T H E
E L E P H A N T
M A N
By: Christopher De Vore
Eric Bergren
David Lynch
Based on THE ELEPHANT MAN (A Study in Human Dignity)
by Ashley Montagu
BLACK
FADE IN: ABSTRACT DREAM '
CLOSE-UP of a gold framed miniature portrait of JOHN
MERRICK'S MOTHER (tune or melody over her picture,
heartbeat), which DISSOLVES TO CLOSE-UP of real Mother smiling
- a shadow comes over her face - CLOSE-UP of elephant ears,
trunks, faces moving.
Dark, heavy feet stomping - elephant trumpet - rearing up.
Powerful hit and the Mother falls - darker - trunk slides
over Mother's face and breasts and stomach, leaving a moist
trail.
MOTHER´S POV of elephant's mouth, eyes, skin - Mother's
face twists and freezes in a blurred snap roll.
BLACK again - knock, knock sound - curtain opens to horrified
faces.
CUT TO BLACK AND SILENCE
CIRCUS
FADE IN TO steam shooting out of a huge old half-rusted
calliope. The music is very loud and raucous. Moving up
and back we see the black awning entrance to the freak tent,
where FREDERICK TREVES, Resident Surgeon and Lecturer on
anatomy at the London Hospital, is standing with his back
to us observing the posters of the freaks.
Coming along a muddy walkway at the side of the tent is
Treves' wife, ANNE, and their two DAUGHTERS. The shrill.,
over-whelming music seems to engulf her. She looks discomfited,
vulnerable, and protective of her daughters. The girls,
oblivious to any fear, are finishing their chocolate sweets.
CLOSE-UP of Treves looking at a poster.
He hears:
#1 DAUGHTER
Poppa!
Treves turns and looks down to a chocolate-covered face. He
smiles at the children and Anne.
Anne sees the dirty faces and begins cleaning one of them.
The other daughter looks into the freak tent.
#2 DAUGHTER
Poppa... may we go in there?
ANNE
Alright... Your turn.
She turns the girl away from the freak tent and begins cleaning
her face.
Her kerchief pulls and distorts the little daughter's face.
Suddenly the girl sees a ring of elephants in the distance.
#2 DAUGHTER
Oh,look M-ummy! Elephants!
ANNE
Oh, elephants! We'll go see them.
She stands.
ANNE
(to Treves)
You won't be long?
TREVES
I'll join you shortly.
She takes the children off toward the elephants.
Treves watches them go for a moment, then turns and we go
with him into the dark freak tent. He pauses to pay
admission at a small booth, then disappears within.
DARKNESS. We hear what could be the trumpeting of an
elephant.
Treves parts the black canvas and enters the main part of
the tent. Off to his left he sees a man wrapped in a black
cape, holding a conch shell aloft and blowing powerfully into
it. The tent is dimly lit with flickering oil lamps. People
mill about through the weaving corridors. To Treves' right,
he sees a sign reading, "The Deadly Fruit of the Original Sin,"
over a small, very dark corridor.
Treves enters the passage and disappears into the shadows.
The corridor has a series of flaps and turns to disorient
the spectator. Treves carefully pushes his way through
and arrives at the inner chamber.
In a roped-off space stands a small stage set at eve-level,
with curtains on three sides. On the stage is a bell jar
filled with grey-murky fluid lit from behind with casts
an eerie alow in the chamber. Suspended in the fluid is
the life-sized body of a baby-doll with the attached head
of a large snake. At the join of head and body is a blob
of unidentifiable organic matter. It is obviously phony,
but the effect is still very disquieting. At the bottom
of the jar, in the muck, sits an apple with two large bites
out of it. Behind the jar is a painting on the order of
a religious triptych, portraying Adam on one side, Eve on
the other, and the tree flowering over the jar.
Treves' impassive face is bathed in the watery glow. He
studies the strange object with a critical eye. In the
passage we hear movement, and an OLDER GENTLEMAN enters.
He seems visibly impressed with "The Deadly Fruit of the
Original Sin."
OLDER MAN
A wicked birth...
After a moment, Treves quietly leaves the inner chamber.
As he pushes his way through the corridor, the noise grows
and becomes a cacophony of strange sounds. He exits and
hears a booming roar and the rush of air as a series of
twelve candles, mounted in a row on a ten-foot stand, are
blown out by "THE INCREDIBLE WIND-MAN." His BARKER steps
up and talks to the people.
BARKER
Ladies and Gentlemen, his lungs are
larger than this mammoth blacksmith's
bellows. So great is his power of
exhalation, rivaling even that of the
Great North Wind, that he will now
challenge two grown men to attempt
to hold the bellows shut as he applies
the mighty blast of his herculean
breath! Are there any volunteers?
A few people raise their hands. The Barker scans the
crowd and then points over the heads of the volunteers to
TWO MEN toward the back.
BARKER
Ah! I see two likely lads! Come
forward! Come forward! Pit your
strength against the Mighty Wind-Man!
During the above, The Incredible Wind-Man removes his cape,
revealing his great barrel chest and pot-belly supported by
spindly, white, hairless legs. As the Barker sets the
"Volunteers," the Wind-Man walks about the small platform,
huffing and puffing and blowing on the conch shell.
The "Volunteers" set, the Wind-Man steps up to the end of
the bellows, takes an eno=ous breath, and twirls his black
handlebar moustache as a signal to the Barker.
BARKER
Gentlemen... Are you ready?
THE LADS
Yes we are... Right... etc.
BARKER
Ladies and Gentlemen!... Let the
demonstration begin!!
The Wind-Man clamps his mouth to the bellows, and with great
show begins to exhale, savagely stamping his feet. The
Two Lads struggle obviously, and then pretend to be forced
apart.
The Barker triumphantly lifts the WindMan's hand. The
Wind-Man ceases to blow, removes his lips from the bellows
and the Two Lads instantly collapse together on the floor.
BARKER
Ladies and Gentlemen!... "THE
INCREDIBLE WIND-MAN!!!
The crowd cheers, while the Wind-Man puts the conch shell
to his lips and proudly stamms his feet, circling about the
Two Lads.
Amidst this applause, Treves smiles indulgently. He moves
on, looking for something genuine.
TWO BOBBIES move through the crowd, intent upon a certain
destination. Treves conveys a casual interest in them.
Treves moves on to A BEARDED LADY who combs her beard, busily
chewing tobacco and spitting into a spittoon.
Treves continues to work his way through the crowd. Up ahead
he sees the Bobbies.
BOBBIES
Make way! Make way!
They round a corner.
WOMAN (V.0.)
Oh yes they are, they're yours alright.
We hear the laughter of a crowd.
Treves moves closer to see a FAT LADY seated in a chair on
the next platform. On each knee she holds a DWARF. They
are dressed as babies. A SKELETON MAN stands beside her.
SKELETON MAN
I refuse to believe it! I will
not accept it! Those babies are
simply too ugly, they cannot be
mine!
The crowd laughs uproariously.
SKELETON MAN
I don't want them! Get rid of
them! I don't want to see them!
FAT LADY
Darling, don't be difficult! Let's
take our sweet lovely children on
an outing.
SKELETON MAN
We'll take these miserable whelps
on an outing, alright! We'll take
them to the zoo... WHERE THEY WILL
STAY!
From the direction the Bobbies have gone, we hear several
screams.
FAT LADY
(pausing at the screams)
Children save yourselves! Prevail
upon your Pappa!
The two Dwarves get down from her knees and approach the
Skeleton Man. They kneel and tug at his thin legs.
DWARVES
Poppa! Poppa! Poppa, please!
At this point, a FATHER holding his YOUNG SON in his arms
passes by Treves. The Young Boy clutches his Father's
neck in fear, hiding his face.
FATHER
(out loud, to no one in particular)
This is too much! They should not
allow it! They should not allow it!
Treves, very curious now, along with several others, make
their way around the corner.
Before him, Treves sees an agitated crowd staring at something
that from his point of view he cannot see. Brushing
past him is a WOMAN pulling a small, confused and frightened
LITTLE GIRL. Getting closer to the commotion, he sees
four BOBBIES standing with.a well-dressed alderman, arguing with
the OWNER of this particular exhibit.
A distraught, almost hysterical WOMAN is ineffectually
striking the Owner with her fists about his head and
shoulders, crying weakly and incoherently.
WOMAN
Beast, Beast...
Treves is just about to see whatever it is that is causing
the alarm, when one of the Bobbies says:
BOBBY
No! That's right out! Drop the
curtain!
As the curtain drops, Treves just glimpses baggy trouser
cuffs and two horribly deformed, root-like feet. The distraught
Woman has been pulled away from the Owner and is
sobbing on a Bobby's shoulder.
OWNER
You can't do that! I've got my
rights!
ALDERMAN
I have the authority to close you
down, and I'm doing just that!
In the crowd, Treves notices a YOUNG BOY staring open-mouthed,
blankly at the curtain. Treves pushes through
the glut of people to join the Boy and get a better view.
The curtain is actually a large canvas.
On it is a life-sized portrait, crudely painted, of a creature
that could only be possible in a nightmare. It is the
figure of a man turing into an elephant. The transformation,
however,is not complete; there is still more of the
man than beast. Palm trees in the background suggest the
jungle habitat in which this Perverted object might have
once roamed.
Filled with curiosity, Treves moves toward the curtain.
ALDERMAN
This exhibit degrades all who see
it, as well as the poor creature
himself.
OWNER
He's a freak! How else can he live?
ALDERMAN
Freaks are one thing. No one objects
to freaks, but this is entirely different.
This is monstrous, and ought
not to be allowed. These officers will
see to it that you are on your way as
soon as possible. Good day.
The alderman turns and leaves the tent.
OWNER
(to himself)
...Movin' again!
He shakes his head in disgust.
Now at the canvas, Treves tries to lift the edge to get a
peek inside the wagon, but the meaty hand of the Owner
clamps down on his wrist.
OWNER
Have a care, guv'nor.
The two men look at each other for a solid moment.
TREVES
Forgive me...
Treves backs away and returns his gaze to the painted canvas.
FADE TO BLACK
OPERATING ROOM - THE LONDON HOSPITAL
We see a bellows pumping air into the open grate of a castiron
stove. We hear moaning in the background. The coals
flare to a fierce glow. From the mouth of the stove protrude
the handles of several cauterizing irons, their heads
imbedded in the coals. Up above the irons, Treves stands
by a waist-high coerating table covered with black leather.
His face is illuminated bv an oil lantern held by a nurse.
The room is fairly dark owing to the oppressive overcast
sky seen through two windows. There is also a large sink,
a cupboard containing dressings, gags, manacles, emetics
and other unattractive things, and two hard chairs.
TWO STUDENTS and two other DOCTORS, MR. FOX and MR. HILL, are
present. The two Students are pulling with constant pressure
on a rope tied to the patient's leg. Treves and Mr. Fox
are working on a chest wound caused by a machine accident.
There are gear-wheel marks getting progressively deeper as
they near a great open gash. Mr. Hill places a cotton mask
over the patient's nose and mouth and applies drops of
chloroform. The patient struggles, but soon his moans
subside and he is unconscious.
TREVES
How long has this man been here?
FOX
Three quarters of an hour.
TREVES
Mmmm. Hodges, Pierce come closer.
Mr. Hill, take hold of the rope
please. It's a machine accident.
I expect you'll be seeing a good
deal of this.
The two medical Students come forward. They stare uneasily
at the gaping wound, which bubbles each time the man takes
an agonized breath.
Treves and Fox quickly and expertly tend the wound as Hodges
and Pierce look on.
TREVES
(of fhandedly)
Abominable things these machines.
One can't reason with them.
FOX
What a mess.
Treves now notices that the student's faces have gone a
trifle ashen.
TREVES
What got you into medicine, Hodges?
HODGES
My father, sir. He's built quite a
successful practice. I home to take
it over one day.
TREVES
Is that your case as well, Pierce?
PIERCE
Yes sir. Though of course I do
have a great desire to help my
fellowman.
Treves smiles at them knowingly.
TREVES
Of course you do realize that medicine
has changed quite a bit since
your father's time. In those days
we didn't even wash our coats. In
fact, the sign of a truly accomplished
surgeon - was his black operatitg
coat, so stiff with dried blood
and pus that it could stand up by
itself in the corner. I've still
got mine upstairs... You don't mind
blood, do you?
HODGES & PIERCE
Oh no, sir. (etc.)
TREVES
Good, that's one thing we've always
plenty of.
HALLWAY
A hospital MESSENGER BOY, dressed in a blue uniform and a
can is making his way down the hall. He stops and looks
into an operating room much like the one we have just seen.
Inside, the room is empty. The Boy closes the door and
continues on to another operating room. The Doctors move
with great urgency around the operating table. Blood is
draining down into a white porcelain bowl. A Woman can be
heard moaning. The Boy looks carefully, but finally closes
the door and continues on his way.
TREVES' OPERATING ROOM
There is a hissing sound and steam from the cauterizing of
the wound comes up obscuring part of Treves' face. The
patient is being held down firmly by the other men.
The door opens and Treves looks up. The Boy pops his head
in.
BOY
Excuse me, Mr. Treves, sir.
TREVES
Yes?
BOY
I found it.
TREVES
(studying the Boy carefully)
Did you see it?
The Boy shakes his head slowly, "No."
TREVES
I'll be with you in a moment ...
The Boy closes the door.
FOX
(quietly)
I say Freddie, what are you about?
TREVES
oh nothing... nothing of any great
importance.
AERIAL SHOT from third floor of the London Hospital looking
down on the hospital square.
Below, Treves is walking briskly across the square, through
a gate and into the slums beyond.
The aerial shot is actually FOX'S POV, and now we see Fox
filled with curiosity, watching the figure from a window.
Looking down from above and to the side of him, we follow
Treves walking through a cobblestone street still wet from
a recent rain, covered with horse manure and filth of all
sorts. The air is smoky from meat burning fires. Rounding
a corner, we see and approach the painted canvas sign of
"The Elephant Man" covering the front of a small, dingy
shop. The door of the shop is windowless and padlocked.
Treves walks into the picture, studies the whole scene for
a moment, goes to the shoe door and finds that it is padlocked.
Treves tries to look under an edge of the canvas. To his
left he sees a SZIALL BOY watching him intently.
TREVES
Do you know where the proprietor
is?
He holds a coin out. The Boy nods, snatches the coin and
I disappears around the corner.
Treves turns back to the canvas.
A PUB
A noisy pub, long and narrow. Benches run the length of
the back wall, with small tables up against them. Men are
clustered around the bar, talking in groups.
We see the Boy standing at one of the tables talking to the
Owner, greedily consuming his lunch as he listens. The Boy
gestures outside.
OUTSIDE THE PUB
The Boy comes out the door, quickly followed by the Owner
hurriedly putting on his coat, fumbling with a riding crop,
the last of his sandwich stuffed in his mouth.
AT THE CORNER
The Boy and the Owner are carefully looking around the corner
at Treves still in front of the portrait.
OWNER
He's not a peeler ...
BOY
No, I don It think so.
OWNER
No... I don't think so.
They walk into the street.
IN FRONT OF THE SHOP
The Owner and the Boy walk up to Treves.
TREVES
Are you the proprietor?
OWNER
And who might you be, sir?
TREVES
Just one of the curious. I'd like
to see it.
OWNER
I don't think so. No sir, we're
closed.
Treves pulls a purse from his coat, extracts a coin and
holds it out.
TREVES
I'd pay handsomely for a private
showing. Are you the proprietor?
OWNER
Handsomely?... Who sent you?
TREVES
Pardon me?
OWNER
Never mind. I'm the owner.
He snatches the money.
INSIDE THE SHOP
Total darkness. We hear the sound of the padlock being removed.
The door opens and light streams in. The canvas
covering the windows at the front of the shop obscures all
other light. The Owner enters, followed by Treves and the
Boy. From his expression, as well as Treves', we can tell
there must be an awful stench in the room.
No one says a word. The Boy closes the door, while the
owner lights a small gas light. We can now see the shop.
It it empty, grey with dust, cold and dank. Some old tins
and a few shriveled potatoes occupy a shelf. The far end
of the shop is blocked off by a curtain suspended from
a cord by a few rings.
The Owner approaches it.
OWNER
Here we are sir.
(ticking it off by rote)
Life is full of surprises. Ladies
and gentlemen, consider the fate of
this creature's poor mother. In the
fourth month of her maternal condition,
she was struct down by a wild
elephant
(leering)
Struck down, if you take my meaning,
on an uncharted African isle. The
result is plain to see ladies and
gentlemen... THE TERRIBLE ELEPHANT
MAN!
The rings rattle back, and the curtain is omen. We see a
bent figure crouching on a stool, covered by a brown blanket.
In front of it on a tripod is a large brick, heated from
below by a bunsen burner. From the blanket protrudes a
perfectly normal left arm and hand warming itself over the
brick. It does not move when the curtain is drawn.
Treves steps closer. The Owner, watching his every move,
turns-and smiles at him. He bangs his riding crop on the
wall and yells to the crouched figure, as if speaking to a
dog.
OWNER
Stand up!
The Boy, excited by his own fear, mimics the Owner.
BOY
Stand up!
The figure comes forward and lets the blanket fall to the
ground and we see the ELEPHANT MAN himself.
Treves, his eyes wide with horror and wonder, his mouth
frozen open, steps backward in an instinctive movement
of self preservation.
The Owner laughs.
The Elephant Man is naked to the waist, his feet are bare
and he wears a pair of worn trousers from a fat man's dress
suit. He is a little below average height, and looks shorter
from the bowing of his back. His head is enormous and misshapen,
as big around as a man's waist. From his brow projects
a huge boney mass, almost obscuring his right eve. His
nose is a nose of flesh, recognizable only from its position.
From the upper jaw projects another mass of bone protruding
from the mouth like a stump, turning the upper lip inside
out, making a slobbering aperture. It almost gives the impression
of a rudimentary trunk or tusk. On top of his
head is a handful of lank, black hair. At the back of it
hangs a bag of spongy skin, resembling cauliflower. These
loathsome growths cover his back and hang down to the middle
of his thighs. The right arm is enormous and shapeless, the
hand like a knot of tuberous roots. His left arm is not only
normal, but delicately shaped, with fine skin and a hand that
any woman might envy. From his chest hangs another bag of
flesh, like the dewlap of a lizard. His legs are also grossly
deformed, his feet great stumps. Behind him, as painted in
the portrait, are two crudely constructed palm trees.
The Owner harshly raps again.
OWNER
Turn around!
The Elephant Man begins to turn. The boy filled with malicious
glee at seeing the monster obey, screams.
BOY
Turn around! Turn around!
The Elephant Man completes his turn and comes to rest.
We see a CLOSE-UP of the Elephant Man looking at Treves.
His face is utterly devoid, and incapable, of expression.
We see the Elephant Man's eyes. He closes them.
OUTSIDE THE SHOP
The Owner is locking up.
Treves, facing the street, drinks in the fresh air. He is
trying to forget his shock, put everything into focus.
He looks at the garrish portrait again.
Treves produces his purse.
The Owner, smelling money, turns.
Treves hands him several coins.
TREVES
So you'll bring him to me, tomorrow,
10:00 a.m.? Mr.... ?
OWNER
Bytes. Mr. Bytes. He'll be there.
TREVES
I'll send a cab. Here is my card.
Treves hands the Owner a card. The Owner, greasy and dirty,
shakes Treves' hand and squeezes his arm.
OWNER
Now we got a deal... We understand
each other... guv. We understand
each other completely.
The Owner gives Treves the evil look of a conspirator.
Treves walks off, disoriented.
The Owner reads the card and smiles at Treves walking away
down the street.
DISSOLVE TO OUTSIDE THE 8HOP
A CABMAN is knocking on the door of the shop, staring at
the portrait. The door opens, revealing a figure in a
floor-length black cloak. On his head is an extremely large
hat, cut to the lines of a yachting cap. A grey-flannel
curtain hangs from the bottom of the cap all the way around,
hiding his fade. There is a horizontal slit in front for
the eyes. On the figure's feet are large, bag-like slippers.
The only part of the body seen at all is the left arm and
hand, which protrudes from the cloak, holding a crude walking
stick. The figure seems to loathe being in the open. We
can just barely see in the darkness within the Owner standing
to one side of the door, obviously enjoying the surprise
on the Cabman's face. The Owner steps abruptly into his
view.
OWNER
Don't just stand there. Help
him up.
The Cabman, does so, while a small, curious crowd forms.
The Owner gives the Cabman the card. The Cabman jumps up
onto the seat and off they go.
THE RECEIVING ROOM - LONDON HOSPITAL
The receiving room is a bare hall, painted stone color. It
has rows of benches and a long desk where entries are made,
and certificates and other papers are issued. It is a cold,
harsh place.
CABMAN
Not at all, sir. My... pleasure.
He exits.
Treves turns and sees the Matron, staring.
TREVES
I'll be in my rooms, Mothershead.
I'm not to be disturbed.
She nods silently. Treves looks at the figure for a moment.
TREVES
Come with me, please.
He starts to go out of the room. The hooded figure just
stands there, motionless.
We see the whole room, the people now silent. They all stare
at the figure. No one makes a move.
MATRON
You heard the doctor... Go on.
Treves turns to look at the hooded figure who stands there
a moment, then slowly shuffles after him. Mrs. Mothershead
and the people in the room watch him go. When he is out of
sight, they all begin to talk excitedly. Mothershead stands
fixed and watches too, ignoring the noisy room.
TREVES' OFFICE
The door opens and Treves leads the hooded figure to a chair
in front of his desk and helps him to sit down, furtively
trying to look into the eye-slit of the mask. In the small
room the smell of the Elephant Man is over whelming. Treves
goes to the window and opens it. He nervously tries to compose
himself, then turns to the hooded figure.
TREVES
My name is Frederick Treves... I am
a surgeon here at the London Hospital,
and I lecture in anatomy at the Medical
College... I would very much like
to examine you. 'Rould that be all
right?
The figure in the chair is still. Treves is at a loss. His
sense of discomfort is growing. He looks at the floor for a
moment, then locks his eyes on the figure's left arm.
TREVES
Ah... yes. Um, first I would
like to ask you a few questions,
would that be alright?
The figure does nothing. Treves sits down at his desk and
picks up a pencil.
TREVES
Good. Now, let's see. Your
Owner... um, the man who...
who looks after you tells me
that you are English and your
name is John Merrick. Is that
correct?
The figure does nothing.
TREVES
Do you know where you were born?
Where you come from?
The figure does nothing.
