T H E

				    E L E P H A N T

					M A N



					

	


						By:	Christopher De Vore 
							Eric Bergren 
							David Lynch



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





BLACK

FADE IN: ABSTRACT DREAM '

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

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

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

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

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

CUT TO BLACK AND SILENCE

CIRCUS

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

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

CLOSE-UP of Treves looking at a poster.

He hears:
				#1 DAUGHTER
		Poppa!

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


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


	The other daughter looks into the freak tent.

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

				ANNE
		Alright... Your turn.

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

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

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

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

She stands.

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


				TREVES
			I'll join you shortly.

She takes the children off toward the elephants.

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

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

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

Treves enters the passage and disappears into the shadows.

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

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

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


				OLDER MAN
			A wicked birth...

After a moment, Treves quietly leaves the inner chamber.

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

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

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

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

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

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

				BARKER
		Gentlemen... Are you ready?

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

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

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

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

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

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

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

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

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

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

				BOBBIES
		Make way!  Make way!

They round a corner.

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

We hear the laughter of a crowd.

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

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

The crowd laughs uproariously.

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


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

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

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

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

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

				DWARVES
		Poppa!  Poppa!  Poppa, please!

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

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

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

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

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

				WOMAN
		Beast, Beast...

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

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

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

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

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

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

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

Filled with curiosity, Treves moves toward the curtain.

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

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

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

The alderman turns and leaves the tent.

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

He shakes his head in disgust.

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

				OWNER
		Have a care, guv'nor.

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

				TREVES
		Forgive me...

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

FADE TO BLACK

OPERATING ROOM - THE LONDON HOSPITAL

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

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

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

				TREVES
		How long has this man been here?

				FOX
		Three quarters of an hour.

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

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

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

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

				FOX
		What a mess.

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

				TREVES
		What got you into medicine, Hodges?

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

				TREVES
		Is that your case as well, Pierce?

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

Treves smiles at them knowingly.

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

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

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

HALLWAY

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

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

TREVES' OPERATING ROOM

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

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

				BOY
		Excuse me, Mr. Treves, sir.

				TREVES
		Yes?

				BOY
		I found it.

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

The Boy shakes his head slowly, "No."

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

The Boy closes the door.

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

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

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

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

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

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

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

				TREVES
		Do you know where the proprietor
		is?

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

Treves turns back to the canvas.

A PUB

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

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

OUTSIDE THE PUB

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

AT THE CORNER

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

				OWNER
		He's not a peeler ...

				BOY
		No, I don It think so.


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

They walk into the street.

IN FRONT OF THE SHOP

The Owner and the Boy walk up to Treves.

				TREVES
		Are you the proprietor?

				OWNER
		And who might you be, sir?

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

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

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

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

				OWNER
		Handsomely?...  Who sent you?

				TREVES
		Pardon me?

				OWNER
		Never mind.  I'm the owner.

He snatches the money.

INSIDE THE SHOP

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

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

The Owner approaches it.

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

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

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

				OWNER
		Stand up!

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

				BOY
		Stand up!

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

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

The Owner laughs.

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

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

The Owner harshly raps again.

				OWNER
		Turn around!

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

				BOY
		Turn around!  Turn around!

The Elephant Man completes his turn and comes to rest.

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

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

OUTSIDE THE SHOP

The Owner is locking up.

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

He looks at the garrish portrait again.

Treves produces his purse.

The Owner, smelling money, turns.

Treves hands him several coins.

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

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

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

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

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

The Owner gives Treves the evil look of a conspirator.

Treves walks off, disoriented.

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

DISSOLVE TO OUTSIDE THE 8HOP

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

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

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

THE RECEIVING ROOM - LONDON HOSPITAL

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

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

He exits.

Treves turns and sees the Matron, staring.

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

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

				TREVES
		Come with me, please.

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

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

				MATRON
		You heard the doctor...   Go on.

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

TREVES' OFFICE

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

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

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

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

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

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

The figure does nothing.

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

The figure does nothing.

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

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

				TREVES
		Are you in any pain?

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

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

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

				TREVES
		Are your parents still alive?

The figure does nothing.  Treves is quite nervous.

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

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

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

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

He notices the hooded figure.

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

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

IN THE HALLWAY

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

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

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

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

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

				FOX
		Nothing of any importance, eh?

Treves turns to go back in, then stops.

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

He goes back in, shutting the door.

				TREVES' OFFICE

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

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

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

				TREVES
		Come sit down.

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

				TREVES
		Sit... down.

The figure sits.  Treves pauses uncertainly.

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

The figure does nothing.  Treves moves to him.

