The chilling story of a disfigured child in colonial Europe

THE MAN WHO LAUGHS
Gary Pulliam
Gary Pulliam
8658 E. Hathaway Pl.
Memphis, TN. 38016
Tel: (901) 386-9220
Garypulliam7777@gmail.com

BLACKNESS:
EXT. ENGLAND – DEEP IN A FOREST - LATE EVENING - 1679
Several sinister CHARACTERS secretly huddle in a circle.
Faces concealed, they whisper in the darkness.
NARRATOR (V.O.)
(the VOICE of URSUS)
The Comprachicos were a secret
fellowship in colonial Europe who
specialized in the unspeakable -
the disfiguring of children. They
did not steal them; they bought and
sold them. The infant was drugged
by some hideous artisan who
performed this profane surgery for
only one purpose...to make monsters!
A deal is being made. A MAN hands over an INFANT to
someone unknown. Their voices cannot be heard.
NARRATOR
In this grim chapter of history,
these unfortunates were destined to
become the playthings of the crowds.
INT. A SERIES OF SHOTS - (artistic renderings or stills)
DWARVES, HUNCHBACKS, FREAKS, FOOLS, COURT JESTERS.
NARRATOR
The dwarf had to be fashioned when
young. A well-formed child was not
very amusing; hunchbacks were better
fun. Freaks, fools, court jesters,
were thus made. By ordering your
freak or dwarf in advance, you could
have it in any shape you wish.
INT. A SERIES OF SHOTS – DARK DIMLY-LIT SURGICAL SCENES -
HORRIBLY DISFIGURED RESULTS
NARRATOR
The Comprachicos excelled in this
debased commerce. And techniques?
Oh, they had their secrets!

2.
INT. A SERIES OF SHOTS – HORRIBLY DISFIGURED WRETCHES –
GROTESQUE DEFORMED TUMBLERS – COURTSIDE LAUGHTER
NARRATOR
Some finished products were not to
be recognized, even by the mother
that bore them. Others, destined to
be tumblers, had their joints
dislocated in such a skillful manner
...you would have thought they had
been boned. Thus, GYMNASTS were made!
In time, to disfigure was better than
to kill. The art became a science.
INT. A SERIES OF SHOTS – ARAB CALIPHS AND SULTANS –
CATHOLIC PONTIFFS, ARCHBISHOPS – LAUGHING CROWDS
NARRATOR
At times the manufacture of these
monsters was practiced on such a
large scale, the demand could not
be met. The Sultan wanted them;
so did the Pope.
INT. A SERIES OF SHOTS – ROYAL PALACES IN CHINA
NARRATOR
It may also be said they borrowed
ideas from China, a land considered
a museum of embryos. They were
known to have refined this industry
- the art of molding a living man!
INT. A CRADLED INFANT – THE VASE – PROGRESSIVE TIME LAPSE
NARRATOR
They would take a child of two or
three years and put him inside a
grotesque porcelain vase. The vase
was made without a top or bottom,
allowing egress for the head and
feet. During the day, it was set
upright. At night, it was laid
down, allowing the child to sleep.

3.
INT. A SERIES OF SHOTS – THE PROGRESSIVE DEFORMING
PROCESS OF THE CHILD’S GROWTH WITHIN THE VASE
NARRATOR
In time, the child would thicken
without growing any taller, filling
in the reliefs of the vase with his
compressed flesh and distorted bones.
The project continued for many years.
When the monster was accomplished,
they broke the vase, the child came
out, and behold! – A man in the
shape of a mug!
INT. ENGLAND – PORTRAIT OF JOINT RULERS, WILLIAM AND MARY
NARRATOR
In 1688 there was a change of dynasty
in England. A statute passed during
the years of William and Mary hit the
child-buyers hard. It soon drove the
Comprachicos underground.
EXT. THE FOREST – DARK CHARACTERS MOVE IN THE SHADOWS
The deal is transacted. A child is handed over, money is
exchanged. Subdued words cannot be heard.
NARRATOR
These discreet wretches became
outlaws. This sinister trade, the
sculpturing of living flesh, would
eventually die out, only because the
art of torture would be discontinued.
It permitted the monster to suffer,
but commanded it to amuse. And why?
Because such was our pleasure! Yes,
flattering historians have concealed
the malignancy. However, this is a
story of one of their masterpieces.
...This is the story of Gwynplaine.
DISSOLVE TO:

4.
EXT. SO. ENGLAND – DECEMBER, 1679 - THE COAST - MORNING
Seagulls cry overhead. Mist obscures a rugged coastline.
At the base of a cliff is a small merchant Biscay vessel,
the “MATUTINA,” moored inconspicuously to a landing.
EXT. THE “MATUTINA” – THE BAY LANDING - MORNING
Barely visible, carved on its bow, is Our Lady and Child.
Under this image, an unlit lantern.
Dark suspicious FIGURES, cautiously cross back and forth
on a tottering gangway, making haste to embark.
EXT. THE MATUTINA - NEAR THE GANGWAY - MORNING
SEVEN PASSENGERS, including TWO WOMEN, are dressed in
rags, wearing long cloaks. Scarves conceal their faces
up to their eyes, fighting the cold wind. Some whisper.
Comprising the CREW is the CAPTAIN, TWO SAILORS, and a
COOK. Goods are rapidly being passed from the shore to
the craft. Some drag, some fling their baggage. Crates,
barrels of ale, trunks, boxes, everything is in disarray.
A smaller shadow, working like the others, is a CHILD, a
ten year old BOY. An oversized sailor’s jacket covers
his rags. His face cannot be seen.
EXT. THE MATUTINA – THE GANGWAY - ON BOARD - MORNING
The vessel is soon loaded. All are now on board except
TWO MEN and the CHILD. The CAPTAIN seizes the helm.
Standing next to the mast, facing the sea, is the old
DOCTOR. Dressed in a gray waistcoat, he wears a felt
sombrero, pulled firmly over his face.
He slowly turns around. His gaunt face resembles a
fossil, a grimace. All on board look guilt-ridden.
THE DOCTOR
(with authority)
Now!

5.
EXT. THE LANDING - NEXT TO THE VESSEL
A SAILOR with an axe cuts the hawser with one stroke.
One MAN rushes up the plank. The OTHER, holding back the
CHILD, knocks the child back with a BLOW from his fist.
The child TUMBLES backward, sprawling on the ground. The
man then jumps on board, dislodges the plank, and tosses
it on the landing. Everyone is silent.
The child is left behind. A wave laps at his sandaled
feet. He tugs his heavy scarf up to his eyes.
He watches the vessel disappear as she sails around the
edge of the cliff. He stands motionless.
EXT. THE LANDING - THE CHILD’S FACE - MORNING
Only the child’s eyes are visible. Tears fill his eyes.
Enshrouded by mist and drizzle, a gust of wind blows
through the boy’s yellow hair.
THE CHILD
(in a muffled tone)
What shall I do?
EXT. THE LANDING - NEAR THE CLIFF - MID-MORNING
Shivering, the child looks about. Not a living soul. He
reaches into his pockets; nothing. Quickly coming to
life, he starts climbing the rugged pathway up the cliff.
He climbs with the agility of a squirrel. His big jacket
gets in the way. He slips and struggles onward, up the
endless vertical rock. He looks back repeatedly, viewing
the yawning abyss below.
EXT. ATOP THE ROCKY CLIFF - MID-MORNING
The child gazes about the foggy summit. He views a great
rocky plateau, spotted with snow, with no dwellings, no
roads, no sign of life. A bitter nor’wester is brewing.

6.
EXT. THE COASTLINE - ON TOP THE CLIFF – MID-MORNING
The CHILD looks toward the sea. The “Matutina” is now a
tiny black triangle, gliding over livid waters. A tiny
LIGHT appears on her prow as she lights her lantern.
The child, still bundled up to his eyes, watches the
vessel disappear. The sky is ominous. Menacing
whitecaps are churning. They are sailing into a STORM.
EXT. ON LAND – MOMENTS LATER -
The child turns back around, views the terrain, and
begins his journey, moving inward, quickly and nimbly.
After some time, he hears a distant noise. He stops.
Cautiously he moves toward a big tree looming in the
mist. The NOISE occurs again. A MASS, moving feebly in
the wind, hangs from a single chain cable on the tree.
EXT. NEAR THE TREE – IN THE MIST - MID-DAY
Suddenly a gust of wind stirs, the chain oscillates, and
the mass turns around, making a GRINDING sound.
A SPECTOR appears. It is a MAN HANGING ON A GIBBET!
The boy recoils in horror! He stares at the CORPSE.
The broken body, partly corpse, partly skeleton, is
loosely wrapped in a moldy old canvas.
The blotched face is earthen-colored; the mouth, nose and
eyes, only holes. The cracked and fractured skull gapes
like rotten fruit. The broken teeth still retain a laugh.
On the icy ground, under the corpse, are the man’s two
old shoes. The child, eyes wide, shakes off his trance,
darts toward the corpse, and grabs the shoes.
A flock of ravens in the tree start SHRIEKING! The wind
GUSTS, the corpse shudders, the birds frenzy.
The child, seized with terror, springs up. He starts to
run, tripping, staggering, but keeping the shoes firmly
under his arms. His heels are wounded by sharp stones.
He runs until breathless. He never looks back.

7.
EXT. OPEN COUNTRY - WILDERNESS - MINUTES LATER
He discards his worn out sandals, puts on the oversized
shoes, and resumes his journey. Frozen drizzle, specked
with snow, crackles on his clothing.
He stops, seeing something in the far distance. A line
of vapor, dwellings! A village! He picks up his pace.
FADE OUT:
EXT. FULL VIEW OF THE “MATUTINA” – MID-MORNING
The WINDS MOAN! Seafoam roils in phosphorescence. The
vessel cuts her way through the billowing sea.
EXT. ABOARD THE VESSEL – MID-MORNING
The CAPTAIN, at the helm, steers carefully, studying
every roll and pitch of the vessel. The DOCTOR, near the
stern and insensitive to the cold, stands close behind.
The troubled faces of the FUGITIVES are revealed. They
huddle together, sitting on bales, under a tarp rig.
The BASQUE WOMAN sits on a wooden crate next to the IRISH
WOMAN, who fumbles with her rosary.
The TWO SAILORS are busy with the rigging, lashing down
loose cargo, putting some into the hold.
INT. ON THE VESSEL - INSIDE THE HOLD – MOMENTS LATER
The COOK has a turf fire burning under a large iron pot,
making broth. He tosses pieces of fish, bacon and spices
into the mix.
Steadying himself, he puts a gourd to his lips and
samples the brew. He slurps with a pleasing smile.
EXT. TOPSIDE THE VESSEL – NEAR THE HELM – MID-DAY
The doctor, in deep thought, studies the clouds. He has
the appearance of an Archbishop. His sparse gray locks
blow in the wind. He cautiously ambles to the helm.

8.
EXT. AT THE HELM – MOMENTS LATER
THE DOCTOR
(addressing the captain)
We have troubles. The wind blows
in too many directions.
CAPTAIN
(Basque-French accent)
Pardon me, master doctor, but I
have seen wind before.
THE DOCTOR
Aye, but I have spent a lifetime
crossing these waters.
CAPTAIN
This...(pointing upward) just
heavy breathing.
THE doctor, winces, displeased with the answer.
THE DOCTOR
Be careful we are not taken aback.
We must make Saint Sebastian soon
as possible. Have you a chart?
The skipper turns accusingly toward the doctor.
CAPTAIN
No. Not for this channel. You
were in such hurry, remember?
THE DOCTOR
Then you sail by rule of thumb?
CAPTAIN
(agitated)
Not at all. I have a standard
compass. I have sailed enough.
I make good guess. I –-
THE DOCTOR
-- To guess is all very well; but
To be certain is better.

9.
CAPTAIN
(smugly)
Christopher guessed.
THE DOCTOR
An ass with his chart is better off
...than a wizard with his oracle.
CAPTAIN
Fear not. Once I reach the Gulf
of Gascony, we will be safe. I
know every rock, every pebble...
EXT. AT THE HELM – FULL VIEW OF THE DOCTOR
The wind picks up velocity. Suddenly the doctor’s face
freezes in an extraordinary expression. He points at the
sky with his bony finger. The clouds are rolling.
THE DOCTOR
(speaking much louder)
Skipper, do you see?
CAPTAIN (O.S.)
What is it?
THE DOCTOR
(turning slowly toward the captain)
A niche...in heaven!
EXT. AT THE HELM – THE SKIPPER AND DOCTOR – DARKER SKIES
Long silence occurs while the WIND HOWLS. They study the
storm clouds. They speak louder, almost shouting.
CAPTAIN
Are you a sage, or a madman?
THE DOCTOR
That squall will drive us back.
CAPTAIN
(more unsure of himself)
Master doctor, I trust you know
this sea. What then shall we do?