TREVES
I tell you what, I'll ask you a
question, and you shake your head
like this for "no" and nod like this
for "yes", alright? Do you understand?
The figure following Treves' movements nods very slowly,
"yes". Treves sighs with relief.
TREVES
Are you in any pain?
The figure begins to babble incoherently. Treves, alarmed,
interrupts.
TREVES
Um, no. Just nod your head like
this for "yes" and shake it like
this for "no". Now, are you in
any pain?
Again the figure, following Treves movements, shakes his head
"no".
TREVES
Are your parents still alive?
The figure does nothing. Treves is quite nervous.
TREVES
Do you understand? Are they
dead? Your father...
your mother?
The figure begins to moan. There are two sharp raps at the
door. The hooded figure flinches.
The door opens and Fox pokes his head into the room.
FOX
Freddie, what you doing for... I
say do open a window in here or ...
He notices the hooded figure.
FOX
Oh, I'm dreadfully sorry, I had
no idea that... I say!
Treves quickly rises and pushes Fox out into the hallway,
following him and closing the door.
IN THE HALLWAY
Treves and Fox are standing outside the door to Treves' office.
FOX
Good Lord, Freddie! What have you
got in there?
TREVES
You'll know presently. At the
meeting of the society. But until
then, I beg of you Fox, keep
it to yourself.
FOX
Certainly, if you insist. You must
have quite a find there.
TREVES
I don't know what I've got.
FOX
Nothing of any importance, eh?
Treves turns to go back in, then stops.
TREVES
I'll tell you this much, Fox,
it's beyond anything you or I
have ever dealt with. Keep it
to yourself, please.
He goes back in, shutting the door.
TREVES' OFFICE
Treves turns the key in the door. He turns to the chair
the figure had been occupying, but he is not there.
The figure is hiding in the corner, crouched behind a black
frock operating coat, so stiff with dried blood and pus it
stands up by itself.
Treves looks quickly around the room and finally' sees him.
He looks at the figure for a moment.
TREVES
Come sit down.
The frightened figure just crouches there looking at him.
Treves goes to him, pulls him up and over to the chair.
TREVES
Sit... down.
The figure sits. Treves pauses uncertainly.
TREVES
I think I'll examine you now. I'll
save the questions for later...
Will you take off your hat now,
please?
The figure does nothing. Treves moves to him.
TREVES
Don't be frightened, I simply want
to look at you. Do you understand?
The figure leans back fearfully. From behind him we see just
the top of his wide hooded head.
Treves, standing before him, lifts the hood up and back.
TREVES
(more to himself)
That's right, don't be frightened.
Don't be frightened.
A SMALL ROOM - LONDON HOSPITAL
We see two cameras set up, their OPERATORS next to them
staring at something we cannot see. Treves stands beside
them concentrating on the same sight. All three are speechless.
Treves suddenly remembers himself.
TREVES
Are you ready?
The Cameramen mumble, "Yes", and gratefully disappear beneath
the black cloths of their cameras.
TREVES
Go ahead.
They trigger the flash powder. In the blinding flashes we
briefly see the silhouette of a tremendously bulky figure,
starting at the light.
DISSOLVE TO LECTURE HALL - PATHOLOGICAL SOCIETY OF LONDON
BRIGHT LIGHT
As we pull back and down in a slow spiral we see the light
is coming through high windows. We now see several rows
of distinguished doctors talking to each other in anticipation.
As we continue to spiral down we see Treves before
them at a podium. Behind him are two ASSISTANTS standing
beside a curtained stall. Treves raps a pointer stick on
the podium to bring the meeting to order. We move behind
the stall as the Assistants part the curtains and we see the
silhouette of the Elephant Man. The doctors talk among
themselves quietly.
TREVES
He is English, he is twenty-one
years of age and his name is John
Merrick. Gentlemen, in the course
of my profession I have come upon
lamentable deformities of the face
due to injury or disease, as well as
mutilations and contortions of the
body, depending upon like causes; but,
at no time have I met with such a
dearaded or perverted version of a
human being as this man. I wish to
draw your attention to the insidious
conditions affecting this patient.
Note, if you will, the extreme
enlargement of the skull ... and upper
limb, which is totally useless. The
alarming curvature of the spine ...
Turn him, please ...
TREVES (V.0.)
... the looseness of the skin, and
the varying fibrous tumors that
cover 90% of the body.
Treves' voice fades as we DISSOLVE TO the Doctors, who at
first were rigid and flustered, and now bent forward,
concentrating, obviously consumed with interest.
Spiraling down again we see Treves finishing his lecture.
TREVES
... And there is every indication
that these afflictions have been
in existence, and have progressed
rapidly, since birth. The Patient
also suffers from chronic bronchitis.
As an interesting side-note, in
spite of the afore-mentioned anomilies,
the patient's genitals remain entirely
intact and unaffected.
Treves nods to the Assistants and they go the Elephant Man.
We see them in shadow untying the loose knot of the loin cloth.
CLOSE-UP of the shadow of the head of the Elephant Man. it
goes up for a breath.
TREVES
So then, gentlemen, owing to this
series of deformities: The congenital
exostoses of the skull;
extensive papillomatous growths and
large pendulous masses in connection
with the skin; the great
enlargement of the right upper limb,
involving all the bones; the massive
distortion of the head and the
extensive areas covered by papillomatous growth,
the patient has been called,
"The Elephant Man.'
TREVES OFFICE
The Elephant Man (hereafter the E.M.) wearing his cloak, is
seated by the desk. Treves stands behind him, measuring his
head with calipers. 'He removes the calipers and notes the
span, then sets them on the desk. He places the hood over the
E.M.'s head. Treves sits at his desk and makes some final
notes. He becomes more absorbed in his notes than in the E.M.
The E.M. makes an unintelligible sound.
TREVES
Hmm?
The E.M. is silent. Treves, only now realizing that the E.M.
has said something, looks up at him.
TREVES
Hmm?
The E.M. is silent. Treves passes it off as a sigh and turns
back to his work.
TREVES
It's been a long day for everyone.
He closes his notebook and rises. He remembers something.
TREVES
Oh, yes, you'll need a cab. .
(to the E.M.)
Stay.
He exits. The E.M. is alone. He rises and shuffles slowly
about, investigating the room. He goes to the desk and begins
touching things, including the calipers. He notices the card
Treves gave to the Owner tucked in the back pages. He pauses
for a moment and then takes the card. His hand disappears into
the cloak, and he moves back into the corner behind the stiff,
black operating coat.
Treves re-enters.
TREVES
Come with me.
The E.M. takes up his stick and follows Treves out.
UPSTATRS HALLWAY - THE LONDON HOSPITAL
We see Treves and Fox alone at a window. They are looking
down on the hospital square Treves had previously crossed
and see the E.M., lit by gaslight and moving to a waiting
cab.
FOX
You never mentioned his mental
state.
TREVES
He's imbecile, no doubt from birth.
He speaks, but... it's all gibberish.
No, the man's a homeless idiot...
(to himself)
I pray God he's an idiot.
The E.M., as he is getting into the cab, stops, turns and
looks to the upper stories of the hospital. Treves and Fox
are joined by three laughing colleagues who clap Treves on
the back.
THE FIRST
Quite a coup, Freddie. You'll
look splendid in the journal.
THE SECOND
Where ever did you find that
creature?
From the upper story we watch the cab drive away.
THE THIRD (V.0.)
It's a pity.
FOX (V. 0.)
I pity the poor cab driver, myself.
From outside the window we see Treves surrounded by his laughing
friends.
ENTRY HALL - TREVES' HOME
We see a door. It opens and Treves walks in. He shuts the
door, locks it, goes to a coat rack on the wall and hangs up
his overcoat and hat. He notices his reflection in a mirror
and examines himself wearily. Anne's smiling reflection appears
beside his.
ANNE
Did it go well, darling?
TREVES
Yes, very well, I think.
Are the girls in bed?
ANNE
Yes, and they send their kisses.
Would you like your sherry now?
TREVES
No, I think a whiskey.
We move past Anne's reflection to a CU of Treves.
WHITECHAPEL - NIGHT
We now see a bunsen burner roar of flame reflected in Bytes'
eyes. Pulling back we see Bytes, quite drunk, sitting, cooking
sausages over the hot brick. He takes another drink from
his gin bottle. Up comes a wet belch and he takes another
drink.
The E.M. is crouched against the wall with a bowl of potatoes
and a cup of water in front of him. With his good hand, he
is picking tiny pieces of potato and feeding himself. The
eating is fairly loud and animal-like. The drinking is even
worse.
The Boy is across the room asleep, wrapped in ragged little
blankets.
The E.M. takes a drink of water, making a loud smacking,
slurping sound. Bytes looks up from his cooking with a
smouldering look, just waiting for him to make the sound
again. He does and Bytes takes his crop and violently jabs
him.
BYTES
Belt up, you misbegotten garbage.
(mumbling to himself)
How can I eat with that?
Bytes takes a mouthful of gin and mockingly slurps it mimicking
the E.M.'s sound.
BYTES
(yelling)
How can I eat with THAT?
The E.M. picks and eats some more and then drinks again very
tentatively. Because of his fear the water catches in his
throat and he spits and coughs out onto the floor, gasping
and wheezing for breath.
Bvtes is up and whacks him with his riding crop.
BYTES
Out of my sight!
The E.M. struggles to get up, carrying his food.
BYTES
(not satisfied with his speed)
NOW!
He jabs the E.M. again, spilling his potatoes and water onto
the floor.
BYTES
You clumsy sod!
He pushes the E.M. again, then slips on the potatoes and falls
heavily to the floor, crying out in shock. Then rage hits
him. The E.M. backs up.
BYTES
YOU!
The Boy wakes up in fear. Bytes moves quickly toward the
E.M. raising his crop. The E.M. stumbles and falls backward
onto the floor. His head goes back and he begins gasping for
air. Bytes yanks him up and hits him in the face with his
riding crop. The force of the blow knocks a glob of spit
into the air from the E.M.'s mouth. The E.M. gasps and
wheezes horribly as Bytes hits him again and again.
From across the room.
BOY
Bytes! DON'T...
Bytes goes right on with the beating.
BYTES
This won't do, my lad. This
just won't do!
RECEIVING ROOM - LONDON HOSPITAL
We see the eyes of the Boy. As we pull back from them, they
widen with recognition.
WIDE SHOT of the Receiving Room. Treves has entered and the
Boy walks quickly up to him.
BOY
Our man is sick. Come right
away.
TREVES
What is it?
BOY
Like this.
(he breathes heavily in and
out to demonstrate the E.M.'s
difficulty)
TREVES
I'll get my bag.
INSIDE THE SHOP
We hear the sound of wheezing coming from the E.M. who is
sitting propped up against the stage, wrapped in a blanket.
His head bent forward toward his knees. Bytes is going to
the door as it opens and the Boy leads Treves in. Treves
immediately goes to the E.M.
BYTES
What did you do to him? He's been
like this all night!
TREVES
What do you mean?
BYTES
He was fine when he left here, and
now look at him.
TREVES
I intend to.
Treves pulls the blanket away from the E.M. exposing several
bruises and bloody cuts. Treves freezes at the sight and
slowly turns to look at Bytes.
TREVES
What happened?
BYTES
He fell.
(guardedly)
He falls.
TREVES
He must have taken quite a fall.
He looks up at the riding crop in the hand of Bytes, then to
the strangely nervous and silent Boy.
BYTES
He's a clumsy git. Never watches
where he is going.
TREVES
Why is he sitting up like this? He
needs rest.
BYTES
That's the way he sleeps. If he
lays down, he'll die.
(he points to his neck and
leans his head back)
Head's too heavy.
Treves turns his attention to the E.M. He lifts his head
higher and examines the E.M.'s eyes. The E.M., who had
been oblivious up until this point, looks into Treves' eyes
and recognizes him. With his good hand, he reaches up and
touches Treves' arm almost as if appealing to him. Treves'
eyes lock on his.
TREVES
This man belongs in hospital.
BYTES
(apprehensively)
Can't you fix him up here?
... He's my livelihood. Listen.
TREVES
You listen, you're not going to
have much of a livelihood if this
man dies. He's got the rale, he's
very weak, and I don't know how
much damage has been done by his
"fall". Now stop wasting time and
fetch a cab.
Bytes considers and then snaps his fingers at the Boy who
runs out. He then breaks into an ingratiating grin and leans
down over Treves who busily examines the wheezing E.M.
BYTES
I really appreciate this, guv.
You know, there's lot of things
that I can do for you. I move in
the proper circles, for this type
of thing...
(motioning toward the E.M.)
In fact, anything at all, if you
take my meaning.
Treves, uncomfortable, rises. Bytes grips his hand and with
the other gathers the material of his sleeve in a slow deliberate
squeeze.
BYTES
I like doing business with you.
You and I understand each other,
completely. I know I can trust
you. Can't I?
TREVES
(gazing at him levelly)
Everything will be seen to.
MORNING - AERIAL SHOT LOOKING DOWN ON HOSPITAL SQUARE
Through a window we see Treves and the E.M. walking through
a back gate and across the square. MR. CARR GOMM, Hospital
Chairman, turns and moves away from the window.
HALLWAY
NURSE NORA IRELAND is pushing a cart fiill of empty breakfast
trays down the hall. She glances into the stairwell and
sees Treves and the E.M. coming through the door. She
continues on, startled by the sight of the mysterious hooded
figure. At the end of the hall, she goes into the kitchen.
STAIRWAY
Treves and the E.M. are laboriously climbing a flight of
stairs. The E.M. is puffing and wheezing with the effort.
Treves supports him under his right arm.
KITCHEN
Nora enters with the cart and waits for it to be restocked.
She leans out the door for another look, but the hall is
empty. A Nurse ladles mush into bowls. There is a lot of
activity in the kitchen. Nora takes the cart stacked with
full trays and pushes it out the door and down the hallway.
HALLWAY
Treves and the E.M. cross the hallway and head up a narrow
stairway towards the attic. There is a sign reading
"Isolation".
Carr Gomm is leaning out the door to his office, unseen by
Treves. He closes the door.
GENERAL WARD - LONDON HOSPITAL - MORNING
It is a long, high ceilinged room with large windows along
one wall. Beds run the length of both sides of the room.
It is a wcman's ward and nurses are serving the patients
breakfast. Nora enters and nurses take trays from her cart.
Nora's mind is on what she has just seen. We see Mothershead
come in the door behind her.
MOTHERSHEAD
(startling Nora)
Nora! Mind your duties ... if
you don't concentrate dear, you'll
only make more work for the rest
of us. Now, get about your business.
(pauses, seeing Nora's collar)
... and 00 get your collar straight,
dear.
NORA
(fumbling with her collar)
I'm so sorry, Mrs. Mothershead.
MOTHERSHEAD
Do get on with it, Nora.
Mothershead walks on, as Nora now very flustered, picks up a
tray.
ISOLATION WARD
CU of a bottle of dark fluid and a bottle of light fluid. Treves
mixes the two in a glass. We are in a small oddly shaped room
off the attic ward. There is one tiny barred window located
high up on the far wall. There is also a bed, two hard chairs
and a table. The E.M. is sitting on the bed in shadow and his
disguise is now hanging from a peg on the wall beside him. He
is still wheezing and appears to be very weak. Treves serves
the mixture to the E.M., who sputters and gags on it, but
manages to get it down. Treves goes to the table and puts
the two bottles in his bag. He goes to the door and turns
to the E.M.
TREVES
I don't know if you will understand
this, but you will never
go back to that man again. You're
safe now. No one will ever harm
you. Do you understand?
The two men just look at each other.
KITCHEN - LONDON HOSPITAL
Treves enters the kitchen and nicks up a bowl. A NURSE ladles
some porridge for him.
NURSE
Breakfasting with the patients this
morning, Mr. Treves?
TREVES
It's for a patient.
Treves exits and the nurses admiringly watch him go.
FIRST FLOOR LANDING AND HALLWAY
Treves climbs the stairs onto the landing. Down the hall,
Mr. Carr Gomm is walking toward his office. Treves tries
not to be seen, but to no avail.
CARR
Mr. Treves, come over here a
moment, won't you?
Treves hesitates, trying to hide the bowl, but gives up and
goes down the hall to meet Carr Gomm.
CARR
Good morning, Treves.
TREVES
Good morning, sir.
CARR
(seeing the bowl)
You've acquired a taste for
this?
TREVES
It's quite nutritious, sir.
CARR
Don't be mad. This muck can kill
you.
Carr Gomm calls a Nurse from a nearby ward over. It is
Nora. He takes the bowl from Treves and hands it to her.
CARR
Take this up, to to the man in the
isolation ward when you have a
moment, won't you?
NORA
(apprehensively)
Yes, sir.
TREVES
Don't be frightened. He won't
hurt you.
CARR
Indeed!
He gestures toward his office door. As he and Treves enter
the office, Nora looks apprehensively up the isolation ward
stairs.
MR. CARR GOMM'S OFFICE
It is a small, elegantly furnished room with a large window.
The two men sit, Carr Gomm behind his desk and Treves in a
leather chair.
CARR
A hospital is no place for secrecy,
Mr. Treves. Doctors spiriting
hooded figures about are liable
to cause comment. Why wasn't this
patient properly admitted, and why
is he in isolation? is he contagious?
TREVES
No sir, he's got bronchitis and he's
been badly beaten.
CARR
Why isn't he in the General Ward,
then?
TREVES
Well sir, he's quite seriously deformed,
and I fear the other patients would
find him... rather shocking.
CARR
Deformed? Is that it. Then am I to
assume that he is ultimately incurable?
TREVES
Yes sir.
CARR
What are your plans then, Treves...
You are aware that the London does
not accept incurables. The rules
are quite clear on that point.
TREVES
Yes, I'm well aware of that. But
this case is quite exceptional.
CARR
Oh, is he a friend of yours?
TREVES
No, more of an acquaintance.
ISOLATION WARD (A) AND STAIRWAY (B) CARR GOMM'S OFFICE (C)
(A) The E.M. is asleep in his sleeping posture on the bed.
(B) Nora, with the bowl, is climbing the stairs to the attic
ward. She pauses in sight of the door and looks apprehensively
at it. She begins to hum to give herself courage, and
continues up the stairs.
(A) The E.M. awakens, hears the footsteps, and now the humming,
which grows in volume. He becomes fearful and reaches
for his cloak. The humming stops. He freezes and listens.
(C) Treves and Carr Gomm seated as before.
CARR
I certainly sympathize with your
problem, Treves... Why don't you
try the British Home, or the Royal
Hospital for Perhaps
they would have a place for him.
TREVES
Yes sir, I'll look into that.
(he rises)
Would you like to meet him sir?
(B) Nora stands outside the door, listening. She is barely
breathing.
(A) The E.M., still listening, slowly lets his hand drop away
from the cloak.
(B) Nora opens the door.
(A) The E.M. grabs for the cloak as the door swings open
flooding him with light. We see him for the first time in
his entirety. CU of Nora screaming and dropping the tray.
CU of the caught E.M.
(C) The shrill scream is heard from upstairs.
TREVES
Excuse me, sir.
Treves rushes out. Carr Gomm just sits for a moment, thinking.
CARR
The Elephant Man?
ISOLATION WARD LANDING
Treves, rushing up the stairs, reaches the landing. Nora is
at the railing, crying. The door is open, the breakfast tray
littering the floor. The E.M. is on the bed trying to squeeze
into the corner. Treves quickly closes the door and tries to
comfort Nora.
TREVES
I'm sorry, my dear, I should have
warned you. I'm so terribly sorry,
please forgive me. There, you're
alright now. Go downstairs and
please ask Mrs. Mothershead to come
up. Tell her to knock on the door
and wait for me. Alright?
NORA
Yes Sir. I'm sorry, Sir.
Drying her eyes, she goes downstairs.
ISOLATION WARD
Closing the door, Treves steps over the spilt breakfast and
goes to the E.M.
TREVES
I'm very sorry about that. Are
you resting well?
The E.M. makes a garbled sound.
Treves, alone with the E.M., once more finds himself becoming
uncomfortable.
TREVES
Ah good. Well then... oh yes,
we'll have to get you some more
food. I'm sure you must be simply
famished. Hmm?
The E.M. is silent.
TREVES
Of course you are. Now then, I
think you'll be quite comfortable
up here for awhile. I'll see to
it you have everything you need,
and, uh... yes.
Treves puts out a comforting hand to the E.M. who flinches
back. The two men just look at each other.
GENERAL WARD
Several Nurses are taking bath things off a cart. At the
other end of the room, Mothershead is talking to a patient.
Nora enters and walks over to Mothershead. They talk, and
Mothershead exits. Nora joins the other nurses.
OTHER NURSES
Did you see him?
NORA
Yes.
OTHER NURSES
What's wrong with him?
We see Nora's face. She is silent.
ISOLATION WARD LANDING
Mothershead knocks on the door. Treves opens it, comes
out onto the landing and closes the door.
TREVES
Ah, Mothershead. How are you
feeling today?
MOTHERSHEAD
(suspiciously)
Fine.
TREVES
Good. Excellent. Now then, Mrs.
Mothershead, I want you to come
into this room with me. Inside
there is a man with a rather...
unfortunate appearance.
MOTHERSHEAD
I've heard.
TREVES
Yes... Well, I want you to clear
up a little mess, a breakfast tray
was spilt. And bring up another
breakfast. When you've done that,
you and I shall give the man a bath.
But, Mothershead, I'm counting on
your many years of experience to
get you through this, Above all,
do not scream, do not cry out, or in
any way show this man that
you are frightened of him...
MOTHERSHEAD
Sir, you don't have to worry about
me. I'm not the sort to cry out.
Shall we go in?
TREVES
Yes... Yes, let's go in.
Treves opens the door.
ISOLATION WARD
Mothershead goes right to the mess.
TREVES
(to the E.M., hereafter Merrick)
I would like you to meet Mrs.
Mothershead - Mrs. Mothershead,
Mr. John Merrick.
Merrick looks up to Mothershead, then averts his eyes. He looks
back at her and sees she has no difficulty being in his presence.
MOTHERSHEAD
How do you do?
ISOLATION WARD LANDING
At the door of Merrick's attic room stand two buckets of
very dirty water. We hear footsteps coming up stairs and
see a young porter carrying two buckets of clean, steaming
water. He puts them down, knocks on the door, and takes
the dirty water downstairs. The door opens, Mrs. Mothershead
picks up the steaming buckets and takes them inside,
shutting the door.
ISOLATION WARD
Merrick's seated in a tin bathtub trying to hide his nakedness.
