"THE ELEPHANT MAN" by Christopher De Vore, Eric Bergren and David Lynch Based on "The Elephant Man, A Study in Human Dignity" by Ashley Montagu BLACK FADE IN: ABSTRACT DREAM CLOSE-UP of a gold framed miniature portrait of JOHN MERRICK'S MOTHER (tune or melody over her picture, heartbeat), which DISSOLVES TO CLOSE-UP of real Mother smiling A shadow comes over her face. CLOSE-UP of elephant ears, trunks, faces moving. Dark, heavy feet stomping elephant trumpet, rearing up. Powerful hit and the Mother falls. Darker. Trunk slides over Mother's face and breasts and stomach, leaving a moist trail. MOTHER’S POV of elephant's mouth, eyes, skin. Mother's face twists and freezes in a blurred snap roll. BLACK again. Knock, knock sound. Curtain opens to horrified faces. CUT TO BLACK AND SILENCE CIRCUS FADE IN TO steam shooting out of a huge old half-rusted calliope. The music is very loud and raucous. Moving up and back we see the black awning entrance to the freak tent, where FREDERICK TREVES, Resident Surgeon and Lecturer on anatomy at the London Hospital, is standing with his back to us observing the posters of the freaks. Coming along a muddy walkway at the side of the tent is Treves' wife, ANNE, and their two DAUGHTERS. The shrill over- whelming music seems to engulf her. She looks discomfited, vulnerable, and protective of her daughters. The girls, oblivious to any fear, are finishing their chocolate sweets. CLOSE-UP of Treves looking at a poster. He hears: #1 DAUGHTER Poppa! Treves turns and looks down to a chocolate-covered face. He smiles at the children and Anne. Anne sees the dirty faces and begins cleaning one of them. The other daughter looks into the freak tent. #2 DAUGHTER Poppa... may we go in there? ANNE Alright... Your turn. She turns the girl away from the freak tent and begins cleaning her face. Her kerchief pulls and distorts the little daughter's face. Suddenly the girl sees a ring of elephants in the distance. #2 DAUGHTER Oh,look M-ummy! Elephants! ANNE Oh, elephants! We'll go see them. She stands. ANNE (to Treves) You won't be long? TREVES I'll join you shortly. She takes the children off toward the elephants. Treves watches them go for a moment, then turns and we go with him into the dark freak tent. He pauses to pay admission at a small booth, then disappears within. DARKNESS. We hear what could be the trumpeting of an elephant. Treves parts the black canvas and enters the main part of the tent. Off to his left he sees a man wrapped in a black cape, holding a conch shell aloft and blowing powerfully into it. The tent is dimly lit with flickering oil lamps. People mill about through the weaving corridors. To Treves' right, he sees a sign reading, "The Deadly Fruit of the Original Sin," over a small, very dark corridor. Treves enters the passage and disappears into the shadows. The corridor has a series of flaps and turns to disorient the spectator. Treves carefully pushes his way through and arrives at the inner chamber. In a roped-off space stands a small stage set at eve-level, with curtains on three sides. On the stage is a bell jar filled with grey-murky fluid lit from behind with casts an eerie glow in the chamber. Suspended in the fluid is the life-sized body of a baby-doll with the attached head of a large snake. At the join of head and body is a blob of unidentifiable organic matter. It is obviously phony, but the effect is still very disquieting. At the bottom of the jar, in the muck, sits an apple with two large bites out of it. Behind the jar is a painting on the order of a religious triptych, portraying Adam on one side, Eve on the other, and the tree flowering over the jar. Treves' impassive face is bathed in the watery glow. He studies the strange object with a critical eye. In the passage we hear movement, and an OLDER GENTLEMAN enters. He seems visibly impressed with "The Deadly Fruit of the Original Sin." OLDER MAN A wicked birth... After a moment, Treves quietly leaves the inner chamber. As he pushes his way through the corridor, the noise grows and becomes a cacophony of strange sounds. He exits and hears a booming roar and the rush of air as a series of twelve candles, mounted in a row on a ten-foot stand, are blown out by "THE INCREDIBLE WIND-MAN." His BARKER steps up and talks to the people. BARKER Ladies and Gentlemen, his lungs are larger than this mammoth blacksmith's bellows. So great is his power of exhalation, rivaling even that of the Great North Wind, that he will now challenge two grown men to attempt to hold the bellows shut as he applies the mighty blast of his herculean breath! Are there any volunteers? A few people raise their hands. The Barker scans the crowd and then points over the heads of the volunteers to TWO MEN toward the back. BARKER Ah! I see two likely lads! Come forward! Come forward! Pit your strength against the Mighty Wind- Man! During the above, The Incredible Wind-Man removes his cape, revealing his great barrel chest and pot-belly supported by spindly, white, hairless legs. As the Barker sets the "Volunteers," the Wind-Man walks about the small platform, huffing and puffing and blowing on the conch shell. The "Volunteers" set, the Wind-Man steps up to the end of the bellows, takes an enormous breath, and twirls his black handlebar moustache as a signal to the Barker. BARKER Gentlemen... Are you ready? THE LADS Yes we are... Right... etc. BARKER Ladies and Gentlemen!... Let the demonstration begin!! The Wind-Man clamps his mouth to the bellows, and with great show begins to exhale, savagely stamping his feet. The Two Lads struggle obviously, and then pretend to be forced apart. The Barker triumphantly lifts the Wind-Man's hand. The Wind- Man ceases to blow, removes his lips from the bellows and the Two Lads instantly collapse together on the floor. BARKER Ladies and Gentlemen!... "THE INCREDIBLE WIND-MAN!!! The crowd cheers, while the Wind-Man puts the conch shell to his lips and proudly stamps his feet, circling about the Two Lads. Amidst this applause, Treves smiles indulgently. He moves on, looking for something genuine. TWO BOBBIES move through the crowd, intent upon a certain destination. Treves conveys a casual interest in them. Treves moves on to A BEARDED LADY who combs her beard, busily chewing tobacco and spitting into a spittoon. Treves continues to work his way through the crowd. Up ahead he sees the Bobbies. BOBBIES Make way! Make way! They round a corner. WOMAN (V.O.) Oh yes they are, they're yours alright. We hear the laughter of a crowd. Treves moves closer to see a FAT LADY seated in a chair on the next platform. On each knee she holds a DWARF. They are dressed as babies. A SKELETON MAN stands beside her. SKELETON MAN I refuse to believe it! I will not accept it! Those babies are simply too ugly, they cannot be mine! The crowd laughs uproariously. SKELETON MAN I don't want them! Get rid of them! I don't want to see them! FAT LADY Darling, don't be difficult! Let's take our sweet lovely children on an outing. SKELETON MAN We'll take these miserable whelps on an outing, alright! We'll take them to the zoo... WHERE THEY WILL STAY! From the direction the Bobbies have gone, we hear several screams. FAT LADY (pausing at the screams) Children save yourselves! Prevail upon your Pappa! The two Dwarves get down from her knees and approach the Skeleton Man. They kneel and tug at his thin legs. DWARVES Poppa! Poppa! Poppa, please! At this point, a FATHER holding his YOUNG SON in his arms passes by Treves. The Young Boy clutches his Father's neck in fear, hiding his face. FATHER (out loud, to no one in particular) This is too much! They should not allow it! They should not allow it! Treves, very curious now, along with several others, make their way around the corner. Before him, Treves sees an agitated crowd staring at something that from his point of view he cannot see. Brushing past him is a WOMAN pulling a small, confused and frightened LITTLE GIRL. Getting closer to the commotion, he sees four BOBBIES standing with a well-dressed alderman, arguing with the OWNER of this particular exhibit. A distraught, almost hysterical WOMAN is ineffectually striking the Owner with her fists about his head and shoulders, crying weakly and incoherently. WOMAN Beast, Beast... Treves is just about to see whatever it is that is causing the alarm, when one of the Bobbies says: BOBBY No! That's right out! Drop the curtain! As the curtain drops, Treves just glimpses baggy trouser cuffs and two horribly deformed, root-like feet. The distraught Woman has been pulled away from the Owner and is sobbing on a Bobby's shoulder. OWNER You can't do that! I've got my rights! ALDERMAN I have the authority to close you down, and I'm doing just that! In the crowd, Treves notices a YOUNG BOY staring open-mouthed, blankly at the curtain. Treves pushes through the glut of people to join the Boy and get a better view. The curtain is actually a large canvas. On it is a life-sized portrait, crudely painted, of a creature that could only be possible in a nightmare. It is the figure of a man turning into an elephant. The transformation, however, is not complete; there is still more of the man than beast. Palm trees in the background suggest the jungle habitat in which this Perverted object might have once roamed. Filled with curiosity, Treves moves toward the curtain. ALDERMAN This exhibit degrades all who see