10.
THE DOCTOR
Capitan, you must do as I say. It
is our only chance. There is only
one way. Steer course to the west!
CAPTAIN
Impossible! The wind comes from
hell, and she’ll pitch like the
devil! The mast may go!
THE DOCTOR
(steadying himself as he studies the horizon)
The winds shall not change this
night!
CAPTAIN
(hesitant)
As you say, west it will be!
The captain works the helm, turning to the west.
The tempest increases. Sleet and icy mist give the storm
new teeth. The winds WHISTLE; the sails STRETCH.
THE DOCTOR
(now yelling)
If tonight we hear the sound of
a bell from the sea, we are lost!
CAPTAIN
What do you mean?
The doctor, with stone-faced severity, looks toward the
heavens, and nods affirmatively. Fear now grips all.
The wind momentarily dies down...
THE DOCTOR
(a somber pronouncement)
The time has come to purify our
Souls!
CUT TO:

11.
EXT. SOUTHERN ENGLAND ON THE MAINLAND – NEAR WEYMOUTH
The morning is wintry, overcast. Seabirds cry overhead.
A small hovel on wheels approaches the village. The
sound of large wooden wheels GRIND on the primitive road.
Pulled by a middle-aged MAN (URSUS), and a large WOLF-
DOG, both are yoked together like beasts of burden.
Ursus is bent, melancholy, appearing much older, like a
ruin. Wolf is black and mottled. He is very large and
strong, fierce-looking, with gray bristles on his back.
The home on wheels is unique. It has a hole in the roof
to allow exit for a cast-iron stove. Pots and pans
RATTLE and CLANK. On front, a sign, “URSUS PHILOSOPHER.”
Ragged CHILDREN are soon attracted by the disturbance.
EXT. ENTERING WEYMOUTH – MID-DAY
Ursus, always raging inwardly, vents by talking aloud to
himself, or to Wolf. He glances at the curious children.
URSUS
(cynically)
Wolf, above all things, do not
degenerate into a man. Look at
these wretches! ‘Tis the same old
story. War upon the kings, plague
on the war, famine on the plague.
...The only deliverance is death.
WOLF
Woof!
CURIOUS ONLOOKERS approach the noisy van. Some, unsure
of Wolf, keep their distance.
A WRETCHED MAN with missing teeth approaches and walks
alongside the van.
WRETCHED MAN
Why not use a donkey as a beast of
burden?

12.
URSUS
(smiling slightly)
I cannot allow an ass to pull my
cart. I think much too highly
of an ass for that.
The small gathering near the van snickers. The wretched
man, unsure of the meaning, scratches his head.
EXT. WEYMOUTH – VILLAGE GREEN – COLD AND WINDY - MID-DAY
Ursus, wearing a large bearskin, mounts the platform.
The atmosphere is a county-fair. Bundled VILLAGERS,
SAILORS, WOMEN and CHILDREN, all mill about.
A HAGGARD WOMAN
My husband burned himself on a
hot stewpot. Can you cure burns?
URSUS
Burns we cure with salamander wool.
When Rome burned, Nero used it in
his bedding. He survived unharmed!
OLD HAGGARD WOMAN
My husband has pains from drinking
too much ale. What shall I do?
URSUS
In that case we have him drink less,
but more often, or...we have him
drink permanently...in the privy!
Laughter explodes from the audience.
SUSPICIOUS OLD MAN
Madman! Were you not imprisoned
for selling these remedies?
URSUS
Yes, they did take me for a madman.
Accused me of talking to myself.
However, I pointed out that Socrates
did it. So did Martin Luther. So I
was pardoned by the Archbishop.

13.
Ursus hesitates, and looks directly at the old man.
URSUS
Yes, we philosophers must submit
to these indignities...to
establish our own legend.
SUSPICIOUS OLD MAN
This man is an imbecile! And
That wolf is dangerous too.
Cautiously Ursus watches the old man depart. Half-
smiling, he lovingly glances down at Wolf.
URSUS
Imbecile indeed! Perhaps the
gentleman is right. I am but a
poor mountebank and doctor. But
he’s wrong about Wolf. Why, from
Wolf comes half my knowledge.
(Wolf, as always, wags his tail when addressed by name.)
Ursus quickly turns his attention to the crowd.
URSUS
Ah! The spirit of generosity!
I am kind enough to teach others
to care for themselves, yet they
hesitate to share their generosity
with me. Perhaps a few farthings
for some of my remedies?...Anyone?
EXT. IN FRONT OF THE PLATFORM – AFTERNOON
Wolf takes a basket handle in his mouth, and enters the
small crowd. Some put coins in the basket, others shout
requests. He wags his tail as children begin petting him.
INT. OUTSIDE WEYMOUTH – INSIDE THE VAN – EVENING
A lit stove gives little warmth; a lone candle shines.
The winds picks up velocity as the van creaks and moans.
Ursus, scowling, sits on a wooden chest with Wolf at his
knees. He and Wolf eat from a plate of potatoes.

14.
URSUS
Miserable wretches! Not enough
proceeds to halt starvation.
This garbage they feed to pigs
and convicts! We’re in good
company this evening, Wolf.
He looks at his small pittance of coins on the chest.
URSUS
(with a wicked smile)
I love to do men all the harm
I can.
CUT TO:
EXT. ON THE MAINLAND - NEARING A VILLAGE – ALMOST DARK
The exhausted child trudges toward the houses in the
distance. The snow is now a blizzard. The wind HOWLS.
He stops suddenly. A TRACK, a naked foot, too small for
a man, is freshly imprinted in the snow. He bends down,
searching intently. He hears a FAINT SOUND.
EXT. NEAR THE VILLAGE – FOLLOWING THE CHILD - TWILIGHT
The child follows the tracks until they cease abruptly,
as if they have flown away. Still seeing nothing, he
squints his eyes, shielding the elements.
The SOUND again, indistinct, but louder. It’s a FEEBLE
CRY, a VOICE, like the bleating of lamb. He advances.
He sees it! The dimensions of a HUMAN BODY, half buried
in the snow. The child crouches before the form.
With both hands he vigorously begins clearing away the
snow. A form emerges; the pale face of a DEAD WOMAN.
Soon, her head, shoulders, frozen body, and disheveled
hair appear. Suddenly something MOVES under his touch!
The child discovers a thin little BODY, cold, swaddled in
rags, but still alive. The infant’s breath has melted
the snow on the mother’s exposed bare breast.

15.
EXT. NEAR THE VILLAGE = FULL VIEW OF THE DEAD WOMAN
Near the mother’s closed eyes is a channel of frozen
tears. On one nipple, a white pearl of frozen milk.
When exposed to the cold air, the INFANT CRYS OUT.
The child cradles the tiny infant in his arms. Their
faces touch each other. The crying stops as the boy
arranges the babe’s rags, wrapping it snugly.
EXT. APPROACHING THE VILLAGE - NIGHTFALL
Looking about, he staggers with his burden.
He resumes his journey, scooping up some snow and putting
it in his mouth to fight the hunger.
He sees gables, chimneys and deserted roadways. Not a
light is seen, only smoke from a lone chimney.
EXT. ENTERING WEYMOUTH - MINUTES LATER - NIGHT
The child frantically picks up his pace. He approaches a
massive door of a large mansion. Carefully he sets the
infant in a large snowdrift.
EXT. WEYMOUTH – FACING THE HUGE FRONT DOOR
Barely reaching its metal knocker, he KNOCKS once. No
answer. He KNOCKS THREE TIMES. Not a sound stirs.
THE CHILD
(loudly, frantically)
Is anyone there? Please, anyone?
Total silence. He repeats the process. No one responds.
All windows are covered by shutters. Freezing to death,
he begins to cry. A dog barks in the distance.
EXT. WEYMOUTH – ON THE ROADWAY – MOMENTS LATER
THE CHILD
(to the infant)
Are they deaf? Are they all dead?

16.
At the far end of the road he sees temporary shelter, a
covered bridge. Eight CHURCHBELLS TOLL in the distance.
THE CHILD
(yelling out loud)
Help us! Is anyone there? Would
someone please help us? Please...
Desperate, he passes the front of an old hovel on wheels.
EXT. WEYMOUTH – THE VAN OF URSUS – NIGHT
A FIERCE GROWL comes from within. The child shakes off
his fear, approaches, and knocks.
The growl becomes a SNARL. A small wisp of smoke arises
through the roof funnel. A HEAD, URSUS, then appears
through a tiny window. The snarl immediately ceases.
URSUS
Peace there! Who goes there?
THE CHILD
(facing the window, sniffling)
Y-yes...It is I.
URSUS
Who are you? Why are you here?
THE CHILD
I am weary.
URSUS
Do you know what o’clock it is?
THE CHILD
I am cold and hungry.
URSUS
Go away! We have the plague!
The child, dejected, turns around back toward the bridge.
The door ABRUPTLY OPENS with a loud squeak.

17.
URSUS
(angry and impatient)
Well, why do you not enter?
(apprehensively, the boy turns around)
I said, come in! Obey, vagabond!
Suddenly, another fierce GROWL. Wolf’s gaping jaws show
rows of gleaming white teeth. The child draws back.
URSUS
Peace!...Come inside! It’s cold.
INT. INSIDE THE VAN OF URSUS – VERY DARK
Wolf responds; the growl ceases. The boy, shaking,
stumbles into the van. Bewildered, with his bundle, he
stands dazed. The van SHUDDERS and MOANS in the wind.
On the stove is a smoking porringer. A red tinge from
the stove is the only light. Pots, pans, utensils of all
types hang on hooks throughout the van.
URSUS
Put down your burden! You’re
frozen through. Warm yourself
next to the stove.
The child places his burden on top of the big chest. He
fumbles with his jacket. Bits of ice and snow fall to
the floor. The child’s face still cannot be seen.
URSUS
Hmm, how gently you put that
down! Take off those rags and
shoes, you worthless scoundrel!
The child obeys. Soon, he stands in the darkness, almost
naked. Ursus takes a woolen rag and roughly rubs his
limbs and feet dry. From a nail he takes a woolen shirt.
URSUS
‘pears nothing is frost-bitten.
You’ll not lose your limbs this
time. Here. Dress yourself.

18.
The child puts on the shirt. Ursus pushes a stool
forward, forcibly grabs him by the shoulders and sets him
down. He places a potato, a bit of bacon and a crust of
bread on a plate, roughly setting it on the boy’s lap.
INT. IN THE VAN – VIEW OF URSUS - VERY DARK
URSUS
(visibly exasperated)
Well, you were hungry. Eat!
(The child, uncertain, hesitates)
Perhaps you expect me to lay a
tablecloth. Gobble that up!
Rather than eat, the child devours. Ursus sits behind
him, watching. The sound of the CRUNCHING of the food
fills the room. Ursus scowls in displeasure.
URSUS
(muttering)
What a revolting glutton! Easy to
see you’re not a noble who dines
with royalty. A hellish storm on
the outside, a beggar on the inside.
So go ahead. Fatten yourself at my
expense, you greedy little parasite!
(the famished child ignores the diatribe)
Little villain, why did you come
here? Are you sick? The plague is
everywhere. Cannot believe I let
you in. By the way, I am hungry.
(still sitting behind the child, he folds his arms)
At least I get some of the milk.
Suddenly a WAIL fills the hut! Ursus is startled.
INT. INSIDE THE VAN – NEAR THE CHEST – VERY DARK
URSUS
God in heaven! What is this?
So it’s your bundle that wails!
(he hesitates, then shakes his head is disbelief)
Call out the guard! Will this
never end? Another one? Thirsty?
I shall not even have the milk!

19.
Ursus, used to the dark, rises, and opens a small box.
Everything is in disorder. He bites off a piece of
sponge and takes the saucepan of milk from the stove.
He pulls away the infant’s rags and wipes her dry with
some linen. His roughness makes her angry. She cries!
URSUS
Hmph! ‘Tis a girl. One can tell
that by her scream.
Filling a phial with milk, he pushes the sponge into the
neck of the bottle. He checks it for warmth. Cradling
the crying infant in his arms, he begins feeding.
URSUS
(softer tone)
Come. Take your supper, creature.
Let Ursus suckle you.
(the infant immediately sucks at the bottle)
They are all the same. When they
have their fill, they shut up.
Such greed! Suck, little wretch!
The boy lays down his spoon. Distracted by the feeding
infant, he is filled with emotion, near tears.
URSUS
Well, why do you not eat?
THE CHILD
And you, sir. What will you eat?
URSUS
Eat? If there is not enough for
me, there is not too much for you.
Eat, or I’ll kick you both out!
The boy immediately starts eating again.
URSUS
The impudent creature is drunk!
After this I’ll preach sermons on
temperance. An exquisite banquet
for you two, amidst my poverty.

20.
INT. ON THE CHEST – FULL VIEW OF CRAMPED ROOM - NIGHT
Ursus is half-seated on the chest, finishing the feeding.
URSUS
No matter; the doctor is in! The
damned sky has diarrhea. And me?
Never better. My hospitality will
keep me warm. Welcome to the
little nursery of Ursus and Wolf.
Ursus tenderly cradles the infant in one arm, and lifts
up the lid of the chest. He pulls out a bearskin and
spreads it on top. He lays her down on its furry warmth.
He pours the remaining milk from the pan into the bottle.
He seizes a jug of water and puts it to his lips. After
swallowing, he grimaces. The boy finishes his meal.
Ursus, now in deep thought, turns to the boy, still
sitting on the stool in the darkness. He interrogates...
URSUS
Now a word with you. From where
do you come?
CHILD
I do not know, sir.
URSUS
Do not play games. Are you so
bad your family would abandon you?
CHILD
I have no family. I was left on
the seashore.
URSUS
You must have a family since you
have a little sister.
CHILD
S-sir. She is not my sister. She
is a baby I found in the snow.