Mrs. Mothershead pours the water in. She scrubs his
back with obvious distaste, but does her job. Months of
filth and accumulated escresence are turning the bath water
a murky black. As Mothershead scrubs, Merrick slowly leans
forward in the bath, closing his eyes, apparently oblivious
to his surroundings. Treves sits beside him.
TREVES
The disease is shocking.
Merrick's eyes flicker.
TREVES
I wonder how far it can go before
it...
Merrick flinches and pulls away.
MOTHERSHEAD
Sit still. Don't wiggle about
like a pup. I won't stand for
any foolishness.
Treves leans forward and looks at Merrick. Merrick grows
still, his eyes closed, apparently in a reverie.
TREVES (V.0.)
It's pretty certain that if he
had the disease as a child, he was
abandoned. But in that case, he'd
have to have had care. The very
fact that he's alive bears that
out...
(cut to Treves)
But, where?
Merrick is listening.
MOTHERSHEAD
The workhouse.
TREVES
Yes! The workhouse!
At this word, Merrick begins to babble wildly. Obviously
alarmed, he thrashes about in the tub, spilling water onto
the floor. Treves, alarmed now himself, attempts to calm
Merrick, who, still babbling, tries to rise from the tub.
Mothershead clamps a hand on Merrick's left arm. At her
touch, he is instantly subdued, at least physically. He
sinks back into the tub and begins to weep. Treves and Mothershead
are astounded by the tears rolling down Merrick's cheeks.
They stand motionless looking down at the agonized, naked
elephant man.
TREVES
(softly)
The workhouse.
FOLLOWING BUCKETS OF DIRTY WATER DOWN A HALLWAY
BACK ENTRANCE - ALLEY
The young PORTER is exiting with great difficulty through a
large iron door carrying the two buckets. He sets one of
the buckets down, takes the other and splashes it out into
the alley. Some thick sludge dribbles from the empty bucket.
Unseen by him, the NIGHT PORTER is standing just to the side
and he now comes forward. The young Porter seems nervous in
his presence.
The Night Porter looks at his spattered shoes, then up to
the Young Porter.
NIGHT PORTER
What's all this, then?
YOUNG PORTER
Mr. Treves is scrubbing his Elephant
Man.
NIGHT PORTER
Elephant Man?
YOUNG PORTER
Yeah... I hear it's a real horror -
even made Mothershead scream.
NIGHT PORTER
Friend of the night, eh? The
Elephant Man. I think I'll
have me a look at that.
Suddenly the Night Porter kicks the other bucket of filthy
water violently, sending it splashing all over the young
Porter.
NIGHT PORTER
Now, you need the scrubbing, ducks!
He lets his cigarette drop to the ground, then stamps and
grinds it with his brass-heeled boot, all the while smiling.
Then he turns on his heel and leaves.
CUT TO:
Dark clouds rolling through an evening sky.
ATTIC WARD
Through the high barred window, we see the dark sky. The E.M.
is on his bed in his sleeping posture. A dim gaslight burns
in the room.
CLOSE-UP of his head on the points of his knees. His
breathing is more regular now.
A GENERAL WARD
Lights are being turned off.
ANOTHER WARD
Lights go off.
BACK ENTRANCE
Large iron door is closed.
HALLWAY
Half the lights go off.
HALLWAY
Nurses leave for their quarters - half the lights go off.
SECOND FLOOR HALLWAY
We hear the slow metallic footfalls of the Night Porter's
boots. He appears and walks into a darkened women's
ward. The women are all asleep. Some coughing fitfully,
others moaning quietly. The Night Porter walks down the
aisle between the beds. We see several of the sleeping
women as he passes them. Finally, he comes to a young
beautiful woman, her eyes wide open, watching him with
intense fear. On either side of her are two very ancient
women, snoring deeply. The young woman has her arms tied,
suspended in traction above her. The Night Porter moves
to her, his shadow engulfing her. She starts to move,
rattling the apparatus above her. The Porter puts a
finger to his lips.
NIGHT PORTER
Hush, love, I told you before -
one word from me, they'll toss
you back on the street, and then
those pretty little arms of yours
will never grow straight. Now
close your eyes.
She turns her head away, closing her eyes. He moves in.
CLOSE-UP of a gas light in a hallway. The leaping flame
makes a low roar.
CUT TO ANOTHER HALLWAY
Somewhere a door is opened and the squeak sounds vaguely
like the trumpeting of an elephant. We hear again the
metallic footfalls of the Night Porter's boots, and he
appears. He goes to the narrow stairway marked, "Isolation".
He stops and casually looks about. He takes
a swig of his gin, then starts up the stairs.
ATTIC WARD
Merrick as before the light is very dim. We hear the
echoing footfalls of the Night Porter coming up the stairs.
Merrick's head immediately comes up from his knees. As
it does, a small object falls from where his head rested.
He picks it up and puts it in a pocket of his cloak. it
is the portrait of the beautiful woman, which he saw in
his dream.
Suddenly the door swings open and the Night Porter, bottle
in hand, is standing there. He walks into the room and sees
Merrick's shape on the bed.
NIGHT PORTER
Here he is, the old fiend of the
night, the terror of the London.
Let's have a look at you. Let's
see what makes 'em scream...
He turns up the light and sees Merrick clearly. The
Night Porter jumps back, awe struck.
NIGHT PORTER
Cor Blimey!
Merrick is trembling. The Night Porter, hardly able to
believe his eyes, moves slowly toward Merrick. He is
afraid but as he reaches the bed, Merrick flinches back.
The Night Porter grins, his fear gone now. He is in control.
NIGHT PORTER
So this is the Elephant Man. I
ain't never seen nothing like you
before. What the bleedin' hell
happened to you?
Merrick cowers as far away from the Night Porter as possible.
NIGHT PORTER
Oh... dumb, eh?
He takes a big swallow of the gin and smiles.
NIGHT PORTER
Good. I likes people what can
keep quiet.
He offers Merrick his bottle with a swift, almost jabbing
motion. Merrick pulls away from him.
NIGHT PORTER
Like a drink? Go on... Go on
have some. No? You should try
being more sociable, mate.
He tentatively presses the bottom of the bottle up against
the hanging growth on Merrick's chest. Encouraged, he
touches him with his fingers. Merrick makes a small
whimpering sound.
NIGHT PORTER
(grinning)
You and I are going to be good
friends, we are. And, I've got
lots of friends who I know would
like to meet you. And they will,
mate... they will.
He moves to the door and turns. CLOSE-UP of Night Porter's
face.
NIGHT PORTER
Welcome to the London.
He moves out the door and it closes. In the bed, Merrick
looks at the door with terror as the heavy footfalls of
the Night Porter recede down the stairs.
WHITECHAPEL ROAD
We see a horse's head in CU, snorting steam into the chill
morning air. The horse is harnessed to a milk wagon
parked in front of the London. Through the open back
of the wagon we see the MILKMAN, and past him Treves,
walking towards us.
MILKMAN
Here early again, eh Mr. Treves?
If you don't mind my saying so,
sir, with your early habits,
you'd 'a made a fine milkman.
TREVES
Good morning, Charley. I'll keep
that in mind!
Treves walks up the path into the hospital.
HALLWAY (MORNING)
Treves, carrying a bowl, crosses the upper hall and starts
to the narrow stairway to the Isolation Ward. Over his
shoulder we see him knock twice on the door. As the door
swings open, the camera pushes past him and we see the
room. The lamp is still burning, but Merrick is nowhere
to be seen. Treves enters, looking about for him.
TREVES
Mr. Merrick?
There's movement in the corner beside the bed. Merrick
rises slightly from the shadow. The light from the lamp
hits his frightened eyes.
TREVES
....Good morning... John. I've
brought your breakfast.
Treves is unsettled by the sight of Merrick cowering down
on the floor. Merrick begins to babble. Treves enters
the room, placing the bowl on the table and going to
Merrick.
TREVES
What are you doing down there? Come
up John, come up on the bed. The
cold floor is bad for you. I won't
hurt you, come on now...
He helps Merrick up onto the bed and goe@ back to the
table for the bowl.
TREVES
You must eat. We must keep your
strength...
He has turned back to the bed, but Merrick has slipped
to the floor again, still trying to hide himself in the
corner.
TREVES
... What on earth is the matter
with you?
He puts the bowl down again and goes back to Merrick,
who seems very upset at leaving his hiding place.
TREVES
Now please, John, you must do as
I say. Come up from there.
He starts to help Merrick up, but Merrick just presses
himself farther back in the corner, still babbling.
There are two raps at the door. Treves goes to it and
lets Motherthead in.
MOTHERSHEAD
Good morning, Mr. Treves. It'll be
his bath-time soon. Has he eaten?
TREVES
Not quite yet, Mrs. Mothershead.
There seems to be some difficulty
this morning.
They both look at the bed. Merrick has almost disappeared
under it.
MOTHERSHEAD
Won't come out, eh?
TREVES
No, he's very upset about something.
MOTHERSHEAD
Just being obstinate, sir. I'll
handle it.
She goes to Merrick and takes hold of his left wrist.
MOTHERSHEAD
Alright, my son, none of this fuss.
Come up from there, this instant.
She starts to force him up from the floor. Merrick is
moaning now, still trying to get away.
TREVES
No! Don't pull at him like that.
We don't want to frighten him
more than he already is.
By this time Mothershead has almost got him back on the
bed.
MOTHERSHEAD
Honestly, sir, you must be very
firm with this sort. Otherwise
they'd lay about on the floor
gibbering all day long. All he
understands is a good smack.
They help Merrick settle back on the pillow. Merrick is
still making desperate, unintelligible sounds.
TREVES
He's had his share of "smacks",
Mothershead. I expect that's what
drives him under the bed. We must
use patience and understanding
with this man.
MOTHERSHEAD
Perhaps you've got the time for
that, Mr. Treves, I certainly
don't. I've got an entire hospital
to look after, and you have
your real patients. Don't waste
your time with him sir, it's like
talking to a wall. I don't mean
to be harsh, but truthfully what
can you do for him? I'll be back
later for his bath. And Mr. Carr
Gomm would like to see you when you
have a moment. Good day sir.
She exits. Treves shuts the door behind her and turns back to
the bed.
TREVES
(to himself)
What good am I to you...?
He goes to the bed and sits down in front of Merrick, angered by
his own seeming uselessness in the situation.
TREVES
... What is my purpose? ... It's
so important that I understand
you. I want to help you, I want
to be your doctor...
(directly to Merrick)
but I can't help you unless you
help me, unless I know what you
are feeling. I believe there's
something back there, there's
something you want to say, but
I've got to understand you. Do
you understand me?
Merrick hesitates, then starts babbling again.
TREVES
No! You are going to talk to me!
We are going to show them! We're
going to show them that you're not
a wall. We are going to talk! Do
you understand? Nod your head if
you understand me!
Slowly Merrick nods yes.
TREVES
You do understand me! You understand.
Now you're going to say it.
I've got to hear how you say
things. Now, very slowly, say
"yes."
Treves carefully mouths the word.
TREVES
"Yes."
Merrick is still hesitant, from years of fear, but his eyes
betray a growing excitement. Slowly, he tries to talk, his
voice a tremulous whisper.
MERRICK
Yyyy... Yyye... yyyess.
TREVES
(grabbing Merrick's arm)
Yes John!
Throughout their dialogue, Merrick is still very garbled,
but he no longer babbles. He makes a great effort to speak
slowly, to form words the way Treves forms them, to be understood.
MERRICK
...Yyes
TREVES
Yyyess.
MERRICK
Yyess.
TREVES
That's much better. I could
understand that "yes".
MERRICK
(pleased)
Yes!
TREVES
Very good! Oh yes! Now listen.
I'm going to say some things to
you and I want you to repeat them
... um... I want you to say them
back to me. Do you understand?
I'm going to say some things to you
and I want you to say them back to
me. Do you understand?
MERRICK
Yes.
TREVES
Excellent! Now, say ..."Hello"
MERRICK
Hello...
TREVES
My name is ...
MERRICK
My... name is...
TREVES
John Merrick.
MERRICK
John... Merrick
TREVES
Say "Merrick".
MERRICK
Merrick...
TREVES
Say "Mmmerrick."
MERRICK
Mmmerrick.
TREVES
Say "Mmmerrick."
MERRICK
Mmmerrick.
TREVES
Well, that's alright. I understand
you. Now, say the whole thing again,
Hello ...
MERRICK
(haltingly)
Hello... my name is...
John Merrick.
DISSOLVE TO HALLWAY
Mrs. Mothershead comes out of the kitchen with a supper tray
and walks down the hall, passing the open ward door. We see
nurses serving patients their supper. Nora comes out of the
ward with a tray which she holds tightly against her. A bowl
of soup is spilling on her apron. She catches up with Mothershead.
They speak as they walk. -
NORA
Oh, Mrs. Mothershead, please forgive
my behavior yesterday. I'm sorry if
you're having to do extra work on my
account, It was just seeing it...
MOTHERSHEAD
Patients here are not "its". They
are either "he's" or "she's", but
that's alright, Ireland. This one's
going to be more work for all of
us. Good God girl! Mind your
broth.
Mothershead continues on. Nora guiltily watches her go.
ISOLATION WARD
Treves and Merrick are absorbed in their work. A knock comes
at the door.
TREVES
Come in.
Mothershead enters.
TREVES
Why, my dear Mrs. Mothershead, how
good of you to join us. Mr. Merrick,
will you please introduce yourself?
MERRICK
(hesitantly)
Hello, my name is John Merrick.
MOTHERSHEAD
Good Lord, Mr. Treves!
TREVES
(exuberantly)
We've made tremendous strides today,
Mothershead. He listens and repeats
with great attention, and this cer-
tainly isn't easy for him.
MOTHERSHEAD
Parrots can do as much, Mr. Treves.
It's all very nice, but I don't see
the point. You know they won't let
him stay here.
TREVES
(lowering his voice)
I'm sure that if Mr. Merrick made
a good impression on the hospital
committee they'd see that he's the
exception to their rule. Now I'm
not expecting miracles. I'm not
saying he'll be able to read or
write, but I do think that I can
get him to speak for himself. I'm
going to arrange things with Carr
Gomm right now.
(to Merrick)
That was very good, John, very good.
That's all for today. We shall do
some more tomorrow. Mothershead?
Mrs. Mothershead sets the tray down beside Merrick.
TREVES
I'll see you soon.
He and Mothershead exit. Merrick watches the door close. He
sighs quietly, looks about, and sees the Bible on the bedside
table. He picks it up and, gently runs his fingers over the
cover.
RECEIVING ROOM - THE LONDON
There is total pandemonium in the receiving room. The room
is filled with screaming men, women and children. Two
drunken women have been fighting with broken bottles and
are now covered with blood and cuts. The women are still
hysterical, one minute they're sobbing, then in an instant
screaming and intent unon fighting again. The crowd keeps
them apart. Two Bobbies stand in the background making no
move to intercede.
To the side we see Bytes watching everything. It is still
too violent a scene for the Nurses to come to the women's
aide and they stand up in the front of the room waiting. Bytes
makes his way along the side of the crowd waiting for a chance
to get behind the Nurses and on into the hospital. Now the
women begin sobbing again and things quiet some. The Nurses
come forward into the crowd. Bytes moves over closer to the
hallways. When the Nurses have all aone into the crowd he
seizes the chance and disappears into the hospital.
CUT TO:
Bytes appears and walks down hospital hallway looking about.
CARR GOMM'S OFFICE
The door opens and Treves enters.
CARR (V.0.)
Ah, Treves...
Treves sits in the armchair. Carr Gomm is sitting at his
desk.
CARR
Have you contacted the British Rome
and the Royal Hospital?
TREVES
Ah, no sir. I had planned to see them
in the morning.
CARR
Good! How is the patient?
TREVES
He's doing very well. In fact that's
why I came to see.you. I think that
if I were to present Mr. Merrick to the
hospital committee, then they would
have a chance to see for themselves
not only the extraordinary nature of
the disease, but of the man as well.
If the committee had a chance to speak
with him, hear him say a few words for
himself, I'm sure they would see him
as a patient, rather than as a violation
of the rules.
CARR
A few words? I thought he was imbecile?
TREVES
Well sir, perhaps I should explain...
CARR
I really don't think that's necessary
Treves. I'm quite sure the
committee will be able to make an
equitable decision on the merits of
the case, such as they are.
TREVES
I don't agree. No one can make a
reasonable decision about this man's
future without at least meeting him.
No doctor would presume to diagnose
a patient he had never met-
CARR
No, Treves, it's out of the question.
Now if it was up to me, I'd say
"Certainly, let's meet the fellow,
by all means," I'm sorry, I simply
can't speak for the other members of
the committee.
TREVES
Then will you meet him, as a representative
of the committee.
CARR
Mr. Treves, it's out of the question.
I want to hear as soon as possible
what the other hospitals can do. I'm
sorry.
HALLWAY - STAIRCASE - THE LONDON
We see Treves leave Carr Gomm's office and walk toward us
to the stairwell. As Treves begins down the stairs, he
sees Bytes on the next landing coming up. Bytes spots him
and goes toward him.
BYTES
I want my man back.
TREVES
Just a moment, how did you get
in here?
BYTES
Never mind that, I want my man!
TREVES
He's still very sick. Please come
downstairs with me. I'll explain
the situation.
BYTES
(shouting)
DON'T... Don't muck me about.
You've had plenty of time to fix
him up, and he's leaving with me,
NOW. Do you understand me? Now,
Mr. Treves. We had a bargain!
TREVES
You misunderstood. This man suffered
a severe fall, if you take my meaning.
He's my patient now and I must do
what ...
BYTES
Pull the other one, why don't you!
We made a deal!
TREVES
I know what you've done to him and
he's never going back to that.
BYTES
He's a freak! That's how they live.
We're partners, him and I, business
partners. You're willfully deprivin'
me of my livlihood!
TREVES
All you do is profit from another
man's misery!
BYTES
You think you're better 'n me? YOU
wanted the freak to show all your
doctor chums and make a name for
yourself , you guv. So I gave him
to you. On trust, in the name of
science! And now I want him back.
TREVES
You don't own this man!
BYTES
I want him back!
TREVES
So you can beat him? So you can
starve him? A dog in the street
would fare better with you!
BYTES
I've got my rights, damn you, and
I'm going to the authorities!
CARR (V. 0. )
Well, go to the authorities ...
Now we see Carr Gomm standing above them, at the top of the
stairs.
CARR
By all means do so. In fact, I'll
fetch them myself. I'm quite sure
they'd be very interested in your
story, as well as ours.
Livid, Bytes looks from Carr Gomm to Treves, at a loss
for words.
TREVES
Now I think we really do understand
one another.
BYTES
(venomously)
Right... Right.
He backs slowly down to the landing eyeing Treves and Carr
Gomm. At the landing he casually turns and disappears down
more stairs. Treves turns and gazes at Carr Gomm.
CARR
Singularly unpleasant chap... uh...
I don't suppose there would be any
harm in my meeting your... patient,
Mr. Treves.
TREVES
(gratefully)
Thank you very much Sir. Shall we
say in a few days then?
CARR
Shall we say two o'clock tomorrow
afternoon?
TREVES
(slightly taken aback)
Wh... whatever is most convenient
for you, sir.
CARR
Two o'clock then... you know Treves
... It seems this acquaintance of
yours has become rather more than
just an acquaintance.
TREVES
... Yes, Sir.
They part company. We follow Treves down the stairs.
TREVES
(muttering)
Two O'clock?
Then we follow Carr Gomm to his office door. He stops short.
CARR
(mumbling out loud)
Elephant Man? I don't want to
meet an Elephant Man.
HALLWAYS - THE LONDON (NIGHT)
Again, the hospital is closing down for the night. Lights go
off in each hallway. The staff is vacating the hospital. As
the last light goes off, we hear the great iron door slam shut.
TREVES' HOUSE - BEDROOM (NIGHT)
Anne is at her dressing table, brushing out her hair. She is
in a very flattering dressing gown, ready to turn in. We see
her reflected in the mirror as well as Treves who is in his
robe in the background seated at his side of their bed, deep in
thought. Anne looks at Treves and smiles affectionately.
ANNE
(coyly)
Freddie?
Getting no response she renews her efforts.
ANNE
Freddie?... Freddie, don't look
so discouraged.
TREVES
I shouldn't be. We made great
progress today. I taught him to
repeat a few basic phrases. He did
rather well, too, but I had to lead
him every step of the way. Though
frankly, at times I was unsure of
who was leading whom.
ANNE
What do you mean?
TREVES
Well, I wasn't sure whether he was
parroting me because that's all he
was capable of, or whether he sensed
that that's all I wanted to hear, and
he was trying to please me.
ANNE
But I thought you said that he was
rather... simple?
TREVES
He is. I mean, I've always thought
he was. I think he must be. Is he
simple? Or is that just something
I've wished upon him to make things
simpler for myself?
Anne puts down the brush and rises.
ANNE
Frederick, why are you so interested
in this particular case?
TREVES
I don't know. I can't explain it.
If this is an intelligent man,
trapped in the body of a monster,
then I'm under a moral obligation
to help free that mind, free that
spirit as best I can, to help him
live as full and content a life as
possible. But! If he's an imbecile,
who's body I can't treat and
who's mind I can't touch, well, then
my obligation is discharged. They can
put him where they will; he won't
be bothered, I won't be bothered,
and everyone's conscience can remain
free and untroubled. And that is my
dilemma ... what is in his mind?
Anne, sympathizing with his concerns goes to him and puts her
arms around him.
ANNE
Perhaps you're just polishing a stone,
endowing this Elephant Man with qualities
he doesn't possess?
TREVES
(impatiently)
And what qualities are those?
Intelligence or stupidity?
ANNE
(slightly hurt)
I'm sure I don't know, Freddie.
She releases Treves and lies down. Treves realizes that perhaps
he has been unkind.
TREVES
I'm sorry... I don't know either.
I just don't know.
ANNE
Well, these things take time.
TREVES
I've only got until two o'clock
tomorrow afternoon, when Carr Gomm
meets him. Somehow, between now and
then I've got to make John Merrick
at least seem like an intelligent
man... Why am I fooling myself?
Nothing short of John delivering the
Sermon on the Mount is going to sway
Carr Gomm...
Anne sits back up and gently places her hand over Treves' mouth.
As she does so she leans forward and turns out the light.
ISOLATION WARD
Merrick is propped up in bed. Suddenly the door bursts open.