it, as well as the poor creature himself. OWNER He's a freak! How else can he live? ALDERMAN Freaks are one thing. No one objects to freaks, but this is entirely different. This is monstrous, and ought not to be allowed. These officers will see to it that you are on your way as soon as possible. Good day. The alderman turns and leaves the tent. OWNER (to himself) ...Movin' again! He shakes his head in disgust. Now at the canvas, Treves tries to lift the edge to get a peek inside the wagon, but the meaty hand of the Owner clamps down on his wrist. OWNER Have a care, guv'nor. The two men look at each other for a solid moment. TREVES Forgive me... Treves backs away and returns his gaze to the painted canvas. FADE TO BLACK: OPERATING ROOM - THE LONDON HOSPITAL We see a bellows pumping air into the open grate of a cast iron stove. We hear moaning in the background. The coals flare to a fierce glow. From the mouth of the stove protrude the handles of several cauterizing irons, their heads imbedded in the coals. Up above the irons, Treves stands by a waist- high operating table covered with black leather. His face is illuminated by an oil lantern held by a nurse. The room is fairly dark owing to the oppressive overcast sky seen through two windows. There is also a large sink, a cupboard containing dressings, gags, manacles, emetics and other unattractive things, and two hard chairs. TWO STUDENTS and two other DOCTORS, MR. FOX and MR. HILL, are present. The two Students are pulling with constant pressure on a rope tied to the patient's leg. Treves and Mr. Fox are working on a chest wound caused by a machine accident. There are gear-wheel marks getting progressively deeper as they near a great open gash. Mr. Hill places a cotton mask over the patient's nose and mouth and applies drops of chloroform. The patient struggles, but soon his moans subside and he is unconscious. TREVES How long has this man been here? FOX Three quarters of an hour. TREVES Mmmm. Hodges, Pierce come closer. Mr. Hill, take hold of the rope please. It's a machine accident. I expect you'll be seeing a good deal of this. The two medical Students come forward. They stare uneasily at the gaping wound, which bubbles each time the man takes an agonized breath. Treves and Fox quickly and expertly tend the wound as Hodges and Pierce look on. TREVES (off handedly) Abominable things these machines. One can't reason with them. FOX What a mess. Treves now notices that the student's faces have gone a trifle ashen. TREVES What got you into medicine, Hodges? HODGES My father, sir. He's built quite a successful practice. I hope to take it over one day. TREVES Is that your case as well, Pierce? PIERCE Yes sir. Though of course I do have a great desire to help my fellowman. Treves smiles at them knowingly. TREVES Of course you do realize that medicine has changed quite a bit since your father's time. In those days we didn't even wash our coats. In fact, the sign of a truly accomplished surgeon-- was his black operating coat, so stiff with dried blood and pus that it could stand up by itself in the corner. I've still got mine upstairs... You don't mind blood, do you? HODGES & PIERCE Oh no, sir. (etc.) TREVES Good, that's one thing we've always plenty of. HALLWAY A hospital MESSENGER BOY, dressed in a blue uniform and a can is making his way down the hall. He stops and looks into an operating room much like the one we have just seen. Inside, the room is empty. The Boy closes the door and continues on to another operating room. The Doctors move with great urgency around the operating table. Blood is draining down into a white porcelain bowl. A Woman can be heard moaning. The Boy looks carefully, but finally closes the door and continues on his way. TREVES' OPERATING ROOM There is a hissing sound and steam from the cauterizing of the wound comes up obscuring part of Treves' face. The patient is being held down firmly by the other men. The door opens and Treves looks up. The Boy pops his head in. BOY Excuse me, Mr. Treves, sir. TREVES Yes? BOY I found it. TREVES (studying the Boy carefully) Did you see it? The Boy shakes his head slowly, "No." TREVES I'll be with you in a moment ... The Boy closes the door. FOX (quietly) I say Freddie, what are you about? TREVES Oh nothing... nothing of any great importance. AERIAL SHOT from third floor of the London Hospital looking down on the hospital square. Below, Treves is walking briskly across the square, through a gate and into the slums beyond. The aerial shot is actually FOX'S POV, and now we see Fox filled with curiosity, watching the figure from a window. Looking down from above and to the side of him, we follow Treves walking through a cobblestone street still wet from a recent rain, covered with horse manure and filth of all sorts. The air is smoky from meat burning fires. Rounding a corner, we see and approach the painted canvas sign of "The Elephant Man" covering the front of a small, dingy shop. The door of the shop is windowless and padlocked. Treves walks into the picture, studies the whole scene for a moment, goes to the shop door and finds that it is padlocked. Treves tries to look under an edge of the canvas. To his left he sees a SMALL BOY watching him intently. TREVES Do you know where the proprietor is? He holds a coin out. The Boy nods, snatches the coin and then disappears around the corner. Treves turns back to the canvas. A PUB A noisy pub, long and narrow. Benches run the length of the back wall, with small tables up against them. Men are clustered around the bar, talking in groups. We see the Boy standing at one of the tables talking to the Owner, greedily consuming his lunch as he listens. The Boy gestures outside. OUTSIDE THE PUB The Boy comes out the door, quickly followed by the Owner hurriedly putting on his coat, fumbling with a riding crop, the last of his sandwich stuffed in his mouth. AT THE CORNER The Boy and the Owner are carefully looking around the corner at Treves still in front of the portrait. OWNER He's not a peeler... BOY No, I don't think so. OWNER No... I don't think so. They walk into the street. IN FRONT OF THE SHOP The Owner and the Boy walk up to Treves. TREVES Are you the proprietor? OWNER And who might you be, sir? TREVES Just one of the curious. I'd like to see it. OWNER I don't think so. No sir, we're closed. Treves pulls a purse from his coat, extracts a coin and holds it out. TREVES I'd pay handsomely for a private showing. Are you the proprietor? OWNER Handsomely?... Who sent you? TREVES Pardon me? OWNER Never mind. I'm the owner. He snatches the money. INSIDE THE SHOP Total darkness. We hear the sound of the padlock being removed. The door opens and light streams in. The canvas covering the windows at the front of the shop obscures all other light. The Owner enters, followed by Treves and the Boy. From his expression, as well as Treves', we can tell there must be an awful stench in the room. No one says a word. The Boy closes the door, while the owner lights a small gas light. We can now see the shop. It it empty, grey with dust, cold and dank. Some old tins and a few shriveled potatoes occupy a shelf. The far end of the shop is blocked off by a curtain suspended from a cord by a few rings. The Owner approaches it. OWNER Here we are sir. (ticking it off by rote) Life is full of surprises. Ladies and gentlemen, consider the fate of this creature's poor mother. In the fourth month of her maternal condition, she was struck down by a wild elephant (leering) Struck down, if you take my meaning, on an uncharted African isle. The result is plain to see ladies and gentlemen... THE TERRIBLE ELEPHANT MAN! The rings rattle back, and the curtain is omen. We see a bent figure crouching on a stool, covered by a brown blanket. In front of it on a tripod is a large brick, heated from below by a bunsen burner. From the blanket protrudes a perfectly normal left arm and hand warming itself over the brick. It does not move when the curtain is drawn. Treves steps closer. The Owner, watching his every move, turns-and smiles at him. He bangs his riding crop on the wall and yells to the crouched figure, as if speaking to a dog. OWNER Stand up! The Boy, excited by his own fear, mimics the Owner. BOY Stand up! The figure comes forward and lets the blanket fall to the ground and we see the ELEPHANT MAN himself. Treves, his eyes wide with horror and wonder, his mouth frozen open, steps backward in an instinctive movement of self preservation. The Owner laughs. The Elephant Man is naked to the waist, his feet are bare and he wears a pair of worn trousers from a fat man's dress suit. He is a little below average height, and looks shorter from the bowing of his back. His head is enormous and misshapen, as big around as a man's waist. From his brow projects a huge boney mass, almost obscuring his right eye. His nose is a nose of flesh, recognizable only from its position. From the upper jaw projects another mass of bone protruding from the mouth like a stump, turning the upper lip inside out, making a slobbering aperture. It almost gives the impression of a rudimentary trunk or tusk. On top of his head is a handful of lank, black hair. At the back of it hangs a bag of spongy skin, resembling cauliflower. These loathsome growths cover his back and hang down to the middle of his thighs. The right arm is enormous and shapeless, the hand like