As the carriage passes, Merrick's mask is 
pressed up against the window.  The Plumed Dwarf waves to him 
as the train moves away.

He looks at the train for a moment, then walks back down the
platform.

THIRD CLASS CARRIAGE - INTERIOR

Merrick is in the corner, facing into the carriage.  He looks 
slowly around.  The other passengers have moved away, forming 
almost a moat of space around him.  We see the whole carriage 
now; the cowering people and Merrick at the far end.  Seeing 
their silent, horrified stares, he moves to the opposite seat, 
facing the back wall.  Merrick looks around for a moment, then 
sees his reflection in the window.  He stares at himself.

THIRD CLASS CARRIAGE

The carriage is dark now, and empty except for Merrick.  He 
looks out the window at a sign above a station platform that 
says "Oostend", and at the few people still walking about.

OOSTENDE STATION PLATFORM (NIGHT)

We see the side of the carriage.  Merrick, inside the darkened 
car, is not visible.  A CONDUCTOR walks to the end of the 
carriage and turns a valve.  He opens the door to Merrick's compartment.

				CONDUCTOR
		I'm sorry, you'll have to leave
		now.

Merrick is motionless, reluctant to leave the security of the
darkness.

				CONDUCTOR
		This is the end of the line, you'll
		have to leave now.

Merrick pulls his walking stick from the darkness and plants 
it firmly on the floor with a loud THUD.  The Conductor, expecting 
violence, draws back.  A few people on the platform, who 
have stopped to watch this exchange, gasp. 

Merrick rises with the help of his stick, and slowly descends 
from the carriage watched very carefully by the others.  He 
looks around for a moment, then walks off down the platform.  
TWO YOUNG TOUGHS follow a little distance behind him, laughing 
and mimicking his uneven gait.

OOSTENDE QUAY (NIGHT)

We see a short line of people waiting to board a cross-channel 
steamer.  The First-Mate is standing by the gangplank, smiling 
at the women passengers and making the most of his handsome 
face and crisp white uniform.  He surveys the line, stops and 
smiles even more broadly.  A very pretty Young Woman at the end 
of the line is smiling back.

We see the end of the quay disappearing into darkness towards 
the station.  The rythmic sound of Merrick's stick is heard as 
he slowly moves into the light.

The Woman, still smiling at the First-Mate, demurely lowers 
her eyes.  Merrick appears behind her, breathing heavily from 
the long walk.  The woman's face freezes.  She turns her head, 
ever so slightly, and sees Merrick.  Her face drops.

The First-Mate sees the Woman change, then sees Merrick.  He 
walks out of frame.  Merrick is still trying to catch his 
breath as the First-Mate walks up.  The Woman looks up at the 
First-Mate imploringly.

				FIRST-MATE
		May I see your ticket?

Merrick, confused at first, produces his ticket from his
cloak.  The First-Mate examines it and hands it back.

				FIRST-MATE
		I'm sorry, there's no room for 
		you on this ship, you'll have 
		to wait for the next one, in the 
		morning.

Merrick remains motionless.

				FIRST-MATE
		You heard me.  There's no room.
		Now be off with you.

He points down the quay.  Merrick turns and walks away.  The
Woman smiles gratefully at the Fist-Mate, who tips his hat.

A WAREHOUSE PIER

TWO DRUNKS are sitting against the wall, drinking and singing.
One of them gets up and walks out of frame.

Merrick peeks around a corner at the Drunk.  They stare at each 
other for a long moment.  Merrick disappears.  The other Drunk 
comes back, sits down, and they both start singing again.

Merrick is in darkness, seated around the corner, tapping his
left hand against his leg, keeping in time with the drunken 
music.   

OOSTENDE QUAY (MORNING)

We see Merrick behind some crates, watching the ship. On the 
wharf a different First-Mate waits until the last of the morning 
passengers board the ship.  He then nods to the Ticket 
Taker and ascends the gangplank, nodding to a crew man. On 
board, everyone prepares to get underway.