The Night Porter, an arm around a drunken giggling tart, stands
in the doorway. As soon as the Charwoman sees Merrick, she
screams as does Merrick, and she wriggles free, making for the
stairs. The Night Porter watches her go and then turns to
Merrick laughing noisily. He then pulls the door shut with a
bang. Merrick, very frightened, crawls down into his hiding place.
BEDROOM (MORNING)
We see Anne alone in bed, asleep. Treves is finished dressing
and leaves the room. The sound of the door closing awaktans
Anne. She looks around for Treves. A clock reads 5:30.
ISOLATION WARD
Merrick's disguise hangs on the wall.
MERRICK (V.O.)
The Lord is my shepherd, I shall
not want, he maketh me to lie down
in green pastures; He leadeth me
beside still waters. He restoreth
my soul: He Guideth me in the
paths of righteousness...
TREVES
Righteousness ...
MERRICK (V.0.)
Righteousness for his namesake.
We now see Treves and Merrick
TREVES
Very good, very good. Now, when
your visitor comes today I want
you to say it exactly the way you
said it just now. I will introduce
him to you and you will say
the words you've learned. If you
have any trouble with any of the
words, I'll help you. I'm sure
you'll be just fine. If you do as
well for him as you've done for me
these last two davs, then I'm sure
our visitor will be very pleased.
Now, let's go through the whole
thing again, shall we? I will say
"May I introduce you to Mr. Carr
Gomm." And you will say...
MERRICK
Hello, my name is John Merrick. I
am very pleased to meet you!
HALLWAY
Treves and Carr Gomm are speaking together as they walk along.
TREVES
It's only a physical problem. He
has trouble with certain sounds
because of the constrictive deformity
of the mouth. But he can talk,
and has a great eagerness to make
contact with people who will let
him. So if you have any difficulty
understanding what he is saying,
just tell me and I'll make it clear.
CARR
Speaking is one thing, Treves, but
can the man comprehend?
Treves cannot easily answer this question.
TREVES
... As I said, it's only a physical
problem... but I do feel that Mr.
Merrick is very flattered that you're
(continued)
TREVES (Cont'd.)
taking the time and trouble to
meet him, and he's most anxious to
make a good impression, so he might
seem rather nervous.
CARR
He needn't. I have no desire to
cause him any discomfort. Did you
make those inquiries we spoke about?
TREVES
Yes, I spoke to both the British
Home and Royal Hospital for Incurables.
I'm afraid that they weren't very
encouraging, but they said they'd bring
it up at their next committee meeting,
so we should have their answers shortly.
CARR
Fine, fine. You know, vour dedication
to this patient is an inspiring thing,
Treves. But you must remember that
this is a hospital, and there are many
patients here. Patients who can be
made well, and you owe them your first
consideration. Just don't become so
obsessed, old man, that you beain to neglect them.
Carr Gomm starts up the stairs. Treves remains behind, watching
him for a moment, then follows.
ISOLATION WARD
Merrick is standing beside his disguise on its hook. He
nervously smooths the cloak down, repositions the Bible on
the bedside table and smooths the cloak again. He looks at
the door, expecting it to open. It doesn't. His hands smooths
the cloak over and over again. Voices can be heard outside the
door. Merrick freezes.
There are two raps at the door. Merrick flinches, clutching
the cloak. The raps are repeated. He pulls himself together
and walks to the middle of the room. He takes a deep breath
and closes his eyes.
MERRICK
Come in.
The door opens and Treves and Carr Gomm enter. Carr Gomm's
eyes are rivited on Merrick, but he contains his shock.
Merrick is breathing unevenly, his eyes still closed. Treves
goes to him and touches his shoulder. Merrick opens his eyes
and looks up at Treves. Treves turns to Carr Gomm, as does
Merrick. Carr Gomm lowers his eyes.
TREVES
John, may I introduce you to Sir.
Carr Gomm.
MERRICK
Hello... my name is John Merrick.
I am very pleased to meet vou.
Carr Gomm, still shaken, instinctively offers his hand.
CARR
I'm very... pleased to meet you.
Before Carr Gomm can withdraw his hand, Merrick grasps it with
his left hand. There is an uncomfortable silence. Merrick
releases it. Carr Gomn, nervously clears his throat.
CARR
How are vou feeling today?
MERRICK
I feel much better. Thank you for
asking. And you?
CARR
I'm feeling very fit, thank you.
How is your bronchitis?
MERRICK
I feel much better. Thank you.
CARR
Are you comfortable here?
MERRICK
Everyone has been very kind. I am
extremely grateful.
TREVES
Mr. Merrick likes the food here.
Don't you John?
MERRICK
Oh yes! It is much better than what
I am used to.
CARR
Oh yes?
TREVES
(after a pause)
And what was that, John?
MERRICK
Potatoes...
There is another agonizing silence.
TREVES
(to Carr Gomm)
...Yes potatoes... but...
MERRICK
But the variety of food here is
very pleasing... I commend you.
CARR
(after a pause)
I understand that you were beaten?
Merrick is at a loss. This is not part of the expected scenario.
DIERRICK
Oh no, everyone has been very
kind.
CARR
No, I meant in your former situation.
Merrick doesn't seem to understand.
MERRICK
I'm feeling much better now ...
Carr Gomm stares levelly at Treves for a moment, then asks
Merrick:
CARR
Tell me, how do you like Mr. Treves?
As a teacher?
Treves stiffens.
MERRICK
... I... everyone has been very
kind to me.
CARR
Of course. How long did you and Mr.
Treves prepare for this interview?
Merrick looks at Treves for guidance, but Treves cannot look
him in the eye.
MERRICK
... everyone has been very kind.
CARR
Yes, of course... Well, it's been a
pleasure meeting you, Mr. Merrick.
Good day.
TREVES
(to John)
Thank you, John. You did very well.
Treves and Carr Gomm go out the door onto the landing. Merrick
sees his chance escaping him and tries to recapture their attention.
MERRICK
(his voice is gaining strength)
The Lord is my shepherd, I shall not
want. He maketh me to lie down in
green pastures...
(he continues through the following
dialogue)
Treves and Carr Gomm are alone on the landing, speaking quietly.
CARR
It was a nice try, Treves, but the
man is so obviously mouthing your
words.
TREVES
Yes, I'm very sorry to have wasted
your time, sir. I just felt that
I had to do anything I could to
protect him.
CARR
I'm sorry too. He simply doesn't
belong here. He's be much happier
somewhere else, where he could be
constantly looked after. Believe
me, Frederick, it's better that it
worked out this way. Good day.
Merrick has come to the end of what Treves taught him to say.
He makes one last, desperate attempt to be heard.
Treves, disheartened, stands on the landing as Carr Gomm starts
down the stairs.
MERRICK (V.0.)
(now full voice)
Yea, though I walk through the
valley of the shadow of death, I
will fear no evil, for Thou art with
me; Thy rod and Thy staff, they
comfort me...
Treves is staring, open-mouthed, back into the room. Carr
Gomm looks up at him.
CARR
What is it, Treves?
MERRICK (V.0.)
Thou preparest a table before me
in the presence of mine enemies,
Thou anointest my head with oil...
TREVES
I didn't teach him that part!
Treves rushes back into the room, followed by Carr Gomm.
MERRICK
My cup runneth over. Surely goodness
and loving kindness shall
follow me all the days of my life,
and I shall dwell in the house of
the Lord forever.
There is a long silence as all three men stare at each other.
TREVES
How did you,know the rest? I
never taught you the rest of it.
CARR
I don't understand.
TREVES
Tell me, John, how did you know the
rest of the 23rd Psalm?
MERRICK
(hesitantly)
I... I used to read the Bible every
day. I know it very well. The
Bible, and the Book of Common
Prayer. The 23rd Psalm is very
beautiful.
ISOLATION WARD
A few minutes later. We hear voices inside the room.
CARR (V.0.)
It was a great pleasure to meet
you, Mr. Merrick.
MERRICK
I am very pleased to meet you.
CARR
I hope we can talk together again
sometime. Good day.
The door opens and Carr Gomm and Treves come out.
TREVES
(to Merrick)
I'll be right back.
He closes the door.
CARR
I want to see you in my office as
soon as you're through up here.
We've a good deal to discuss.
He starts down the stairs.
TREVES
Of course, sir. Thank you, thank
you very much.
Carr Gomm stops on the stairs.
CARR
Treves. Well done.
TREVES
Not me, sir. Mr. Merrick. He
succeeded in spite of my
shortsightedness.
ISOLATION WARD
Merrick is on the bed, propped up by pillows. The door opens.
Treves comes in, shuts the door and leans against it. They
look at each other for a moment.
TREVES
Why did you let me go on like
that, teaching you what you
already knew? Why didn't you tell
me you could read?
MERRICK
You did not ask me.
TREVES
I never thought to ask. How can
you ever forgive me?
MERRICK
Oh, no do not say that. You have
been so kind to me. I was afraid
to say too much. People always
want me to be quiet. You wanted
me to speak, but I was afraid.
Forgive me.
TREVES
We do have a lot to talk about, don't
we?
CARR GOMM'S OFFICE
Carr Gomm is seated at the window, looking out silently. There
is a knock at the door and Treves enters. He quietly closes
the door and walks to the window. Carr Gomm never moves.
CARR
Can you imaaine what his life has
been like?
TREVES
Yes, I think I can.
CARR
No you can't. You can't begin to
know, no one can.
Carr Gomm suddenly stands and faces Treves.
CARR
You are quite right, Treves, this is
an exceptional case. And I quite
agree that the committee should
see Mr. Merrick.
TREVES
I could easily arrange ...
CARR
No, not that way. Broadneck and the
others don't like to deal with patients
directly. It makes them queasy... Do
you have any photographs of Mr. Merrick?
TREVES
Well, yes.
CARR
Excellent. We shall present them,
along with the other particulars
of the case to the committee. I
want them to see, exactly, how
horribly his body has been affected.
You and I shall vouch for his inner
qualities.
TREVES
Do you think they'll go along with
us?
CARR
Of course they will. They're reasonable
men.
ISOLATION WARD
Merrick is in bed, very tired. It's been an exhausting day.
Suddenly the door opens and Mothershead comes into the room.
Merrick looks up at her very apprehensively. She walks over
to the bed, picks up the Bible from the table, opens it and
hands it to Merrick.
MOTHERSHEAD
Read it.
Merrick looks down at the Bible.
MERRICK
Thou heardest my voice; hide not
thine ear at my breathing, At my
cry.
Mothershead backs slowly to the door, deeply disturbed. She
stares at Merrick for a moment.
MOTHERSHEAD
Credit where credit is due.
You'll have the paper every
morning at breakfast.
She quickly turns and exits. Merrick looks down at the Bible.
It is open to "Lamentations".
HALLWAY - THE LONDON (NIGHT)
As before the lights are going off in one hallway after another.
The hallways are empty, dark and silent. We hear the great iron
door close with a bang.
ISOLATION WARD (NIGHT)
Merrick is in his bed as always. He holds the portrait of the
beautiful woman, gazing at it longingly. He hears a door
close far away in the silence of the hospital.
Suddenly we hear the heavy footfalls of the Night Porter's
boots. As they get louder and louder we move slowly closer
to Merrick's face.
The sound is very close now, and Merrick's eyes are visibly
agitated. Finally, the door bursts open and the Night Porter
is standing there. He stares malevolently at Merrick for a
long moment and then walks to him menacingly.
NIGHT PORTER
I hear you have some trouble
sleepin'. .
He grabs Merrick fiercely by the hair and jerks his head back.
Merrick imediately starts to wheeze and gasp.
NIGHT PORTER
Head's too heavy, eh?
He pulls Merrick all the way down onto the bed, so that he is
prone, struggling for breath.
NIGHT PORTER
And I heard a nasty rumor about
you; I heard you can talk but
you can't, can you... can you
... can you? ...
MERRICK
(struggling)
Nocoo!
The Night Porter is as first surprised, and then pleased at the
desperate sound.
NIGHT PORTER
No... No you can't! One word about
me out of that stinking cakehole...
Just ONE word, and you'll have no
trouble at sleepin'... no trouble at
all. You understand me? Do you!!
MERRICK
(croaking)
Yyyesss.
Satisfied, the Night Porter rights Merrick who is just able
to catch his breath. The Night Porter smiles and pats Merrick
on the shoulder.
NIGHT PORTER
There now, that's better, i'n'
it?
HALLWAY
Treves and Carr Gomm are on their way to the committee meeting,
confident of their position. Treves is holding a folder, and
Carr Gomm is looking at the photographs of Merrick.
CARR
As far as I can see, the only
obstacle might be Broadneck. He has
enormous influence over the others,
very old school, not an easy man to
impress. in any case, if worse
does come to worse, we still have
the British and Royal Homes to fall
back on, don't we.
Treves is silent. They stop.
CARR
Don't we?
TREVES
No, we don't. Their committees have
informed me that they're unwilling
to take Mr. Merrick, even if they were
supplied with funds. They don't want
him.
CARR
Well, it's up to us then, isn't it?
They continue walking.
CARR
Don't worry Treves, we'll make
them see it our way.
He looks at the pictures.
CARR
They've eyes, haven't they?
They go through a door marked "Committee Room".
COMMITTEE ROOM - THE LONDON HOSPITAL
We see a pair of hands. One of the photographs of Merrick
is passed to them. They hold it for a moment, then lay it
down flat on the table. One of the hands covers the photograph
with a piece of paper.
TREVES (V.0.)
... Due to the progressive nature
of the disease, I feel sure that
the patient does not have much
longer to live.
We pan up from the hands to see BROADNECK, his face pinched
with disgust. He sniffs, and gazes coolly at Treves.
TREVES
Forgive the redundancy, gentlemen, but
there is no other place for him. Both
the Royal Hospital and the British Home
have turned him down even if sufficient
funds for his care were provided. The
workhouse is certainly out of the question.
The patient has an overwhelming
fear of returning to the horrors of his
past. His appearance is so disturbing
that all shrink from him. He cannot, in
justice to others, be put in the general
ward of the workhouse. The police
rightly prevent his being exhibited,
and he is mobbed in the streets wherever
he goes. What is to be done with him?
BROADNECK
I, for one, am sick and tired of this
competitive freak-hunting by these
overly ambitious young doctors, trying
to make names for themselves. To
parade then about in front of the pathological
society is one thing, but to
waste this comittee's valuable time
with requests for shelter for these
abominations of nature is quite another.
TREVES
Gentlemen, John Merrick is not an animal,
he is a man, fully aware of his condition.
An intelligent, sensitive, literate man,
with an intimate knowledge of the Bible.
His horrible infirmities do not reduce him
to anything less than what he is, a man;
(Continued)
TREVES (Cont'd.)
and it would be criminal if we of
the London Hospital, his final refuge,
the last place on earth where this man
can find peace, were to cast him out.
Carr Gomm, from his chair on the committee, pounds his gavel.
CARR
Gentlemen, may I make a suggestion.
There are two small rooms off Bedstead
Square that are no longer in use and
would be admirably suited to Mr.
Merrick's needs. I also propose to
write a letter to The Times, appealing
to their readers for assistance.
Knowing the generosity of the British
public, I feel we would have little
trouble in raising the funds for his
maintenance. Indeed, this hospital's
rules do preclude the admission of
incurables, but if ever there was
an exception to the rule, it is this
patient. So therefore, I propose, if
Mr. Treves is finished, that we put it
to a vote. All those in favor of
keeping Mr. Merrick here?
Carr Gomm and another committee member raise their hands.
Broadneck is displeased.
BROADNECK
One moment,
(showing the picture of Merrick)
as far as I'm concerned this creature
has no business being in our hospital.
I think Mr. Carr Gomm's letter would
be an excellent idea,
(to Carr Gomm)
and when you appeal for funds, I think
you should appeal for a more appropriate
place for him as well. I agree
the British public is generous, and
I'm sure that somewhere the creature
will find a happy and permanent home,
but not here.
One of the committee members says "I quite agree". Carr Gomm
scowls a bit.
CARR
I see. All, then, that move we keep
Mr. Merrick here?
Carr Gomm raises his hand. None of the others do. Treves
and Carr Gomm exchange hopeless glances. Carr Gomm looks
at the man who had originally raised his hand. He looks away,
ashamed.
CARR
All those opposed?
Broadneck and the rest raise their hands.
CARR
I see.
BROADNECK
(triumphantly)
Well then. In the meantime, of
course, he needn't be turned out.
He may stay in the rooms off
Bedstead Square until such time as
more suitable arrangements can be
made, thus freeing the Isolation
Ward for more deserving patients.
Well then, Mr. Chairman, if there
is nothing further to discuss, I
move that we adjourn this meeting
and all go bout our normal business.
Carr Gomm cannot conceal his contempt.
CARR
I second the motion gentlemen. This
meeting is adjourned.
The others cough their agreement and hurriedly leave the room.
Treves walks over to the committee table and takes the paper
off the photograph. He stares sadly at Merrick's picture.
CARR (V. 0. )
Somehow I don't think they quite
understand.
THEATRE DRESSING RCOM
We see a very lovely WOMAN seated in a chair before a mirror.
She is reading aloud from The Times. Her hair is being brushed
by a YOUNG GIRL.
W0MAN
... terrible though his appearance
is, so terrible indeed that women
and nervous persons fly in terror
from the sight of him, and that he
is debarred from seeking to earn his
livelihood in any ordinary way, yet
he is superior in intelligence, can
read and write, is quiet, gentle, not
to say even refined in his mind.
She turns to the girl thoughtfully.
WOMAN
I'd very much like to meet that gentleman.
He sounds almost Shakespearean.
DINING HALL - THE LONDON
The room is elegantly furnished and heavily carpeted. The
walls are panelled in richly gleaming walnut with finely
wrought brass lamps spaced regularly along their length. In
the center of the room is a long oak table with a fine linen
table cloth, around which sits a number of Doctors, among
them, Fox. Some of them are still eating. A waiter is
clearing away a few plates and several Doctors are helping
themselves to port wine kept in decanters in the center of
the table and to cigars in humidors. One of them is reading
The Times. At one end of the table sits Treves, picking at
his food.
#1 DOCTOR
"... in life until he came under
the kind care of the nursing staff
of the London Hospital and the
surgeon who has befriended him..."
#2 DOCTOR
Good publicity for the Hospital, at
any rate.
#3 DOCTOR
Treves comes off well too, eh Freddie?
#4 DOCTOR
It was pleasant of you to join us
this evening, Frederick.
#2 DOCTOR
Your Elephant Man dining out this
evening?
#4 DOCTOR
I understand the kitchen ran out of
hay this morning.
The group laughs.
FOX
(slightly sourly)
Do continue reading, Mr. Stanley,
please.
#1 DOCTOR
"... it is a case of singular affliction
brought about through no fault
of himself; he can but hope for quiet
and privacy during a life which
Mr. Treves assures me is not likely to
be long,"
There is a short pause.
#4 DOCTOR
The Elephant Man. Makes you sound
rather more like a zoo-keeper than
a surgeon, Frederick.
The group again laughs. Treves clears his throat and rises.
TREVES
Excuse me gentlemen. I seem to have
lost my appetite. Good evening.
Treves leaves the room.
#4 DOCTOR
I say, what's he on about?
#3 DOCTOR
He's getting a bit of a swelled head,
if you ask me.
FOX
(coldly)
Well, no one did ask you Atkins.
Frederick Treves is not only the
most skillful surgical operator
here, he's also a humanitarian of
the highest order. You sound like
a pack of whining school boys with
your petty jealousies.
#3 DOCTOR
Look here, Fox, I simply said.
FOX
Oh belt up!
A deep silence falls over the Doctors.
BEDSTEAD SQUARE ROOMS (NIGHT)
We see a small, very dusty, dirty room, filled with boxes and
bedsteads and other things stored over the years. The one
grimy window is locked shut.
The door opens and two middle-aged CHARWOMEN enter. They
look around at the room with distaste and drop their mops
and buckets.
1ST WOMAN
There are cleaner rooms in the
gasworks.
She reaches into her apron pocket and pulls out a pint bottle
of gin. She takes a drink and passes it to her friend.
1ST WOMAN
Who's all the fuss for, then?
2ND WOMAN
(wiping her mouth)
Don't you know? It's for that
strange one.
1ST WOMAN
Mr. Treves' Elephant Man? I hear
he's got a trunk.
2ND WOMAN
Right, right.
The lst Woman takes the bottle and walks across the room.
She forces open the balky window and sits on the sill.
2ND WOMAN
Blimey, now we're cleanin' up for
circus animals!
The lst Woman, laughing, takes another healthy swig from the
bottle. We see past her through the window, the dark silhouette
of the main spire of St. Philip's Cathedral against the sky.
It fills the screen. DISSOLVE TO:
ISOLATION WARD
Merrick sitting on his bed, hunched over in concentration
reading an Illustrated London News. He is staring at a picture
of the Eddystone Lighthouse.
MERRICK
(reading softly)
"A silent shaft of stone on a
deserted promontory, the lonely
Eddystone is a beacon of aid and
comfort to mariners of all nations."
He looks at the picture silently. There is a knock at the
door. Merrick says, "Come in". Treves enters, holding a book.
TREVES
Good evening. How are you feeling?
MERRICK
Good evening. Very well, thank you.
And you?
TREVES
Very well, thank you. I have something
for you, John. I'm sure you'll
enjoy it, it's very popular.
He holds the book out to him. It's an "Alice In Wonderland".
MERRICK
(surprised)
Thank you ... so much ... oh it's
beautiful!
He lovingly feels the leather binding and looks at Treves with
speechless gratitude.
Merrick carefully opens the book to a colored frontpiece,
the picture of Alice grown too large for a hallway, looking
imploringly at the dwarfed White Rabbit. The caption reads
"... curiouser and curiouser". He leafs through the pages
looking at the other illustrations as Treves, delighted with
the gift's effect, looks on.
TREVES
I came to tell you that I'll be
here early tomorrow morning. We're
moving you to your permanent home.
I'm sure you'll be very happy there,
John. So get a good night's rest,
there'll be new people to meet tomorrow.
Good night.
Treves smiles broadly and exits.
MERRICK
(weakly)
Good night.
Treves' words have disturbed Merrick. He sinks into the pillows,
the book before him. We see the picture of the Mock Turtle
perched upon his rock, great tears rolling down his cow-like
face, as Alice and the Gryphon look on with intense sympathy.
Merrick looks up at his disguise hanging on the wall.
THE PEACOCK PUB - WHITECHAPEL
The Night Porter enters and saunters over to the noisy crowd.
As they welcome him, he slaps down The Times on the bar counter
for all to see.