a knot of tuberous roots. His left arm is not only normal, but delicately shaped, with fine skin and a hand that any woman might envy. From his chest hangs another bag of flesh, like the dewlap of a lizard. His legs are also grossly deformed, his feet great stumps. Behind him, as painted in the portrait, are two crudely constructed palm trees. The Owner harshly raps again. OWNER Turn around! The Elephant Man begins to turn. The boy filled with malicious glee at seeing the monster obey, screams. BOY Turn around! Turn around! The Elephant Man completes his turn and comes to rest. We see a CLOSE-UP of the Elephant Man looking at Treves. His face is utterly devoid, and incapable, of expression. We see the Elephant Man's eyes. He closes them. OUTSIDE THE SHOP The Owner is locking up. Treves, facing the street, drinks in the fresh air. He is trying to forget his shock, put everything into focus. He looks at the garish portrait again. Treves produces his purse. The Owner, smelling money, turns. Treves hands him several coins. TREVES So you'll bring him to me, tomorrow, 10:00 a.m.? Mr...? OWNER Bytes. Mr. Bytes. He'll be there. TREVES I'll send a cab. Here is my card. Treves hands the Owner a card. The Owner, greasy and dirty, shakes Treves' hand and squeezes his arm. OWNER Now we got a deal... We understand each other... guv. We understand each other completely. The Owner gives Treves the evil look of a conspirator. Treves walks off, disoriented. The Owner reads the card and smiles at Treves walking away down the street. DISSOLVE TO OUTSIDE THE SHOP A CABMAN is knocking on the door of the shop, staring at the portrait. The door opens, revealing a figure in a floor-length black cloak. On his head is an extremely large hat, cut to the lines of a yachting cap. A grey-flannel curtain hangs from the bottom of the cap all the way around, hiding his face. There is a horizontal slit in front for the eyes. On the figure's feet are large, bag-like slippers. The only part of the body seen at all is the left arm and hand, which protrudes from the cloak, holding a crude walking stick. The figure seems to loathe being in the open. We can just barely see in the darkness within the Owner standing to one side of the door, obviously enjoying the surprise on the Cabman's face. The Owner steps abruptly into his view. OWNER Don't just stand there. Help him up. The Cabman, does so, while a small, curious crowd forms. The Owner gives the Cabman the card. The Cabman jumps up onto the seat and off they go. THE RECEIVING ROOM - LONDON HOSPITAL The receiving room is a bare hall, painted stone color. It has rows of benches and a long desk where entries are made, and certificates and other papers are issued. It is a cold, harsh place. CABMAN Not at all, sir. My... pleasure. He exits. Treves turns and sees the Matron, staring. TREVES I'll be in my rooms, Mothershead. I'm not to be disturbed. She nods silently. Treves looks at the figure for a moment. TREVES Come with me, please. He starts to go out of the room. The hooded figure just stands there, motionless. We see the whole room, the people now silent. They all stare at the figure. No one makes a move. MATRON You heard the doctor... Go on. Treves turns to look at the hooded figure who stands there a moment, then slowly shuffles after him. Mrs. Mothershead and the people in the room watch him go. When he is out of sight, they all begin to talk excitedly. Mothershead stands fixed and watches too, ignoring the noisy room. TREVES' OFFICE The door opens and Treves leads the hooded figure to a chair in front of his desk and helps him to sit down, furtively trying to look into the eye-slit of the mask. In the small room the smell of the Elephant Man is overwhelming. Treves goes to the window and opens it. He nervously tries to compose himself, then turns to the hooded figure. TREVES My name is Frederick Treves... I am a surgeon here at the London Hospital, and I lecture in anatomy at the Medical College... I would very much like to examine you. Would that be all right? The figure in the chair is still. Treves is at a loss. His sense of discomfort is growing. He looks at the floor for a moment, then locks his eyes on the figure's left arm. TREVES Ah... yes. Um, first I would like to ask you a few questions, would that be all right? The figure does nothing. Treves sits down at his desk and picks up a pencil. TREVES Good. Now, let's see. Your Owner... um, the man who... who looks after you tells me that you are English and your name is John Merrick. Is that correct? The figure does nothing. TREVES Do you know where you were born? Where you come from? The figure does nothing. TREVES I tell you what, I'll ask you a question, and you shake your head like this for "no" and nod like this for "yes", alright? Do you understand? The figure following Treves' movements nods very slowly, "yes". Treves sighs with relief. TREVES Are you in any pain? The figure begins to babble incoherently. Treves, alarmed, interrupts. TREVES Um, no. Just nod your head like this for "yes" and shake it like this for "no". Now, are you in any pain? Again the figure, following Treves movements, shakes his head "no". TREVES Are your parents still alive? The figure does nothing. Treves is quite nervous. TREVES Do you understand? Are they dead? Your father... your mother? The figure begins to moan. There are two sharp raps at the door. The hooded figure flinches. The door opens and Fox pokes his head into the room. FOX Freddie, what you doing for... I say do open a window in here or... He notices the hooded figure. FOX Oh, I'm dreadfully sorry, I had no idea that... I say! Treves quickly rises and pushes Fox out into the hallway, following him and closing the door. IN THE HALLWAY Treves and Fox are standing outside the door to Treves' office. FOX Good Lord, Freddie! What have you got in there? TREVES You'll know presently. At the meeting of the society. But until then, I beg of you Fox, keep it to yourself. FOX Certainly, if you insist. You must have quite a find there. TREVES I don't know what I've got. FOX Nothing of any importance, eh? Treves turns to go back in, then stops. TREVES I'll tell you this much, Fox, it's beyond anything you or I have ever dealt with. Keep it to yourself, please. He goes back in, shutting the door. TREVES' OFFICE Treves turns the key in the door. He turns to the chair the figure had been occupying, but he is not there. The figure is hiding in the corner, crouched behind a black frock operating coat, so stiff with dried blood and pus it stands up by itself. Treves looks quickly around the room and finally sees him. He looks at the figure for a moment. TREVES Come sit down. The frightened figure just crouches there looking at him. Treves goes to him, pulls him up and over to the chair. TREVES Sit... down. The figure sits. Treves pauses uncertainly. TREVES I think I'll examine you now. I'll save the questions for later... Will you take off your hat now, please? The figure does nothing. Treves moves to him. TREVES Don't be frightened, I simply want to look at you. Do you understand? The figure leans back fearfully. From behind him we see just the top of his wide hooded head. Treves, standing before him, lifts the hood up and back. TREVES (more to himself) That's right, don't be frightened. Don't be frightened. SMALL ROOM - LONDON HOSPITAL We see two cameras set up, their OPERATORS next to them staring at something we cannot see. Treves stands beside them concentrating on the same sight. All three are speechless. Treves suddenly remembers himself. TREVES Are you ready? The Cameramen mumble, "Yes", and gratefully disappear beneath the black cloths of their cameras. TREVES Go ahead. They trigger the flash powder. In the blinding flashes we briefly see the silhouette of a tremendously bulky figure, starting at the light. DISSOLVE TO LECTURE HALL - PATHOLOGICAL SOCIETY OF LONDON BRIGHT LIGHT As we pull back and down in a slow spiral we see the light is coming through high windows. We now see several rows of distinguished doctors talking to each other in anticipation. As we continue to spiral down we see Treves before them at a podium. Behind him are two ASSISTANTS standing beside a curtained stall. Treves raps a pointer stick on the podium to bring the meeting to order. We move behind the stall as the Assistants part the curtains and we see the silhouette of the Elephant Man. The doctors talk among themselves quietly. TREVES He is English, he is twenty-one years of age and his name is John Merrick. Gentlemen, in the course of my profession I have come upon lamentable deformities of the face due to injury or disease, as well as mutilations and contortions of the body, depending upon like causes; but, at no time have I met with such a dreaded or perverted version of a human being as this man. I wish to draw your attention to the insidious conditions affecting this patient. Note, if you will, the extreme enlargement of the skull... and upper limb, which is totally useless. The alarming curvature of the spine... Turn him, please... the looseness of the skin, and the varying fibrous tumors that cover 90% of the body. Treves' voice fades as we DISSOLVE TO the Doctors, who at first were rigid and flustered, and now bent forward, concentrating, obviously consumed with interest. Spiraling down again we see Treves finishing his lecture. TREVES ...And there