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

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

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

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

A SMALL ROOM - LONDON HOSPITAL

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

				TREVES
		Are you ready?

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

				TREVES
		Go ahead.

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

DISSOLVE TO LECTURE HALL - PATHOLOGICAL SOCIETY OF LONDON

BRIGHT LIGHT

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

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

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

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

Spiraling down again we see Treves finishing his lecture.

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

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

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

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

TREVES OFFICE

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

				TREVES
		Hmm?

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

				TREVES

		Hmm?

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

				TREVES
		It's been a long day for everyone.

He closes his notebook and rises.  He remembers something.

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

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

Treves re-enters.

				TREVES
		Come with me.

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

UPSTATRS HALLWAY - THE LONDON HOSPITAL

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

				FOX
		You never mentioned his mental
		state.

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

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

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

				THE SECOND
		Where ever did you find that
		creature?

From the upper story we watch the cab drive away.

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

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

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

ENTRY HALL - TREVES' HOME

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

				ANNE
		Did it go well, darling?

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

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

				TREVES
		No, I think a whiskey.

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

WHITECHAPEL - NIGHT

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

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

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

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

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

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

				BYTES
			(yelling)
		How can I eat with THAT?

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

Bvtes is up and whacks him with his riding crop.

				BYTES
		Out of my sight!

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

				BYTES
		(not satisfied with his speed)
		NOW!

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

				BYTES
		You clumsy sod!

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

				BYTES
		YOU!

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

From across the room.

				BOY
		Bytes!  DON'T...

Bytes goes right on with the beating.

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

RECEIVING ROOM - LONDON HOSPITAL

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

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

				BOY
		Our man is sick.  Come right
		away.

				TREVES
		What is it?

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

				TREVES
		I'll get my bag.

INSIDE THE SHOP

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

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

				TREVES
		What do you mean?

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

				TREVES
		I intend to.

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

				TREVES
		What happened?

				BYTES
		He fell.
			(guardedly)
		He falls.

				TREVES
		He must have taken quite a fall.

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

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

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

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

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

				TREVES
		This man belongs in hospital.

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

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

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

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

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

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

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

MORNING - AERIAL SHOT LOOKING DOWN ON HOSPITAL SQUARE

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

HALLWAY

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

STAIRWAY

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

KITCHEN

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

HALLWAY

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

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

GENERAL WARD - LONDON HOSPITAL - MORNING

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

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

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

				MOTHERSHEAD
		Do get on with it, Nora.

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

ISOLATION WARD

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

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

The two men just look at each other.

KITCHEN - LONDON HOSPITAL

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

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

				TREVES
		It's for a patient.

Treves exits and the nurses admiringly watch him go.

FIRST FLOOR LANDING AND HALLWAY

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

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

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

				CARR
		Good morning, Treves.

				TREVES
		Good morning, sir.

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

				TREVES
		It's quite nutritious, sir.

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

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

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

				NORA
			(apprehensively)
		Yes, sir.

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

				CARR
		Indeed!

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

MR. CARR GOMM'S OFFICE

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

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

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

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

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

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

				TREVES
		Yes sir.

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

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

				CARR
		Oh, is he a friend of yours?

				TREVES
		No, more of an acquaintance.

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

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

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

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

(C) Treves and Carr Gomm seated as before.

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

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

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

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

(B)	Nora opens the door.

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

(C)	The shrill scream is heard from upstairs.

				TREVES
		Excuse me, sir.

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

				CARR
		The Elephant Man?

ISOLATION WARD LANDING

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

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

				NORA
		Yes Sir.  I'm sorry, Sir.

Drying her eyes, she goes downstairs.

ISOLATION WARD

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

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

The E.M. makes a garbled sound.

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

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

The E.M. is silent.

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

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

GENERAL WARD

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

				OTHER NURSES
		Did you see him?

				NORA
		Yes.

				OTHER NURSES
		What's wrong with him?

We see Nora's face.  She is silent.

ISOLATION WARD LANDING

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

				TREVES
		Ah, Mothershead.  How are you
		feeling today?

				MOTHERSHEAD
			(suspiciously)
		Fine.

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

				MOTHERSHEAD

		I've heard.

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

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

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

Treves opens the door.

ISOLATION WARD

Mothershead goes right to the mess.

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

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

				MOTHERSHEAD
		How do you do?

ISOLATION WARD LANDING

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

ISOLATION WARD

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

				TREVES
		The disease is shocking.

Merrick's eyes flicker.

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

Merrick flinches and pulls away.

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

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

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

			(cut to Treves)
		But, where?

Merrick is listening.

				MOTHERSHEAD
		The workhouse.