NIGHT PORTER
Here... listen to this. This is a
letter to THE London Times from the
guvnor of the hospital.
(starts to read)
There is now in a little room off
one of our attic wards a man named
John Merrick, so dreadful a sight
that he is unable even to come out by
daylight to the garden. He has been
called The Elephant Man on account of
his terrible deformity...
The Night Porter has the undivided attention of the people in
the pub.
NIGHT PORTER
.. His appearance is so terrible
that woman and nervous persons fly
in terror at the sight of him.
(pauses)
... and guess who can get you tickets
to see him? Your own Sunny Jim!
YOUNG MAN IN CROWD
Let's go see him, then!
NIGHT PORTER
Keep your shirts on.
(shaking his finger at them)
...When the time is right.
Right now he's in the attic but
tomorrow they're movin' him into
Bedstead Square, right into my lap
... then... for the right price you'll
see something you'll never see again
in your life.
He lifts his glass to his lips. We move back to see Bytes'
boys who, having heard the Night Porter's words, slips
unnoticed from the pub.
MERRICK
(wheezing)
Workhouse!
HALLWAY - MOVING DAY
Merrick, in his disguise, and Treves, one arm around him, are
walking together. Merrick seems very uneasy.
A Nurse, on duty early or late getting off, passes them. She
stares at the hooded figure. They continue on in silence.
BEDSTEAD SQUARE ROOM
The room is now spotless. It is furnished with a bed and
the required pillows, a small table and chair by the window,
now curtained. Adjoining this room is a smaller one which
contains a bathtub.
Merrick enters and looks around, confused. Treves stands in
the doorway. Merrick turns to him.
TREVES
This is your new home, John.
Merrick pulls off his hood. His eyes are bewildered.
MERRICK
This... is my new home?
TREVES
Yes.
MERRICK
(incredulous)
The hospital?
TREVES
Of course! What did you think?
Merrick's eyes glisten with held back tears. He lowers them.
MERRICK
(almost sobbing)
How long will I stay here?
TREVES
I promise you. You will never see
the inside of that horrible place
again. You will never, ever go
back to the workhouse... or that
man. It's a splendid room, don't
you think?
Merrick inspects his new home. He seems pleased-by the
bathtub, by the table, by the window to the outside world.
Merrick pulls the curtain aside and opens the window. He looks
out and then up with a small intake of breath. Before him,
beyond the hospital fence, the spire of St. Phillips Cathedral
stands resplendently in the morning light.
MERRICK
When I'm next moved may I go to a
lighthouse?... or to a blind-asylum?
HALLWAY
We see Carr Gomm walking to his office. He is met at the door
by an anxious Treves.
TREVES
Has the response picked up?
CARR
Frankly, Treves, it's not what
I'd expected. A few small cheques.
Well-wishers. Don't worry, these
things undoubtedly take time.
TREVES
But he's so afraid he's going to
be carted off. I've promised him
that won't happen.
CARR
Well... I'll let you know if there's
something in the afternoon post.
TREVES
Please do.
Carr Gomm goes back into his office and Treves walks off.
MERRICK'S ROOM (A WHILE LATER)
There is no one in the room. The bathroom door opens and Nora
and another nurse enter, carrying buckets which they set down
by the hall door. They straighten up and lean back against it.
Mrs. Mothershead enters from the bathroom, speaking over her
shoulder to Merrick.
MOTHERSHEAD
Well, I think I can safely hand the
duties over to you girls now. Mr.
Merrick will require a bath every
day... that way he won't pong quite
(continued)
MOTHERSHEAD (Cont'd.)
so much. Nora, you can instruct
Kathleen on the finer points of Mr.
Merrick's bath. . You'll be on your own
tomorrow.
The girls try to keep bright faces.
MOTHERSHEAD
Don't look so glum girls. Such
enthusiastic volunteers should be
more cheerful.
Mothershead starts to exit.
MOTHERSHEAD
Oh, and girls, under no circumstances
are there to be any mirrors
brought into this room.
She exits.
KATHLEEN
He's... so ugly!
NORA
Ugly or not, you're going to help me.
Merrick quietly enters the room, dressed in a billowy white
shirt and baggy black pants. The two nurses try to smile,
but he cannot look at them.
NORA
Feeling better now, Mr. Merrick?
MERRICK
Yes,
Kathleen's eyes go wide at the sound.
NORA
You look very nice in your new
clothes.
Merrick looks down at himself.
MERRICK
Thank you very much.
NORA
Well., if there is nothing more, I
suppose we'll be leaving you now.
MERRICK
No, nothing.
The girls leave, taking the buckets.
Merrick, alone, walks about the room getting the feel of his
new clothes. There is a knock at the door and Treves enters.
TREVES
You look splendid, John.
MERRICK
Thank you very much.
TREVES
When one is invited to tea, one
must look one's best.
CUT TO:
ENTRY HALL AND SITTING ROOM - TREVES' HOME
The door opens. Merrick, disguised, enters, followed by Treves
who closes it and hangs up Merrick's mask on the coat rack.
The mirror has been removed, leaving a faint outline on the
wall.
Merrick is enchanted by the house. Treves takes him by the
arm and leads him into the sitting room. Anne appears at the
top of the stairs.
TREVES (V.O.)
Make yourself comfortable, John.
Treves comes back to the foot of the stairs and smiles up at
Anne.
TREVES
Come and meet our quest, my love.
Anne manages a smile, comes down the stairs and together they
go into the sitting room.
Merrick is examining everything in the room. Nothing in this
almost magical world escapes his attention. The furniture, the
personal mementoes, particularly the pictures on the fireplace.
He turns around when he hears them enter, lowering his eyes.
TREVES
John Merrick, I'd like you to meet
my wife, Anne Treves.
Anne is startled, but conceals it very well.
ANNE
(smiling)
I'm very pleased to meet you, Mr.
Merrick.
Anne extends her hand. John takes her hand and looks up very
slowly meeting her eyes. Anne smiles.
MERRICK
I'm very...
Then, Merrick bursts into tears. Anne is at a loss as to what
to do. Merrick takes his hand from hers and covers his eyes,
weeping pitiously. Treves puts his hand on Merrick's shoulder.
TREVES
John... what's the matter? John
... why are you upset?
MERRICK
(sobbing)
I'm not used to such kindness.
from a beautiful woman.
Treves and Anne exchange worried looks.
ANNNE
Would you like a nice cup of tea,
Mr. Merrick?
MERRICK
(still sobbing)
Yes... thank you.
TREVES
Yes, a cup of tea would go nicely.
Anne goes now to get the tea.
TREVES
John... would you like to see the
rest of the house?
Merrick cannot answer through his sobs.
TREVES (Cont'd.)
Come with me, John. I'll show it
to you.
KITCHEN
Anne is composing herself by busily fixing the tea and cakes.
She stops for a moment, takes a breath, and then resumes her
activity.
DISSOLVE TO:
Treves and Merrick coming down the stairs. Merrick is calm
now. They go into the sitting room, where Anne is just setting
the tea tray out. Treves ushers Merrick to a highbacked
sofa and sits him down. Merrick is very shy of Anne. Treves
and Anne sit on the other side of the table.
ANNE
Mr. Merrick, sugar?
MERRICK
Yes please, two.
ANNE
One or two?
MERRICK
Two, please.
Anne serves the tea.
TREVES
John loves the house.
ANNE
Do you?
MERRICK
Oh yes. You have so many nice
things, and so much room.
ANNE
Oh?
TREVES
Yes, we do have a lot of room. But
you should see the place on weekends,
when I see patients here. Sometimes
there are so many, we have to set
them down wherever we can. In fact,
Mrs. Treves sometimes says that the
only room she can call her own is the
bedroom.
Treves and Anne laugh good-naturedly. Merrick's face, as
always, is quite blank.
MERRICK
(earnestly)
Well, it's a lovely bedroom. What
do you call that thing above the
bed?
TREVES
That's a canopy, John.
MERRICK
Ohhh...
TREVES
How is your tea, John?
MERRICK
It's very good. I'm enjoying my
visit with you very much. It's so
very kind of you to have me as a
guest in your home. I'm sorry I
made a spectacle of myself.
TREVES
Not at all, John.
MERRICK
I love the way you've arranged your
pictures on the mantlepiece. Is that
the way it's done in most houses?
TREVES
Oh yes.
MERRICK
Who are they of?
TREVES
Oh, our relatives... the children.
MERRICK
The children! May I see?
TREVES
Of course.
Treves goes to the fireplace and takes down a few pictures. He
hands a picture of the girls to Merrick.
MERRICK
(as if looking at an icon)
The Children. Where are your
children
TREVES
Oh, they're gone for the day...
with friends.
MERRICK
(the word gives him pleasure)
Friends. Ah yes, friends! How nice.
ANNE
And here is one of Frederick's
mother.
MERRICK
How lovely.
TREVES
Yes.
ANNE
And here are my mother and father.
MERRICK
They have noble faces.
ANNE
(a cord is struck)
I've always thought that myself.
MERRICK
Oh, yes.
Merrick sets the picture down carefully.
MERRICK
(ever so timidly)
Would you... would you like to
see my mother?
TREVES
(startled)
Your mother?
MERRICK
Here.
He reaches into his cloak and brings out the small portrait of
the beautiful woman. Treves is absolutely amazed. Merrick
gently hands the picture to Anne.
ANNE
Oh... why Mr. Merrick she's beautiful.
MERRICK
She has the face of an angel ...
She was an angel. She was so kind
... so kind to me. it's not her
fault, for in the fourth month of
her maternal condition she was knocked
down by an elephant. I'm sure I
must have been a great disappointment
to her.
ANNE
(visibly touched)
Oh no, Mr. Merrick. No. No son
as loving as you are could ever be
a disappointment.
MERRICK
If only I could find her. If only
she could see me now, here, with
such lovely kind friends. You, Mrs.
Treves, and you, Mr. Treves. Then
maybe she would love me as I am.
I've tried to hard to be good.
At this, Anne is so extremely touched that she begins to cry.
She tries to hold it in, but to no avail. She reaches a hand
out to Merrick and he takes it. He tries to comfort her.
MERRICK
Please... please...
But Anne goes on, as Treves, in wonder, watches her and Merrick
locked together in the communication of intense sympathy.
REAR ENTRANCE - THE LONDON
Merrick, in the dimly lit rear hall, is huddled over a trash
can tucked underneath a stairway. He pulls out a discarded
drug box. He holds it closely to his chest and goes into his
room.
MERRICK'S ROOM
Merrick goes to his table and puts the box down. He hangs up
his disguise, then goes back to the window and pulls the curtains
aside. Moonlight bathes the table, illuminating the
portrait of his Mother. John seats himself and sets the box
in front of him. He reaches for a pencil, and then begins to
draw windows on the front of the box.
OUTSIDE MERRICK'S ROOM (MORNING)
Nora is coming down the hall with a breakfast tray. She stops
at Merrick's door and raises a hand to knock.
MERRICK'S ROOM
Merrick, as before, is hunched over the table, pencil in
hand. The sides of the box are covered with carefully drawn
windows and archways.
There is a knock at the door and Merrick, startled, looks up.
Nora enters and puts the tray on the table. She glances at
the box.
NORA
Good morning, Mr. Merrick.
MERRICK
Good morning.
She turns and walks to the cabinet for linen and bath supplies.
She opens it and takes out a clean towel and a blanket. She
pauses, and turns to look back at the table.
Merrick is concentrated on his work. Nora, curious now, walks
to the table. Merrick, conscious of her presence, leans back
in his chair and looks up at her.
NORA
What is this that you're doing?
Merrick is silent.
NORA
(pointing at the box)
What is it?
Merrick points through the window.
NORA
What? Oh! I see! It's St.
Phillips. Oh, of course. Why
... why that's very good, I
mean you've gotten the windows
and arches just right.
MERRICK
Yes.
NORA
But it's so good, I mean... it's
so very good.
MERRICK
Thank you... very much.
NORA
Where did you get this box?
Merrick points out toward the hallway.
NORA
The hallway? Oh, the wastecan!
MRRRICK
I meant no harm, it was the only
place where I could find cardboard.
I thought it has been
thrown away.
NORA
It's alright, it was thrown away.
No one wants it. It's just that
it's a little dirty, that's all.
She sets the towel and blanket down as she leans closer to
Insect the box. She points to a circle drawn on top.
NORA
What's this?
MERRICK
The main spire.
NORA
The... oh, the spire! How silly
of me, it's as plain as day... Mr.
Merrick, where did you learn to
do this?
MERRICK
... I learned a long time ago.
Nora looks at the box.
NORA
Oh, but how will you finish it?
You haven't any more cardboard.
Merrick, at a loss, shrugs his shoulders. The movement makes
Nora aware of his body, and he is the Elephant Man once again.
MERRICK
I'll have to find some more.
NORA
(uncomfortably)
Yes... well, good day, Mr.Merrick.
She quickly exits. Merrick watches her go and then turns back
to his work. He sees the towel and the blanket. He turns
quickly to call after Nora, but stops himself. Merrick takes
up the towel and blanket, walks into the bathroom,.and carefully
drapes the towel over the back of the bath.
MERRICK'S ROOM
Merrick is at his table working on his cathedral. There is a
knock at the door.
MERRICK
Come in.
Treves enters.
TREVES
Good morning, John.
MERRICK
Good morning.
TREVES
John, there's someone here who would
like to meet you. Would that be al-
right?
Merrick is a trifle apprehensive, but he agrees. Treves ushers
MRS. KENDAL through the door. At the sight of her, Merrick's
eyes go wide.
TREVES
John, I'd like you to meet one of
the brightest lights of the British
stage, Mrs. Kendal. Mrs. Kendal,
John Merrick.
KENDAL
Good day, Mr. Merrick.
MERRICK
Good day...!
KENDAL
I've brought you some things. I
hope you'll like, Mr. Merrick. I
hope you don't think it too forward.
MERRICK
Oh, no.
KENDAL
I knew you'd understand. Here.
She-hands Merrick a nicely framed picture of herself. Merrick
is speechless, overjoyed by the gift.
KENDAL
I want you to know that I don't
go about giving my pictures to
just anyone.
MERRICK
Oh, no. I would never think it!
It's so beautiful. You are so...
I'll give it a place of honor, here,
next to my mother.
He places it, with great care, next to his mother's portrait.
KENDAL
She's very pretty, your mother.
MERRICK
Yes.
Treves smiles at them.
Merrick is a trifle nervous but Mrs. Kendal smiles at him and
he relaxes a little.
MERRICK
Mr. Treves says that you are in
the theatre. Do you live there?
KENDAL
Oh no, Mr. Merrick. I just work
there.
MERRICK
Well, even to work there would be
wonderful. Is it beautiful?
KENDAL
You've never been?
MERRICK
Alas, no.
KENDAL
Well you must go. It is one of the
most beautiful places on earth. Of
course, I'm rather partial.
MERRICK
Tell me about it, please!
KENDAL
It's very difficult to put into a
nutshell, but I should say the
theater is the shrine of the
imagination, where one may suspend
disbelief and travel anywhere in
the world, to any time you desire.
You may look over the shoulders of
kings, unobserved, battle with ruthless
tyrants, and marry the beautiful
princess, all in the space of a few
hours. Onstage you may be whoever
you wish to be, do anything you
please, and always, always live happily
ever after. The theatre is all the
brightest and best things of the
world, Mr. Merrick. It is lights
and music, gaiety and joy. It's...
well, it's romance.
MERRICK
(the magic word)
Romance!
KENDAL
That's one thing the theatre has
in great store. which reminds me.
I have something else for you ...
She produces a beautiful leather-bound volume of Shakespeare's
works. Merrick takes it with reverence and begins to leaf
through it.
KENDAL
Have you read it?
MERRICK
No, but I certainly shall.
Merrick finds a place and begins to read.
MERRICK
Romeo and Juliet. I know of this...
"If I profane with my unworthiest
hand,
This holy shrine, the gentle fine
is this:
My lips, two blushing pilgrims,
ready stand,
To smooth that rough touch with a
tender kiss."
Merrick, embarrased by these last words, starts to close the
book.
Mrs. Kendal knows Juliet's lines by heart. She looks at
Merrick for a moment, then replies tenderly.
KENDAL
Good pilgrim, you do wrong your
hand too much,
Which mannerly devotion shows in
this;
For saints have hands that pilgrims
hands do touch,
And palm to palm is holy palmer's
kiss.
Merrick pauses, looking at Kendal, then continues.
MERRICK
Have not saints lips, and holy
palmers too?
KENDAL
Ay, pilgrim, lips that they must
use in prayer.
MERRICK
0, then, dear saint, let lips do
what hands do.
They pray, grant thou, lest faith
turn to despair.
They both look at each other for a long, silent moment. Treves
is touched and amazed.
KENDAL
Why, Mr. Merrick, you're not an
Elephant Man at all ...
MERRICK
Oh no ?
KENDAL
Oh no... no... you're a Romeo.
DISSOLVE TO:
THE PEACOCK - WHITECHAPEL
People are happily drinking and singing and laughing. Bytes and
the boy are keeping a watchful eye on the Night Porter, who is
making a deal with a couple of men at a table. They hand over
a few coins and follow the Night Porter out of the pub. Bytes
finishes his beer and thumps the glass down on the bar. He
wipes his mouth with his sleeve and he and the boy casually
follow the other three men out.
Bytes and the boy stand by the pub door, watching the men
cross the street and go to the back gate of the hospital which
the Night Porter unlocks, and leaves unlocked, but closed,
behind them. They walk into Bedstead Square, laughing quietly.
Bytes crosses the street and goes to the gate. He walks along
the iron fence and watches the Night Porter and his "customers".
He stops and waits to see where they go.
The Night Porter stands the two men before a window and motions
for them to wait. He goes through a door into the hospital.
After a few moments the window opens wide, and there, neatly
framed and silhouetted, stand Merrick and the Night Porter,
gripping Merrick's neck. The two men outside start back in
shock, but stand mesmerized by what they see. We hear the
laughter of the Night Porter echo across the empty square.
Bytes smiles broadly and says softly to himself.
BYTES
So, there you are, my boy, my
treasure.
A SITTING ROOM
We see a small circle of women having tea and gossip. One
of their daughters, off to the side, is reading a newspaper
society page.
GIRL
Mummy, listen to this!
MUMMY
Hush, Jennifer, can't you see
Mummy's talking?
GIRL
But it's about Mrs. Kendal, mummy!
The actress you go on so much about!
She has got the women's attention.
GIRL
"Mrs. Kendal, always at the forefront
of fashion and form, was seen leaving
The London the other afternoon. No,
dear readers, the most facile actress
of our day has not been taken ill, but
rather said she was 'visiting a friend'.
And who was the lucky recipient of this
attention? Quick enquiries proved it
to be none other than Mr. John Merrick,
The Elephant Man, with whom our readers
are undoubtedly familiar. After a chat
of three-quarters of an hour, Mrs. Kendal
was kind enough to leave Mr. Merrick
with an autographed portrait of herself.
Owing to a disfigurement of the most
extreme nature, Mr. Merrick has never
been properly presented to London
society. But knowing that wherever
Mrs. Kendal goes, others inevitably
follow, the questions arises: Will
London society present itself to him?"
LONDON HOSPITAL GATE
A carriage draws up in the street outside the hospital. A
nicely dressed woman sticks her head out the window, looks
around and scowls disappointedly.
Nearby is parked another carriage and driver.
WOMAN
(to her driver)
Parkins, whose carriage is that?
DRIVER
Well mum, that looks like Alexander,
Lord Waddington's driver.
WOMAN
Lord and Lady Waddington! Well.
drive back to the house.
(indicating her clothing)
I can't be seen in this.
They drive off.
Above Merrick's bookshelf we see a row of framed pictures of
prettily smiling society women. Mrs. Kendal has started a fad.
We pan slowly by them and down to Merrick's table where his
Mother and Mrs. Kendal have their place of honor. The cathedral
is also there. Beside it is a modest tea service.
We now see a GENTLEMAN standing behind a seated LADY. They hold
teacups. They are both very attractive and empty-headed, and
seem on the verge of screaming. They smile at Merrick who has
been talking the whole while. Merrick holds an elegant, silvertipped
walking stick across his lap, and admires a ring that
only fits his little finger.
MERRICK
Thank you for your kind gifts. I
can't say enough about this ring.
And this walking stick is ever so
dashing. So much more elegant than
my old one. More tea?
The Lady and Gentleman nod nervously. John takes the teapot
from the service and refills their cups. The Lady's hand
shakes, rattling the cup against the saucer.
MERRICK
If you have a chill I can close the
window.
THE LADY
Oh no, no, no, I'm fine. Please...
I mean, thank you.
MERRICK
I don't get out as often as I'd like
to, for some people DO find my appearance
disturbing. Of course, I can't
fault them.
We see the smiling pictures.
MERRICK (V.0.)
People are often frightened by
what they don't understand.
We see the picture of Merrick's Mother.
MERRICK (V.0.)
And it is hard to understand, even
for myself, for you see, Mother
was so very beautiful.
We draw close to his Mother's picture.
MERRICK (V.0.)
How's your tea?
THE RECEIVING ROOM
Treves walks the Lord and Lady, their faces locked in terrible
silence, to the door. Mothershead, at her desk, watches them
pass with great disapproval.
MOTHERSHEAD
(under her breath)
Watery headed bunch.
TREVES
I regret that I must leave you here,
m' Lord, m' Lady. Thank you so
much for coming. It was an act of
the greatest charity.
LADY WADDINGTON
Oh no, Mr. Treves, the pleasure was
all ours. Good day.
As they turn to go, their faces drop, their loathing
undisguised. Treves closes the door. He goes to Mothershead.
TREVES
Incredible, isn't it? Well, I think
John has had enough visitors for one
day, Mothershead. I've got a lecture
at the college, I'll be back this
evening.
MOTHERSHEAD
Excuse me, sir. I'd like to have a
word with you.
TREVES
Oh?... Well, quickly please, Mothershead,
I'm overdue.
MOTHERSHEAD
I can't understand why you let those
people go in there, sir.
TREVES
Now Mothershead, you have to understand
that this is very good for
John. He relishes contact with
people outside the hospital..
MOTHERSHEAD
But you saw them, sir. They couldn't
hide their disgust. They don't care
anything for John, they're just trying
to impress their friends.
TREVES
Aren't you being just a little harsh,
Mothershead? You yourself hardly
treated John with much loving kindness
when he first arrived.
MOTHERSHEAD
I bathed him, didn't I? I fed him
and cleaned up after him! If loving
kindness can be called care and practical
concern, then yes, I did treat
him with loving kindness, and I'm not
ashamed to say it.