is every indication that these afflictions have been in existence, and have progressed rapidly, since birth. The Patient also suffers from chronic bronchitis. As an interesting side-note, in spite of the afore-mentioned anomalies, the patient's genitals remain entirely intact and unaffected. Treves nods to the Assistants and they go to the Elephant Man. We see them in shadow untying the loose knot of the loin cloth. CLOSE-UP of the shadow of the head of the Elephant Man. It goes up for a breath. TREVES So then, gentlemen, owing to this series of deformities: The congenital exostoses of the skull; extensive papillomatous growths and large pendulous masses in connection with the skin; the great enlargement of the right upper limb, involving all the bones; the massive distortion of the head and the extensive areas covered by papillomatous growth, the patient has been called, "The Elephant Man." TREVES OFFICE The Elephant Man (hereafter the E.M.) wearing his cloak, is seated by the desk. Treves stands behind him, measuring his head with calipers. He removes the calipers and notes the span, then sets them on the desk. He places the hood over the E.M.'s head. Treves sits at his desk and makes some final notes. He becomes more absorbed in his notes than in the E.M. The E.M. makes an unintelligible sound. TREVES Hmm? The E.M. is silent. Treves, only now realizing that the E.M. has said something, looks up at him. TREVES Hmm? The E.M. is silent. Treves passes it off as a sigh and turns back to his work. TREVES It's been a long day for everyone. He closes his notebook and rises. He remembers something. TREVES Oh, yes, you'll need a cab... (to the E.M.) Stay. He exits. The E.M. is alone. He rises and shuffles slowly about, investigating the room. He goes to the desk and begins touching things, including the calipers. He notices the card Treves gave to the Owner tucked in the back pages. He pauses for a moment and then takes the card. His hand disappears into the cloak, and he moves back into the corner behind the stiff, black operating coat. Treves re-enters. TREVES Come with me. The E.M. takes up his stick and follows Treves out. UPSTAIRS HALLWAY - THE LONDON HOSPITAL We see Treves and Fox alone at a window. They are looking down on the hospital square Treves had previously crossed and see the E.M., lit by gaslight and moving to a waiting cab. FOX You never mentioned his mental state. TREVES He's imbecile, no doubt from birth. He speaks, but... it's all gibberish. No, the man's a homeless idiot... (to himself) I pray God he's an idiot. The E.M., as he is getting into the cab, stops, turns and looks to the upper stories of the hospital. Treves and Fox are joined by three laughing colleagues who clap Treves on the back. THE FIRST Quite a coup, Freddie. You'll look splendid in the journal. THE SECOND Where ever did you find that creature? From the upper story we watch the cab drive away. THE THIRD (V.O.) It's a pity. FOX (V.O.) I pity the poor cab driver, myself. From outside the window we see Treves surrounded by his laughing friends. ENTRY HALL - TREVES' HOME We see a door. It opens and Treves walks in. He shuts the door, locks it, goes to a coat rack on the wall and hangs up his overcoat and hat. He notices his reflection in a mirror and examines himself wearily. Anne's smiling reflection appears beside his. ANNE Did it go well, darling? TREVES Yes, very well, I think. Are the girls in bed? ANNE Yes, and they send their kisses. Would you like your sherry now? TREVES No, I think a whiskey. We move past Anne's reflection to a CU of Treves. WHITECHAPEL - NIGHT We now see a bunsen burner roar of flame reflected in Bytes' eyes. Pulling back we see Bytes, quite drunk, sitting, cooking sausages over the hot brick. He takes another drink from his gin bottle. Up comes a wet belch and he takes another drink. The E.M. is crouched against the wall with a bowl of potatoes and a cup of water in front of him. With his good hand, he is picking tiny pieces of potato and feeding himself. The eating is fairly loud and animal-like. The drinking is even worse. The Boy is across the room asleep, wrapped in ragged little blankets. The E.M. takes a drink of water, making a loud smacking, slurping sound. Bytes looks up from his cooking with a smoldering look, just waiting for him to make the sound again. He does and Bytes takes his crop and violently jabs him. BYTES Belt up, you misbegotten garbage. (mumbling to himself) How can I eat with that? Bytes takes a mouthful of gin and mockingly slurps it mimicking the E.M.'s sound. BYTES (yelling) How can I eat with THAT? The E.M. picks and eats some more and then drinks again very tentatively. Because of his fear the water catches in his throat and he spits and coughs out onto the floor, gasping and wheezing for breath. Bytes is up and whacks him with his riding crop. BYTES Out of my sight! The E.M. struggles to get up, carrying his food. BYTES (not satisfied with his speed) NOW! He jabs the E.M. again, spilling his potatoes and water onto the floor. BYTES You clumsy sod! He pushes the E.M. again, then slips on the potatoes and falls heavily to the floor, crying out in shock. Then rage hits him. The E.M. backs up. BYTES YOU! The Boy wakes up in fear. Bytes moves quickly toward the E.M. raising his crop. The E.M. stumbles and falls backward onto the floor. His head goes back and he begins gasping for air. Bytes yanks him up and hits him in the face with his riding crop. The force of the blow knocks a glob of spit into the air from the E.M.'s mouth. The E.M. gasps and wheezes horribly as Bytes hits him again and again. From across the room. BOY Bytes! DON'T... Bytes goes right on with the beating. BYTES This won't do, my lad. This just won't do! RECEIVING ROOM - LONDON HOSPITAL We see the eyes of the Boy. As we pull back from them, they widen with recognition. WIDE SHOT of the Receiving Room. Treves has entered and the Boy walks quickly up to him. BOY Our man is sick. Come right away. TREVES What is it? BOY Like this. (he breathes heavily in and out to demonstrate the E.M.'s difficulty) TREVES I'll get my bag. INSIDE THE SHOP We hear the sound of wheezing coming from the E.M. who is sitting propped up against the stage, wrapped in a blanket. His head bent forward toward his knees. Bytes is going to the door as it opens and the Boy leads Treves in. Treves immediately goes to the E.M. BYTES What did you do to him? He's been like this all night! TREVES What do you mean? BYTES He was fine when he left here, and now look at him. TREVES I intend to. Treves pulls the blanket away from the E.M. exposing several bruises and bloody cuts. Treves freezes at the sight and slowly turns to look at Bytes. TREVES What happened? BYTES He fell. (guardedly) He falls. TREVES He must have taken quite a fall. He looks up at the riding crop in the hand of Bytes, then to the strangely nervous and silent Boy. BYTES He's a clumsy git. Never watches where he is going. TREVES Why is he sitting up like this? He needs rest. BYTES That's the way he sleeps. If he lays down, he'll die. (he points to his neck and leans his head back) Head's too heavy. Treves turns his attention to the E.M. He lifts his head higher and examines the E.M.'s eyes. The E.M., who had been oblivious up until this point, looks into Treves' eyes and recognizes him. With his good hand, he reaches up and touches Treves' arm almost as if appealing to him. Treves' eyes lock on his. TREVES This man belongs in hospital. BYTES (apprehensively) Can't you fix him up here? ...He's my livelihood. Listen. TREVES You listen, you're not going to have much of a livelihood if this man dies. He's got the rale, he's very weak, and I don't know how much damage has been done by his "fall". Now stop wasting time and fetch a cab. Bytes considers and then snaps his fingers at the Boy who runs out. He then breaks into an ingratiating grin and leans down over Treves who busily examines the wheezing E.M. BYTES I really appreciate this, guv. You know, there's lot of things that I can do for you. I move in the proper circles, for this type of thing... (motioning toward the E.M.) In fact, anything at all, if you take my meaning. Treves, uncomfortable, rises. Bytes grips his hand and with the other gathers the material of his sleeve in a slow deliberate squeeze. BYTES I like doing business with you. You and I understand each other, completely. I know I can trust you. Can't I? TREVES (gazing at him levelly) Everything will be seen to. MORNING - AERIAL SHOT LOOKING DOWN ON HOSPITAL SQUARE Through a window we see Treves and the E.M. walking through a back gate and across the square. MR. CARR GOMM, Hospital Chairman, turns and moves away from the window. HALLWAY NURSE NORA IRELAND is pushing a cart filled of empty breakfast trays down the hall. She glances into the stairwell and sees Treves and the E.M. coming through the door. She continues on, startled by the sight of the mysterious hooded figure. At the end of the hall, she goes into the kitchen. STAIRWAY Treves and the E.M. are laboriously climbing a flight of stairs. The E.M. is puffing and wheezing with the effort. Treves supports him under his right arm. KITCHEN Nora enters with the cart and waits for it to be restocked. She leans out the door for another look, but the hall is empty. A Nurse ladles mush into bowls. There is a lot of activity in the kitchen. Nora takes