				TREVES	
		Yes!  The workhouse!

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

				TREVES
			(softly)
		The workhouse.

FOLLOWING BUCKETS OF DIRTY WATER DOWN A HALLWAY

BACK ENTRANCE - ALLEY

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

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

				NIGHT PORTER
		What's all this, then?

				YOUNG PORTER
		Mr. Treves is scrubbing his Elephant
		Man.

				NIGHT PORTER
		Elephant Man?

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

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

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

				NIGHT PORTER
		Now, you need the scrubbing, ducks!

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

						CUT TO:

Dark clouds rolling through an evening sky.

ATTIC WARD

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

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

A GENERAL WARD

Lights are being turned off.

ANOTHER WARD

Lights go off.

BACK ENTRANCE

Large iron door is closed.

HALLWAY

Half the lights go off.

HALLWAY

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

SECOND FLOOR HALLWAY

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

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

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

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

CUT TO ANOTHER HALLWAY

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

ATTIC WARD

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

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

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

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

				NIGHT PORTER
		Cor Blimey!

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

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

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

				NIGHT PORTER
		Oh...  dumb, eh?

He takes a big swallow of the gin and smiles.

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

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

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

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

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

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

				NIGHT PORTER
		Welcome to the London.

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

WHITECHAPEL ROAD

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

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

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

Treves walks up the path into the hospital.

HALLWAY (MORNING)

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

				TREVES
		Mr. Merrick?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

				MOTHERSHEAD
		Won't come out, eh?

				TREVES
		No, he's very upset about something.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Merrick hesitates, then starts babbling again.

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

Slowly Merrick nods yes.

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

Treves carefully mouths the word.

				TREVES
		"Yes."

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

				MERRICK
		Yyyy... Yyye... yyyess.

				TREVES
			(grabbing Merrick's arm)
		Yes John!

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

				MERRICK
		...Yyes

				TREVES
		Yyyess.

				MERRICK
		Yyess.

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

				MERRICK
			(pleased)
		Yes!

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

				MERRICK
		Yes.

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

				MERRICK
		Hello...

				TREVES
		My name is ...

				MERRICK
		My... name is...

				TREVES
		John Merrick.

				MERRICK
		John... Merrick

				TREVES
		Say "Merrick".

				MERRICK
		Merrick...

				TREVES
		Say "Mmmerrick."

				MERRICK
		Mmmerrick.

				TREVES
		Say "Mmmerrick."

				MERRICK
		Mmmerrick.

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

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

DISSOLVE TO HALLWAY

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

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

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

Mothershead continues on.  Nora guiltily watches her go.

ISOLATION WARD

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

				TREVES
		Come in.

Mothershead enters.

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

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

				MOTHERSHEAD
		Good Lord, Mr. Treves!

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

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

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

Mrs. Mothershead sets the tray down beside Merrick.

				TREVES
		I'll see you soon.

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

RECEIVING ROOM - THE LONDON

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

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

CUT TO:

Bytes appears and walks down hospital hallway looking about.

CARR GOMM'S OFFICE

The door opens and Treves enters.

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

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

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

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

				CARR
		Good!  How is the patient?

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

				CARR
		A few words?  I thought he was imbecile?

				TREVES
		Well sir, perhaps I should explain...

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

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

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

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

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

HALLWAY - STAIRCASE - THE LONDON

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

				BYTES
		I want my man back.

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

				BYTES
		Never mind that, I want my man!

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

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

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

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

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

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

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

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

				TREVES
		You don't own this man!

				BYTES
		I want him back!

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

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

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

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

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

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

				TREVES
		Now I think we really do understand 
		one another.

				BYTES
			(venomously)
		Right... Right.

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

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

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

				CARR
		Shall we say two o'clock tomorrow
		afternoon?

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

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

				TREVES
		... Yes, Sir.

They part company.  We follow Treves down the stairs.

				TREVES
			(muttering)
		Two O'clock?

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

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

HALLWAYS - THE LONDON (NIGHT)

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

TREVES' HOUSE - BEDROOM (NIGHT)

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

				ANNE
			(coyly)
		Freddie?

Getting no response she renews her efforts.

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

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

				ANNE
		What do you mean?

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

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

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

Anne puts down the brush and rises.

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

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

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

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

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

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

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

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

				ANNE
		Well, these things take time.

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

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

ISOLATION WARD

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

BEDROOM (MORNING)

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

ISOLATION WARD

Merrick's disguise hangs on the wall.

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

				TREVES
		Righteousness ...

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

We now see Treves and Merrick

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


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

HALLWAY

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

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

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

Treves cannot easily answer this question.