Merrick pitches forward from behind the crates, half running, 
half stumbling toward the Ticket Taker.  The Ticket Taker, 
about to board the ship, drops the tickets on the ground and 
stoops to pick them up.  As he collects the scattered tickets 
a hand comes into frame holding a ticket out to him.  He reaches 
for it, and calls over his shoulder to the crewman at the plank.

				TICKET TAKER
		Wait!  One more!

He turns back and finally takes a look at the late arrival.

				TICKET TAKER
		You'll have to hurr ...

His mouth drops.  Merrick hurries past him.  The crewman now 
also sees the passenger as he begins his clumsy ascent of the 
gangplank.  The shrill ship's whistle blows.

ON BOARD

Merrick is crouched in a dark corner underneath a stairway, his 
head resting on the points of both knees, his arms clasped 
around them.  He is asleep.  A few drops of rain fall and hit 
his cap, then a few more and finally it begins to rain.  He 
wakes up and looks around.  He hears a voice.

				YOUNG W0MAN (V.O.)
		Look!  It's Dover!

Through the stairs we see a young couple in the rain at the 
railing, arm in arm.  The Young Woman points.  The Young Man 
turns to her and smiles.

				YOUNG MAN
		Finally!  Dover!

They laugh and hug each other and run inside out of the rain.  
Merrick's hand comes into the shot, grasping a stair and pulling 
himself up slowly.  He rounds the stairs and walks onto the 
deck looking after the young couple.

Merrick walks to the railing and leans over it, oblivious
of the rain.  We see the cliffs of Dover.

DOCKSIDE - DOVER

The ship's gangplank leading down to a sea of umbrellas.  Passengers 
one by one come down the plank and are swallowed by the 
crowd.  On the dock amidst the umbrellas, we see Merrick.  He 
looks around, then moves off into the crowd.  The crowd moves 
past a sign saying, "To The Trains".

LONDON TRAIN - INTERIOR

Through a rain-streaked window we see rolling green countryside.  
We pull back to see an Elderly Man in a heavy black overcoat 
with a wide-brimmed rain hat eating an apple.  Beside him his 
wife knits.

A few other people similarly clothed are sleeping.  We PAN 
across them to see Merrick at the back of the car watching the 
Elderly Man eat.

LONDON TRAIN - EXTERIOR

The last car speeds down the track and disappears.

LIVERPOOL STREET STATION

Grey light filters through the windows in the high canopy ceiling 
over the trains in the station.  The platforms below fill 
with people as trains arrive and depart.  We now see the 
station with its newsstands, sweetstalls, shoeshiners, and 
passengers moving to and fro, carrying luggage and looking for their 
train.

A YOUNG BOY is seated on a pile of baggage looking very adult 
and bored.  His MOTHER stands beside him, though we see only 
a portion of her billowy skirt.  We hear her voice in rapid 
conversation with another Woman.  The Young Boy scans the 
crowd looking for excitement.  He sees something.

The Elderly Man we saw on the train and his wife are moving past
the barrier.  The Young Boy slowly pulls a peashooter from a 
pocket, puts a pea in his mouth, and raises the pipe to his
lips.  His Mother's hand shoots out and grabs it.  

				MOTHER'S VOICE 
		Little beast!  I thought mummy 
		told you not to bring that horrid 
		thing.  Can't you behave?

She continues her conversation.  The Boy looks sour.  Merrick
is moving past the barrier.  He stops to look around and plan
his next move.  The Boy sees him. ie tugs on his Mother's
skirt.

				BOY
		Mummy!  Mummy!  Look at that man!  
		His head, it's huge!  Mummy, why 
		is his head so big?  Mummy?  Mummy

				MOTHER
		Do be quiet Little Jim.  Can't you
		see Mummy is speaking?

Merrick still looking around, suddenly turns in Little Jim's 
direction.  He sees the Boy tugging at his Mother's skirt and 
pointing at him.  He turns and walks in the opposite direction 
along a wall stacked with trunks and luggage, trying_as best 
as he can to blend in.  Little Jim gets up and moves after him.

Merrick continues along the wall.  A few people give him a
second look, but pass on.  Little Jim comes up alongside him.