the cart stacked with full trays and pushes it out the door and down the hallway. HALLWAY Treves and the E.M. cross the hallway and head up a narrow stairway towards the attic. There is a sign reading "Isolation". Carr Gomm is leaning out the door to his office, unseen by Treves. He closes the door. GENERAL WARD - LONDON HOSPITAL - MORNING It is a long, high ceilinged room with large windows along one wall. Beds run the length of both sides of the room. It is a woman's ward and nurses are serving the patients breakfast. Nora enters and nurses take trays from her cart. Nora's mind is on what she has just seen. We see Mothershead come in the door behind her. MOTHERSHEAD (startling Nora) Nora! Mind your duties... if you don't concentrate dear, you'll only make more work for the rest of us. Now, get about your business. (pauses, seeing Nora's collar) ...and do get your collar straight, dear. NORA (fumbling with her collar) I'm so sorry, Mrs. Mothershead. MOTHERSHEAD Do get on with it, Nora. Mothershead walks on, as Nora now very flustered, picks up a tray. ISOLATION WARD CU of a bottle of dark fluid and a bottle of light fluid. Treves mixes the two in a glass. We are in a small oddly shaped room off the attic ward. There is one tiny barred window located high up on the far wall. There is also a bed, two hard chairs and a table. The E.M. is sitting on the bed in shadow and his disguise is now hanging from a peg on the wall beside him. He is still wheezing and appears to be very weak. Treves serves the mixture to the E.M., who sputters and gags on it, but manages to get it down. Treves goes to the table and puts the two bottles in his bag. He goes to the door and turns to the E.M. TREVES I don't know if you will understand this, but you will never go back to that man again. You're safe now. No one will ever harm you. Do you understand? The two men just look at each other. KITCHEN - LONDON HOSPITAL Treves enters the kitchen and nicks up a bowl. A NURSE ladles some porridge for him. NURSE Breakfasting with the patients this morning, Mr. Treves? TREVES It's for a patient. Treves exits and the nurses admiringly watch him go. FIRST FLOOR LANDING AND HALLWAY Treves climbs the stairs onto the landing. Down the hall, Mr. Carr Gomm is walking toward his office. Treves tries not to be seen, but to no avail. CARR Mr. Treves, come over here a moment, won't you? Treves hesitates, trying to hide the bowl, but gives up and goes down the hall to meet Carr Gomm. CARR Good morning, Treves. TREVES Good morning, sir. CARR (seeing the bowl) You've acquired a taste for this? TREVES It's quite nutritious, sir. CARR Don't be mad. This muck can kill you. Carr Gomm calls a Nurse from a nearby ward over. It is Nora. He takes the bowl from Treves and hands it to her. CARR Take this up, to to the man in the isolation ward when you have a moment, won't you? NORA (apprehensively) Yes, sir. TREVES Don't be frightened. He won't hurt you. CARR Indeed! He gestures toward his office door. As he and Treves enter the office, Nora looks apprehensively up the isolation ward stairs. MR. CARR GOMM'S OFFICE It is a small, elegantly furnished room with a large window. The two men sit, Carr Gomm behind his desk and Treves in a leather chair. CARR A hospital is no place for secrecy, Mr. Treves. Doctors spiriting hooded figures about are liable to cause comment. Why wasn't this patient properly admitted, and why is he in isolation? Is he contagious? TREVES No sir, he's got bronchitis and he's been badly beaten. CARR Why isn't he in the General Ward, then? TREVES Well sir, he's quite seriously deformed, and I fear the other patients would find him... rather shocking. CARR Deformed? Is that it. Then am I to assume that he is ultimately incurable? TREVES Yes sir. CARR What are your plans then, Treves... You are aware that the London does not accept incurables. The rules are quite clear on that point. TREVES Yes, I'm well aware of that. But this case is quite exceptional. CARR Oh, is he a friend of yours? TREVES No, more of an acquaintance. ISOLATION WARD (A) AND STAIRWAY (B) CARR GOMM'S OFFICE (C) (A) The E.M. is asleep in his sleeping posture on the bed. (B) Nora, with the bowl, is climbing the stairs to the attic ward. She pauses in sight of the door and looks apprehensively at it. She begins to hum to give herself courage, and continues up the stairs. (A) The E.M. awakens, hears the footsteps, and now the humming, which grows in volume. He becomes fearful and reaches for his cloak. The humming stops. He freezes and listens. (C) Treves and Carr Gomm seated as before. CARR I certainly sympathize with your problem, Treves... Why don't you try the British Home, or the Royal Hospital for perhaps they would have a place for him. TREVES Yes sir, I'll look into that. (he rises) Would you like to meet him sir? (B) Nora stands outside the door, listening. She is barely breathing. (A) The E.M., still listening, slowly lets his hand drop away from the cloak. (B) Nora opens the door. (A) The E.M. grabs for the cloak as the door swings open flooding him with light. We see him for the first time in his entirety. CU of Nora screaming and dropping the tray. CU of the caught E.M. (C) The shrill scream is heard from upstairs. TREVES Excuse me, sir. Treves rushes out. Carr Gomm just sits for a moment, thinking. CARR The Elephant Man? ISOLATION WARD LANDING Treves, rushing up the stairs, reaches the landing. Nora is at the railing, crying. The door is open, the breakfast tray littering the floor. The E.M. is on the bed trying to squeeze into the corner. Treves quickly closes the door and tries to comfort Nora. TREVES I'm sorry, my dear, I should have warned you. I'm so terribly sorry, please forgive me. There, you're alright now. Go downstairs and please ask Mrs. Mothershead to come up. Tell her to knock on the door and wait for me. Alright? NORA Yes Sir. I'm sorry, Sir. Drying her eyes, she goes downstairs. ISOLATION WARD Closing the door, Treves steps over the spilt breakfast and goes to the E.M. TREVES I'm very sorry about that. Are you resting well? The E.M. makes a garbled sound. Treves, alone with the E.M., once more finds himself becoming uncomfortable. TREVES Ah good. Well then... oh yes, we'll have to get you some more food. I'm sure you must be simply famished. Hmm? The E.M. is silent. TREVES Of course you are. Now then, I think you'll be quite comfortable up here for awhile. I'll see to it you have everything you need, and, uh... yes. Treves puts out a comforting hand to the E.M. who flinches back. The two men just look at each other. GENERAL WARD Several Nurses are taking bath things off a cart. At the other end of the room, Mothershead is talking to a patient. Nora enters and walks over to Mothershead. They talk, and Mothershead exits. Nora joins the other nurses. OTHER NURSES Did you see him? NORA Yes. OTHER NURSES What's wrong with him? We see Nora's face. She is silent. ISOLATION WARD LANDING Mothershead knocks on the door. Treves opens it, comes out onto the landing and closes the door. TREVES Ah, Mothershead. How are you feeling today? MOTHERSHEAD (suspiciously) Fine. TREVES Good. Excellent. Now then, Mrs. Mothershead, I want you to come into this room with me. Inside there is a man with a rather... unfortunate appearance. MOTHERSHEAD I've heard. TREVES Yes... Well, I want you to clear up a little mess, a breakfast tray was spilt. And bring up another breakfast. When you've done that, you and I shall give the man a bath. But, Mothershead, I'm counting on your many years of experience to get you through this, Above all, do not scream, do not cry out, or in any way show this man that you are frightened of him... MOTHERSHEAD Sir, you don't have to worry about me. I'm not the sort to cry out. Shall we go in? TREVES Yes... Yes, let's go in. Treves opens the door. ISOLATION WARD Mothershead goes right to the mess. TREVES (to the E.M., hereafter Merrick) I would like you to meet Mrs. Mothershead - Mrs. Mothershead, Mr. John Merrick. Merrick looks up to Mothershead, then averts his eyes. He looks back at her and sees she has no difficulty being in his presence. MOTHERSHEAD How do you do? ISOLATION WARD LANDING At the door of Merrick's attic room stand two buckets of very dirty water. We hear footsteps coming up stairs and see a young porter carrying two buckets of clean, steaming water. He puts them down, knocks on the door, and takes the dirty water downstairs. The door opens, Mrs. Mothershead picks up the steaming buckets and takes them inside, shutting the door. ISOLATION WARD Merrick's seated in a tin bathtub trying to hide his nakedness. Mrs. Mothershead pours the water in. She scrubs his back with obvious distaste, but does her job. Months of filth and accumulated excrescence are turning the bath water a murky black. As Mothershead scrubs, Merrick slowly leans forward in the bath, closing his eyes, apparently oblivious to his surroundings. Treves sits beside him. TREVES The disease is shocking. Merrick's eyes flicker. TREVES I wonder how far it can go before it... Merrick flinches and pulls away. MOTHERSHEAD Sit still. Don't wiggle about like a pup. I won't stand for any foolishness. Treves leans forward and looks at Merrick. Merrick grows still, his eyes closed, apparently in a reverie. TREVES (V.O.) It's pretty certain that if he had the disease as a child, he was abandoned. But in that case, he'd