21.
URSUS
Found? If you lie...Found where?
CHILD
Under a woman who was dead in
the snow. It was...near the sea.
URSUS
(frowning, suspicious, and stroking his chin)
When?
CHILD
A while ago. Some hours I think.
URSUS
Dead, huh? Hmm. She may be the
lucky one tonight.
Ursus rises, opens the back window and examines the
weather. The wind is subsiding, but snow still falls.
He then spreads a blanket on the chest, rolls up some
cloth to form a pillow and rearranges the bundled infant.
URSUS
(softly, turning to the boy)
Lay down next to the little one.
Fear not. I shall return soon.
The boy obeys. Ursus spreads the bearskin over the two,
tucking it under their feet.
He puts on a heavy cloak, takes down the lantern, lights
it, and forces open the frozen door. He and Wolf, chain
CLINKING, depart, close the door, and descend the steps.
INT. INSIDE THE VAN - THE DOOR - NIGHT
URSUS (O.S.)
(from outside the van)
You boy, who has just eaten my
supper, are you already asleep?
CHILD
N-no sir.

22.
URSUS (O.S.)
Well, if the baby cries, give her
the rest of the milk.
FOOTSTEPS TRAIL OFF in the frozen snow. The boy embraces
the infant. Safe, warm, they fall into a peaceful sleep.
CUT TO:
INT. THE MATUTINA - INSIDE THE HOLD – ALMOST DARK
The wind is HOWLING above. The hanging lantern swings
from the roll of the sea. The COOK (CAPGAROUPE) tries to
steady his pot of fish broth.
The DOCTOR sits on a wooden crate, finishing a letter on
some old parchment. He places the pen back into the
inkhorn and folds the parchment. He looks about.
On the crate where he sits is a flask, a wicker-covered
gourd, on which the name “HARDQUANONNE” is plaited. He
carefully places the message into the neck of the flask.
Standing up, the doctor steadies himself, and tries to
climb aloft. Just then a tremendous wave strikes the
craft; everything is besieged with water.
THE COOK
My fish broth!
THE DOCTOR
(looking down in the hold)
Indeed...For the fishes, no doubt.
EXT. DISTANT VIEW OF THE MATUTINA – DUSK
The sea has become a writhing dragon. Bubbles of surge,
like pustules, swell and burst. The waters inhale and
exhale as waves rupture with intensity. Rain and ice
pelt the deck. The squall assumes ferocious UPROAR.
England has now disappeared. As the vessel rolls, the
lantern at the prow casts a flickering light into the
abyss. The mast CREAKS and GROANS.

23.
EXT. THE VESSEL - ON DECK - NIGHT
The two women have taken refuge in the small cabin, while
the men remain on deck. The doctor, his penetrating eyes
searching, has found sanctuary holding on to the mast.
To overcome fear, ONE of the SAILORS takes off his cap
and waves it in jubilation. He sets to yelling...
We are free! Free! Free!
The CAPTAIN, secured at the helm, smiles a crooked smile.
THE FUGITIVES
(shouting over each other, joining in the fake merriment)
Free! Free! We defy thee, storm!
EXT. ON DECK - NEAR THE MAST - NIGHT
THE DOCTOR
Silence!...Sh...Listen!
All turn their heads toward the doctor. In the darkness
he leans against the mast, almost invisible. In the
raging elements they barely hear...the TOLL OF A BELL!
CAPTAIN
(bursting out laughing)
A bell? That’s good! That proves
we have land to starboard.
THE DOCTOR
(shouting back)
Fool! We’ve no land to starboard!
CAPTAIN
But we do! That bell. Land!
THE DOCTOR
No! That bell tolls from the sea!
EXT. FULL VIEW OF THE VESSEL – MOMENTS LATER
The doctor pauses. A VIOLENT GUST of WIND passes over.
The deck is awash with water. The mournful TOLL again.

24.
THE DOCTOR
(shouting to be heard by all)
Between Portland and the Channel
Islands is a buoy placed there as
a warning in heavy weather. That
buoy is moored by chains to the
bottom. That is the bell we hear!
The vessel LURCHES and GROANS. Another monstrous wave
submerges the deck. Dislodged crates and baggage float
back and forth. The sea vomits forth mountains of water.
EXT. ON BOARD - CLOSE TO THE HELM - BLACKNESS
THE DOCTOR
(yelling)
We are lost! We are on the wrong
side of the buoy! Watch for the
breakers! We will shipwreck!
STROKE by STROKE the bell’s death-nell becomes louder.
The Skipper picks up his speaker-trumpet, and yells...
CAPTAIN
Strike every sail, my lads! Lower
the ties and brails! Let us steer
west to gain the high seas.
The frantic crew immediately responds. The fugitives and
the doctor are now huddled together near the hold.
EXT. THE SEA – FULL VIEW 0F THE VESSEL
The sea now runs mountain high. The tempest starts to
dismember the craft. A huge wave rips away the compass
and binnacle; another rips a lifeboat from its moorings.
With a dreadful CRASH, the topsails rip away. The mast
splits in two, crashing to the deck, leaving shreds of
wood in quivering splinters.
The figurehead and lantern, ripped from the bow, now
disappear overboard.
The wind ROARS! All are terrified.

25.
EXT. ON DECK – AT THE HELM – MOMENTS LATER
CAPTAIN
(screaming in a raspy voice)
While we can steer we still have a
chance! Axes! Axes! Overboard
with the mast! Clear the decks!
The waves subside, a temporary lull. Both crew and
fugitives set to work immediately. Soon the mast is
freed, pushed over the side, clearing most of the deck.
Those not working cling on. Another wave washes over.
EXT. ON DECK – NEAR THE HELM – LIGHTNING FLASHES
CAPTAIN
Now! Someone take the end of that
rope and lash me to the helm!
A sailor obeys, tying him to the helm. The skipper
begins to laugh, defiantly shaking his fist at the sky.
CAPTAIN
Blow, you old hurdy-gurdy! Blow!
I defy you! I’ve seen your equal
before. All goes well, my lads.
Long live the Virgin!
At that moment an enormous wave swallows half the vessel,
like a sea-monster devouring its prey. With a LOUD
CRASH, a cloud of foam covers the craft.
The foam clears; the stern again rises in view. The
captain and the helm have disappeared - both swept away.
GALDEAZUN (OLDER SAILOR)
Save the skipper! Let go anchor!
AVE MARIA (YOUNGER SAILOR)
Too late! Anchor is already lost!
EXT. DISTANT VIEW OF THE VESSEL - VERY DARK
The vessel is now a wreck. Helpless, disabled, floating
rather than sailing, she drifts and spins like a cork.

26.
EXT. ON DECK – RAGING ELEMENTS – BLACKNESS
The fugitives, now terrified wretches, cling to shredded
rigging. Some hands are bleeding from protruding nails
and splinters. The doctor, holding on, looks heavenward.
EXT. FULL VIEW OF THE VESSEL - BLACKNESS
The hooker spins in the wind, pulsating, convulsing.
Suddenly she lurches. With a LOUD CRUNCHING SOUND, she
runs aground against a jagged vertebrae of rock.
The huge wave recoils, and miraculously pulls her back to
sea. In the distance, the TOLL of the bell is heard.
CUT TO:
INT. NEAR WEYMOUTH - INSIDE THE VAN OF URSUS - MIDNIGHT
Pale light from the snow penetrates the van. The
CHILDREN are still sleeping. The sound of CRUNCHING ICE
and SNOW and the OPENING of the door stirs the boy.
Ursus and Wolf come inside cautiously. Wolf yawns. The
boy pretends to be asleep. Wolf licks the boy’s hand.
Ursus, in deep thought, hangs up the lantern.
URSUS
Dead! Stone dead! And you, Wolf,
saw her clearly with your nose.
You found her!
Ursus bends down and shovels some peat into the stove.
Wolf licks the hand of the sleeping infant.
URSUS
How cold she was! Who would
take an infant out in this weather?
(suddenly relieved)
Well done, Wolf. Adoption! It is
settled then. You shall be father
...and I shall be mother.
Ursus, very pensive, sits in small wooden chair, looking
at the infant. The boy lays, with his head turned away.

27.
URSUS
I should like to know...who is
guilty of that woman’s death?
Is it man...
(he stops momentarily, and looks heavenward)
...or is it Thou?
Ursus then prepares a roll of blankets on the floor, then
awkwardly lays down. Wolf settles beside him.
CUT TO:
EXT. DISTANT VIEW OF THE “MATUTINA” - DEAD OF NIGHT
The tempest past, the sea has flattened to an eerie calm,
like liquid lead. Snow is softly falling. The only
light is a small torch. Pale OUTLINES slowly move about.
The vessel, a complete wreck, is fractured, immobilized.
Broken planks creak; the hull moans.
EXT. ON BOARD THE VESSEL - MIDNIGHT
The SURVIVORS are COUGHING and GROANING. The water is
slowly rising, GURGLING, CREAKING. GALDEAZUN, holding a
torch, climbs down into the hold, inspecting the damages.
INT. THE VESSEL - INSIDE THE HOLD - VERY DARK
GALDEAZUN
(speaking up to the YOUNGER SAILOR)
Ave Maria, we have a hole ripped
in the keel. It was the breakers,
where we heard the bell. The
hold is filling with water. Look.
AVE MARIA
(climbing down ito the hold)
She’s about six feet deep. I
think...maybe a half hour more.
GALDEAZUN
(after a long silence)
No pump, no time to rig a tiller.
No sails, no rudder. Nothing!

28.
EXT. THE WRECK - ON DECK - VERY STILL
Both sailors slosh back onto the deck. The COOK
(CAPGAROUPE), hands bandaged, views the horizon.
CAPGAROUPE
(French accent)
Is there no way to make England?
AVE MARIA
It is hopeless, my friend. We are
lost. But if we lighten the wreck,
if we could survive until sunrise...
The new hope fills the fugitives with renewed motivation.
GALDEAZUN
(hopefully)
Then let us lighten the wreck!
Make some torches from the broken
splinters! Everything, overboard!
All immediately set to work. The doctor starts dipping
pieces of wood into an oaken tar bucket. He then lights
those pieces from the remaining torch.
Barrels, chests, chains, shrouds, rigging, cargo debris,
all goes overboard. They lift the stewpot out of the
hold, throwing it into the sea.
Trunks tied to the mast stump are pushed overboard. One
trunk going over brings sobs from the Basque woman.
BASQUE WOMAN
My stockings! My new scarlet cloak!
Oh! My earrings to wear at mass!
The craft, much lighter, sinks more slowly. The crew and
fugitives, injured and exhausted, are numb with cold.
GALDEAZUN
Is there anything else to throw
overboard?

29.
EXT. FULL VIEW OF THE DOCTOR – DEAD OF NIGHT
THE DOCTOR
(a long hesitation, then he speaks very solemnly)
Yes. There is something else we
can throw overboard...Our crime.
EXT. ON DECK - FULL VIEW OF SURVIVORS – FLICKERING LIGHT
A long silence; guilt renders one speechless. All know.
IRISH WOMAN
Amen!
All repeat in agreement, nodding their heads.
Amen! Yes! Amen!
Torch flames dance and flicker on their contrite faces.
The doctor stands, pale in the torchlight.
EXT. ON DECK – At THE BOW - NEAR THE DOCTOR
THE DOCTOR
Let us cast our crimes into the sea.
They weigh us down and they sink
this ship. For he who sins against
a child...sins against God.
CAPGAROUPE
Amen!
THE DOCTOR
(pointing upward, lofty but humble)
Perhaps he is above our very heads,
a soul accusing us before our Judge.
Let us repair the evil we have
wrought. If the child survives, let
us come to his aid. If he dies, let
us seek his forgiveness.
A FUGITIVE (GAIZDORRA)
O master doctor. Please show us
the way. We will obey thee. We
have only a few minutes more.

30.
The doctor assumes spiritual authority and stands. The
wolves become lambs, pondering their fate in silence.
THE DOCTOR
Then we must beseech the Almighty.
Being the one who knows the most,
my danger is greater than yours.
Thus, I will help with our burden.
While still alive, let us repent.
Come closer. We must kneel down.
All waver at first; then they kneel down, one by one.
The doctor takes from his pocket his inkhorn and pen. He
removes Hardquononne’s flask from his hip, and pulls the
parchment from inside. He sits on a block, takes a piece
of wood and places it on his lap.
THE DOCTOR
I need light! Give it me.
Ave Maria, forehead bleeding, holds the torch nearest the
doctor. Stifled SOBS can be heard.
EXT. FULL VIEW OF SINKING VESSEL - FACES ILLUMINATED
The doctor begins reading the parchment to all. As his
lips read, the words cannot be heard. The wreck CREAKS
and GROANS as she slowly sinks.
EXT. ON DECK – NEAR THE DOCTOR - MOMENTS LATER
THE DOCTOR
All must sign, or leave his mark.
All sign the parchment. The illiterate make the sign of
the cross, by which the doctor writes their name. The
pen is dipped and passed, one to another. He dries the
ink with the heat of the torch.
He folds the message tightly, puts in back into the
flask, and looks around.
THE DOCTOR
A cork! Something to seal the flask!

31.
CAPGAROUPE
Here is some thick rope. With my
knife, I cut small piece.
THE DOCTOR
Good! We must hurry. Take some
tar from the torch. Put it on the
mouth of the flask for a good seal.
Orders are obeyed. Vapor accompanies breathing and
talking. The flask is corked and tarred over.
THE DOCTOR
It is done!
ALL
Amen! -- Mea Culpa! -- Amen!
THE DOCTOR
(looking heavenward)
Bits du bei mir? (Art thou near me?)
EXT. ON DECK – THE KNEELING FUGITIVES – FLICKERING LIGHT
Galdeazun, with tears flowing, looks up at the doctor.
GALDEAZUN
Doctor, what can we do now?
THE DOCTOR
Pray with me...for now we are
going to die.
All but the doctor are kneeling down. He makes the sign
of the cross. Only the doctor’s torch still burns.
THE DOCTOR
(tentative, yet courageous)
Let us pray. Our father who art in
heaven...
CAPGAROUPE
(stammering in French)
Noter Peer equi tes aux cieux...