				LITTLE JIM
		Hey Mister, why is your head so
		big?

Merrick turns and looks at Little Jim.  He looks quickly 
around.  We see, across the station, an open archway leading 
out into a street. Merrick moves away from-Little Jim out of 
frame.  Little Jim watches him go.

				LITTLE JIM
		Mister!

Two other BOYS join Little Jim.  The three of them watch the 
escaping Merrick, then move off after him.  Merrick is 
frantically trying to make it to the archway.  The three boys 
appear behind him and call out.

				BOYS
		Mister!  Mister!

				LITTLE JIM
		Why don't you answer me?

One of the boys reaches down and snatches the hem of Merrick's 
cloak.  He lifts it, trying to catch a glimpse of the mysterious 
stranger.  Merrick pulls away and tries to go faster.  Relishing 
the hunt, the boys follow him, taunting him all the way.  
As they approach the arch, Little Jim, determined now, steps 
in front of him cutting him off.

Merrick comes to an abrupt standstill, shrinking from the boy.
Little Jim reaches up to the hood and grasps it firmly.

				LITTLE JIM
		Now I'll see you ...

He lifts the hood and then staggers back onto the floor in a 
spasm of fear.  He lets out a shrill scream.  Merrick turns 
wildly away, looking for another escape.  Little Jim's Mother, 
hearing her son's cries, looks up immediately.  She sees Merrick 
and the howling boy in the middle of the station.

				MOTHER
		My son!  My son!  Help!

Merrick, hearing this, looks in her direction and whirls away.  
He stumbles toward another archway exit.  People, hearing the 
noise, watch him go.  He knocks down a little girl in his 
flight and she, too, starts screaming.  Through the archway 
comes a bobby.  Jim's Mother, now with her son, calls to him.

				MOTHER
		Stop that man!  Stop that man!

Merrick stops at the sight of the bobby.  The bobby at the
arch, now aware of the commotion, sees Merrick and walks quickly
towards him.

Merrick changes course, but, a group of men, alerted by Jim's 
mother!s screams, move forward together, cutting him off.  
They yell at him angrily.  One of them darts toward him and 
grabs ahold of Merrick's hood.  Merrick turns frantically away
and as he does, the hood is pulled off him.  The crowd shouts 
at him as he goes, following him in wary pursuit.  He moves 
back past the children and Jim's Mother.  They all scream and
shield themselves from his approach.  Another group of people 
move toward him blocking all escape.  Behind him, he sees a 
door to a urinal.  He moves through it followed by the crowd.  
We hear fearsome echoes inside.

Inside the urinal, the crowd presses Merrick toward a wall. 
 They have become angry now.  They shout and there is fear in 
their voices.  They hem Merrick in.  He looks around hoping 
for an opening.  There is none.

He gives a strangled cry and collapses as the bobby pushes his
way through the crowd.

Merrick puts his good hand over his good ear trying to block
out the screams of the crowd.

				MERRICK
			(quietly to himself)
		I am not an animal...  I'm not...
		I'm not,.. I am a man.

EXAMINING ROOM - LONDON HOSPITAL

A small room off the Receiving Room.  In the center of the room 
is a low sofa covered with deeply stained, shiny black leather.  
On it lies a man, groaning softly.  Treves is helping a Dresser 
bandage the man's leg.

Mrs. Mothershead appears at the doorway.

				MOTHERSHEAD
		There's a policeman to see you,
		Sir.

The bobby from the Liverpool Street Station enters.

				BOBBY
		Are you Frederick Treves, sir?

				TREVES
		Yes.. .

The card changes hands.

THE URINAL

Treves enters and pushes through the crowd.  He sees Merrick 
in a heap on the floor.  The SERGEANT gets up to meet him in 
the middle of the room, but Treves keeps walking toward Merrick.

				SERGEANT
		You know this man, sir?

				TREVES
		Yes, he's... my friend.

Treves goes to Merrick who, just coming to, reaches out to him 
with his good hand.  Treves pulls him up, his eyes brimming with 
tears.  Merrick, too, is weeping.  Treves embraces him.