have to have had care. The very fact that he's alive bears that out... (cut to Treves) But, where? Merrick is listening. MOTHERSHEAD The workhouse. TREVES Yes! The workhouse! At this word, Merrick begins to babble wildly. Obviously alarmed, he thrashes about in the tub, spilling water onto the floor. Treves, alarmed now himself, attempts to calm Merrick, who, still babbling, tries to rise from the tub. Mothershead clamps a hand on Merrick's left arm. At her touch, he is instantly subdued, at least physically. He sinks back into the tub and begins to weep. Treves and Mothershead are astounded by the tears rolling down Merrick's cheeks. They stand motionless looking down at the agonized, naked elephant man. TREVES (softly) The workhouse. FOLLOWING BUCKETS OF DIRTY WATER DOWN A HALLWAY BACK ENTRANCE - ALLEY The young PORTER is exiting with great difficulty through a large iron door carrying the two buckets. He sets one of the buckets down, takes the other and splashes it out into the alley. Some thick sludge dribbles from the empty bucket. Unseen by him, the NIGHT PORTER is standing just to the side and he now comes forward. The young Porter seems nervous in his presence. The Night Porter looks at his spattered shoes, then up to the Young Porter. NIGHT PORTER What's all this, then? YOUNG PORTER Mr. Treves is scrubbing his Elephant Man. NIGHT PORTER Elephant Man? YOUNG PORTER Yeah... I hear it's a real horror. Even made Mothershead scream. NIGHT PORTER Friend of the night, eh? The Elephant Man. I think I'll have me a look at that. Suddenly the Night Porter kicks the other bucket of filthy water violently, sending it splashing all over the young Porter. NIGHT PORTER Now, you need the scrubbing, ducks! He lets his cigarette drop to the ground, then stamps and grinds it with his brass-heeled boot, all the while smiling. Then he turns on his heel and leaves. CUT TO: Dark clouds rolling through an evening sky. ATTIC WARD Through the high barred window, we see the dark sky. The E.M. is on his bed in his sleeping posture. A dim gaslight burns in the room. CLOSE-UP of his head on the points of his knees. His breathing is more regular now. A GENERAL WARD Lights are being turned off. ANOTHER WARD Lights go off. BACK ENTRANCE Large iron door is closed. HALLWAY Half the lights go off. HALLWAY Nurses leave for their quarters - half the lights go off. SECOND FLOOR HALLWAY We hear the slow metallic footfalls of the Night Porter's boots. He appears and walks into a darkened women's ward. The women are all asleep. Some coughing fitfully, others moaning quietly. The Night Porter walks down the aisle between the beds. We see several of the sleeping women as he passes them. Finally, he comes to a young beautiful woman, her eyes wide open, watching him with intense fear. On either side of her are two very ancient women, snoring deeply. The young woman has her arms tied, suspended in traction above her. The Night Porter moves to her, his shadow engulfing her. She starts to move, rattling the apparatus above her. The Porter puts a finger to his lips. NIGHT PORTER Hush, love, I told you before one word from me, they'll toss you back on the street, and then those pretty little arms of yours will never grow straight. Now close your eyes. She turns her head away, closing her eyes. He moves in. CLOSE-UP of a gas light in a hallway. The leaping flame makes a low roar. CUT TO ANOTHER HALLWAY Somewhere a door is opened and the squeak sounds vaguely like the trumpeting of an elephant. We hear again the metallic footfalls of the Night Porter's boots, and he appears. He goes to the narrow stairway marked, "Isolation". He stops and casually looks about. He takes a swig of his gin, then starts up the stairs. ATTIC WARD Merrick as before the light is very dim. We hear the echoing footfalls of the Night Porter coming up the stairs. Merrick's head immediately comes up from his knees. As it does, a small object falls from where his head rested. He picks it up and puts it in a pocket of his cloak. it is the portrait of the beautiful woman, which he saw in his dream. Suddenly the door swings open and the Night Porter, bottle in hand, is standing there. He walks into the room and sees Merrick's shape on the bed. NIGHT PORTER Here he is, the old fiend of the night, the terror of the London. Let's have a look at you. Let's see what makes 'em scream... He turns up the light and sees Merrick clearly. The Night Porter jumps back, awe struck. NIGHT PORTER Cor Blimey! Merrick is trembling. The Night Porter, hardly able to believe his eyes, moves slowly toward Merrick. He is afraid but as he reaches the bed, Merrick flinches back. The Night Porter grins, his fear gone now. He is in control. NIGHT PORTER So this is the Elephant Man. I ain't never seen nothing like you before. What the bleedin' hell happened to you? Merrick cowers as far away from the Night Porter as possible. NIGHT PORTER Oh... dumb, eh? He takes a big swallow of the gin and smiles. NIGHT PORTER Good. I likes people what can keep quiet. He offers Merrick his bottle with a swift, almost jabbing motion. Merrick pulls away from him. NIGHT PORTER Like a drink? Go on... Go on have some. No? You should try being more sociable, mate. He tentatively presses the bottom of the bottle up against the hanging growth on Merrick's chest. Encouraged, he touches him with his fingers. Merrick makes a small whimpering sound. NIGHT PORTER (grinning) You and I are going to be good friends, we are. And, I've got lots of friends who I know would like to meet you. And they will, mate... they will. He moves to the door and turns. CLOSE-UP of Night Porter's face. NIGHT PORTER Welcome to the London. He moves out the door and it closes. In the bed, Merrick looks at the door with terror as the heavy footfalls of the Night Porter recede down the stairs. WHITECHAPEL ROAD We see a horse's head in CU, snorting steam into the chill morning air. The horse is harnessed to a milk wagon parked in front of the London. Through the open back of the wagon we see the MILKMAN, and past him Treves, walking towards us. MILKMAN Here early again, eh Mr. Treves? If you don't mind my saying so, sir, with your early habits, you'd 'a made a fine milkman. TREVES Good morning, Charley. I'll keep that in mind! Treves walks up the path into the hospital. HALLWAY (MORNING) Treves, carrying a bowl, crosses the upper hall and starts to the narrow stairway to the Isolation Ward. Over his shoulder we see him knock twice on the door. As the door swings open, the camera pushes past him and we see the room. The lamp is still burning, but Merrick is nowhere to be seen. Treves enters, looking about for him. TREVES Mr. Merrick? There's movement in the corner beside the bed. Merrick rises slightly from the shadow. The light from the lamp hits his frightened eyes. TREVES ....Good morning... John. I've brought your breakfast. Treves is unsettled by the sight of Merrick cowering down on the floor. Merrick begins to babble. Treves enters the room, placing the bowl on the table and going to Merrick. TREVES What are you doing down there? Come up John, come up on the bed. The cold floor is bad for you. I won't hurt you, come on now... He helps Merrick up onto the bed and goes back to the table for the bowl. TREVES You must eat. We must keep your strength... He has turned back to the bed, but Merrick has slipped to the floor again, still trying to hide himself in the corner. TREVES ...What on earth is the matter with you? He puts the bowl down again and goes back to Merrick, who seems very upset at leaving his hiding place. TREVES Now please, John, you must do as I say. Come up from there. He starts to help Merrick up, but Merrick just presses himself farther back in the corner, still babbling. There are two raps at the door. Treves goes to it and lets Mothershead in. MOTHERSHEAD Good morning, Mr. Treves. It'll be his bath-time soon. Has he eaten? TREVES Not quite yet, Mrs. Mothershead. There seems to be some difficulty this morning. They both look at the bed. Merrick has almost disappeared under it. MOTHERSHEAD Won't come out, eh? TREVES No, he's very upset about something. MOTHERSHEAD Just being obstinate, sir. I'll handle it. She goes to Merrick and takes hold of his left wrist. MOTHERSHEAD Alright, my son, none of this fuss. Come up from there, this instant. She starts to force him up from the floor. Merrick is moaning now, still trying to get away. TREVES No! Don't pull at him like that. We don't want to frighten him more than he already is. By this time Mothershead has almost got him back on the bed. MOTHERSHEAD Honestly, sir, you must be very firm with this sort. Otherwise they'd lay about on the floor gibbering all day long. All he understands is a good smack. They help Merrick settle back on the pillow. Merrick is still making desperate, unintelligible sounds. TREVES He's had his share of "smacks", Mothershead. I expect that's what drives him under the bed. We must use patience and understanding with this man. MOTHERSHEAD Perhaps you've got the time for that, Mr. Treves, I certainly don't. I've got an entire hospital to look after, and you have your real patients. Don't waste your time with him sir, it's like talking to a wall. I don't mean to be harsh, but truthfully what can you do for him? I'll be back later for his bath. And Mr. Carr Gomm would like to see you when you have a moment. Good