TREVES
You're right, Mothershead, please forgive
me... Of course, I appreciate
everything you've done for John, and
I'm glad that you are concerned about
his welfare. But, I'm the physician
in charge and I must do what I think
best. I'm also very late, so please
forgive me.
He starts to go. Mothershead steps in front of him, detaining
him.
MOTHERSHEAD
If you ask me, sir, he's just
being stared at all over again.
MERRRICK'S ROOM
We pan across Merrick's bookcase, now quite full, and we see
a few titles: "Moll Flanders", "Emma', "Jane Eyre", "Pamela",
and then to Merrick. He and Treves are reading poetry together.
MERRICK
When will the stream be aweary
of flowing under my eye?
When will the wind be aweary
of blowing over the sky?
When will the clouds be aweary
of fleeting?
When will the heart be aweary
of beating, and nature die?
TREVES
Never, oh! Never, nothing will die.
the stream flows
the wind blows
the heart beats
Nothing will die.
Merrick closes his book and sits silently for a moment.
MERRICK
Mr. Treves, there is something I've
been meaning to ask you for some
time ...
TREVES
Yes, John?
MERRICK
... Can you cure me?
Treves is taken aback. He considers, then says tentatively.
TREVES
No John, I can't. I can care for
you, but I can't cure you.
MERRICK
I thought as much.
Merrick rises. Treves ponders over what Merrick has just said.
He looks at Merrick and something very odd happens. Merrick
is looking levelly at him. For the first and only time, we
see expression on his face. It is a calm, knowing look, almost
a benign smile. At that very moment there is a bright flash of
light behind Merrick's head, seemingly from the window. Treves
blinks, unable to comprehend what has just happened. When he
looks again, the moment has passed. Merrick, his back to Treves,
moves to the bookcase to replace the volume.
TREVES
John. . . ?
There's a knock at the door.
MERRICK
Come in.
Nora enters with a brown paper parcel tied with string. Merrick
says nothing.
TREVES
Are you looking for me, Sister?
NORA
No sir, Mr. Merrick. (to Merrick)
I have something for you.
She puts the parcel on the table and opens it. We see several
squares of new cardboard, a cutting knife, a pastepot, and a
few brushes and some paint.
NORA
I thought these things would be
helpful with your cathedral.
Merrick examines the materials with reverence, and thanks her
profusely. Treves is moved and a little disconcerted. Merrick
lays the things aside carefully and begins to pull the
crude spires from the discarded box. Nora smiles at the busy
Merrick and exits.
TREVES
The cathedral is coming along
nicely.
MERRICK
(bending over the model)
Yes, soon I will start the main
spire, but I must finish these
columns first, How kind of her!
Treves notices to his dismay that the growths on Merrick's
head are larger. He finds it very difficult to disguise his
concern.
TREVES
How blind of me. Is there anything
else, John, anything at all that I
could get for you?
MERRICK
Oh no! There is nothing! I have
everything, you have given me
everything I could possibly want.
I am havpy every hour of the day. I
only wish there was something I could
give to you.
TREVES
Please John, it would give me so
much pleasure to give you something.
Something just for yourself. Isn't
there something you would like to
have?
Merrick is silent. He goes over to his cloak, reaches into it
and pulls out a folded up advertisement. He hands it to
Treves, who examines it closely. It is an advertisement for
an-elegant gentleman's dressing bag, boasting ivory brushes,
silver fittings and Moroccan silk lining.
TREVES
You want a dressing bag, John?
MERRICK
You don't think it's too gaudy,
do you?
HALLWAY
Mrs. Mothershead finds Treves walking slowly down the hall,
looking at the ad.
MOTHERSHEAD
Mr. Treves, some more books
arrived for Mr. Merrick.
TREVES
Thank you, Mothershead. Have a
porter put them in my office.
MOTHERSHEAD
Yes sir.
(seeing the ad)
What's that?
TREVES
A dressing bag.
MOTHERSHEAD
Very smart indeed.
TREVES
Yes. John wants it.
MOTHERSHEAD
A dressing bag?
TREVES
You don't think it's too gaudy,
do you.
MOTHERSHEAD
Well...
TREVES
John thinks it's very dashing.
Something no gentleman should be
without. I'm inclined to . agree.
He walks off.
MOTHERSHEAD
A dressing bag?
MERRICK'S ROOM (DUSK)
Merrick is still at his cathedral working away. Suddenly,
he looks up at the window and the Night Porter is standing
there smiling wickedly, pointing a finger at him.
MERRICK
Night!
FADE TO BLACK
SITTING ROOM - TREVES' HOME
Treves is standing by a table on which are two stacks of books.
Treves selects books from the stacks and puts them into a box.
Treves looks troubled. He takes one from the pile and examines
it. It's a copy of "Frankenstein".
TREVES
You stay with me.
ANNE
(calling from the next room)
Dinner will be served, shortly, dear.
Getting no response, she enters.
ANNE
More romances for John?
TREVES
(far away)
Hmmm?
ANNE
... Freddie! What's the matter?
You've been like this all evening.
TREVES
Oh... I've just been thinking
about something that man Bytes
said.
ANNE
Oh, Freddie. What could that
wretched vampire say to upset you?
TREVES
That I am very little different
from him.
ANNE
Oh that's absurd, Frederick.
ANNE
No, no Frederick, that's all wrong!
John is happier and more fulfilled
now than he has ever been in his
entire life. And, that is completely
due to you.
TREVES
But why did I do it? What was this
all for? So John Merrick could
live out his last days in peace
and comfort? Or so I could become
famous?
ANNE
Frederick, just what is it that you
are saying?
TREVES
... Am I a good man or am I a bad man?
ANNE
Oh Frederick.
She holds him in her arms.
ANNE
You're a good man. A very good
man.
We see from Treves' eyes that he is not reassured.
BASEMENT - THE LONDON
It is very dark. There is a dim red glow coming f rom the holes
in a furnace door. We hear a door open and footsteps coming
downstairs. A man comes into the basement carrying something
large and black. He approaches the furnace and opens the door.
The man is Treves. He is holding the stiff black surgeon's
coat of which he was once so proud. He looks at it for a
moment, and then stuffs it into the furnace. Inside, the coat
starts to smoke heavily, then bursts into flames.
Treves watches it burn, and then closes the door.
HALLWAY - THE LONDON HOSPITAL
We see Carr Gomm walking down the hall to his office. Broadneck
appears, going the other way.
CARR
Ahh! Broadneck! You'll no doubt
be pleased to know that we've
received a smashing response to my
letter. It's all very heartwarming,
though several letters do mention
how beastly it would be to part the
poor fellow from Mr. Treves and the
staff, but since the committee insists...
BROADNECK
(scowling)
Good day, Carr Gomm.
Broadneck walks on. Carr Gomm goes into his office.
CARR'S OFFICE
Mothershead is standing by the desk looking through a small
stack of mail.
MOTHERSHEAD
Is this all there is for John?
CARR
I'm afraid so, Mrs. Mothershead.
Perhaps tomorrow.
CUT TO:
HALLWAY
We see in a pair of hands holding a buff colored envelope
embossed with the Royal Seal. We follow the hands down the
hall to a door where one of the hands knocks next to the
"F.C. Carr Gomm" sign, then enters the office.
CARR'S OFFICE
Carr Gomm and Mothershead look up to see a porter with the
buff envelope enter. Carr Gomm takes the letter and the porter
exits. Carr Gomm opens the letter and reads, his expression
changing from concern to delight.
MOTHERSHEAD
What is it? What is it?
Carr Gomm hands her the letter. Never having touched Royal
stationary before, Mothershead handles it delicately. She begins
to read.
COMMITTEE ROOM - THE LONDON
Broadneck and the other committee members are seated at their
table, anxious to get the meeting underway. They talk among
themselves.
The door opens and Carr Gomm and Treves enter. Treves seems
quite nervous, but Carr Gomm is relaxed and smiling.
TREVES
Don't you think this is a bit premature?
We don't have the backing yet to ...
CARR
Steady on, Treves. Have a seat.
Treves sits and Carr Gomm takes his place at the head of the
table and raps his gavel.
CARR
Gentlemen, I know we begin every
meeting by reading the minutes, but
in the interest of speed I think we
should conclude a matter discussed
previously, to wit, that of Mr. John
Merrick, the Elephant Man...
Broadneck explodes to his feet. Carr Gomm smiles at Treves,
who looks quite grim.
CARR
Mr. Broadneck?
BROADNECK
Mr. Chairman! I was under the
distinct impression that we had
concluded discussion of this
disagreeable matter. Had we not
ascertained that an Elephant Man is
not acceptable as a patient? Have
we not, very generously, allowed
the creature to use two of our rooms
until such time as he could be
properly disposed of? Have we not...
CUT TO MERRICK'S ROOM
Merrick is working on his cathedral, painting details with a very
fine brush. As he lifts the brush from the paint jar, a drop
falls on the table. Merrick carefully lays down the brush and
wipes up the spilled paint with a cloth.
MERRICK
I must be more careful!
CUT TO COMMITTEE ROOM
BROADNECK
Which brings to mind my next
point. The rules, gentlemen, the
rules. In a society such as ours,
it is of paramount importance that
we not stray from the established
order. Has that order not already
been fearfully strained by allowing
this ... this ... sideshow exhibit to
take up residence, however temporary,
in two very useful rooms, the purpose
of which would be far better served
in accomodating treatable patients,
patients to whom this hospital was
originally dedicated? I believe we
have a duty...
Carr Gomm still smiles. Treves is about to spring to Merrick's
defense, but Carr Gomm catches his eyes and motions for him to
remain silent. Treves is perplexed. Carr Gomm checks his
pocket watch.
CUT TO MERRICK'S ROOM
Merrick as before, busily working away. We see a ladybug crawling
slowly across the roof of the cathedral. Merrick notices
it and watches for a moment, then reaches up and lays a finger
alongside the bug. The bug crawls onto his finger and Merrick
holds it closer to him.
MERRICK
... Ladybug, ladybug, fly away home...
it's cloudy out, I know, but remember;
behind the clouds there is always the
sun.
CUT TO WHITECHAPEL ROAD
We see a Royal carriage glide to a stop in front of the hospital.
A footman jumps down and opens the door. A very elegantly
dressed woman begins to emerge.
CUT TO COMMITTEE ROOM
Broadneck is still talking.
BROADNECK
... In light of these facts, our
course is clear. The question is
not whether to accept this creature
as a patient, the question is when
will those rooms be vacated for
use by better qualified, more
deserving cases? I move that this
(continued)
BROADNECK (Cont'd.)
Elephant Man be removed from the
premises immediately. We have a
sacred duty to cure the sick, not
care for circus animals. That is my
last word on the subject. Mr. Chairman,
shall we vote?
Broadneck turns to Carr Gomm. Carr Gomm checks his watch and
clears his throat.
CARR GOMM
I take it, Mr. Broadneck, that your
mind is fixed on this matter?
Broadneck blusters with rage.
BROADNECK
Mr. Chairman! Don't you have ears?
I am unalterably opposed to any...
Carr Gomm smiles and again checks his watch. Treves is very
nervous.
CUT TO HALLWAY
We see two nurses, their backs to us, walking down the hall.
They start to go in a doorway when they stop suddenly, very
startled, and curtsey deeply. Mothershead comes into the hall,
also curtseying madly. She is followed by the elegantly dressed
woman, who is followed in turn by two footmen. They walk regally
down the hall.
CUT TO COMMITTEE ROOM
BROADNECK
... No, my mind is made up on
this, and I am resolved to stand
firm. You shall not sway me.
May we now vote, Mr. Chairman, at
long last?
Carr Gomm checks his watch. The door to the room begins to
open. He smiles.
CARR
Yes, I believe that time has come.
The two footmen enter the room.
1ST FOOTMAN
Gentlemen, Her Royal Highness
Alexandra, Princess of Wales.
The elegantly dressed woman enters. Everyone rises.
ALIX
Good morning, gentlemen. I hope
I am not interrupting?
CARR
Indeed not, your Highness. Your
presence is always greatly appreciated.
We were just about to put
the matter of Mr. Merrick to a vote.
(he turns to the other
committee members)
The Princess is very interested in
Mr. Merrick's fate.
ALIX
Indeed I am sir, as it the Queen.
I have a brief communication from
her Highness which she has requested
I read to you: To the Governing
Committee, London Hospital. I would
very much like to commend you for the
charitable face you have shown Mr.
John Merrick, the Elephant Man. It
is laudable that you have provided
one of England's most unfortunate sons
with a safe and tranquil harbour, a
home. For this immeasurable kindness,
as well as the many other acts of mercy
on behalf of the poor, of which Mr. Carr
Gomm has kept me informed, I gratefully
thank you. Signed Victoria, Empress of
India, Queen of the United Kingdom of
Great Britain and Ireland.
(looking straight at Broadneck)
I am sure you gentlemen may be counted
on to do the Christian thing.
Alix seats herself.
CARR
Thank you verv much, your Highness,
you may be sure we shall.
Broadneck seems very unnerved.
CARR
Well then, I move that Mr. John
Merrick be admitted to the London
Hospital on a permanent basis, on
condition that the Hospital shall
receive a yearly payment equal to
the cost of occupying one bed, and
(continued)
CARR (Cont'd.)
that the funds for his care shall
be clearly separate from hospital
funds. All those in favor.
Carr Gonm raises his hand. The other members, puzzled, look
at Broadneck. Quite red in the face, Broadneck looks at Carr
Gomm, then to Treves, then to the Princess. He seems to
almost deflate, then slowly raises his hand. The other members,
now thoroughly confused, raise their hands as well. Carr Gomm
bangs his gavel, smiling broadly. Treves is almost beside
himself with happiness, and the Princess is obviously very
pleased.
CARR
The motion is carried.
Broadneck, humiliated, cannot look at anyone.
CARR
Well, now we may go about our normal
business.
MERRICK'S ROOM
Merrick is working on his cathedral. It is almost finished. He
is detailing the spire, carefully painting in the stonework.
There is a knock at the door.
MERRICK
Please, come in.
Treves enters carrying a wrapped parcel, followed by Carr
Gomm, and Mothershead.
TREVES
(smiling broadly)
Good afternoon, John, Mr. Carr
Gomm has something he would like
to say to you.
Treves defers to Carr Gomm.
CARR
Mr. Merrick, it is my great pleasure
to welcome you, officially to The
London Hospital. The Governing
Committee this morning voted unanimously
to provide you these rooms on a
permanent basis. This is your home now.
I'm so very, very pleased for you.
Merrick is speechless. He just looks from Treves to Carr Gomm
to Mothershead.
TREVES
So you see, John, there's no need
for a lighthouse. All your friends
are here.
MOTHERSHEAD
Welcome home, John.
Merrick finds it very difficult to speak.
MERRICK
... my... home?
TREVES
Yes, John.
MERRICK
You did this for me?
TREVES
Yes.
MERRICK
Please... please thank the governing
committee for me. I will do my
utmost to merit their kindness.
Merrick looks about him at his rooms. It's beginning to dawn
on him that this is indeed his, that at last he has a real home,
a place of his own.
MERRICK
(trying the words on for size)
My home.
TREVES
There is one more thing, John.
Here.
Treves hands Merrick the package. Merrick carefully pulls
off the wrapping paper. Treves smiles. It's the dressing
bag. Merrick is overjoyed with the gift. He lovingly handles
the articles, taking them in and out of their compartments
opening and closing the bag.
TREVES
Is it the one you wanted?
MERRICK
Oh, Mr. Treves. Mr. Treves.
TREVES
Are you sure? Because I can take
it back.
MERRICK
Mr. Treves. Thank you my...
friends.
NIGHT TIME SKY
Clouds billowing, moving swiftly.
MERRICK'S ROOM
Merrick is alone, wearing his cloak and standing by the table,
cradling the dressing bag. He takes each article out of the
bag and lays it carefully on the table, all in very neat order.
He stares at the elegant objects, then rearranges them.
Merrick picks up the toothbrush, examining it with a sort of
reverence. He does the same with the ivory-handled razors
and the comb.
THE PEACOCK - WHITECHAPEL
There's a good crowd in tonight; lots of drinking and shouting
and glasses breaking. Several of the neighborhood "working
girls" are having a bit of a rest, looking for a laugh. The
Night Porter is rounding up customers, his pockets ringing with
coins. People have their hands raised urging the Night Porter
to take them along to see The Elephant Man. The Night Porter
goes to a table where a MAN sits with two of the girls.
MAN
Here now, these lovely ladies
ain't never seen it!
NIGHT PORTER
(to Man)
You're on mate.
(to all the others)
Alright, alright, that's
enough for this performance.
The others all moan their disappointment.
NIGHT PORTER
Hang on, hang on, there's always
tomorrow night. Not to worry.
Bytes, sitting at his usual place at the bar, sees that tonight
is his chance. The Night Porter rounds up his "customers",
all twelve of them. Bytes saunters over to the Night Porter.
BYTES
Room for one more?
NIGHT PORTER
At the right price ...
Bytes drops several coins in the Night Porter's hand.
NIGHT PORTER
There's room.
BYTES
Well, let's be off then.
The whole group happily leaves the pub, several still holding
their gin bottles. The Ladies are rather unstead on their
feet. As they all leave, the Night Porter says:
NIGHT PORTER
Quietly now! Quietly! We don't
want to scare him.
(he laughs)
MERRICK'S ROOM
(Merrick as before) he reaches over to the picture of Mrs.
Kendal and picks it up. We see his face reflected in the
glass. Merrick sets the picture down on the table. He
takes up one of the silver brushes and, using the picture as
a mirror, neatly brushes his hair over his monstrous skull.
He lays the brush down in its specific spot.
Merrick takes his ring and puts it on his left hand. He opens
the cigarette case and stuffs one into his right hand. He takes
up his walking stick, breathes deeply, then walks around the
room in a slow circle. Merrick is transforming himself.
Merrick comes back to the table and examines his reflection in
the picture. With the ring, the stick, the cigarette and his
neatly brushed hair, Merrick is the very image of a dashing
young man about town. He inclines his head to the picture.
MERRICK
Hello, my name is John Merrick.
I am very, VERY pleased to meet
you!
At this moment the door bursts open. The Night Porter stands
grinning.
NIGHT PORTER
Curtain time!!!
Merrick is frozen, caught. Seeing Merrick in his outfit, the
Night Porter's jaw drops. They both stare at each other. The
Night Porter begins to laugh hysterically. Merrick frantically
begins to put away his dressing bag articles. When Merrick
starts taking off his ring, the Night Porter comes over to him
and grabs him by the cloak.
NIGHT PORTER
No, no! You look lovely. Don't
change a thing, darling. You look
like the bleedin' Prince of Wales.
The Night Porter drags him by the neck to the window. He
throws the window open out in the square is the waiting
audience.
NIGHT PORTER
My friends... The Elephant Man!
He strips off Merrick's cloak. The audience gasps. A few
people who have been before laugh and clap.
MAN (w/the whores)
(laughing and clapping)
Horrible... I told you it was
horrible... just horrible.
He starts kissing each whore. The crowd is mesmerized. Bytes
moves in behind the Man with the Whores.
BYTES
(to Man)
Perhaps the ladies would like
a closer look?
The Man begins to laugh. The Whores laugh drunkenly and
halfheartedly resist being taken in to see The Elephant Man. As
they are pushed through the door,
WHORES
Come on Jack... No... No, don't.
(laughter)
Etc.
The Whores reluctantly enter the room. The Night Porter laughs
at their discomfort. The Man notices all of Merrick's pictures
of women.
MAN
'Cor, he's a real ladies' man, come
on... give the ladies' man a kiss.
He lets one of the whores go and grabs the other one from behind
at the wrists.
MAN
Come on, you'll give him a kiss.
WHORE
(still laughing but a trifle scared)
Come on, Jack.
The Night Porter has turned Merrick and is holding him for the
approaching kiss. The crowd is egging them on. The man
forces the Woman closer and closer and raises her arms to
force her into an embrace. As Merrick and the Woman touch,
being pressed together, the Woman begins to scream. The
Night Porter, the Man and the crowd all laugh with glee.
Merrick and the whore now have their faces pressed together. The
Whore is screaming and Merrick is crying out and screaming too.
MAN
Here that's enough romance.
Now into bed.
Merrick and the Whore are pushed onto Merrick's bed. The Night
Porter grabs the other Whore now. She begins screaming wildly.
NIGHT PORTER
A prince needs a harem!
He pushes the screaming Whore down onto Merrick. Her screaming
face goes right into his. Merrick tries to move away and
as he does his head goes too far back and his cried turn to
horrible wheezing.
NIGHT PORTER
Mind his head... You'll kill him.
The crowd outside is trying to see in the window. Five or six
more have gone into Merrick's room to see. All are laughing
and screaming and trying to get a close look at The Elephant
Man.
NIGHT PORTER
(yelling)
Quiet down. Quiet down. You'll
have the whole place down on us.
BYTES
(outside, yelling loudly)
Bring him. out then, so's we all
can see him.
Merrick recognizes his voice and looks frantically around for
his former owner. The Night Porter pulls Merrick up by the
window again. He then begins pushing the crowd out the door.
NIGHT PORTER
Everyone outside!!!
Suddenly one of the crowd outside reaches up and grabs Merrick's
good hand and pulls him half out the window. Others follow
suit and haul him all the way through. The cathedral falls
to the floor, breaking into several pieces.
Because of the horror of touching him, the crowd outside lets
Merrick fall to the ground.
The Night Porter whirls around and sees that Merrick is gone.
He pushes the rest of the people outside and quickly goes to
Merrick, lifting him to his feet.
Unseen by anyone, Bytes slips into Merrick's room. Merrick is
now standing. The crowd moves in. The Night Porter is enjoying
the festivities, but looks around nervously for trouble.
ONE MAN
Give 'im a drink.
The Man grabs Merrick and pours some gin into his mouth, then
pushes him away. He's caught by another man, fed liquor and
pushed away. He's pushed now from person to person faster
and faster. Finally Merrick falls to the ground, dizzy and
a bottle of gin on Merrick's head. He coughs and moans through
the wheezing. The crowd is now strangely silent circling The
Elephant Man like a pack of dogs closing in on a terrified
rabbit. Suddenly Merrick starts to wail. The crowd joins in
and they hoist him above their heads, screaming with laughter,
around and around, joincing him all the while.
Now we see a window reflecting the scene of terror. A curtain
is pulled aside and we see through the reflection the face of
the Young Porter, watching everyting.