32.
IRISH WOMAN
(in Gaelic)
Ar nathar at ar neamh...
THE DOCTOR
Hallowed be thy name.
CAPGAROUPE
Que votre nom soit sanctifie.
IRISH WOMAN
(sobbing)
Tigeadh do rioghachd.
EXT. FULL VIEW OF SINKING SHIP - DEAD OF NIGHT
THE DOCTOR
Thy kingdom come...
CAPGAROUPE
Que votre volonte soit faite...
IRISH WOMAN
Duentar do thoil an Hhalamb...
THE DOCTOR
Thy will be done...
EXT. THE SINKING VESSEL - VIEW OF THE BOW
No voices answer. The GURGLING water submerges the deck.
The doctor looks down. Their heads slowly disappear
under the water. They are DROWNING on their knees.
EXT. ON THE BOW - FULL VIEW OF THE DOCTOR
He waves the torch a final time and throws it into the
sea. A spark breaks free, flying into the night. The
wreck LURCHES and GROANS, being swallowed by the ocean.
The doctor looks toward the heavens. Snowflakes spatter
his face; a tear rolls down his cheek.
With his right hand he raises the flask above his head.

33.
THE DOCTOR
(murmuring the rest of the prayer)
...on earth as it is in heaven.
Give us this day our daily bread
...and forgive us...
The “Matutina” goes under. For an instant his shoulders
and head remain above the water, holding high the flask.
As they disappear beneath the sea, the FLASK, kept afloat
by its wicker cover, floats off into the darkness.
FADE OUT:
EXT. WEYMOUTH - THE SKY - HOURS LATER - DAWN IS BREAKING
The storm has passed; the landscape is covered with snow.
INT. INSIDE THE VAN - DAWN
Ursus is quietly rolling up his blanket. He then puts
more peat in the stove. Wolf stirs. The boy rises,
stretches, and yawns. He now faces Ursus.
URSUS
(very abrupt)
Well, what are you laughing at?
THE CHILD
I am not laughing.
URSUS
Do not play games this early in the
morning! I said why do you laugh?
THE CHILD
(nervous, confused)
Bu-but, I am not laughing.
Ursus rubs his eyes and focuses on the boy for a few
moments in the twilight. Then in a demanding tone...
URSUS
Do not laugh any more!

34.
THE CHILD
But I am not laughing, sir.
Seeing the boy’s face clearly for the first time, Ursus
suddenly shudders.
URSUS
You do laugh, I tell you! And
I said do not laugh any more!
THE CHILD
(trembling, and near tears)
Please, sir, I-I am not laughing.
INT. INSIDE THE VAN – THE BOY’S FACE
For the first time the boy’s face is revealed! Ursus
places his hands on the boy’s shoulders. Holding him
firmly, he stares in astonishment, looking him over.
INT. INSIDE THE VAN – URSUS AND THE CHILD – DAWN’S LIGHT
URSUS
Who did this to you?
THE CHILD
I...I do not...know what you mean.
URSUS
How long have you had this laugh?
THE CHILD
I have always been thus...sir.
URSUS
(to Wolf, in a much softer tone)
Unbelievable! Astonishing! And
I thought this kind of work was
long out of date.
He loosens his grip and displays pity for the first time.
URSUS
It might be wise not to inquire
too deeply in a case of this kind.

35.
URSUS
(awkwardly consoling while patting the boy on his head)
So laugh away, my boy...laugh
away. What is your name, boy?
THE CHILD
They call me Gwynplaine.
URSUS
(nodding)
Be Gwynplaine then.
Suddenly the little infant awakens, with a CRY.
URSUS
Come nurse, give me a breast!
Her little WAIL fills the hut. She rubs her eyes.
Ursus, now at the stove, takes the warm phial of milk and
returns to the infant. He cradles her in his arms.
GWYNPLAINE, with his perpetual laugh, looks on in
wonderment. Wolf wags his tail. The infant suckles.
URSUS
Your breakfast, little refugee.
...Boy, your little sister!
She’s a lovely little wretch.
Gwynplaine’s eyes smile in happy contentment.
INT. IN THE VAN - FACING THE WINDOW - DAYBREAK
The sun, now level with the horizon, casts its rays
through the window, illuminating the hut.
Ursus watches the little one feed. The infant’s fixed
eyes, now on the rising sun, reflect the rays like
mirrors. Her eyes are immovable, unblinking.
URSUS
(startled, a sudden shock)
My God in heaven! She is blind!
DISSOLVE TO:

36.
EXT. 16 YEARS LATER - 1706 - LONDON - WINDSOR - SPRING
An aerial view of CORLEONE LODGE, the royal residence.
EXT. WINDSOR - CORLEONE LODGE - SPRING - AFTERNOON
A beautiful palace of brick and stone. Statues and
fountains are in abundance amidst a marble colonnade.
INT. CORLEONE LODGE - A SITTING ROOM - DAY
Through a tapestry, over the entrance, a strange-looking,
middle-aged MAN (BARKILPHEDRO) appears. He has a large
body, pallid face, course hair and bushy eyebrows.
INT. CORLEONE LODGE - SITTING ROOM - BACK VIEW
Sitting on an elegant purple velvet couch is the DUCHESS,
(JOSIANA). In her twenties, she is the illegitimate
sister of Queen Anne. She turns around, inquisitive.
BARKILPHEDRO
(bowing, very humbly, clasping his hands together)
Begging your pardon. Would your
Grace care to make my fortune?
INT. THE SITTING ROOM – JOSIANA SITTING – AFTERNOON
She faces Barkilphedro. Rich, flirtatious and worldly,
she appears in a haughty, majestic manner.
With her exquisite skin, displayed generously on her full
bosom, and her hair of red-gold, her beauty is legendary.
Strangely, her eyes do not match; one is blue, one black.
JOSIANA
(aloof, perusing a book)
Ah! Barkilphedro, my favorite
domestic animal. You, a fortune?
INT. SITTING ROOM - FULL VIEW - AFTERNOON
BARKILPHEDRO
Yes, madame. Perhaps an appointment
for me...if you wish.

37.
JOSIANA
An appointment for thee? What a
novel idea, you ambitious reptile!
You, who art good for nothing?
BARKILPHEDRO
Ah! And that is just the reason.
JOSIANA
(playfully)
And what position do you desire?
BARKIPHEDRO
Uncorker of bottles of the ocean.
JOSIANA
(giggling)
Uncorker of...to amuse myself I
will pursue...what is it, really.
BARKILPHEDRO
Uncorker of bottles of the ocean,
if it pleases your Grace. Really.
JOSIANA
Is there really an appointment of
that kind? That would be news to me.
BARKILPHEDRO
Yes, madame. I swear it.
JOSIANA
I do not believe thee.
BARKILPHEDRO
(clasping his hands)
Thank you, madame.
JOSIANA
(slightly smiling, and condescending)
Enough of this nonsense.
INT. SITTING ROOM – CLOSER VIEW OF JOSIANA
She rises gracefully from her seat, facing Barkilphedro.

38.
BARKILPHEDRO (O.S.)
Madame, If you will indulge me...
Your deceased father King James II,
appointed your brother, the Duke of
Cumberland, as you know, the Lord
High Admiral of all England. Hence,
all flotsam and jetsam cast ashore
belongs to the Admiralty.
JOSIANA
Everything? Really? I thought it
all belonged to the god, Neptune.
INT. FULL VIEW OF BARKILPHEDRO - AFTERNOON
BARKILPHEDRO
Neptune is a fool. He has given up
all and allowed England to take
all. This floating trash of the sea
belongs to the Sea Prize Department.
JOSIANA (O.S.)
Ah! So you want to be --
BARKILPHEDRO
-- Precisely so, the jetsam officer.
To uncork the bottles of the ocean,
a position that is vacant just now.
INT. JOSIANA AND BARKILPHEDRO
JOSIANA
Such an inferior position! Are
many such bottles brought to the
Admiralty?
Barkilphedro shows mock humility, bowing his head.
BARKILPHEDRO
Very few, madame.
JOSIANA
How can you trouble us so when you
will have nothing to do? How much
pittance would you trouble me for?

39.
BARKILPHEDRO
(still bowing)
Just enough pittance to live on,
your Grace. One hundred guineas
a year, and lodging. ’Tis just a
clerk’s position.
JOSIANA
One hundred guineas? Why, you would
live as a beggar!
BARKILPHEDRO
Yes, your Grace. What keeps you for
a minute keeps me for a whole year,
precisely the advantage of the poor.
INT. THE SITTING ROOM - DAZZLING VIEW OF JOSIANA
She smiles, slowly winks and nods her head approvingly.
JOSIANA
Thou shalt have that position.
He smiles and slowly bows in subversive appreciation.
FADE OUT:
EXT. NEAR LONDON - HAMPTON COURT - EARLY MAY - DAY
EXT. HAMPTON COURT – STROLLING IN THE GARDEN
QUEEN ANNE appears, leisurely strolling with Josiana. In
her forties, she’s plump, with large eyes and very white
skin. Very plain, her dress is low-cut to compensate.
She is decked in magnificent pearls and necklaces.
QUEEN ANNE
Did you hear the Russian Ambassador
has arrived, and the Baroness Drika?
Josiana nods, acknowledging her question.
QUEEN ANNE
The baroness is the illegitimate
sister of the Queen of Prussia.

40.
JOSIANA
(ignoring the insult)
I hear she is engaged, to a count.
QUEEN ANNE
Yes, but what about you, my dear?
Five years engaged to Lord David?
Why the delay? This is beyond
inconvenience. Are you not afraid
he will take liberties elsewhere?
JOSIANA
‘Tis a bore that I should be
engaged to Lord David. I know he
has his mistresses. I know he
squanders his fortune. He gambles,
he fights. ‘Tis boring to think of
myself of his wife. Ah, but as his
lover, that is a different story.
I would like nothing better than to
be in love with him.
QUEEN ANNE
My dear, your lack of interest in
marriage causes all at court to
secretly gossip in the shadows.
Are you sure you can keep his
interest, and his love?
JOSIANA
But we do not love, we just...
just please each other.
Josiana picks a flower, caresses it, and tosses it away.
JOSIANA
He even writes me sonnets...
which sometimes I even read.
Barkilphedro inconspicuously approaches from behind and
bows. The Queen quickly turns around and addresses him.
QUEEN ANNE
Barkilphedro, your opinion always
amuses us. What do others say?

41.
BARKILPHEDRO
Your Majesty, I feel all at court
perhaps admire the good taste of
this delay. Perhaps Lady Josiana
is impelled to yield herself more,
shall we say, gallantly, rather
than give herself away...legally.
The Queen and Josiana laugh, easing the tension.
CUT TO:
INT. HAMPTON COURT – BALLROOM - FULL VIEW - THAT EVENING
A magnificent royal gala event. Purple velvet and
tapestries hang in abundance. DIGNITARIES, LORDS and
BARONS, MEN in powdered wigs, WOMEN in elegant evening-
wear, all are talking, sipping after-dinner wine.
INT. HAMPTON COURT - THE QUEEN & RUSSIAN AMBASSADOR
THE QUEEN
Is it true what they say about the
Baroness Drika? That she is rich?
RUSSIAN AMBASSADOR
Very rich, your Grace.
THE QUEEN
She has palaces, this Drika?
RUSSIAN AMBASSADOR
Oh, yes, your Grace. More
magnificent than those of her
sister, the Queen.
THE QUEEN
And whom will she marry?
RUSSIAN AMBASSADOR
A great lord, the Count Gormo.
THE QUEEN
And the Baroness? Is she young?

42.
RUSSIAN AMBASSADOR
Ah! Indeed! Young and pretty.
THE QUEEN
(very curious)
As beautiful as the Queen?
RUSSIAN AMBASSADOR
(cautiously lowering his voice)
More beautiful.
THE QUEEN
(after a few seconds of silence, very agitated)
Those bastards!
The Queen wheels around and steps away a few paces,
embarrassed. The Ambassador, eyes wide open, is shocked.
Barkilphedro, secretly eavesdropping, speaks aloud...
BARKILPHEDRO
Hmm!
INT. HAMPTON COURT - MAIN ENTRANCE - MOMENTS LATER
LORD DAVID DIRRY-MOIR enters. Thirty-six, arrogant, tall
and elegantly dressed, he wears a huge hat with a plume.
Among the WOMEN’S ranks, a huge sensation occurs.
YOUNG WOMAN
Oh! How handsome! How elegant!
BARONESS DRIKA
What a beautiful man! Stunning!
QUEEN ANNE
(very low voice)
How disagreeable!
Barkilphedro, lurking a few steps behind, rubs his hands,
smiles, and whispers aloud to himself...
BARKILPHEDRO
Hm! On the contrary. How agreeable!
CUT TO:

43.
EXT. SOUTHWARK, NEAR LONDON - TARRINZEAU FIELD - MORNING
The GREEN BOX, a great heavy van on four large wooden
wheels, enters the FAIRGROUND. NOISILY pulled by FOUR
STOUT HORSES, it is the traveling theater of Ursus.
It appears like a great sailing vessel, with a deck and
floor, painted in a graduation of green, dark at the
bottom, light at the top, with two windows at each end.
The front window, built on a ledge, serves as the door.
The back door has retractable steps. A central panel,
hinged on the left side, serves as a platform or stage.
Ursus, now an old man with thinning gray hair, directs
the team. Following is Wolf, tethered by a rope.
EXT. SOUTHWARK - THE FAIRGROUND - TADCASTER INN - MORNING
The fairground is surrounded by stalls housing the
exhibitions. JUGGLERS, MUSICIANS, PERFORMERS mill about.
Ursus halts the team in front of the inn. He climbs down
the van and surveys the premises. He is dressed in a
sailor’s jacket and large baggy trousers.
A sign, “THE TADCASTER INN,” hangs above the door. He
enters a taproom with many tables, hazy from last night’s
smoke. He catches the eye of the INNKEEPER, MR. NICLESS.
INT. TADCASTER INN - INSIDE THE TAPROOM
The innkeeper, a middle-aged hairy man, with ruddy a
complexion, sits behind a desk. He rises to greet Ursus.
INNKEEPER
Welcome, good sir! I am Mr.
Nicless. Are you are a patron, or
a performer?
URSUS
(indignantly)
Neither. I am Ursus, a philosopher.
The innkeeper smiles and signs an entry.