day sir. She exits. Treves shuts the door behind her and turns back to the bed. TREVES (to himself) What good am I to you...? He goes to the bed and sits down in front of Merrick, angered by his own seeming uselessness in the situation. TREVES ...What is my purpose? ...It's so important that I understand you. I want to help you, I want to be your doctor... (directly to Merrick) but I can't help you unless you help me, unless I know what you are feeling. I believe there's something back there, there's something you want to say, but I've got to understand you. Do you understand me? Merrick hesitates, then starts babbling again. TREVES No! You are going to talk to me! We are going to show them! We're going to show them that you're not a wall. We are going to talk! Do you understand? Nod your head if you understand me! Slowly Merrick nods yes. TREVES You do understand me! You understand. Now you're going to say it. I've got to hear how you say things. Now, very slowly, say "yes." Treves carefully mouths the word. TREVES "Yes." Merrick is still hesitant, from years of fear, but his eyes betray a growing excitement. Slowly, he tries to talk, his voice a tremulous whisper. MERRICK Yyyy... Yyye... yyyess. TREVES (grabbing Merrick's arm) Yes John! Throughout their dialogue, Merrick is still very garbled, but he no longer babbles. He makes a great effort to speak slowly, to form words the way Treves forms them, to be understood. MERRICK ...Yyes TREVES Yyyess. MERRICK Yyess. TREVES That's much better. I could understand that "yes". MERRICK (pleased) Yes! TREVES Very good! Oh yes! Now listen. I'm going to say some things to you and I want you to repeat them... um... I want you to say them back to me. Do you understand? I'm going to say some things to you and I want you to say them back to me. Do you understand? MERRICK Yes. TREVES Excellent! Now, say... "Hello" MERRICK Hello... TREVES My name is... MERRICK My... name is... TREVES John Merrick. MERRICK John... Merrick TREVES Say "Merrick". MERRICK Merrick... TREVES Say "Mmmerrick." MERRICK Mmmerrick. TREVES Say "Mmmerrick." MERRICK Mmmerrick. TREVES Well, that's alright. I understand you. Now, say the whole thing again, Hello ... MERRICK (haltingly) Hello... my name is... John Merrick. DISSOLVE TO HALLWAY Mrs. Mothershead comes out of the kitchen with a supper tray and walks down the hall, passing the open ward door. We see nurses serving patients their supper. Nora comes out of the ward with a tray which she holds tightly against her. A bowl of soup is spilling on her apron. She catches up with Mothershead. They speak as they walk. NORA Oh, Mrs. Mothershead, please forgive my behavior yesterday. I'm sorry if you're having to do extra work on my account. It was just seeing it... MOTHERSHEAD Patients here are not "its". They are either "he's" or "she's", but that's alright, Ireland. This one's going to be more work for all of us. Good God girl! Mind your broth. Mothershead continues on. Nora guiltily watches her go. ISOLATION WARD Treves and Merrick are absorbed in their work. A knock comes at the door. TREVES Come in. Mothershead enters. TREVES Why, my dear Mrs. Mothershead, how good of you to join us. Mr. Merrick, will you please introduce yourself? MERRICK (hesitantly) Hello, my name is John Merrick. MOTHERSHEAD Good Lord, Mr. Treves! TREVES (exuberantly) We've made tremendous strides today, Mothershead. He listens and repeats with great attention, and this certainly isn't easy for him. MOTHERSHEAD Parrots can do as much, Mr. Treves. It's all very nice, but I don't see the point. You know they won't let him stay here. TREVES (lowering his voice) I'm sure that if Mr. Merrick made a good impression on the hospital committee they'd see that he's the exception to their rule. Now I'm not expecting miracles. I'm not saying he'll be able to read or write, but I do think that I can get him to speak for himself. I'm going to arrange things with Carr Gomm right now. (to Merrick) That was very good, John, very good. That's all for today. We shall do some more tomorrow. Mothershead? Mrs. Mothershead sets the tray down beside Merrick. TREVES I'll see you soon. He and Mothershead exit. Merrick watches the door close. He sighs quietly, looks about, and sees the Bible on the bedside table. He picks it up and, gently runs his fingers over the cover. RECEIVING ROOM - THE LONDON There is total pandemonium in the receiving room. The room is filled with screaming men, women and children. Two drunken women have been fighting with broken bottles and are now covered with blood and cuts. The women are still hysterical, one minute they're sobbing, then in an instant screaming and intent upon fighting again. The crowd keeps them apart. Two Bobbies stand in the background making no move to intercede. To the side we see Bytes watching everything. It is still too violent a scene for the Nurses to come to the women's aide and they stand up in the front of the room waiting. Bytes makes his way along the side of the crowd waiting for a chance to get behind the Nurses and on into the hospital. Now the women begin sobbing again and things quiet some. The Nurses come forward into the crowd. Bytes moves over closer to the hallways. When the Nurses have all gone into the crowd he seizes the chance and disappears into the hospital. CUT TO: Bytes appears and walks down hospital hallway looking about. CARR GOMM'S OFFICE The door opens and Treves enters. CARR (V.O.) Ah, Treves... Treves sits in the armchair. Carr Gomm is sitting at his desk. CARR Have you contacted the British Home and the Royal Hospital? TREVES Ah, no sir. I had planned to see them in the morning. CARR Good! How is the patient? TREVES He's doing very well. In fact that's why I came to see you. I think that if I were to present Mr. Merrick to the hospital committee, then they would have a chance to see for themselves not only the extraordinary nature of the disease, but of the man as well. If the committee had a chance to speak with him, hear him say a few words for himself, I'm sure they would see him as a patient, rather than as a violation of the rules. CARR A few words? I thought he was imbecile? TREVES Well sir, perhaps I should explain... CARR I really don't think that's necessary Treves. I'm quite sure the committee will be able to make an equitable decision on the merits of the case, such as they are. TREVES I don't agree. No one can make a reasonable decision about this man's future without at least meeting him. No doctor would presume to diagnose a patient he had never met. CARR No, Treves, it's out of the question. Now if it was up to me, I'd say "Certainly, let's meet the fellow, by all means," I'm sorry, I simply can't speak for the other members of the committee. TREVES Then will you meet him, as a representative of the committee. CARR Mr. Treves, it's out of the question. I want to hear as soon as possible what the other hospitals can do. I'm sorry. HALLWAY - STAIRCASE - THE LONDON We see Treves leave Carr Gomm's office and walk toward us to the stairwell. As Treves begins down the stairs, he sees Bytes on the next landing coming up. Bytes spots him and goes toward him. BYTES I want my man back. TREVES Just a moment, how did you get in here? BYTES Never mind that, I want my man! TREVES He's still very sick. Please come downstairs with me. I'll explain the situation. BYTES (shouting) DON'T... Don't muck me about. You've had plenty of time to fix him up, and he's leaving with me, NOW. Do you understand me? Now, Mr. Treves. We had a bargain! TREVES You misunderstood. This man suffered a severe fall, if you take my meaning. He's my patient now and I must do what... BYTES Pull the other one, why don't you! We made a deal! TREVES I know what you've done to him and he's never going back to that. BYTES He's a freak! That's how they live. We're partners, him and I, business partners. You're willfully deprivin' me of my livlihood! TREVES All you do is profit from another man's misery! BYTES You think you're better 'n me? YOU wanted the freak to show all your doctor chums and make a name for yourself, you guv. So I gave him to you. On trust, in the name of science! And now I want him back. TREVES You don't own this man! BYTES I want him back! TREVES So you can beat him? So you can starve him? A dog in the street would fare better with you! BYTES I've got my rights, damn you, and I'm going to the authorities! CARR (V.O.) Well, go to the authorities... Now we see Carr Gomm standing above them, at the top of the stairs. CARR By all means do so. In fact, I'll fetch them myself. I'm quite sure they'd be very interested in your story, as well as ours. Livid, Bytes looks from Carr Gomm to Treves, at a loss for words. TREVES Now I think we really do understand one another. BYTES (venomously) Right... Right. He backs slowly down to the landing eyeing Treves and Carr Gomm. At the landing he casually turns and disappears down more stairs. Treves turns and gazes at Carr Gomm. CARR Singularly unpleasant chap... uh... I don't suppose there would be any harm in my meeting your... patient, Mr. Treves. TREVES (gratefully) Thank you very much Sir. Shall we say in a few days then? CARR Shall we say two o'clock tomorrow afternoon? TREVES (slightly taken aback) Wh... whatever is most convenient for you, sir. CARR Two o'clock then... you know Treves... It seems this acquaintance of yours has become