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

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

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

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

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



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

ISOLATION WARD

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



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

				MERRICK
		Come in.

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

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

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

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

Carr Gomm, still shaken, instinctively offers his hand.

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

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

				CARR
		How are vou feeling today?

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

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

				MERRICK
		I feel much better.  Thank you.

				CARR
		Are you comfortable here?

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

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

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

				CARR
		Oh yes?

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

				MERRICK
		Potatoes...

There is another agonizing silence.

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

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

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

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

				DIERRICK
		Oh no, everyone has been very
		kind.

				CARR
		No, I meant in your former situation.

Merrick doesn't seem to understand.

				MERRICK
		I'm feeling much better now ...

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

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

Treves stiffens.

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

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

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

				MERRICK
		... everyone has been very kind.

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

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

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

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

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

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

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

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

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

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

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

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

				CARR
		What is it, Treves?

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

				TREVES
		I didn't teach him that part!

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

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

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

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

				CARR
		I don't understand.

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

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

ISOLATION WARD

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

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

				MERRICK
		I am very pleased to meet you.

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

The door opens and Carr Gomm and Treves come out.

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

He closes the door.

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

He starts down the stairs.

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

Carr Gomm stops on the stairs.

				CARR
		Treves.  Well done.

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

ISOLATION WARD

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

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

				MERRICK
		You did not ask me.

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

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

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

CARR GOMM'S OFFICE

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

				CARR
		Can you imaaine what his life has
		been like?

				TREVES
		Yes, I think I can.

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

Carr Gomm suddenly stands and faces Treves.

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

				TREVES
		I could easily arrange ...

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

				TREVES
		Well, yes.

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

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

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

				ISOLATION WARD

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

				MOTHERSHEAD
		Read it.

Merrick looks down at the Bible.

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

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

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

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

HALLWAY - THE LONDON (NIGHT)

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

ISOLATION WARD (NIGHT)

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

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

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

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

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

				NIGHT PORTER
		Head's too heavy, eh?

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

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

				MERRICK
			(struggling)
		Nocoo!

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

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

				MERRICK
			(croaking)
		Yyyesss.

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

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

HALLWAY

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

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

Treves is silent.  They stop.

				CARR
		Don't we?

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

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

They continue walking.

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

He looks at the pictures.

				CARR
		They've eyes, haven't they?

They go through a door marked "Committee Room".

COMMITTEE ROOM - THE LONDON HOSPITAL

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

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

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

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

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

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

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

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

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

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

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


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

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

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

				CARR
		All those opposed?

Broadneck and the rest raise their hands.

				CARR
		I see.

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

Carr Gomm cannot conceal his contempt.

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

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

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

THEATRE DRESSING RCOM

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

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

She turns to the girl thoughtfully.

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

DINING HALL - THE LONDON

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

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

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

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

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

				#2 DOCTOR
		Your Elephant Man dining out this
		evening?

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

The group laughs.

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

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

There is a short pause.

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

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

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

Treves leaves the room.

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

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

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

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

				FOX
		Oh belt up!

A deep silence falls over the Doctors.

BEDSTEAD SQUARE ROOMS (NIGHT)

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

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

				1ST WOMAN
		There are cleaner rooms in the
		gasworks.

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

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

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

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

				2ND WOMAN
		Right, right.

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

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

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

It fills the screen.  DISSOLVE TO:

ISOLATION WARD

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

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

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

				TREVES
		Good evening.  How are you feeling?

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

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

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

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

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

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

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

Treves smiles broadly and exits.

				MERRICK
			(weakly)
		Good night.

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

THE PEACOCK PUB - WHITECHAPEL

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

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

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

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

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

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

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

				MERRICK
			(wheezing)
		Workhouse!

HALLWAY - MOVING DAY

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

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

BEDSTEAD SQUARE ROOM

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

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

				TREVES
		This is your new home, John.

Merrick pulls off his hood.  His eyes are bewildered.

				MERRICK
		This...  is my new home?

				TREVES
		Yes.

				MERRICK
			(incredulous)
		The hospital?

				TREVES
		Of course!  What did you think?

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

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

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

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

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

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

HALLWAY

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

				TREVES
		Has the response picked up?

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

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

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

				TREVES
		Please do.

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

MERRICK'S ROOM (A WHILE LATER)

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

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

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

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

The girls try to keep bright faces.

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

Mothershead starts to exit.

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

She exits.

				KATHLEEN
		He's... so ugly!

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

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

				NORA
		Feeling better now, Mr. Merrick?

				MERRICK
		Yes,

Kathleen's eyes go wide at the sound.