44.
INNKEEPER
Yes! Welcome! Welcome! We have
greatly anticipated your arrival.
Your presence here with “The Man
Who Laughs” will make your fortune.
The crowds hunger --
URSUS
(walking toward the innkeeper)
--Our presence here will make YOUR
fortune. The hungering we satisfy
will be our own. Food and lodging,
Mr. Nicless. A stable for our
horses, and food for six. My wolf-
dog companion eats for three.
INT. TADCASTER INN - THE FRONT DESK - MORNING
URSUS
By now you know we draw the largest
crowds. Your best accommodations!
INNKEEPER
Indeed, sir Ursus. It has already
been arranged. Everyone talks of
nothing but “The Man Who Laughs.”
May your stay be a long one.
URSUS
(pensive, signing the entry)
Yes, “The Man Who Laughs.” The
poor, the rich, the wicked, the
sick, all laughing at what they do
not understand. Unknown people may
have worked on his face, but I alone
have worked on his mind. He has
been my life’s work, you know. Yes,
everywhere the crowds chase after
Gwynplaine. And when their
curiosity is satisfied, we move on.
INNKEEPER
By the way, beware the Puritan
preachers. They refer to the
Green Box as the “mouth of hell.”

45.
URSUS
Fear not. They are not our enemy.
They are merely...the competition.
CUT TO:
EXT. TADCASTER INN - IN THE COURTYARD - THAT EVENING
In the center of the fairground lies a ready-made
theater. It is square with three sides rounded by a
covered balcony. The paved court serves the audience.
In a far corner is a stable for the horses.
Against the tall back wall, the Green Box is parked,
attracting a small crowd. A placard, THE MAN WHO LAUGHS,
rests above the van. A large sign, CHAOS VANQUISHED,
leans against the van.
INT. TADCASTER INN - INSIDE A BACK ROOM - EVENING.
Riotous LAUGHTER and NOISE comes from the tavern.
Mister Nicless sips tea and sits in an oversized chair.
Ursus sits across from him, sipping a mug of ale.
INKEEPER
CHAOS VANQUISHED has been the talk
of the commoners for many years now.
Here, so near to London, you may,
if you so choose, charge more than a
penny. You may find the audience a
little more, shall we say...
fashionable.
URSUS
We shall keep the admission price a
penny. Our success comes from the
wretched, not the fashionable.
They, too, deserve to laugh.
INKEEPER
As you wish. You are a good man,
sir. The life of a mountebank is a
difficult one. Your reputation –-

46.
URSUS
-- We have our concerns. There
are...jealousies, even envies, to
sabotage our success. Many feel
that Gwynplaine, without his
deformity, would be just another
act. From this contempt, there
have been threats, even attempts...
INKEEPER
(very reassuring)
Fear not! We have ways of keeping
order. One way...We call him
Tom-Jim-Jack.
URSUS
And who is Tom-Jim-Jack?
CUT TO:
EXT. ONE MONTH LATER - LAMBETH FIELD - WITHIN THE PALACE
GATES OF THE ARCHBISHOP OF CANTERBURY - LATE AFTERNOON
Windy and cool with a drizzling rain. A GROUP OF LOUD
MEN, SHOUTING, surround TWO FIGHTERS. A boxing match.
EXT. LAMBETH - FULL VIEW OF BOXERS - MOMENTS LATER
TWO savage-looking, badly-mauled BOXERS circle to and
fro. They wear short buckled breeches and spiked boots
laced up to the ankles.
The large one’s face resembles a bloody sponge. The
smaller one, bleeding above the eye, is clearly winning.
EXT. LAMBETH - THE CROWD - AFTERNOON
The crowd, rich, poor, and GENTLEMEN holding umbrellas,
SHOUT furiously, placing bets. JUDGES count the blows.
EXT. BEHIND THE CROWD - MOMENTS LATER
LORD DAVID DIRRY-MOIR and DUCHESS JOSIANA watch from a
distance. Josiana is discreetly dressed as a man. Lord
David is in the garb of a sailor, holding an umbrella.

47.
She watches through an opera glass, flinching with each
blow. Lord David, empathetic, shows restraint.
THE CROWD
(everyone talks at once, overlapping)
Foul! Stop the fight! No! Yes!
JUDGE
Wipe his face! He cannot see!
EXT. THE BOXERS – A CLOSER VIEW
The larger boxer suddenly strikes a powerful blow.
Both boxers lay bleeding, in the mud. Pandemonium!
EXT. UNDER THE UMBRELLA – A MOMENT LATER
With no real winner, the unruly crowd becomes a mob.
JOSIANA
What has happened?
LORD DAVID
The smaller Scot just took what
may be a fatal blow to the face.
...Are you distressed, my dear?
JOSIANA
No. I suppose this sort of
brutality is exciting. Are they...
Will they ever recover?
LORD DAVID
I think neither will ever recover.
I am glad I placed no bets today.
He takes her arm and they walk toward the gate. Josiana
seems distant. Lord David, concerned, stops.
LORD DAVID
Tell me, what is it, my love?
JOSIANA
I thought it would drive away my
boredom, but..(sighing) it did not.

48.
LORD DAVID
(looking in her eyes)
For spleen there is but one remedy.
JOSIANA
What is it?
LORD DAVID
Gwynplaine.
JOSIANA
And who is Gwynplaine?
DISSOLVE TO:
EXT. SOUTHWARK - THE FAIRGROUND - THE GREEN BOX -
A MONTH LATER - EARLY SUMMER - LATE AFTERNOON
The sun is setting; the evening cool.
JUGGLERS, ACROBATS, PERFORMERS, near their stalls, try to
attract business. Only Ursus, dressed as an admiral in a
sailor’s jacket with loose trousers, draws a crowd.
EXT. BEHIND TADCASTER INN - FAIRGROUND - THE STAGE
Ursus mounts the stage amidst applause, ready to perform.
URSUS
(very animated)
Ladies and gentlemen, I congratulate
you on the joy of being English.
How magnificent you are! As a great
people you have great appetites, for
you eat other nations. Possessions,
colonies, populations, we have it
all. But I say this to your glory,
for I am neither English, nor human.
I am Ursus, philosopher of the ages.
EXT. THE STAGE - A CLOSER VIEW – EVENING
The CROWD is large, boisterous. In anticipation,
generous APPLAUSE breaks out.

49.
Ursus smiles and looks over the large crowd.
URSUS
As a doctor I heal fevers, plagues,
and even worse! But, I also teach.
And what do I teach? Art, science,
and poetry. I invite you to listen.
Open your ears. You may hear a
little truth...or a great deal of
folly may find its way in.
EXT. FACES IN THE CROWD – AMUSEMENT – DEEP SHADOWS
URSUS (O.S.)
Listen, good citizens! Heaven
permits many people to deceive
themselves, and I believe in
Providence, even when it is wrong!
Did you know the serpent that
tempted Eve had not a human face?
EXT. THE STAGE - THE FACE OF URSUS - EVENING
URSUS
Did you know that Adam did not
have a navel? Furthermore...
(the crowd responds, some chuckling))
if any one tells you a man weighs
more dead than when alive, do not
believe him.
EXT. A DISTANT VIEW - URSUS ON STAGE - EVENING
URSUS
So attention, distinguished guests!
You have come to see my comrade who
will indeed make you laugh. Another
in my family, an angel without
wings, has a voice delivered from
heaven itself. You will meet my
oldest companion who sweats with
his tongue and smiles with his tail.
But it is I who can make you think;
so listen, and learn.

50.
URSUS (CONT’D)
I will now introduce my inseparable
colleague. I present his lordship,
lupo principium, the wolf-dog.
Formally a wild dog, he is now the
Queen’s civilized faithful subject.
Wolf enters, stretches in a prostrate position, and walks
up to Ursus. He sits politely as the audience applauds.
URSUS
(mischievously, pointing to Homo)
He declined teaching at the
university because he would rather
chat with bitches...but by night,
he consorts with she-wolves.
WOLF
Woof!
Covering the courtyard, the crowd YELLS and APPLAUDS.
Competitors look on with disdain, frowning, arms folded.
EXT. FULL VIEW OF URSUS AT CENTER-STAGE - EVENING
URSUS
Now, your attention, please! The
coquette you see may not be what
she seems. Could she be some
mysterious priestess that we found
years ago, frozen in the snow?
I submit she sees things we mortals
cannot see. You also came to see
the monster, THE MAN WHO LAUGHS,
a boy abandoned on the coast of
Portland on a wintry night in 1690
by the wicked Comprachicos. Indeed,
he is a victim of mankind’s cruelty
to man. But think! Are we not all
monsters? We are, indeed. So at
last, ladies and gentlemen, the
performance is about to begin...
I give you...CHAOS VANQUISHED.

51.
EXT. A VIEW OF STAGE AND APPLAUDING CROWD - ALMOST DARK
CHAOS VANQUISHED begins. A NIGHT SCENE. Only two
lanterns at each end of the stage illuminate the
darkness. TWO APPARITION-LIKE FIGURES appear.
At center-stage a lantern is lit, revealing slowly a
YOUNG WOMAN’S FACE. It is DEA, stunning in her beauty.
EXT. ON STAGE – FULL VIEW OF DEA – BARELY LIGHT
She is arrayed in a flowered Florentine petticoat and a
woman’s sleeveless jacket. She holds a primitive musical
HARP. The audience GASPS, silenced by the spectacle.
Her exquisite skin is like delicate porcelain. Her full
lips, crimson. Her soft hair, pulled back, tied with a
pink ribbon. Her eyes, though blind, a shimmering blue.
A DARK FORM, Wolf, slowly appears at the edge of the
light, next to Dea. He stands a few moments, lowers his
head, and gently licks Dea’s bare arm.
Wolf, well-fed, and heavier, has mottled streaks of gray
in his fur. The crowd is transfixed.
EXT. FULL VIEW OF THE STAGE – OBSCURED LIGHT
A THIRD FIGURE, A MAN, slowly rises through a trapdoor in
front of Dea. In grand entrance, it is GWYNPLAINE.
His back to the audience, and wearing a large slouch hat,
his face cannot be seen. He wears a great sailor’s
jacket, loose trousers, and a large leather cloak.
With thick yellow hair, he appears tall, athletic,
strong. He takes a step toward Dea, and halts.
Dea appears as if in a luminous mist. She elegantly
starts playing her harp. Wolf prostrates himself toward
the singing goddess.
Her angelic VOICE is haunting.

52.
DEA
“For you, my love, I play my lyre;
With Hymen’s song, my soul inspired.
Your name now fills my heart sublime,
No other song or path I find,”
As she sings GWYNPLAINE drops to one knee, spreading his
arms, beseeching the heavens. His voice is deep, loving.
GWYNPLAINE
“An arrow’s flight, so straight and true,
Life’s journeys all take me to you.
A virgin pure, my soul belongs,
You’ve captured me with siren’s songs.”
DEA
“Your touch makes all my darkness light,
Your image makes my dreams so bright.
In constant night, my hand in yours,
You lead me to fresh waters pure.”
EXT. THE STAGE – FULL VIEW OF DEA
Dea, arms opened wide, faces Gwynplaine.
GWYNPLAINE (O.S.)
“Your eyes possess a sacred veil,
The things you see, we mortals fail.
A voice, my conscience beckons me,
Your guardian angel I’ll always be.”
DEA AND GWYNPLAINE
“A gentle prayer ascends the sky,
Uniting our love’s lullaby.
You light the pathway we have trod,
As if we see the face of God.”
DEA
“My knight in armour leads my way,
He holds my hand so I’ll not stray.”
GWYNPLAINE
“Your rose-like fragrance passing by,
Fair maiden breathes enchanted sighs.”