rather more than just an acquaintance. TREVES ...Yes, Sir. They part company. We follow Treves down the stairs. TREVES (muttering) Two o'clock? Then we follow Carr Gomm to his office door. He stops short. CARR (mumbling out loud) Elephant Man? I don't want to meet an Elephant Man. HALLWAYS - THE LONDON (NIGHT) Again, the hospital is closing down for the night. Lights go off in each hallway. The staff is vacating the hospital. As the last light goes off, we hear the great iron door slam shut. TREVES' HOUSE - BEDROOM (NIGHT) Anne is at her dressing table, brushing out her hair. She is in a very flattering dressing gown, ready to turn in. We see her reflected in the mirror as well as Treves who is in his robe in the background seated at his side of their bed, deep in thought. Anne looks at Treves and smiles affectionately. ANNE (coyly) Freddie? Getting no response she renews her efforts. ANNE Freddie?... Freddie, don't look so discouraged. TREVES I shouldn't be. We made great progress today. I taught him to repeat a few basic phrases. He did rather well, too, but I had to lead him every step of the way. Though frankly, at times I was unsure of who was leading whom. ANNE What do you mean? TREVES Well, I wasn't sure whether he was parroting me because that's all he was capable of, or whether he sensed that that's all I wanted to hear, and he was trying to please me. ANNE But I thought you said that he was rather... simple? TREVES He is. I mean, I've always thought he was. I think he must be. Is he simple? Or is that just something I've wished upon him to make things simpler for myself? Anne puts down the brush and rises. ANNE Frederick, why are you so interested in this particular case? TREVES I don't know. I can't explain it. If this is an intelligent man, trapped in the body of a monster, then I'm under a moral obligation to help free that mind, free that spirit as best I can, to help him live as full and content a life as possible. But! If he's an imbecile, who's body I can't treat and who's mind I can't touch, well, then my obligation is discharged. They can put him where they will; he won't be bothered, I won't be bothered, and everyone's conscience can remain free and untroubled. And that is my dilemma... what is in his mind? Anne, sympathizing with his concerns goes to him and puts her arms around him. ANNE Perhaps you're just polishing a stone, endowing this Elephant Man with qualities he doesn't possess? TREVES (impatiently) And what qualities are those? Intelligence or stupidity? ANNE (slightly hurt) I'm sure I don't know, Freddie. She releases Treves and lies down. Treves realizes that perhaps he has been unkind. TREVES I'm sorry... I don't know either. I just don't know. ANNE Well, these things take time. TREVES I've only got until two o'clock tomorrow afternoon, when Carr Gomm meets him. Somehow, between now and then I've got to make John Merrick at least seem like an intelligent man... Why am I fooling myself? Nothing short of John delivering the Sermon on the Mount is going to sway Carr Gomm... Anne sits back up and gently places her hand over Treves' mouth. As she does so she leans forward and turns out the light. ISOLATION WARD Merrick is propped up in bed. Suddenly the door bursts open. The Night Porter, an arm around a drunken giggling tart, stands in the doorway. As soon as the Charwoman sees Merrick, she screams as does Merrick, and she wriggles free, making for the stairs. The Night Porter watches her go and then turns to Merrick laughing noisily. He then pulls the door shut with a bang. Merrick, very frightened, crawls down into his hiding place. BEDROOM (MORNING) We see Anne alone in bed, asleep. Treves is finished dressing and leaves the room. The sound of the door closing awakens Anne. She looks around for Treves. A clock reads 5:30. ISOLATION WARD Merrick's disguise hangs on the wall. MERRICK (V.O.) The Lord is my shepherd, I shall not want, he maketh me to lie down in green pastures; He leadeth me beside still waters. He restoreth my soul: He Guideth me in the paths of righteousness... TREVES Righteousness... MERRICK (V.O.) Righteousness for his namesake. WE NOW SEE TREVES AND MERRICK TREVES Very good, very good. Now, when your visitor comes today I want you to say it exactly the way you said it just now. I will introduce him to you and you will say the words you've learned. If you have any trouble with any of the words, I'll help you. I'm sure you'll be just fine. If you do as well for him as you've done for me these last two days, then I'm sure our visitor will be very pleased. Now, let's go through the whole thing again, shall we? I will say "May I introduce you to Mr. Carr Gomm." And you will say... MERRICK Hello, my name is John Merrick. I am very pleased to meet you! HALLWAY Treves and Carr Gomm are speaking together as they walk along. TREVES It's only a physical problem. He has trouble with certain sounds because of the constrictive deformity of the mouth. But he can talk, and has a great eagerness to make contact with people who will let him. So if you have any difficulty understanding what he is saying, just tell me and I'll make it clear. CARR Speaking is one thing, Treves, but can the man comprehend? Treves cannot easily answer this question. TREVES ...As I said, it's only a physical problem... but I do feel that Mr. Merrick is very flattered that you're taking the time and trouble to meet him, and he's most anxious to make a good impression, so he might seem rather nervous. CARR He needn't. I have no desire to cause him any discomfort. Did you make those inquiries we spoke about? TREVES Yes, I spoke to both the British Home and Royal Hospital for Incurables. I'm afraid that they weren't very encouraging, but they said they'd bring it up at their next committee meeting, so we should have their answers shortly. CARR Fine, fine. You know, your dedication to this patient is an inspiring thing, Treves. But you must remember that this is a hospital, and there are many patients here. Patients who can be made well, and you owe them your first consideration. Just don't become so obsessed, old man, that you begin to neglect them. Carr Gomm starts up the stairs. Treves remains behind, watching him for a moment, then follows. ISOLATION WARD Merrick is standing beside his disguise on its hook. He nervously smooths the cloak down, repositions the Bible on the bedside table and smooths the cloak again. He looks at the door, expecting it to open. It doesn't. His hands smooths the cloak over and over again. Voices can be heard outside the door. Merrick freezes. There are two raps at the door. Merrick flinches, clutching the cloak. The raps are repeated. He pulls himself together and walks to the middle of the room. He takes a deep breath and closes his eyes. MERRICK Come in. The door opens and Treves and Carr Gomm enter. Carr Gomm's eyes are rivited on Merrick, but he contains his shock. Merrick is breathing unevenly, his eyes still closed. Treves goes to him and touches his shoulder. Merrick opens his eyes and looks up at Treves. Treves turns to Carr Gomm, as does Merrick. Carr Gomm lowers his eyes. TREVES John, may I introduce you to Sir Carr Gomm. MERRICK Hello... my name is John Merrick. I am very pleased to meet you. Carr Gomm, still shaken, instinctively offers his hand. CARR I'm very... pleased to meet you. Before Carr Gomm can withdraw his hand, Merrick grasps it with his left hand. There is an uncomfortable silence. Merrick releases it. Carr Gomn, nervously clears his throat. CARR How are you feeling today? MERRICK I feel much better. Thank you for asking. And you? CARR I'm feeling very fit, thank you. How is your bronchitis? MERRICK I feel much better. Thank you. CARR Are you comfortable here? MERRICK Everyone has been very kind. I am extremely grateful. TREVES Mr. Merrick likes the food here. Don't you John? MERRICK Oh yes! It is much better than what I am used to. CARR Oh yes? TREVES (after a pause) And what was that, John? MERRICK Potatoes... There is another agonizing silence. TREVES (to Carr Gomm) ...Yes potatoes... but... MERRICK But the variety of food here is very pleasing... I commend you. CARR (after a pause) I understand that you were beaten? Merrick is at a loss. This is not part of the expected scenario. DIERRICK Oh no, everyone has been very kind. CARR No, I meant in your former situation. Merrick doesn't seem to understand. MERRICK I'm feeling much better now... Carr Gomm stares levelly at Treves for a moment, then asks Merrick: CARR Tell me, how do you like Mr. Treves? As a teacher? Treves stiffens. MERRICK ...I... everyone has been very kind to me. CARR Of course. How long did you and Mr. Treves prepare for this interview? Merrick looks at Treves for guidance, but Treves cannot look him in the eye. MERRICK ...everyone has been very kind. CARR Yes, of course... Well, it's been a pleasure meeting you, Mr. Merrick. Good day. TREVES (to John) Thank you, John. You did very well. Treves and Carr Gomm go out the door onto the landing. Merrick sees his chance escaping him and tries to recapture their attention. MERRICK (his voice is gaining strength) The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures... (he continues through the following dialogue) Treves and Carr Gomm are alone on the landing, speaking quietly. CARR It was a nice try, Treves, but the man is so obviously mouthing your words.