				NORA
		You look very nice in your new
		clothes.

Merrick looks down at himself.

				MERRICK
		Thank you very much.

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

				MERRICK
		No, nothing.

The girls leave, taking the buckets.

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

				TREVES
		You look splendid, John.

				MERRICK
		Thank you very much.

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

CUT TO:

ENTRY HALL AND SITTING ROOM - TREVES' HOME

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

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

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

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

				TREVES
		Come and meet our quest, my love.

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

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

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

Anne is startled, but conceals it very well.

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

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

				MERRICK
		I'm very...

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

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

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

Treves and Anne exchange worried looks.

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

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

				TREVES
		Yes, a cup of tea would go nicely.

Anne goes now to get the tea.

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

Merrick cannot answer through his sobs.

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

KITCHEN

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

DISSOLVE TO:

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

				ANNE
		Mr. Merrick, sugar?

				MERRICK
		Yes please, two.

				ANNE
		One or two?

				MERRICK
		Two, please.

Anne serves the tea.

				TREVES
		John loves the house.

				ANNE
		Do you?

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

				ANNE
		Oh?

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

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

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

				TREVES
		That's a canopy, John.

				MERRICK
		Ohhh...

				TREVES
		How is your tea, John?

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

				TREVES
		Not at all, John.

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

				TREVES
		Oh yes.

				MERRICK
		Who are they of?

				TREVES
		Oh, our relatives... the children.

				MERRICK
		The children! May I see?

				TREVES
		Of course.

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

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

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

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

				ANNE
		And here is one of Frederick's
		mother.

				MERRICK
		How lovely.

				TREVES
		Yes.

				ANNE
		And here are my mother and father.

				MERRICK
		They have noble faces.

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

				MERRICK
		Oh, yes.

Merrick sets the picture down carefully.

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

				TREVES
			(startled)
		Your mother?

				MERRICK
		Here.

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

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

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

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

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

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

				MERRICK
		Please... please...

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

REAR ENTRANCE - THE LONDON

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

MERRICK'S ROOM

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

OUTSIDE MERRICK'S ROOM (MORNING)

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

MERRICK'S ROOM

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

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

				NORA
		Good morning, Mr. Merrick.

				MERRICK
		Good morning.

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

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

				NORA
		What is this that you're doing?

Merrick is silent.

				NORA
			(pointing at the box)
		What is it?

Merrick points through the window.

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

				MERRICK
		Yes.

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

				MERRICK
		Thank you...  very much.

				NORA
		Where did you get this box?

Merrick points out toward the hallway.

				NORA
		The hallway?  Oh, the wastecan!

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

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

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

				NORA
		What's this?

				MERRICK
		The main spire.

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

				MERRICK
		... I learned a long time ago.

Nora looks at the box.

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

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

				MERRICK
		I'll have to find some more.

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

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

MERRICK'S ROOM

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

				MERRICK
		Come in.

Treves enters.

				TREVES
		Good morning, John.

				MERRICK
		Good morning.

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

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

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

				KENDAL
		Good day, Mr. Merrick.

				MERRICK
		Good day...!

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

				MERRICK
		Oh, no.

				KENDAL
		I knew you'd understand.  Here.

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

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

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

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

				KENDAL
		She's very pretty, your mother.

				MERRICK
		Yes.

Treves smiles at them.

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


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

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

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

				KENDAL
		You've never been?

				MERRICK
		Alas, no.

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

				MERRICK
		Tell me about it, please!

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

				MERRICK
			(the magic word)
		Romance! 

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

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

				KENDAL
		Have you read it?

				MERRICK
		No, but I certainly shall.

Merrick finds a place and begins to read.

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

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

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

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

Merrick pauses, looking at Kendal, then continues.

				MERRICK
		Have not saints lips, and holy
		palmers too?

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

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

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

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

				MERRICK
		Oh no ?

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

DISSOLVE TO:

THE PEACOCK - WHITECHAPEL

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

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

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

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

Bytes smiles broadly and says softly to himself.

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

A SITTING ROOM

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

				GIRL
		Mummy, listen to this!

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

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

She has got the women's attention.

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

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

LONDON HOSPITAL GATE

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

Nearby is parked another carriage and driver.

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

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

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

They drive off.

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

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

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

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

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

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

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

We see the smiling pictures.

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

We see the picture of Merrick's Mother.

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

We draw close to his Mother's picture.

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

THE RECEIVING ROOM

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

				MOTHERSHEAD 
			(under her breath) 
		Watery headed bunch.

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

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

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

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

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

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

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

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

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

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

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

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

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


MERRRICK'S ROOM

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

				MERRICK