				MERRICK
		Mr. Treves! Treves.

				TREVES
		John.... how can you ever forgive me?

HALLWAY

Treves, Carr Gomm and Mrs. Kendal are walking down a hallway
engaged in conversation.

				KENDAL
		It's all arranged.  I'll send 
		over some evening gowns for the 
		sisters that you select to accompany 
		Mr. Merrick.  You'll be using 
		the Royal entrance and Princess 
		Alexandra herself will be there 
		to welcome him to her private box.

				TREVES
		I'm very grateful to you, Mrs. 
		Kendal.  This is just the thing 
		to help him forget his ordeal.  
		John will be very excited.

				KENDAL
		Well it is a miracle he ever got 
		back.  And, I'm sure, Mr. Treves, 
		under your expert care, he'll have 
		many happy years ahead.

				TREVES
		I fear not, Mrs. Kendal.  Even in 
		the short time he was gone the size 
		of his head has increased rapidly 
		... as is his pain.

				KENDAL
		How awful for John.

				TREVES
		And yet, not once have any of us
		heard him complain.

				KENDAL
		Is he...  dying then?

				TREVES
		Yes.  There is nothing more frustrating, 
		nothing that makes a 
		physician feel more useless, than 
		standing by watching his patient 
		deteriorate.  And when that patient 
		is a friend, no... no, there's 
		absolutely nothing I can do.

				KENDAL
		Well, it's all quite...  I've never
		heard... It's quite...

				TREVES
			(understandingly)
		Yes.

MERRICK'S ROOM - MORNING

Merrick stands before the row of smiling ladies on his wall.  
He surveys them lovingly for a long moment.  He is holding in 
his hand a bundle of evening clothes, the handsome black bow 
tie lying on the new silk shirt.

				MERRICK
		You women are such strange and 
		wonderful creatures... Alas, it 
		seems to be my fate to fall in love 
		with each and everyone of you.  I 
		especially wish you could all be 
		with me tonight... I'm finally 
		going to the theatre.

He stands for a moment, reluctant to leave their company.  He 
goes to his bed placing the clothes upon it, and then to the 
cathedral, He compares it with St. Phillips outside.  He 
picks up the main spire and gazes at it, but his mind is somewhere 
else.

				MERRICK
		... The theatre...

CUT TO:

THEATRE ROYAL - DRURY LANE

We see the whole theatre.  It is very ornate.  The orchestra is 
tuning up and the house is filled with elegant, well dressed, 
handsome people all happily chatting and calling to one 
another.  We see young men and women flirting boldly and
generally enjoying each other's company.  In the Royal Box 
Mothershead and Nora in evening gowns sit up front relishing 
the spectacle.  In the back of the box John sits between 
Treves and the Princess.  He is dressed in his evening clothes, 
his cloak tied over his shoulders like a cape, but he does not 
wear his hood.

The Princess is explaining to Merrick the workings of a pair 
of opera glasses.  He takes them and delightedly spies about 
the theatre.

John is breathless as the house lights dim and the curtain rises.
Enter chorus.


				CHORUS
		0 for a Muse of fire, that would 
		ascend
		The brightest heaven of invention,
		A kingdom for a stage, princes to act 
		And monarchs to behold the swelling scene!  
		Then should the warlike Harry, like 
		himself,
		Assume the port of Mars; and at his 
		heels,
		Leash'd in like hounds, should 
		famine, sword and fire
		Crouch for employment.  But 
		pardon, gentles all,
		The flat unraised spirits that 
		have dar'd
		On this unworthy scaffold to 
		bring forth
		So great an object: can this 
		cockpit hold
		The vasty fields of Rance? or may 
		we cram
		Within this wooden 0 the 
		very casques
		That did affright the air at Agincourt?
		0, pardon! since a crooked figure 
		may
		Attest in little place a million; 
		And let us, ciphers to this great 
		account,
		On your imaginary forces work.