53.
DEA
“The tears I shed will turn to bliss,
As blessed lips reach out to kiss.”
GWYNPLAINE
“And as I take that faithful leap,
And safely watch my angel sleep.”
DEA
“I see the things the blind can’t see,
A sacred trust so trouble free.”
GWYNPLAINE
“My spirit soars, I cannot fail,
An angel cries, away we sail.”
DEA AND GWYNPLAINE
“A gentle prayer ascends the sky,
Uniting our love’s lullaby.
You light the pathway we have trod,
as if we see the face of God.”
Up until this moment only Dea’s delicate beauty has been
visible. She sets down her harp, rises, takes a step
forward, and places her hands on Gwynplaine’s forehead.
Gwynplaine rises, slowly turns around and faces the
audience, Dea behind him. He removes his oversized hat.
EXT. ON STAGE – UPPER VIEW OF GWYNPLAINE – VERY DARK
A RAY of LIGHT falls on his FACE. For the first time, as
an adult, he’s clearly seen. With his arms spread as if
to embrace the gallery, the monster is fully exposed.
NARRATOR (VOICE OF URSUS)
This is it! The finished product
of the Comprachicos. Oddly enough,
the shape of his head is not
disfigured and a mane of curly hair
covers his brow. But with uncanny
skill, they enlarged the mouth, cut
away the lips, laid bare the gums,
displaced the cheeks, cut the
cartilages, pulled back the scars,

54.
VOICE OF URSUS (CONT’D)
distended the ears, and stretched
his face into this extraordinary
abortion; a petrified frozen mask.
A few seconds of total silence; then MOANS and GASPS.
His mouth, almost without lips, covers the lower third of
his face, a perpetual smile from ear to ear.
His snub nose has two holes for nostrils. His eyes, two
slits, are barely visible. His ears, large and pinched
forward, give his face a flattened look.
EXT. VIEW FROM THE STAGE - COURTYARD - THE CROWD
Astonishment comes in shockwaves from the audience. A
MONTAGE OF EXREME CLOSEUPS.
MOTHERS, FATHERS, GENTLEMEN, COACHMEN, SAILORS, RUFFIANS,
FELONS, mouths open in amazement. Some turn their heads,
some recoil in horror, some cover their CHILDREN’S eyes.
EXT. ILLUMINATED AT CENTER-STAGE – THE PLAYERS
Within moments reality sets in. This beautiful songbird,
singing her love to a hideous monster? Absurd! MOANS
and CHUCKLING soon turn to INSULTS and HECKLING.
EXT. FROM THE STAGE – THE CROWD
A TALL MAN, wearing an EYE-PATCH, stands confidently
behind the crowd, hands on his hips, feet wide apart.
INSULTING VOICE
Only a blind girl could sing to that!
UNRULY MOTHER
(to her son, pointing to Gwynplaine)
What a pity you haven’t a face like
that. We could make a fortune!
Everyone breaks into FITS OF LAUGHTER. The players stand
motionless on stage. Soon, CHAOS! Insults mixed with
praises, the UPROAR becomes contagion, epidemic.

55.
WRETCHED POOR WOMAN
(shaking her fist at her little boy)
If I only knew who your father was,
would he catch it! If you were
only a monkey.
BRIGHTLY-DRESSED CLOWN
(shouting from the back of the crowd)
That wolf has dangerous seizures!
EXT. A VIEW OF THE STAGE - BEHIND THE CROWD - NIGHT
The light on the stage fades out; the PLAYERS descend
backstage. The laughter slowly fades into CLAPPING and
STAMPING FEET.
VOICES IN THE CROWD
We want Gwynplaine! Gwynplaine!
JEALOUS JUGGLER
Monster! Call the magistrates!
Shut them down! Lock him up!
EXT. BEHIND THE CROWD - A CLOSER VIEW
The TALL NAVAL OFFICER, wearing the eye-patch and the
plumed hat, quickly moves through the crowd.
SOMEONE IN THE CROWD
Make way for Tom-Jim-Jack!
The officer grabs the JUGGLER by the nape of his coat,
spins him around, and flattens him with his fist. The
unruly HECKLERS are suddenly silenced.
TOM-JIM-JACK takes off his hat, wipes his brow, and scans
the crowd from side to side. It’s LORD DAVID DIRRY-MOIR!
TOM-JIM-JACK
(smugly)
Now, is there anyone else?
CUT TO:

56.
INT. THE GREEN BOX – THE PARLOR - AFTER HOURS
A hanging lantern lights the room. Ursus and Gwynplaine
sit at the table, sip wine and count today’s monies.
URSUS
The farthings become shillings.
My boy, you are triumphing over
poverty by your deformity.
GWYNPLAINE
But again, did you not see? The
despair, the hunger, the ignorance.
Some of the children are starving.
Gwynplaine looks down, somber, and shakes his head.
Ursus, disturbed, opens his hands in exasperation. He
fixes a stern look on Gwynplaine.
URSUS
Begging your pardon! Who are we,
royalty? We are among the wretched.
We give aid; we make them laugh!
To make people laugh is to make
them forget! Now you tell me, what
benefactor can bestow that kind of
happiness?
GWYNPLAINE
But what can be done for the poor?
URSUS
The poor is no business of yours!
GWYNPLAINE
But there are so many.
URSUS
(holding up two fingers)
You have two concerns. To perform,
and to love Dea. You have only two
causes for happiness. The first...
the crowd sees your muzzle; the
second...that Dea does not!

57.
He leans toward Gwynplaine, accentuating his words.
URSUS
You have no right to the happiness
you possess, for no woman who sees
your mouth would ever consent to a
kiss. My boy, the Comprachicos did
you a great favor. Your mask may be
gift from the Devil himself. Be
satisfied with having drawn that
prize in the lottery. Yes, you may
be frightful, but it is giving you
riches! And in this world there are
the happy by right, and the happy
by luck...You are happy by luck.
INT. PARLOR - THE TABLE – FLICKERING LANTERN LIGHT
URSUS
You also need to moderate your
heart. Gwynplaine, you must
control your enthusiasm about Dea.
GWYNPLAINE
That is impossible.
URSUS (O.S.)
You must; the time is not yet right.
Just think of your deformity and
her perfection. She has everything;
skin like porcelain, lips like -
GWYNPLAINE
- like strawberries!
(Ursus shrugs in exasperation)
Exquisite feet; beautiful hands!
She is absolute beauty! And I?
Hideous! I know this, but it
does not calm me.
URSUS
(hesitating, lowering his voice)
I see your dreams are troubled.
Soon I will play a nasty trick
on you both; I will marry you!

58.
GWYNPLAINE
Nothing would suit me more!
URSUS
Your time is near, once we quit
this place. Be patient. If Dea
were to eat beefsteaks, in six
months she may be strong as a Turk.
Then give her a child or two.
Have brats; wipe them, blow their
Noses, wash them, put them to bed,
let them swarm. Did not Moses say,
“Be fruitful and multiply?” This
is your glimpse of heaven on earth.
He who has these joys has everything.
Now that’s what I call...philosophy!
For myself, I never had this
advantage; that is why I am such a
brute. But remember, you are the
intruder. Pay no attention to what
goes on outside. A comedian is
made to look at...not to look.
INT. FULL VIEW OF PARLOR - AT THE TABLE - MOMENTS LATER
Dea enters the room, holding a plate of muffins. She is
now seventeen, a fragile sylph of a girl. Her long hair,
neatly brushed, hangs over her delicate shoulders.
As she nimbly moves to the table and pulls out a chair,
Gwynplaine’s demeanor completely changes. Dea smiles.
She places the plate on the table, and sits next to him.
Gwynplaine looks affectionately, and put his hand on
hers. Ursus is put out by the interruption.
GWYNPLAINE
How wonderful you were tonight!
DEA
No, it was you. The crowd may
laugh, but they cannot see what I
see. In my world I can...I see
your very soul.

59.
Ursus relaxes a moment, then sees the necessity to
continue, but softens his counsel.
URSUS
Remember, Gwynplaine, your happiness
does not depend on the rich. Do you
know when a man is happy by right?
When he is a LORD! Yes, a peer!
The lords have power and choices
because they have riches. To say
“yes” is their liberty. The peers
can say yes, or no, and cut off a
king’s head. The people cannot.
INT. PARLOR - GWYNPLAINE AND DEA
They barely listen, gazing lovingly at each other.
URSUS (O.S.)
A philosopher would be a poor devil
indeed if he advised the masses to
cry out against the size and weight
of the lords. A gnat might as well
dispute the foot of an elephant!
We are merely trespassers on their
land. We are the people under
their wheels, so we simply stand
aside and let them pass.
Gwynplaine decides to respond, feigning rapt attention.
GWYNPLAINE
It is so cruel. Life should be -
URSUS
- Ah! Life is what we make it! We
must remember, our lords are our
glory. A duke in Scotland owns an
estate ninety miles across. I knew
a baron who spent more to keep up
his pack of hounds than the total
expenses of Moorgate’s leper colony.
WOLF
Woof!

60.
URSUS
As a philosopher I know life is
merely lodging. But we must not
forget, the great do what they
like; the poor...do what they can.
Gwynplaine and Dea begin nibbling on the cakes, sipping
wine from the same glass. The parlor serves as a dining
room. Wolf gnaws on a soup bone.
Pretending to be displeasured, Ursus rises to retire to
his sleeping room, to allow them some free time.
DEA
Father says drinking from the same
glass is like drinking nectar from
the same lily.
URSUS
(sternly, standing near the door)
Pay attention and beware. Did you
know, Dea, that without poverty, you
would not have been born blind. And
were you not blind, you would not
love Gwynplaine. Remember from
where you come. If there was no
poverty, there would be no chaos.
And What would we have to vanquish?
Gwynplaine respectfully looks up at Ursus.
GWYNPLAINE
I know what you say is true. The
paradise of the rich is made from
the hell of the poor.
URSUS
Precisely!
DEA
(looking up, speaking at Ursus)
But you are wrong, Papa. I see
Gwynplaine clearly. He is my
savior who snatched me from the tomb.

61.
URSUS
Both of you have become tiresome
with your love. Retire soon, girl.
You know your delicate nature
requires much sleep.
DEA
(as Ursus leaves the room)
Good night Father, and sleep well.
GWYNPLAINE
Yes, Ursus, always the philosopher.
He knows my greatest happiness comes
from you. There is nothing, nothing
I wouldn’t do for you. I could
never bear the laughter were it not
for you. You really are my refuge.
DEA
(touching his hair)
I only know one thing; I love you.
GWYNPLAINE
I adore you.
INT. THE TABLE - GWYNPLAIN, DEA AND WOLF - NIGHT
Lantern light flickers about the room, dancing on their
faces. They speak sincerely in low tones, lost in each
other. Gwynplaine looks straight ahead as they speak.
DEA
Those who laugh are the ugly ones.
GWYNPLAINE
Dea, someone in the crowd today
shouted that my face was struck by
a thunderbolt. Another said I was
conceived in hell.
DEA
They are beasts. Because of you I
now have Paradise. But I know...
how beautiful you are.

62.
GWYNPLAINE
Providence has made you blind so
you cannot see my deformity...
I am so very ugly.
DEA
All I know is...you are sublime.
Dea, reaches up and tenderly places a kiss on
Gwynplaine’s forehead. He looks down and exhales deeply.
Her almost transparent eyes, are brilliant pale blue.
Gwynplaine nervously returns a kiss to her forehead. She
breathes deeply. He breaks their embrace, and stands.
GWYNPLAINE
You must sleep. Soon, night and
day, we shall always be together.
FADE OUT:
EXT. FULL VIEW OF FAIRGROUND - LATER - AFTER MIDNIGHT
The abandoned fairground is quiet, only a reeling drunk
stumbles in a dark corner. The tavern, now closed, has
only a solitary candle lighting a lower room window.
Gwynplaine and Wolf quietly exit the back door of the
Green Box, and cautiously descend the steps. To not be
recognized, he wears his slouch hat.
EXT. BEHIND THE GREEN BOX - VERY DARK - PAST MIDNIGHT
They inhale the night air as they walk into an open field
nearby. Gwynplaine, pensive, addresses Wolf...
GWYNPLAINE
‘Tis a fine peaceful night, boy.
Wolf whimpers in agreement. They stop; Gwynplaine looks
into the starry sky. He closes his eyes...
DISSOLVE INTO DREAMY FLASHBACK:

63.
INT. INSIDE GREEN BOX - TWO YEARS EARLIER - EARLY MORN.
Dea, sitting on her bed, brushes her hair. Untaught in
modesty, her chemise unfastens, revealing her slight
feminine outline.
Gwynplaine, standing nearby, blushes and lowers his eyes.
DEA
Oh, Gwynplaine! Is that you?
Gwynplaine, embarrassed, catches his breath, turns his
head, and flees the room. In haste, he knocks over a
chair, almost knocking over Ursus, just outside the door.
INT. GREEN BOX - THE FRONT DOOR - MORNING
URSUS
Easy! Have you committed a crime?
GWYNPLAINE
I...I...she was brushing her hair.
I should...I am ashamed! I shall
stay in your room from now on.
URSUS
Be not afraid, boy; you are growing
up! A new blossom; Eve was calling.
...Perhaps now you should knock
before entering Dea’s room.
DISSOLVE TO:
EXT. THE OPEN FIELD - BEHIND THE FAIRGROUND - VERY DARK
DISSOLVE INTO ANOTHER DREAM SEQUENCE – FLASHBACK:
INT. INSIDE THE GREEN BOX - AT THE TABLE - DAY
Dea sips tea; Gwynplaine watches. They sit and coo in
low tones. Dea raises her arm, expecting a kiss.
He nervously glances at her bosom. He clumsily brushes
the transparency of her muslin sleeve with a kiss from
his deformed mouth.