NIGHT PORTER (V.0. the reflection)
Here now... Here now... He's had
enough... show's over!
Merrick is lowered down into the crowd. it parts and the Night
Porter emerges walking Merrick toward us to his room.
NIGHT PORTER
(to the crowd behind him)
Meet you at the Peacock.
ONE OF THE CROWD
Bring your friend.
NIGHT PORTER
(laughs drunkenly)
He's had 'is fill for one night.
The crowd moves through the iron gate of Bedstead Sauare. In
the background we see Bytes' boy sitting on top of a wagon.
The Night Porter takes Merrick into his room and puts him on
the bed. He drunkenly stumbles about trying to out the room
in order. He places the smashed hulk of the cathedral back
up on its table, inadvertently leaving the spire and a few
columns on the floor. He picks the cloak up and replaces it
on the peg.
NIGHT PORTER
(to Merrick)
I did real well tonight.
He takes a purse full of coins out of his pocket. He removes
one small coin and flips it on the floor in front of Merrick.
NIGHT PORTER
Here... buy yourself a sweet.
The Night Porter turns and leaves.
Merrick, alone now, hears the Night Porter's echoing footsteps
and the distant sound of the gate being closed. There is a
long silence as Merrick collects himself. He then leans back
into his pillows with a deep sigh. His eyes close.
BYTES (V. 0. )
My treasure...
Merrick's eyes flash open. We see Bytes coming toward him.
BYTES
Aren't you glad to see me?
MERRICK
Bytes!
Bytes lifts Merrick uD off the bed. He reaches out for
Merrick's cloak. We slowly PAN over all the smiling women's
faces as we hear the following:
BYTES (V.0.)
Get into your cloak...
(rustling sound)
... now, your hood... do it!
MERRICK (V.O.)
... Alright.
Rustling sound. We now glide slowly on to Merrick's Mother's
picture.
BYTES (V.O.)
Let's go.
Merrick's good hand comes into the frame trying to reach his
mother's picture. He grabs at the table cloth and pulls.
Now we see Bytes gripping Merrick's arm and pulling. We see
the picture fall to the ground with a THUD.
CUT TO:
In the sky the heavy clouds are moving.
CUT:
MERRICK'S ROOM (MORNING)
Morning sunlight on the floor of Merrick's room. We move
slowly around, discovering the church spire, the columns,
the penny and Merrick's mother's picture.
Over this, the sound of knocking on the door. Through the door,
we hear Treves calling, "John?... John?" More knocking. The
door opens.
TREVES
John?
Treves surveys the empty room. Quickly he goes into the side
bathroom. He comes out with a very worried face. He goes to
the cathedral model and is horrified by its condition. He
finds the spire and then Merrick's Mother's picture. He quickly
leaves the room and walks down the hall. The Young Porter,
waiting in the hall, approaches Treves and stops him.
YOUNG PORTER
Mr. Treves?
Now we see Mrs. Mothershead entering Merrick's room surveying
the same scene. Her face hardens as she sees the picture
of Merrick's Mother.
MOTHERSHEAD
Good God... John?
Now we see Treves filled with anger. He's got the information
from the Young Porter and bolts down the hall at full speed.
Mothershead, still in Merrick's room, now become activated
with determination to get to the bottom of all this herself.
She leaves the room. In the distance is Treves marching off.
Closer to her is the Young Porter, looking worried. She calls
him to her.
CLOSE-UP of Treves angrily walking.
CUT TO:
Mothershead leaves the Young Porter, furiously marching off in
the same direction as Treves.
OPERATING THEATRE
The Night Porter is adding fresh coal to the operating room
stove. The old coals were still quite hot and now smoke begins
to rise. The Night Porter takes up the bellows and begins to
pump the coals into a blaze.
The door bangs open and Treves is there, standing stock
still, in a cold murderous rage.
TREVES
WHERE IS HE?
The Night Porter, frightened by Treves' intensity, begins to
sputter.
TREVES
WHERE IS MR. MERRICK?
NIGHT PORTER
I... I don't know what you mean,
Sir.
Treves stalks over to him.
TREVES
Don't like to me. I know all about
it. You were SEEN. Where did you
take him?
NIGHT PORTER
Take him? Now wait... I didn't take
him anywhere. We were just having
some fun. We didn't hurt him... just
having a laugh, that's all.
TREVES
HE'S GONE!
NIGHT PORTER
When I left him, he was in his bed,
safe and sound.
TREVES
YOU BASTARD! You tortured him. YOU
TORTURED HIM, you bastard. WHERE is
HE?
NIGHT PORTER
(enraged)
YOU'RE NOT LISTENING TO ME! I
ain't done nothing wrong. People
pay to see your monster, Mr. Treves.
I just take the money.
TREVES
YOU'RE THE MONSTER! YOU'RE THE FREAK!
GET OUT! YOU'RE FINISHED!
Treves takes the Night Porter by the arm and begins to drag
him out. The Night Porter throws his hand off violently, whirls
around, his back to the door, and seizes the poker from the
stove. -
NIGHT PORTER
Have a care, Mr. Treves. I ain't
afraid of you! You and your bleedin'
Elephant Man! I'm glad what I did!
And you can't do nothing! Only
Mothershead can sack me.
Treves, blind with fury, tears the poker from the Night Porter's
hand, and is on the verge of using it. Unbeknownst to them,
Mothershead has storm into the room, just in time to hear
the last of the Night Porter's speech. Without a break, she
strides over to him and with a lightning movement, boxes him
soundly on the ears. The blow is staggering and makes quite
a formidable sound. The Night Porter falls to the floor, barely
conscious.
MOTHERSHEAD
Done.
OUTSIDE THE SHOP (DAY)
Treves is standing in the street looking at the now bare shop
front. He walks to the window and tries to clean a small circle
in the glass. He peers in. From inside, through the smeared
dirty window, we see Treves' distorted face.
CARR (V.0. throughout)
I'd like to think I felt no less
for John than you, Treves, but
face the facts, the man has
disappeared, very likely to the
continent. There's no question of
your going after him, you're
desperately needed here by your patients.
Remember Treves, you did everything
in your power... everything in your
power.
FADE TO BLACK:
INSIDE A WAGON
A moving circle of light in blackness.
As we move closer to the light, it becomes distinguishable as
a peephole in the side of a wagon. Through the peephole we see
a dark overcast sky. It is dusk. We move even closer to the
hole. Just beside it we see the head of a horse with blinders
on moving alongside. We move closer still to see its rider, a
policeman. He notices the peephole and leans forward in the
saddle, looking in.
From outside, we see the peephole and an eye gazing out. The eye
is replaced by a plug.
The policeman starts back and pulls up on the reins. As he
falls behind we see the portrait of the E.M., from the front of
the shop in London, on the back of the wagon. The policeman
looks at the poster. The wagon moves on out of frame and the
policeman slows his horse to a stop.
The wagon is being driven by Bytes. The boy sits beside him.
Another policeman rides abreast of him. They ride a few yards
more and then the policeman stops by a sign at the fork of the
road, reading "AALST 30 km". "Brussells 80 km." The policeman
gestures for Bytes to move on. The wagon continues down the
road.
CUT TO:
Bytes and the boy are riding along the road. Bytes turns in his
seat and opens a hatch in the roof. He looks down in.
Inside the wagon, lit by the last dregs of the sunset, is
Merrick, huddled in his sleeping posture. He feels the light and
looks up weakly, wheezing, obviously very sick. A small bowl
of potatoes sets untouched beside him.
BYTES
Still haven't eaten, eh?
MERRICK
Bytes... please!
BYTES
Eat, my treasure, I want you
healthy.
He snaps the hatch shut and turns forward muttering to himself.
BYTES
I'm beginning to feel your weight.
FIELD & ROAD (MORNING)
We see a field with a road in the distance, leading to it. It
is misty, the sun barely peeking through the rolling clouds
above. on the road, the wagon is plodding toward us. At the
bottom of the frame a FEMALE PINHEAD in a dress comes into
view. She is watching the wagon. A DWARF comes into view
beside her. She points to the wagon and she and the Dwarf
excitedly confer. They turn back to watch its progress and
the Dwarf reaches up and takes the Pinhead's hand.
We move back slowly to reveal a ring of circus wagons in the
field.
ANOTHER DWARF comes up to the two other Freaks and watches the
wagon. We pull back further to see a small circus. There are
little stalls, and cages containing two mangey lions, some
screeching spider monkeys and some squawking parrots. The
circus is abustle in the drab grey field.
CLOSE-UP of the Pinhead jumping up and down in her excitement.
There is a clap of thunder.
DISSOLVE TO:
A rainstorm over the freak show. We pass along the row of
freak wagons. These freaks truly deserve the name. They are
quite different from the rather domestic ones we saw in the
circus in England. These are not fakes. A rope cordons us
off from them.
The audience, which we see all around us, is enjoying the
freaks, but there is a sense of vulgarity in their gaiety.
They seem hard, and cold and jaded.
We move by pinheads, a Hermaphrodite and a Legless Wonder. Some
Siamese Twins are playing cat's cradle. Past them runs a
Dwarf with a plumed hat playing a small flute. Trailing behind
him on a string is a small wooden ark on wheels. A lionfaced
man is combing the hair that covers his face. A Rubber
Man pulls the skin of his neck up over his face. There is a
fairly big crowd standing around a Tall Man, affectionately
rubbing the Small Parasitic Twin, growing out of his chest.
The Barker-Owners compete with each other and the occasional
thunder.
Finally we hear the patter of Bytes, telling of the horrible
fate of John Merrick's Mother on that African Isle so many years
ago. A very big crowd is listening to him. They are looking
at the poster at the back of the wagon, waiting impatiently to
see the Elephant Man.
BYTES
... The result is plain to see.
Ladies and Gentlemen... THE
TERRIBLE ELEPHANT MAN!
He raps twice with Merrick's silver-tipped walking stick and
pulls the poster up. Merrick is standing unsteadily in the
wagon. He is quite sick. The audience gasps and shudders.
A few shrieks are heard. The Elephant Man is always the
Elephant Man.
BYTES
Turn around!
Merrick slowly turns around, the audience gasping at the sight
of the horrible tumors. Bytes raps the walking stick twice.
BYTES
Dance!
Merrick begins a series of awkward movements, his pained version
of a dance. Without his walking stick it is very difficult for
him, but he strives to do it. Some of the crowd laughs at this,
others shudder at the strange sight. Suddenly Merrick falters
and comes to a stop, breathing irregularly. Seeing this,
Bytes goes to him and bringing the stick behind Merrick, out
of view of the audience, jabs him savagely in the back.
BYTES
Dance!
Merrick groans with pain and some of the people in the first
row flinch back. Merrick begins to dance again as people throw
coins onto the stage, which the boy gathers and puts into a cap.
FADE OUT
CUT TO:
THE BACK OF THE WAGON - DAY
The poster is rolled up, Merrick on the floor of the wagon
wheezing horribly. Beside him on the floor is a bowl of what
looks to be slop and potatoes.
Bytes is standing at the back of the wagon looking down at
Merrick. He picks up the bowl and jabs it at Merrick.
BYTES
Eat, my treasure.
Merrick looks wearily at the bowl but makes no move to accept it.
BYTES
(angry)
Eat. I said eat!
Merrick closes his eyes. This really enrages Bytes.
BYTES
Eat, damn you. EAT! EAT!
He jabs the bowl at Merrick, almost as if he'd shove it down
his throat.
BYTES
I said EAT!!
At this last word he throws the contents of the bowl splattering
in Merrick's face. He stands for a moment looking down at
Merrick who has lapsed into a coughing fit.
FADE OUT
CUT TO:
SIDE OF THE WAGON - DAY
There is a small crowd gathered in a circle on the grass.
Merrick stands amidst them on a small wooden stool, Bytes jabbing
him from behind again. Merrick is making a strance moaning cry,
slightly renaniscent of the trumpet of an elephant. The boy is
passing amongst the people with a cap, collecting coins. Merrick
lifts his face to the sky, the sound of his own misery mingling
with his elephant call.
FADE OUT
CUT TO:
SMALL CIRCUS - NIGHT
We see the poster of the Elephant Man. Bytes stands before it
saying the last of the patter.
BYTES
The result is plain to see. Ladies
and gentlemen... THE TERRIBLE
ELEPHANT MAN.
He raps twice with the walking stick and pulls the poster up.
Merrick is now extremely sick. He almost looks as if he is
unable to stand. The audience, as always, is quite alarmed.
Bytes smiles and comes forward.
BYTES
Turn around!
Merrick looks incapable of even this simple movement, but he
slowly manages to turn. The crowd reacts to the horrible
condition of Merrick's back and head. Bytes satisfied that
the Elephant Man is having the proper effect, raps the walking
stick again.
BYTES
Dance!
Merrick's eyes look painfully up to the heavens and he begins
to shuffle clumsily about the platform. Without his stick this
is very difficult for him, causing him great pain. It is a
humiliating spectacle and the crowd unimpressed by the halting
movements of the monster begins to heckle him. Bytes seeing
that the dancing isn't being received well moves to place a
stool next to Merrick.
BYTES
(rapping)
Up! Up!
Merrick, already exhausted by his little dance, wheezes and
coughs, attempting to ascend the stool. It is useless, he is
just too tired. Again the audience shouts its disavoroval,
booing and hissing the Elephant Man. Bytes curses and raps
again, demanding obedience from Merrick who again bravely tries
to mount the stool. He cannot do it!
Bytes, striving to save the moment and please the angry crowd,
goes to Merrick and roughly helps him up. Merrick teeters
precariously on the stool. Bytes raps the stick.
BYTES
Give the call of the elephant!
Merrick hesitates and Bytes bangs the stick on the wagon. The
audience quiets down to hear the elephant call. Merrick senses
this lull, but he is very frightened and sick. He lifts his
head wearily and makes a few wavering cries that sound very
little like an elephant.
BYTES
Louder!
Merrick tries again but there is no improvement. The crowd
begins to jeer at Merrick, exhorting him to make the call of
the elephant. Merrick is now almost swaying on the stool. He
attempts to step down, but as he does it finally becomes too
much for him and he collapses into a heap on the wagon floor.
The crowd is no longer in the least bit challenged by this
piteous mess and they break out into a vocal fury, throwing
objects at the wagon.
Bytes is humiliated at first, and then is quickly angry. He
turns to Merrick.
BYTES
Get up you miserable bastard!
But Merrick just lays there moaning and wheezing irregularly.
BYTES
I SAID, GET UP!
He jabs Merrick a few times with the silver-tipped walking-stick.
The crowd jeers even louder still. There is a clap of thunder.
BYTES
(realizing it's no use)
I'm beatin' a dead horse.
FADE OUT
CUT TO:
SMALL CIRCLE OF WAGONS (NIGHT)
Bytes is seated by a campfire drinking from a bottle of wine.
He is very drunk. From the wagon behind him we can hear
Merrick coughing and wheezing. We also hear the boy, almost pleading
with Merrick to stop coughing and to try to eat. As Bytes
listens he gets angrier and angrier. Finally he rises clumsily
to his feet and stumbles over to the back of the wagon.
BYTES
Another bleedin' heart!
The boy is crouched over Merrick, who looks little better than
a corpse. Bytes points a menacing finger at Merrick.
BYTES
You sly bastard. You're doing this
to spite me, aren't you!
BOY
Aw, Bytes, he's sick.
BYTES
He's doing it to spite me, I tell
you, and it's got to stop!
BOY
He's sick, Bytes. He's going to die.
BYTES
(enraged)
If he does it's his own fault!
But I'm not burying that swollen
bag of flesh.
He reaches in and grabs Merrick roughly by his arm, dragging
him out of the wagon.
BOY
What are you going to do?
BYTES
I'll show you! I'll show you!
He drags Merrick across the way to a small monkey wagon. The
boy follows, his face filled with sympathy for Merrick. Bytes
opens the cage door and stuffs Merrick in as the monkeys scream.
BOY
Don't!
BYTES
Shut up!
He slams the door and latches it. Then he quickly turns, still
in his rage, and starts for the wagon. As he passes the boy,
the boy tries to stop him.
BOY
Bytes, please...
Bytes knocks the boy down with the back of his hand. He stalks
to his wagon and climbs inside. After some muffled sound,
Merrick's food bowl comes flying out. There are more muffled
sounds as Merrick's stick, cloak and hood are also thrown out
one by one.
BYTES
Out!
The boy looks to Merrick who is in a panic trying to keep
himself away from the monkeys who scream loudly in all the excitement.
We hear Bytes, cursing to himself, in the wagon. The boy,
frightened, goes to the fire and pulls a blanket around him.
Merrick crawls to one corner of the cage away from the screaming
monkeys. Suddenly one of the braver ones leaps at Merrick with
a scream, biting him on the arm, and moving quickly away.
Merrick yelps with pain and struggles to move away. The
other monkeys have gotten the idea now and they begin to move warily
toward Merrick, screeching threateningly. Another leaps out
and clings to Merrick's shoulder, biting and scratching furiously
then he too jumps away. Merrick cries out.
Now the monkeys are getting braver and more and more of them
lash out at Merrick with their paws. They jump onto him with
savage screams, biting him on the head and neck and shoulders.
Merrick's eyes search for escape. The monkeys come on and on
without a break, screaming madly all the while.
With his good hand Merrick begins to pull himself up with the
aid of a bar. The monkeys strive to pull him down. Merrick
looks through the bars at the wagon and screams frantically.
MERRICK
Bytes! Bytes, please!!
But Bytes won't come. Something is happening inside Merrick.
A wave of feeling is growing, coming from a place in him very
deep down and far away. This feeling seems to give him strength
and he is able to pull himself all the way up in spite of the
hairy moving mass that now seems to cling to every part of his body.
The feeling is surging up inside Merrick making his body shake
uncontrollably as if he were a volcano about to erupt. The
monkeys keep on biting and screeching, pulling at him. Suddenly
a formidable cry rings out of Merrick's mouth, with a power
and assurance we have never heard from him before. He whirls
about and cries out again a shattering "No", the force of which
scatters most of the monkeys away from him onto the cage floor,
dumbfounded. Merrick grabs a monkey who has managed to hang
and throws it into the group of monkeys on the floor.
MERRICK
NO! I AM NOT AN ELEPHANT! I AM
NOT AN ANIMAL!! I AM A HUMAN BEING!
I... AM... A MAN! I AM A MAN!!
The monkeys have been shocked into silence, pushed into the
other end of the cage. Merrick, perhaps as surprised as the
monkeys, rests against the bars of the cage. The monkeys make
no move toward him. They sit across the cage from Merrick
silently watching him with fear.
FADE OUT
CUT TO:
THE SILENT FACES OF THE MONKEYS
We now see Merrick crouched in a corner of the cage in his
sleeping position. We see the monkeys again, and hear whispering
in the still night. CU of merrick's head resting on his
knees. The whispering continues and a shadow falls across
Merrick. Merrick begins to stir, his head comes up, and he
looks around. The whispering stops.
We pull back to see some of the freaks from the circus gathered around
the monkey cage in a small group. They are: 2 pinheads
(male and female), the dwarf we saw earlier with the plumed
hat and the ark on a string, another male dwarf, a female midget,
a lion-faced man, and an armless wonder. The female pinhead
reaches into the cage and pats Merrick's head.
PLUMED DWARF
You alright?
MERRICK
y-y-yes -
PLUMED DWARF
Want to come out?
MERRICK
You're English.
PLUMED DWARF
Of course! You want out?
MERRICK
Yes.
PLUMED DWARF
Won't be a moment.
He looks to the lion-faced man and speaks to him in a foreign
tongue. The lion-faced man unlatches the cage door. Then,
after further instruction, from the plumed dwarf, the freaks
gently help Merrick out of the cage, closing the door behind
him, The dwarf speaks to the others again and the lion-faced
man and the armless wonder move to each side of Merrick. The
lion-faced man pulls Merrick's right arm over his shoulder.
Merrick puts his left arm around the armless wonder.
PLUMED DWARF
We've decided... You've got to get
away from here..
He and the other dwarf light two lanters and they begin to move
off.
The boy by the wagon has awakened. He sees the small caravan of
freaks moving in the darkness, the light from the lanters bobbing
over the grass. His first instinct is to call for Bytes, which he
almost does, but then he thinks better of it. He rises and goes
to where Bytes threw Merrick's stick and disguise. He nicks them
up and goes to the small band of strangely shaped beings. They
stop and watch him warily.
BOY
(handing over the things)
Here... you'll need these.
Merrick looks the boy in the eye, and the boy holds his gaze.
PLUIMED DWARF
Good of you, mate.
BOY
(to Merrick)
Good luck.
MERRICK
But...but...
BOY
I'll be alright.
The small band moves away through the wagons. The boy watches
the lantern light reseeding in the darkness. He turns and
looks to the wagon, the poster of the Elephant Man, and the
dying fire. He moves to the fire quickly collecting a few
blankets and belongings. Then taking one last look at the
garrish poster just visible in the night, he runs off into the
darkness.
CUT TO :
WOODS - NIGHT
We see the beams of the lanterns moving through the trees like
will-o-the-wisps. They help Merrick along, the plumed Dwarf
directing them from time to time. As they move along we see
them pass a small still pond. In the moonlight we can see
them reflected in the water: Merrick supported by the freak
band, the small ark on a string, pulled along behind the plumed
Dwarf.
CUT TO:
A DIRT ROAD - NIGHT
The intrepid freaks approach a bend in the road. They go
around the corner and before them stands a small train station,
a train sitting amongst the steam by a platform. The freaks
stop just outside the light of the station and the plumed Dwarf's
instruction get Merrick into his disguise. The female pinhead,
who has carried his stick, hands it to Merrick, squeezing his
hand.
MERRICK
Thank you, my friends.
The plumed Dwarf relays the message and the freaks respond to
Merrick in their language.
PLUMED DWARF
I'll go in with you, you'll
need a ticket.
He turns and confers with the freaks who all rifle through their
pockets and produce some coins. Then he and Merrick walk into
the station, the freaks watching and waving.
ON THE PLATFORM
The train is about to leave. At a barrier two ticket collectors
are taking tickets of a few last-minute passengers, who hurry
off. -
The Plumed Dwarf and Merrick appear and walk to the barrier.
The Plumed Dwarf hands over the ticket.
PLUMED DWARF
I'm just going to help my friend
on board.
They walk off down the platform. The collectors stare after them.
The Plumed Dwarf, his arm around Merrick, is helping him down
the platform, as fast as possible, his ark trailing behind him. As
they pass the windows of the first-class carriages, we see the
ornate interiors and the happy, handsome people on their plush
seats.