FADE OUT

CUT TO:

Treves smiling at John.  He exchanges knowing smiles with the 
Princess.  John watches with the unconstrained delight of a 
child; but his rapture is even more intense and solemn.  His 
attitude is one of wonder and awe, and he often leans forward, 
panting in his excitement.  To John the characters are not 
actors in make-up and costume, but real people.

CUT TO:

Mrs. Kendal and an actor dressed as royalty doing the last
scene of Henry the Fifth.

				K. HEN
		Fair Katharine, and most fair, 
		will you vouchsafe to teach a 
		soldier terms
		Such as will enter at a lady's ear 
		And plead his love-suit to her 
		gentle heart?

				KATH
		Your majesty shall mock at me; I
		cannot speak your England.

				K. HEN
		0 fair Katharine, if you will love 
		me soundly with your French heart, 
		I will be glad to hear you confess 
		it brokenly with your English 
		tongue.  Do you like me, Kate?

				KATH
		Pardonnez-moi, I cdnnot tell vat
		is "like me".

				K. HEN
		An angel is like you, Kate, and
		you are like an angel.

				KATH
		0 bon Dieu! les langues des
		hommes sont pleines de tramperies.

				K. HEN
		What say you, fair one? that the
		tongues of men are full of deceits?

				KATH
		Oui, dat de tongues of de mans is
		be full of deceits.

				K. HEN
		I know no way to mince it in love, 
		but directly to say "I love you".
				(Continued)

				K. HEN (Cont'd.) 
		What!  A speaker is but a prater; 
		a rhyme is but a ballad.  A good 
		leg will fall; a straight back 
		will stoop; a black beard will turn 
		white; a curl'd pate will grow bald; 
		a fair face will wither; a full eye 
		will wax hollow; but a good heart, 
		Kate, is the sun and the moon, or 
		rather the sun and not the moon; 
		for it shines bright and never 
		changes, but keeps his course truly.

During the above, Merrick mouths the Kings lines.

FADE OUT

CUT TO:

The Royal Box, the Princess and the two friends enjoying the
show.

CUT TO

THE STAGE

The chorus steps out to give the eiplogue.

				CHORUS
		Thus far, with rough and all-
		unable pen,
		Our bending author hath pursued
		the story,
		In little room confining mighty
		men,
		Mangling by starts the full course 
		of their glory.
		Small time, but in that small 
		most greatly liv'd
		This star of England: Fortune 
		made his sword;
		By which the world's best garden 
		he achiev'd.

During the above, the CAMERA moves in on John.

Amidst great applause the curtain rings down.  Through the curtain 
comes Mrs. Kendal to renewed applause.  She motions the 
audience to quiet down.

				MRS. KENDAL
		Thank you for your warm greeting.  
		Ladies and gentlemen, tonight's 
		performance was very special to me, 
		because it was very special to someone 
		else, a man who knows the theatre 
		and loves the theatre, and yet tonight 
		is the first time he's ever actually 
		been here.  I would like to dedicate 
		... the whole company wishes to dedicate, 
		from their hearts, tonight's 
		performance to Mr. John Merrick, my 
		dear friend.

She gestures toward the Royal Box.  There is modest applause 
as the audience rises and turns toward it.  Merrick cannot be 
seen in the shadows, and the crowd cranes their necks trying 
to get a glimpse of him.  We hear whispers of "Oh look!  It's 
the Elephant Man!  The Elephant Man!' run through the 
audience.  Treves turns to John.

				TREVES
		Stand up, John.  Let them see
		you.

				MERRICK
		Oh no, I couldn't.

				TREVES
		It's for you, John.  It's all 
		for you.  Go ahead, let them 
		see you.

Merrick rises and comes forward to thunderous applause.  The
audience begins to rise and they clap their hands even louder.

Merrick is overcome by the applause.  Tears run down his cheeks.  
Treves, Nora, Mothershead and the Princess, filled with pride, 
beam at John.

				MERRICK
			(quietly, to Treves)
		I feel as if I've travelled my
		whole life just to stand here.

CUT TO:

MERRICK'S ROOM

Merrick, in a night-shirt, is seated at his table working on
his cathedral.  Treves is nearby.