64.
She shivers with deep delight, blushing like a rose. She
sets down her tea, raises her arm, pulls up her sleeve.
DEA
(playfully)
Again!
Gwynplaine pants, and kisses her arm again, lingering.
DEA
And again.
GWYNPLAINE
(breathlessly trying to overcome his timidity)
Dea! I...no...
URSUS (0.S.)
(suddenly from the other room)
This game we are playing, is it
called the end of innocence?
Instantly they respond, guiltily separating. Then...
DEA
I know what light means. It means
“YOU” are speaking.
GWYNPLAINE
No, dear Dea, I wish it were true.
Dea
O yes! You are light...and love.
GWYNPLAINE
No, I am hideous.
DEA
When you are near, I am in heaven.
Give me your hand...
Their hands meet; they grasp each other. Moments pass...
INT. THE GREEN BOX - THE SLEEPING ROOM - DAY
Ursus, reading near the window, is crabbed...

65.
DEA (O.S.)
See...heaven!
URSUS
For that matter, Dea is ugly also!
INT. IN THE GREEN BOX - AT THE TABLE - CLOSER
Absorbed in each other, they ignore his insult.
DEA
To be ugly, what is it? It is to
do no wrong. Gwynplaine only does
good...so he is handsome.
(He looks down. She thinks for a moment, then resumes.)
To see. What really is seeing? I
cannot see, but I know. It seems
to me that to see...means to hide.
GWYNPLAINE
What do you mean?
DEA
To see a thing conceals the true.
GWYNPLAINE
No. I think not.
She looks at him longingly, eyes twinkling, smiling.
DEA
But yes, since you say you are
ugly.
(she reflects for a few moments)
...Story teller!
Gwynplaine, eyes smiling, puts her hand to his heart,
elated. He looks down, his conscience and love consoled.
DISSOLVE TO:
EXT. THE OPEN FIELD BEHIND THE FAIRGROUND - VERY DARK
Gwynplaine and Homo both stroll back toward the Green
Box. Gwynplaine is pensive, sad.

66.
GWYNPLAINE
A pity, Wolfie, that only in the
darkness of night, we find our
solitude. I hope God smiles upon us.
Were it not for Dea, my existence...
FADE OUT:
INT. INSIDE THE GREEN BOX - EARLY SUMMER - AFTERNOON
Ursus and Gwynplaine sit at the table. Dea is napping in
her room. A commotion stirs outside in the fairground.
They rise, looking out the open door. Wolf starts
GROWLING in low tones. Ursus is startled.
URSUS
Wolf! Be still!
INT. THE GREEN BOX - AT THE DOOR - BACK VIEW - DAY
GWYNPLAINE
What is it?
URSUS
Speak quietly. It is something
dreadful. Do not alarm Dea.
GWYNPLAINE
(almost whispering)
Well, what is it?
URSUS
A man in black, wearing a hood.
EXT. ENTRANCE OF THE FAIRGROUND - FULL VIEW - DAY
A sinister BLACK-ROBED MAN attracts a small crowd. His
hood is covered by a white wig under a hat. An iron mace
is in his hand. TWO MAGISTRATES follow close behind.
INT. GREEN BOX - INSIDE THE DOOR - BACK VIEW
An encircling small crowd fearfully keep their distance.
Gwynplaine and Ursus cautiously watch from inside.

67.
URSUS
(very careful, in low tones)
The man in black is the wapentake.
GWYNPLAINE
The wapentake? Who is that?
URSUS
Someone to fear.
GWYNPLAINE
Then I fear. What does he carry?
URSUS
The iron weapon.
GWYNPLAINE
Well, what does he do with it?
URSUS
Beware if he touches you with it.
If he does, it means...follow me.
GWYNPLAINE
But where does he take you?
URSUS
We do not know. For questioning, to
prison, or perhaps even worse.
GWYNPLAINE
Does he not tell you where he goes?
URSUS
No. He says nothing, and you say
nothing. Silence is your protection.
INT. URSUS AND GWYNPLAINE FACING EACH OTHER - CLOSEUP
GWYNPLAINE
And if you resist?
URSUS
(a long time before he finally answers)
You are hanged!

68.
EXT. THE FAIRGROUND - FULL VIEW - AFTERNOON
The WAPENTAKE and his officials pass in front of the
Green Box and disappear among the performer’s stalls.
The small curious crowd follows. They soon pass by.
INT. FRONT VIEW OF THE GREEN BOX - THE DOOR – AFTERNOON
URSUS
(exhaling a long breath in relief)
Thank God! He passed us by.
CUT TO:
EXT. WEEKS LATER - THE FAIRGROUND - OVERVIEW - SUNDOWN
The THRONG surrounds the Green Box, now spectacular. The
show is about to begin. Merriment and applause abound.
EXT. TADCASTER INN - FRONT ENTRANCE - SUNDOWN
The windows are aglow. Through the entrance, a full
house is seen, laughing, shouting, drinking, revelry.
EXT. THE THEATER - FULL VIEW OF THE AUDIENCE
The theater is paved with faces. A new sensation erupts.
The Royal Box in the center of the balcony is about to be
occupied for the first time.
EXT. THE PLATFORM - BACK VIEW OF URSUS
He sees an exquisite form, approaching the red velvet
arm-chair. A GREAT LADY, magnificent, has arrived.
She is accompanied by her PAGE, a small child-like man
with a serious face. He is dressed in scarlet velvet,
wearing a skull-cap with a plume.
EXT. THE THEATER - THE ROYAL BOX - ALMOST DARK
Her upper dress, Indian muslin, is covered with gold
embroidery. A large diamond brooch closes her chemise,
exposing much of her shoulders and bosom.

69.
She sits down, her eyes fixed on the stage. She wears
enormous pearl earrings. It is the DUCHESS JOSIANA!
EXT. THE THEATER - PANAORAMIC VIEW OF THE CROWD - DARK
Almost every eye is on Josiana. Her presence brings a
great APPLAUSE, led by TOM-JIM-JACK. Ursus raises his
hands to begin.
FADE OUT:
INT. INSIDE THE GREEN BOX - AFTER THE PERFORMANCE - LATE
TWO KNOCKS on the door. Ursus, Gwynplaine and Dea sit at
the table amidst stacks of coins. Wolf BARKS! Ursus
rises and opens the door. It is the INNKEEPER.
He enters, walks to the back of the van, and opens the
loophole of the window. He makes a silent sign for Ursus
to look out. Gwynplaines rises, and also peeks out.
They view the fairground entryway. Plumed FOOTMEN
carrying torches trot alongside an ornate Royal Carriage.
As it begins departing the footmen jump on board, with
the RUMBLING of the wheels dying away.
INT. INSIDE THE GREEN BOX - BY THE WINDOW - MOMENTS LATER
Ursus goes back to the table and holds up a large coin.
URSUS
Hers! A Spanish gold coin! Is
she a goddess?
INNKEEPER
No. Much more. She’s a duchess.
Ursus, almost in ecstasy, places the coin on the table.
Dea sits quietly, contemplating. Gwynplaine sits down.
INT. THE GREEN BOX - AT THE TABLE
INNKEEPER
I recognized her coachman.

70.
URSUS
And?
INNKEEPER
The same as the Lord Chancellor’s.
It has been a long time since a
person of that rank has been here.
URSUS
(suddenly very suspicious)
There was something odd. She was
still as a statue. Not once did
Madame laugh! Very strange indeed.
INNKEEPER
(suddenly excited)
Well, tonight our receipts will be
their largest. My tavern is still
busy! I must get back. Oh, do you
know the oddest thing of all?
URSUS
What?
INNKEEPER
A man got into the carriage with her.
Guess who?
URSUS
A king?
INNKEEPER
No. It was Tom-Jim-Jack!
GWYNPLAINE
Tom-Jim-Jack?
DEA
(deep in thought, after a pause)
Can we not prevent this woman
from coming?
INT. THE GREEN BOX - DEA’S BEDROOM - PAST MIDNIGHT
Dea, on the edge of her cot, wears a chemise nightgown.

71.
She is in deep thought, her hand on her breast. She
breathes deeply, uncertain, worried. Almost whispering...
DEA
Is this love? How my heart
pounds! I can scarcely breathe!
She slips under her quilt and fluffs a big pillow. Still
sitting up, she softly begins singing to herself...
DEA
“For thee, my love, I send my prayer:
Your name I love beyond compare;
This maiden’s fear will soon subside;
Your love inspires me through the night.”
“Your touch makes all my feelings soar;
This anxious captive I adore;
A voice in heaven calls to me;
As my spirit soars in ecstasy.”
INT. THE BED OF URSUS - URSUS LYING DOWN - VERY DARK
Barely audible from his room, he contemplates her words.
DEA (O.S.)
“No other hero turns the tide;
He holds my hand; I safely glide;
Reflecting our love’s inner light;
My hand in yours, our souls unite.”
INT. URSUS’S ROOM – THE FLOOR - ON A PAD - GWYNPLAINE
He stares upward, euphoric, enchanted by her words.
Eventually his eyes reflect a distant sadness. He places
his hands on his face, and strokes his deformed mouth.
DEA (O.S.)
“Celestial light I clearly see;
A veil between my life and me;
While others gaze upon his face;
His inner soul, my heart’s embrace.”

72.
INT. DEA’S BEDROOM - STILL SITTING UP IN BED - VERY DARK
DEA
“My darkness brightens through his love;
His peace ascending like a dove;
A calming voice both true and pure;
Tells me my life is only yours;
Tells me my life is only yours”
INT. URSUS IN BED - VERY DARK
Looking up toward the ceiling, Ursus thinks to himself...
URSUS (V.O.)
Love is a law; desire is a snare.
True love is a form of captivity.
A heart that saturates itself with
love must be preserved. I must
marry them very soon.
CUT TO:
EXT. THE GREEN BOX - AT THE DOOR - NEXT DAY - MID-MORN
Master Nicless, disturbed, KNOCKS TWICE. Ursus appears,
sipping tea. The fairground buzzes with activity.
INNKEEPER
Master Ursus! A word with you?
Ursus immediately steps outside the door; Wolf follows.
URSUS
Wolf! Stay! (Wolf obeys)
INNKEEPER
(extremely worried)
You must come into the inn. Three
very important gentlemen request
some words with you, without delay.
URSUS
Very well.
Ursus proceeds to follow the innkeeper down the steps.

73.
INT. ENTERING TADCASTER INN - QUITE DARK - MID-MORNING
Ursus, laboring, has trouble keeping pace.
THREE MEN OF GREAT AUTHORITY sit at the innkeeper’s desk,
shuffling papers. Lamplight reveals stern faces. Ursus
feels a sense of dread. Master Nicless bows before them.
INT. TADCASTER INN - IN FRONT OF INNKEEPER’S DESK
INNKEEPER
This is Master Ursus, kind sirs.
URSUS
(bowing)
Pleasure to meet you, good sirs.
INT. TADCASTER INN - THE THREE SEATED OFFICIALS
Dressed in official garb, with long black cloaks and
powdered wigs under their hats, they sit, very austere.
A CONSTABLE, quite old, is first to speak.
CONSTABLE
I am the Constable delegated by the
Dean of Westminster to oversee this
inquest. We have been commissioned
to inquire about certain complaints
issued by...uh, local businesses.
(The Constable checks his notes and looks up intently)
Mister Nicless, you are excused.
Mister Ursus, be seated.
Immediately the innkeeper bows and exits the back room of
the tavern. Ursus bows, and trying to act calm, sits in
the vacant chair in front of the desk.
INT. THE INN - A CLOSER VIEW – LAMPLIGHT ON FACES
CONSTABLE
Mister Ursus, you speak in public?
URSUS
(meekly, respectfully)
Oh, undoubtedly, sirs.

74.
CONSTABLE
By what right?
URSUS
...I am a philosopher.
CONSTABLE
That gives no right.
URSUS
I am also a mountebank.
CONSTABLE
Ah! That is a different thing.
As a mountebank you may speak,
but as a philosopher, you must
keep silent.
URSUS
I will try. I may speak, but I...
(perusing his thoughts a moment)
...must be silent. How complicated!
CONSTABLE
It has been reported in recent
months you and the wolf have been
under suspicion. Is this true?
URSUS
Aye. I would never expect
otherwise. We mountebanks are
always under investigation.
CONSTABLE
Then you would not object to our
searching the Green Box? Some
gold has disappeared from a great
lord’s house nearby.
URSUS
You may indeed.
CONSTABLE
One item missing is a valuable gold
lamp from Our Virgin’s Chapel.

75.
URSUS
Well, it is certain the blessed
virgin needs that lamp more than
the ragged children here need shoes.
Perhaps it disappeared by friction!
CONSTABLE
(annoyed, looking suspiciously at Ursus)
What do you mean by friction?
URSUS
(with great confidence)
By friction gold looses fourteen per
cent of its bulk every year. This
is known as the WEAR. Therefore
gentlemen, of the fourteen million
bars in circulation throughout the
world, one million is lost annually.
This million dissolves into dust,
floats about, flies away into
particles, and settle into drugs.
It then mixes with the souls of the
rich. Ah, but it mixes very little
with the souls of the poor.
The officials look at each other, exasperated.
URSUS
That is why the rich are preserved
longer in their tombs than the poor.
Let us take our search to the graves
of the rich to prove my point.
CONSTABLE
Enough! The Wear indeed! Idiot!
URSUS
Thank you, sirs. Idiocy is my only
consolation. ‘Tis why we prefer
hunger in the woods rather than
slavery in the palace.
The three interrogators become impatient. The DOCTOR OF
THEOLOGY now begins with arrogant resolve...

