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The Elephant Man Movie Script

Writer(s) : Christopher De Vore, Eric Bergren, David Lynch

Genres : Drama

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                                     THE ELEPHANT MAN



                                        Written 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 glow 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 enormous 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 Wind-Man'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 stamps 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.O.)
                         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 turning 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 cast 
               iron 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 operating table covered with black leather. His face is 
               illuminated by 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
                              (off handedly)
                         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 hope 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 operating 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 shop door and finds that it is padlocked.

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

                                     TREVES
                         Do you know where the proprietor is?

               He holds a coin out. The Boy nods, snatches the coin and 
               then 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't 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 struck 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 eye. 
               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 garish 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 SHOP

               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 
               face.

               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 overwhelming.

               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. Would 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 all right?

               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.

               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 dreaded 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... 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 anomalies, 
                         the patient's genitals remain entirely 
                         intact and unaffected.

               Treves nods to the Assistants and they go to 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.

               UPSTAIRS 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.O.)
                         It's a pity.

                                     FOX (V.O.)
                         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 smoldering 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.

               Bytes 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 filled 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 woman'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 do 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 excrescence 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.O.)
                         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 goes 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 Mothershead 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 
                         certainly 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 upon 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 gone 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.O.)
                         Ah, Treves...

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

                                     CARR
                         Have you contacted the British Home 
                         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.O.)
                         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 awakens 
               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.O.)
                         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 days, 
                         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 
                         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, your 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 begin 
                         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 you.

               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 you 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.O.)
                              (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.O.)
                         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.O.)
                         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 imagine 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 immediately 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)
                         Noooo!

               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.O.)
                         ...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 committee'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; 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.O.)
                         Somehow I don't think they quite 
                         understand.

               THEATRE DRESSING ROOM

               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.

                                     WOMAN
                         ...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 1st 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 1st 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 
                         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
                         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! 

                                     MERRICK
                         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 
               inspect 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 
                         alright?

               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, embarrassed 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
                         O, 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.O.)
                         People are often frightened by what 
                         they don't understand.

               We see the picture of Merrick's Mother.

                                     MERRICK (V.O.)
                         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.O.)
                         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.

               MERRICK'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 happy 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. 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 from 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 
                         accommodating 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 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 is 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 very 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 
                         that the funds for his care shall be 
                         clearly separate from hospital funds. 
                         All those in favor.

               Carr Gomm 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 unsteady 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, joining 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 everything.

                                     NIGHT PORTER (V.O. 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 Square. 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.O.)
                         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 up 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.O.)
                         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 lie 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.O. 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 strange moaning cry, slightly reminiscent 
               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 disapproval, 
               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 lanterns 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 lanterns 
               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.

                                     PLUMED 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 receding 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 
               garish 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.

                                                                    CUT TO:

               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 "Oostende", 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 rhythmic 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 WOMAN (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. He 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 a hold 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
                         O 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 O the very casques 
                         That did affright the air at 
                         Agincourt? 
                         O, 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
                         O 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 cannot tell vat is 
                         "like me".

                                     K. HEN
                         An angel is like you, Kate, and you 
                         are like an angel.

                                     KATH
                         O 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".
                         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 epilogue.

                                     CHORUS
                         Thus far, with rough and allunable 
                         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 traveled 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.O.)
                         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.O.)
                         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.O.)
                         ...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