				MERRICK
		Wasn't Mrs. Kendal wonderful?  I 
		can't blame the King for wanting 
		to marry her.

Merrick closes his eyes and his head tilts forward slightly.
It seems unbearably large: too large for him to support.

				TREVES
		Will the cathedral be finished soon,
		John?

				MERRICK
		Yes, very soon.

				TREVES
		Splendid. it's truly a masterpiece.  
		Well, I suppose I'll be 
		on my way now.  I hoped your 
		enjoyed yourself this evening.

				MERRICK
		Oh yes!  It was wonderful!

				TREVES
		I'm glad, John.  Goodnight.

He turns and starts out the door.

				MERRICK
		Mr. Treves?

Treves comes back to Merrick.

				TREVES
		Yes John?

				MERRICK
		Mr. Treves, tell me... tell me 
		truly.  Is it alright, did I make 
		any mistakes that you can see?

				TREVES
			(looking at the cathedral)
		No, John, not one that I can see.

				MERRICK
		Then I shouldn't change anything?

				TREVES
		No, no, I wouldn't change a thing.

The two look at each other silently.

				MERRICK
		... I'll walk you to the door.

Merrick rises and goes with Treves to the door.

				TREVES
		Goodnight John.  Sleep well.

				MERRICK
		You too, my friend.  Goodnight.

Treves smiles at John then walks down the darkened hallway.
Merrick watches him for a moment, then slowly shuts the door.
We hear the distant echo of Treves footsteps.  Merrick goes
back to examine his cathedral, looking at it from different 
angles.  He picks up a fine brush, dipping it into the paint, 
and makes a few final brush strokes.

He moves back into the middle of the room and gazes at it for
a long time.  He lowers the brush to his side.

				MERRICK
		It is finished.

The cathedral is a masterwork of detail and shading, as if it 
were St. Philips itself shrunk to a miniature.  He goes to the 
table, dips the brush into the paint and carefully signs his 
name at the base of the main spire.

				MERRICK
		John...  Merrick!

He sighs deeply, lays the brush down on the table and pushes 
the model towards the window.  The movement causes him pain.  
He puts his left hand up and feels the back of his head.  
Merrick turns out the lamp and goes to his bed.  He looks at the 
cathedral again, then around at his room.  We see in the dim 
light his books, his gallery of smiling women, his dressing 
bag, his cloak and hood, and finally his mother's picture on 
the table.  A slight breeze billows the curtains.  We move in 
very close to them.

DISSOLVE TO:

High altitude... roiling clouds with lightning flashes and
low thunder.  The sky is in turmoil.

				MERRICK (V.0.)
		When will the stream be aweary of
		flowing under my eye?

Lightning flash... thunder roll.  The clouds are mingling and
scattering.

				MERRICK (V.O.)
		When will the wind be aweary of
		blowing over the sky?


The clouds erupt, pushed onward and onward... they slowly begin 
to calm as... they turn slowly into... elephants linked 
trunk to tail moving slowly away from us...

				MERRICK (V.0.) 
		When will the clouds be aweary 
		of fleeting?

The elephants are calmer than the skies we saw...  they keep
moving onward and onward ...

				MERRICK (V.O.)
		When will the heart be aweary of
		beating....

A lacy curtain has taken the place of the sky.  The elephants
seem to be moving on it...  into the distance.

				MERRICK (V.0.)
		... and nature die?

Knock, knock sound - the curtain moves to one side wiping the 
elephants away with it.  There is no terrified audience behind 
the curtain. There is only light and Merrick's Mother smiling 
a calm and benign smile.

				JOHN'S MUM
		Never, oh!  Never, nothing will 
		die; the stream flows, 
		the wind blows, the cloud fleets, the 
		heart beats...

The light grows brighter and brighter until we cannot see John's
Mother anymore. it almost blinds us.

				JOHN'S MUM
		Nothing will die.

WHITE OUT

CUT TO BLACK

			THE END

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© Mike Hartmann
thecityofabsurdity@yahoo.com