76.
INT. TADCASTER INN - URSUS AND THE THEOLOGIAN
DOCTOR OF THEOLOGY
You have been accused of sorcery,
talking with animals, and mixing
concoctions of unknown herbs. Do
you not deny this?
URSUS
(carefully weighing his words)
Very reverend, sir, even the Savior
talked with the sheep. And herbs?
Do we not enjoy our tea every day?
INT. FULL VIEW OF URSUS AND THE OFFICIALS
The Constable slightly smiles. The Theologian frowns.
DOCTOR OF THEOLOGY
Do you believe in the devil?
URSUS
Ah! How can we not believe in the
devil? It is the reverse side of
our faith in God. Hence, one so
proves the other...
(He hesitates, contemplating)
Just as our belief in sunlight
proves our belief in darkness.
DOCTOR OF THEOLOGY
(hesitant, fumbling)
Uh...Is that why you refer to some
thickets as Lucifer’s salads?
URSUS
Kind sir, a rose atones for its
thorns by its beauty, just as a bee
atones for its sting by its honey.
The DOCTOR OF MEDICINE takes over, stern and confident.
DOCTOR OF MEDICINE
You practice a form of medicine.
Is this true?

77.
URSUS
Good sirs, I do practice medicine.
DOCTOR OF MEDICINE
On living things?
URSUS
Certainly not on dead things.
DOCTOR OF MEDICINE
Be assured of this, if you attend
a sick person who dies, you will
be punished by death.
URSUS
(a long hesitation)
And if he gets well?
DOCTOR OF MEDICINE
In that case...you shall also be
punished by death.
URSUS
Hmm. There is little difference.
DOCTOR OF MEDICINE
If death occurs, we punish gross
ignorance. If recovery, we punish
presumption. In either case -
URSUS
(acting surprised)
- Ah! Thank you for teaching me.
I was ignorant of all the beauties
of the law.
DOCTOR OF MEDICINE
Prison awaits the guilty. Now,
Do you deny these infractions?
URSUS
No! Indeed not! I cannot deny
my ignorance.
The Doctor relapses into silence. All seem bewildered.

78.
Ursus nervously watches them. The three faces draw near
to each other and start whispering, finally agreeing.
CONSTABLE
Mountebank! You are discharged.
INT. TADCASTER INN – FULL VIEW OF THE ROOM
In great relief, he stands, almost bending double, bowing
to the officials. As he slowly retires toward the door,
he repeatedly bows everywhere, as if demented.
CONSTABLE
(restraining a smile)
Sir, take care of yourself.
URSUS
(facing them, he smiles, and bows again)
Religiously, or philosophically?
The confused officials stare in dismay.
CONSTABLE
Be careful. We know all about you.
EXT. OUTSIDE THE TAVERN DOOR – MID-MORNING
Ursus bows again as he exits. He then angrily walks
toward the Green Box, mumbling to himself...
URSUS
They’ll not catch me at this again!
This mouse will no longer be
examined by the cats. Inquisition
proves false science is the
excrement of the true. Good-bye
medicine! From henceforth, I will
carefully...allow them to die!
CUT TO:
EXT. THE OPEN FIELD NEAR THE FAIRGROUND – BLACK OF NIGHT
Gwynplaine strolls alone, reflecting. A soft breeze
whispers through the leaves. He is thinking of Dea.

79.
GWYNPLAINE
(talking aloud to himself)
Dea! If we could flee this place!
After a few moments, he turns, his hands behind him, and
slowly paces back toward the Green Box. Suddenly he is
startled. Something is slipped between his fingers.
He turns around, and in his hand is a LETTER.
A SMALL ROUND-FACED MAN now stands motionless before him.
Barely visible in the starlight, he is dressed in
scarlet. He wears a long cloak and a crimson skull-cap
with a plume. It is the DUCHESS’S PAGE.
GWYNPLAINE
Who...who are you?
THE PAGE
(timid and childlike)
At this hour tomorrow, be at the
corner of London Bridge. I will
be there to conduct you –
GWYNPLAINE
(startled, demanding)
- to conduct me where?
THE PAGE
Wh...Where you are expected, sir.
Gwynplaine drops his eyes on the letter, studies it, and
glances up. The page is trotting off into the distance.
EXT. THE FIELD – GWYNPLAINE HOLDING LETTER – VERY DARK
He lifts the sealed letter to his eyes; too dark to read.
Immediately he starts walking briskly toward the inn,
where light still glows. Soon he is running.
Breathing heavy, he stands in front of the illuminated
half-open door. He looks around; then he looks down.

80.
EXT. THE DOOR TO THE INN – THE LETTER – FLICKERING LIGHT
The envelope is addressed “TO GWYNPLAINE.” He breaks the
seal, tears it open, unfolds the letter, and reads...
“You are hideous; I am beautiful.
You are a player; I am a duchess.
You are the lowest; I am the highest.
I desire you. I love you. Come!”
EXT. STANDING NEAR THE LIGHT – CLOSEUP OF GWYNPLAINE
He is stunned! He reads portions over again. He smells
the letter; it is scented. He is shaken, bewildered.
GWYNPLAINE (V.O)
“I love you?” she says! I must be
delirious! Am I dreaming? A woman
desires me?...who has seen my face?
(in a stupor, he keeps looking at each phrase)
A duchess? It cannot be. I am
hideous, and she desires me?!
He slowly takes a few steps back toward the Green Box.
GWYNPLAINE
Whew! London Bridge?...Why would
she play such a cruel joke?
EXT. ENTRANCE TO THE GREEN BOX – NIGHT
Almost in a trance, he places the letter into his inside
pocket, close to his heart. He quietly ascends the
stairs, and enters. All are asleep. He bolts the door.
INT. THE GREEN BOX – URSUS’S ROOM – VERY DARK
He blows out a lone candle. Fully clothed, he lays down
on the bearskin on the floor, next to the bed of Ursus.
He stares at the ceiling, emotionally in torment.
INT. THE GREEN BOX – THE DOOR TO DEA’S ROOM - DAYBREAK
Birds are CHATTERING outside. Little noises mark the
beginning of the day at the fairground.

81.
DEA
(in an exquisite voice)
Gwynplaine, are you still asleep?
He opens his eyes with a start, and sits up. Blinking,
he looks at her, dazzled, remembering where he is.
She stands with a radiant smile, in the half-open
doorway. She appears as an angel. The sunlight leaves
an outline around her presence, like a halo.
GWYNPLAINE
Ah, sweet Dea! Is it really you?
DEA
Come. Breakfast is ready.
GWYNPLAINE
(slowly rising)
I thought you were an angel...
INT. THE GREEN BOX – AT THE TABLE – MORNING
Shafts of light come in through the window. Gwynplaine
and Dea sit opposite each other. Ursus, in deep thought,
sits at the head of the small table. Wolf’s at his feet.
A teapot, next to a lit candle, is on the table.
Gwynplaine lifts the pot and pours tea for Dea. She
blows gracefully on her cup. Their knees are touching.
Ursus, suspicious, watches Gwynplaine take a letter from
his pocket and put it to the candle-flame. A thin plume
of smoke rises as the paper slowly burns.
DEA
Ah-choo!
Ursus and Gwynplaine are both surprised by the sneeze.
DEA
What was that causing me to sneeze?
GWYNPLAINE
Nothing.

82.
The letter from the duchess is now ashes. The temptation
gone, his relief is noticed by Ursus. Gwynplaine sighs.
INT. AT THE TABLE – GWYNPLAINE AND DEA
DEA
Gwynplaine, if you did not exist...
GWYNPLAINE
What then?
DEA
It would be because there’s no God.
GWYNPLAINE
(he hesitates a few moments)
How beautiful you are this morning!
DEA
I want to say many things to you.
GWYNPLAINE
Say them.
DEA
I love you.
GWYNPLAINE
I adore you.
INT. AT THE TABLE – FULL VIEW – MORNING
URSUS
(perturbed, rolling his eyes, speaking to WOLF)
By heaven, they are polite!
Wolf whimpers in agreement.
DEA
(ignoring Ursus, grasping Gwynplaine’s hands)
Do you know in the evening when we
play our parts, at the moment my
hand touches your forehead and hair,
I shiver. I say to myself, “I need
one prop in my life, and it is you!”

83.
GWYNPLAINE
(wistfully, with a little guilt)
O Dea! How can I possibly deserve
you?...What would you have me do?
What do you desire?
Ursus shifts his weight in his seat, fully uncomfortable.
DEA
I cannot say. I am so happy.
GWYNPLAINE
Indeed we are happy.
URSUS
(acting angry)
Happy, are we? ‘Tis a bore to
watch lovers sighing and cooing.
I am weary of it all! Happiness
ought to stuff itself into a hole!
You may both go to the devil!
DEA
Father, how roughly you scold!
URSUS
It is because I do not like to
see people too happy.
DEA
But why?
URSUS
After yesterday’s inquisition, I
feel conspiracy in the air.
Master Nicless has canceled our
Sunday performances. He tells me
“The Man Who Laughs” has dealt a
severe blow to the churches.
Many leave before morning services
are over. The pews are empty!
GWYNPLAINE
Perhaps it is because we have their
interest.

84.
(Gwynplaine hesitates, carefully weighing his words...)
GWYNPLAINE (CONT’D)
All seem jealous of our triumph.
We’ve never stayed in one place
three months before.
(looking into Dea’s eyes)
You say the words and we will
gladly leave this place.
URSUS
May be sooner rather than later.
It is sufficient to be afraid;
there is no need to be guilty.
Gwynplaine places a kiss on Dea’s hand. She sighs.
Wolf growls beneath the lover’s feet. The hair on his
back bristles. Ursus bends down, petting him.
URSUS
That’s right, you’re in a bad mood
too. You don’t like this love-
making either. Because you are
wise, I agree with your opinion.
(Wolf GROWLS again, louder. Ursus looks down, puzzled.)
Be still, Wolf! Do not dwell on
it, you old philosopher, you.
Wolf suddenly stands up, looks at the door, and shows his
teeth. Gwynplaine and Dea, curious, glance down at him.
INT. INNER VIEW OF THE DOORWAY – MORNING LIGHT
URSUS
Be still! What’s with you now?
Gwynplaine raises his eyes, carefully releasing Dea’s
hand. His eyes widen in fright as he looks at the door.
He holds his breath. Wolf continues to GROWL.
Standing in the door against the sun’s outline is a MAN
IN BLACK, WEARING A HOOD. He holds a massive iron staff,
a crown on each end. Behind him, the worried innkeeper.

85.
Ursus, still gripping wolf, slowly raises his head, and
turns around. He shudders as he recognizes the spector.
Dea, sensing something wrong, stiffens up.
URSUS
(whispering to Gwynplaine)
The wapentake!
The WAPENTAKE stretches his arm and touches Gwynplaine on
the shoulder with the iron staff. He then points his
thumb toward the door. Gwynplaine, petrified, remembers.
Ursus, visibly shaken, trembles. Wolf stops growling.
Dea sits silently, listening, sensing. Gwynplaine
quietly rises and stands petrified before the officer.
The wapentake raises the iron staff, and points it at the
door. He mechanically turns around, slowly advancing
toward the door. He then makes his silent exit.
INT. THE DOORWAY – A CLOSER VIEW – AGAINST THE LIGHT
Gwynplaine looks at Dea, then at Ursus, who motions for
him to follow. Quickly and silently he responds by
grabbing his hat and cloak and putting them on.
URSUS
(seizing the moment, whispering)
On your life, do not speak until
you are questioned.
Shaking, he nods and looks at Dea once more. He blows
her a SILENT KISS and disappears out the door.
Once more Wolf menaces a low growl.
URSUS
(Ursus bends down and whispers)
He is coming back.
DEA
You needn’t whisper. I know he
shall return. He loves me.

86.
URSUS
Fret not. There is some mistake.
I shall return with Gwynplaine in
a short while. Wolf, stay with Dea!
Wolf whimpers and obeys. Ursus grabs his coat and peeks
out the door. The innkeeper, agonizing, stands nearby.
Dea, feigning calm, sits down. Ursus exits the door.
EXT. THE COURTYARD – IN FRONT OF TADCASTER INN – MORNING.
Curious ONLOOKERS whisper as the wapentake silently leads
Gwynplaine away. The officer proceeds Gwynplaine by a
few steps, never turning around to look.
They pass in and out of the taproom, then out of the
courtyard. At the street the two are met by a squad of
SIX CONSTABLES and the JUSTICE OF THE QUORUM.
The JUSTICE, dressed in the robe of a doctor, wears a
long white wig and a mantle trimmed with white fur.
No one speaks. The wapentake leads Gwynplaine, with
three constables on each side, like a hedge, followed by
the Justice. They proceed toward Southwark.
A few PASSERS-BY stand aside as the cortege approaches; a
few whisper in the distance. Gwynplaine, with hat pulled
down and his cloak up to his eyes, is not recognized.
EXT. OUTSKIRTS OF SOUTHWARK – ROAD TO LONDON - MORNING
Ursus follows at a safe distance, keeping hidden to not
be recognized. He breathes heavily, flitting from corner
to corner, looking both ways. After a delay of BOYS
FIGHTING in a churchyard, Ursus follows more closely.
The SQUAD solemnly walks the tangled dirty streets toward
the Thames River. Eventually they approach a small dark
alleyway and stop. It’s the back entrance of a PRISON.
URSUS
(staggering in fear)
No please, not there!

The chilling story of a disfigured child in colonial Europe

The chilling story of a disfigured child in colonial Europe

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The chilling story of a disfigured child in colonial Europe