The Plumed Dwarf finds an empty compartment and opens the door.
PLUMED DWARF
This'll do.
He looks down the platform. The Ticket Collectors are watching
them with great interest.
Merrick climbs laboriously aboard.
The other people on board see Merrick, react, and move away
from him as far as they can in the cramped, 3rd class carriage.
The Plumed Dwarf notices this and sniffs at the people with
contempt.
PLUMED DWARF
I'm sorry I could only get you
a third class ticket, but it's
all we had.
MERRICK
Oh no, my friend ...
PLUMED DWARF
Say hello to London for me. I
miss her.
MERRICK
Oh, yes.
PLUMED DWARF
You know, I saw you once there,
in London. You're a great attraction.
He grins. The whistle blows and the train slowly begins to
move off. The Plumed Dwarf still holding the door open, walks
along with it.
PLUMED DWARF
Luck, my friend, luck. Who needs
it more than we?
Merrick nods "yes", and holds out his hand. The train is
moving a little faster. The Plumed Dwarf grabs his hand and
they shake.
He shuts the door. As the carriage passes, Merrick's mask is
pressed up against the window. The Plumed Dwarf waves to him
as the train moves away.
He looks at the train for a moment, then walks back down the
platform.
THIRD CLASS CARRIAGE - INTERIOR
Merrick is in the corner, facing into the carriage. He looks
slowly around. The other passengers have moved away, forming
almost a moat of space around him. We see the whole carriage
now; the cowering people and Merrick at the far end. Seeing
their silent, horrified stares, he moves to the opposite seat,
facing the back wall. Merrick looks around for a moment, then
sees his reflection in the window. He stares at himself.
THIRD CLASS CARRIAGE
The carriage is dark now, and empty except for Merrick. He
looks out the window at a sign above a station platform that
says "Oostend", and at the few people still walking about.
OOSTENDE STATION PLATFORM (NIGHT)
We see the side of the carriage. Merrick, inside the darkened
car, is not visible. A CONDUCTOR walks to the end of the
carriage and turns a valve. He opens the door to Merrick's compartment.
CONDUCTOR
I'm sorry, you'll have to leave
now.
Merrick is motionless, reluctant to leave the security of the
darkness.
CONDUCTOR
This is the end of the line, you'll
have to leave now.
Merrick pulls his walking stick from the darkness and plants
it firmly on the floor with a loud THUD. The Conductor, expecting
violence, draws back. A few people on the platform, who
have stopped to watch this exchange, gasp.
Merrick rises with the help of his stick, and slowly descends
from the carriage watched very carefully by the others. He
looks around for a moment, then walks off down the platform.
TWO YOUNG TOUGHS follow a little distance behind him, laughing
and mimicking his uneven gait.
OOSTENDE QUAY (NIGHT)
We see a short line of people waiting to board a cross-channel
steamer. The First-Mate is standing by the gangplank, smiling
at the women passengers and making the most of his handsome
face and crisp white uniform. He surveys the line, stops and
smiles even more broadly. A very pretty Young Woman at the end
of the line is smiling back.
We see the end of the quay disappearing into darkness towards
the station. The rythmic sound of Merrick's stick is heard as
he slowly moves into the light.
The Woman, still smiling at the First-Mate, demurely lowers
her eyes. Merrick appears behind her, breathing heavily from
the long walk. The woman's face freezes. She turns her head,
ever so slightly, and sees Merrick. Her face drops.
The First-Mate sees the Woman change, then sees Merrick. He
walks out of frame. Merrick is still trying to catch his
breath as the First-Mate walks up. The Woman looks up at the
First-Mate imploringly.
FIRST-MATE
May I see your ticket?
Merrick, confused at first, produces his ticket from his
cloak. The First-Mate examines it and hands it back.
FIRST-MATE
I'm sorry, there's no room for
you on this ship, you'll have
to wait for the next one, in the
morning.
Merrick remains motionless.
FIRST-MATE
You heard me. There's no room.
Now be off with you.
He points down the quay. Merrick turns and walks away. The
Woman smiles gratefully at the Fist-Mate, who tips his hat.
A WAREHOUSE PIER
TWO DRUNKS are sitting against the wall, drinking and singing.
One of them gets up and walks out of frame.
Merrick peeks around a corner at the Drunk. They stare at each
other for a long moment. Merrick disappears. The other Drunk
comes back, sits down, and they both start singing again.
Merrick is in darkness, seated around the corner, tapping his
left hand against his leg, keeping in time with the drunken
music.
OOSTENDE QUAY (MORNING)
We see Merrick behind some crates, watching the ship. On the
wharf a different First-Mate waits until the last of the morning
passengers board the ship. He then nods to the Ticket
Taker and ascends the gangplank, nodding to a crew man. On
board, everyone prepares to get underway.
Merrick pitches forward from behind the crates, half running,
half stumbling toward the Ticket Taker. The Ticket Taker,
about to board the ship, drops the tickets on the ground and
stoops to pick them up. As he collects the scattered tickets
a hand comes into frame holding a ticket out to him. He reaches
for it, and calls over his shoulder to the crewman at the plank.
TICKET TAKER
Wait! One more!
He turns back and finally takes a look at the late arrival.
TICKET TAKER
You'll have to hurr ...
His mouth drops. Merrick hurries past him. The crewman now
also sees the passenger as he begins his clumsy ascent of the
gangplank. The shrill ship's whistle blows.
ON BOARD
Merrick is crouched in a dark corner underneath a stairway, his
head resting on the points of both knees, his arms clasped
around them. He is asleep. A few drops of rain fall and hit
his cap, then a few more and finally it begins to rain. He
wakes up and looks around. He hears a voice.
YOUNG W0MAN (V.O.)
Look! It's Dover!
Through the stairs we see a young couple in the rain at the
railing, arm in arm. The Young Woman points. The Young Man
turns to her and smiles.
YOUNG MAN
Finally! Dover!
They laugh and hug each other and run inside out of the rain.
Merrick's hand comes into the shot, grasping a stair and pulling
himself up slowly. He rounds the stairs and walks onto the
deck looking after the young couple.
Merrick walks to the railing and leans over it, oblivious
of the rain. We see the cliffs of Dover.
DOCKSIDE - DOVER
The ship's gangplank leading down to a sea of umbrellas. Passengers
one by one come down the plank and are swallowed by the
crowd. On the dock amidst the umbrellas, we see Merrick. He
looks around, then moves off into the crowd. The crowd moves
past a sign saying, "To The Trains".
LONDON TRAIN - INTERIOR
Through a rain-streaked window we see rolling green countryside.
We pull back to see an Elderly Man in a heavy black overcoat
with a wide-brimmed rain hat eating an apple. Beside him his
wife knits.
A few other people similarly clothed are sleeping. We PAN
across them to see Merrick at the back of the car watching the
Elderly Man eat.
LONDON TRAIN - EXTERIOR
The last car speeds down the track and disappears.
LIVERPOOL STREET STATION
Grey light filters through the windows in the high canopy ceiling
over the trains in the station. The platforms below fill
with people as trains arrive and depart. We now see the
station with its newsstands, sweetstalls, shoeshiners, and
passengers moving to and fro, carrying luggage and looking for their
train.
A YOUNG BOY is seated on a pile of baggage looking very adult
and bored. His MOTHER stands beside him, though we see only
a portion of her billowy skirt. We hear her voice in rapid
conversation with another Woman. The Young Boy scans the
crowd looking for excitement. He sees something.
The Elderly Man we saw on the train and his wife are moving past
the barrier. The Young Boy slowly pulls a peashooter from a
pocket, puts a pea in his mouth, and raises the pipe to his
lips. His Mother's hand shoots out and grabs it.
MOTHER'S VOICE
Little beast! I thought mummy
told you not to bring that horrid
thing. Can't you behave?
She continues her conversation. The Boy looks sour. Merrick
is moving past the barrier. He stops to look around and plan
his next move. The Boy sees him. ie tugs on his Mother's
skirt.
BOY
Mummy! Mummy! Look at that man!
His head, it's huge! Mummy, why
is his head so big? Mummy? Mummy
MOTHER
Do be quiet Little Jim. Can't you
see Mummy is speaking?
Merrick still looking around, suddenly turns in Little Jim's
direction. He sees the Boy tugging at his Mother's skirt and
pointing at him. He turns and walks in the opposite direction
along a wall stacked with trunks and luggage, trying_as best
as he can to blend in. Little Jim gets up and moves after him.
Merrick continues along the wall. A few people give him a
second look, but pass on. Little Jim comes up alongside him.
LITTLE JIM
Hey Mister, why is your head so
big?
Merrick turns and looks at Little Jim. He looks quickly
around. We see, across the station, an open archway leading
out into a street. Merrick moves away from-Little Jim out of
frame. Little Jim watches him go.
LITTLE JIM
Mister!
Two other BOYS join Little Jim. The three of them watch the
escaping Merrick, then move off after him. Merrick is
frantically trying to make it to the archway. The three boys
appear behind him and call out.
BOYS
Mister! Mister!
LITTLE JIM
Why don't you answer me?
One of the boys reaches down and snatches the hem of Merrick's
cloak. He lifts it, trying to catch a glimpse of the mysterious
stranger. Merrick pulls away and tries to go faster. Relishing
the hunt, the boys follow him, taunting him all the way.
As they approach the arch, Little Jim, determined now, steps
in front of him cutting him off.
Merrick comes to an abrupt standstill, shrinking from the boy.
Little Jim reaches up to the hood and grasps it firmly.
LITTLE JIM
Now I'll see you ...
He lifts the hood and then staggers back onto the floor in a
spasm of fear. He lets out a shrill scream. Merrick turns
wildly away, looking for another escape. Little Jim's Mother,
hearing her son's cries, looks up immediately. She sees Merrick
and the howling boy in the middle of the station.
MOTHER
My son! My son! Help!
Merrick, hearing this, looks in her direction and whirls away.
He stumbles toward another archway exit. People, hearing the
noise, watch him go. He knocks down a little girl in his
flight and she, too, starts screaming. Through the archway
comes a bobby. Jim's Mother, now with her son, calls to him.
MOTHER
Stop that man! Stop that man!
Merrick stops at the sight of the bobby. The bobby at the
arch, now aware of the commotion, sees Merrick and walks quickly
towards him.
Merrick changes course, but, a group of men, alerted by Jim's
mother!s screams, move forward together, cutting him off.
They yell at him angrily. One of them darts toward him and
grabs ahold of Merrick's hood. Merrick turns frantically away
and as he does, the hood is pulled off him. The crowd shouts
at him as he goes, following him in wary pursuit. He moves
back past the children and Jim's Mother. They all scream and
shield themselves from his approach. Another group of people
move toward him blocking all escape. Behind him, he sees a
door to a urinal. He moves through it followed by the crowd.
We hear fearsome echoes inside.
Inside the urinal, the crowd presses Merrick toward a wall.
They have become angry now. They shout and there is fear in
their voices. They hem Merrick in. He looks around hoping
for an opening. There is none.
He gives a strangled cry and collapses as the bobby pushes his
way through the crowd.
Merrick puts his good hand over his good ear trying to block
out the screams of the crowd.
MERRICK
(quietly to himself)
I am not an animal... I'm not...
I'm not,.. I am a man.
EXAMINING ROOM - LONDON HOSPITAL
A small room off the Receiving Room. In the center of the room
is a low sofa covered with deeply stained, shiny black leather.
On it lies a man, groaning softly. Treves is helping a Dresser
bandage the man's leg.
Mrs. Mothershead appears at the doorway.
MOTHERSHEAD
There's a policeman to see you,
Sir.
The bobby from the Liverpool Street Station enters.
BOBBY
Are you Frederick Treves, sir?
TREVES
Yes.. .
The card changes hands.
THE URINAL
Treves enters and pushes through the crowd. He sees Merrick
in a heap on the floor. The SERGEANT gets up to meet him in
the middle of the room, but Treves keeps walking toward Merrick.
SERGEANT
You know this man, sir?
TREVES
Yes, he's... my friend.
Treves goes to Merrick who, just coming to, reaches out to him
with his good hand. Treves pulls him up, his eyes brimming with
tears. Merrick, too, is weeping. Treves embraces him.
MERRICK
Mr. Treves! Treves.
TREVES
John.... how can you ever forgive me?
HALLWAY
Treves, Carr Gomm and Mrs. Kendal are walking down a hallway
engaged in conversation.
KENDAL
It's all arranged. I'll send
over some evening gowns for the
sisters that you select to accompany
Mr. Merrick. You'll be using
the Royal entrance and Princess
Alexandra herself will be there
to welcome him to her private box.
TREVES
I'm very grateful to you, Mrs.
Kendal. This is just the thing
to help him forget his ordeal.
John will be very excited.
KENDAL
Well it is a miracle he ever got
back. And, I'm sure, Mr. Treves,
under your expert care, he'll have
many happy years ahead.
TREVES
I fear not, Mrs. Kendal. Even in
the short time he was gone the size
of his head has increased rapidly
... as is his pain.
KENDAL
How awful for John.
TREVES
And yet, not once have any of us
heard him complain.
KENDAL
Is he... dying then?
TREVES
Yes. There is nothing more frustrating,
nothing that makes a
physician feel more useless, than
standing by watching his patient
deteriorate. And when that patient
is a friend, no... no, there's
absolutely nothing I can do.
KENDAL
Well, it's all quite... I've never
heard... It's quite...
TREVES
(understandingly)
Yes.
MERRICK'S ROOM - MORNING
Merrick stands before the row of smiling ladies on his wall.
He surveys them lovingly for a long moment. He is holding in
his hand a bundle of evening clothes, the handsome black bow
tie lying on the new silk shirt.
MERRICK
You women are such strange and
wonderful creatures... Alas, it
seems to be my fate to fall in love
with each and everyone of you. I
especially wish you could all be
with me tonight... I'm finally
going to the theatre.
He stands for a moment, reluctant to leave their company. He
goes to his bed placing the clothes upon it, and then to the
cathedral, He compares it with St. Phillips outside. He
picks up the main spire and gazes at it, but his mind is somewhere
else.
MERRICK
... The theatre...
CUT TO:
THEATRE ROYAL - DRURY LANE
We see the whole theatre. It is very ornate. The orchestra is
tuning up and the house is filled with elegant, well dressed,
handsome people all happily chatting and calling to one
another. We see young men and women flirting boldly and
generally enjoying each other's company. In the Royal Box
Mothershead and Nora in evening gowns sit up front relishing
the spectacle. In the back of the box John sits between
Treves and the Princess. He is dressed in his evening clothes,
his cloak tied over his shoulders like a cape, but he does not
wear his hood.
The Princess is explaining to Merrick the workings of a pair
of opera glasses. He takes them and delightedly spies about
the theatre.
John is breathless as the house lights dim and the curtain rises.
Enter chorus.
CHORUS
0 for a Muse of fire, that would
ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like
himself,
Assume the port of Mars; and at his
heels,
Leash'd in like hounds, should
famine, sword and fire
Crouch for employment. But
pardon, gentles all,
The flat unraised spirits that
have dar'd
On this unworthy scaffold to
bring forth
So great an object: can this
cockpit hold
The vasty fields of Rance? or may
we cram
Within this wooden 0 the
very casques
That did affright the air at Agincourt?
0, pardon! since a crooked figure
may
Attest in little place a million;
And let us, ciphers to this great
account,
On your imaginary forces work.
FADE OUT
CUT TO:
Treves smiling at John. He exchanges knowing smiles with the
Princess. John watches with the unconstrained delight of a
child; but his rapture is even more intense and solemn. His
attitude is one of wonder and awe, and he often leans forward,
panting in his excitement. To John the characters are not
actors in make-up and costume, but real people.
CUT TO:
Mrs. Kendal and an actor dressed as royalty doing the last
scene of Henry the Fifth.
K. HEN
Fair Katharine, and most fair,
will you vouchsafe to teach a
soldier terms
Such as will enter at a lady's ear
And plead his love-suit to her
gentle heart?
KATH
Your majesty shall mock at me; I
cannot speak your England.
K. HEN
0 fair Katharine, if you will love
me soundly with your French heart,
I will be glad to hear you confess
it brokenly with your English
tongue. Do you like me, Kate?
KATH
Pardonnez-moi, I cdnnot tell vat
is "like me".
K. HEN
An angel is like you, Kate, and
you are like an angel.
KATH
0 bon Dieu! les langues des
hommes sont pleines de tramperies.
K. HEN
What say you, fair one? that the
tongues of men are full of deceits?
KATH
Oui, dat de tongues of de mans is
be full of deceits.
K. HEN
I know no way to mince it in love,
but directly to say "I love you".
(Continued)
K. HEN (Cont'd.)
What! A speaker is but a prater;
a rhyme is but a ballad. A good
leg will fall; a straight back
will stoop; a black beard will turn
white; a curl'd pate will grow bald;
a fair face will wither; a full eye
will wax hollow; but a good heart,
Kate, is the sun and the moon, or
rather the sun and not the moon;
for it shines bright and never
changes, but keeps his course truly.
During the above, Merrick mouths the Kings lines.
FADE OUT
CUT TO:
The Royal Box, the Princess and the two friends enjoying the
show.
CUT TO
THE STAGE
The chorus steps out to give the eiplogue.
CHORUS
Thus far, with rough and all-
unable pen,
Our bending author hath pursued
the story,
In little room confining mighty
men,
Mangling by starts the full course
of their glory.
Small time, but in that small
most greatly liv'd
This star of England: Fortune
made his sword;
By which the world's best garden
he achiev'd.
During the above, the CAMERA moves in on John.
Amidst great applause the curtain rings down. Through the curtain
comes Mrs. Kendal to renewed applause. She motions the
audience to quiet down.
MRS. KENDAL
Thank you for your warm greeting.
Ladies and gentlemen, tonight's
performance was very special to me,
because it was very special to someone
else, a man who knows the theatre
and loves the theatre, and yet tonight
is the first time he's ever actually
been here. I would like to dedicate
... the whole company wishes to dedicate,
from their hearts, tonight's
performance to Mr. John Merrick, my
dear friend.
She gestures toward the Royal Box. There is modest applause
as the audience rises and turns toward it. Merrick cannot be
seen in the shadows, and the crowd cranes their necks trying
to get a glimpse of him. We hear whispers of "Oh look! It's
the Elephant Man! The Elephant Man!' run through the
audience. Treves turns to John.
TREVES
Stand up, John. Let them see
you.
MERRICK
Oh no, I couldn't.
TREVES
It's for you, John. It's all
for you. Go ahead, let them
see you.
Merrick rises and comes forward to thunderous applause. The
audience begins to rise and they clap their hands even louder.
Merrick is overcome by the applause. Tears run down his cheeks.
Treves, Nora, Mothershead and the Princess, filled with pride,
beam at John.
MERRICK
(quietly, to Treves)
I feel as if I've travelled my
whole life just to stand here.
CUT TO:
MERRICK'S ROOM
Merrick, in a night-shirt, is seated at his table working on
his cathedral. Treves is nearby.
MERRICK
Wasn't Mrs. Kendal wonderful? I
can't blame the King for wanting
to marry her.
Merrick closes his eyes and his head tilts forward slightly.
It seems unbearably large: too large for him to support.
TREVES
Will the cathedral be finished soon,
John?
MERRICK
Yes, very soon.
TREVES
Splendid. it's truly a masterpiece.
Well, I suppose I'll be
on my way now. I hoped your
enjoyed yourself this evening.
MERRICK
Oh yes! It was wonderful!
TREVES
I'm glad, John. Goodnight.
He turns and starts out the door.
MERRICK
Mr. Treves?
Treves comes back to Merrick.
TREVES
Yes John?
MERRICK
Mr. Treves, tell me... tell me
truly. Is it alright, did I make
any mistakes that you can see?
TREVES
(looking at the cathedral)
No, John, not one that I can see.
MERRICK
Then I shouldn't change anything?
TREVES
No, no, I wouldn't change a thing.
The two look at each other silently.
MERRICK
... I'll walk you to the door.
Merrick rises and goes with Treves to the door.
TREVES
Goodnight John. Sleep well.
MERRICK
You too, my friend. Goodnight.
Treves smiles at John then walks down the darkened hallway.
Merrick watches him for a moment, then slowly shuts the door.
We hear the distant echo of Treves footsteps. Merrick goes
back to examine his cathedral, looking at it from different
angles. He picks up a fine brush, dipping it into the paint,
and makes a few final brush strokes.
He moves back into the middle of the room and gazes at it for
a long time. He lowers the brush to his side.
MERRICK
It is finished.
The cathedral is a masterwork of detail and shading, as if it
were St. Philips itself shrunk to a miniature. He goes to the
table, dips the brush into the paint and carefully signs his
name at the base of the main spire.
MERRICK
John... Merrick!
He sighs deeply, lays the brush down on the table and pushes
the model towards the window. The movement causes him pain.
He puts his left hand up and feels the back of his head.
Merrick turns out the lamp and goes to his bed. He looks at the
cathedral again, then around at his room. We see in the dim
light his books, his gallery of smiling women, his dressing
bag, his cloak and hood, and finally his mother's picture on
the table. A slight breeze billows the curtains. We move in
very close to them.
DISSOLVE TO:
High altitude... roiling clouds with lightning flashes and
low thunder. The sky is in turmoil.
MERRICK (V.0.)
When will the stream be aweary of
flowing under my eye?
Lightning flash... thunder roll. The clouds are mingling and
scattering.
MERRICK (V.O.)
When will the wind be aweary of
blowing over the sky?
The clouds erupt, pushed onward and onward... they slowly begin
to calm as... they turn slowly into... elephants linked
trunk to tail moving slowly away from us...
MERRICK (V.0.)
When will the clouds be aweary
of fleeting?
The elephants are calmer than the skies we saw... they keep
moving onward and onward ...
MERRICK (V.O.)
When will the heart be aweary of
beating....
A lacy curtain has taken the place of the sky. The elephants
seem to be moving on it... into the distance.
MERRICK (V.0.)
... and nature die?
Knock, knock sound - the curtain moves to one side wiping the
elephants away with it. There is no terrified audience behind
the curtain. There is only light and Merrick's Mother smiling
a calm and benign smile.
JOHN'S MUM
Never, oh! Never, nothing will
die; the stream flows,
the wind blows, the cloud fleets, the
heart beats...
The light grows brighter and brighter until we cannot see John's
Mother anymore. it almost blinds us.
JOHN'S MUM
Nothing will die.
WHITE OUT
CUT TO BLACK
THE END