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Главная>Киносценарии>Планета обезьян/ Planet of the Apes

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Планета обезьян/ Planet of the Apes

FADE IN 1 EXT. CONSTELLATION OF ORION - NIGHT

Stars glitter like diamonds on the black velvet backdrop of space. The Belt of Orion is center screen, but much nearer and larger than ever seen by an Earth-bound astronomer.

A speck of light appears in the lower left corner of the screen. No spaceship can be seen, but only a glowworm, a solitary sperma- tosoan gliding through the womb of the universe. Over this we HEAR the voice of an astronaut. He is concluding a report.

ASTRONAUT'S VOICE (o.s.) So ends my last signal until we reach our destination. We are now on automatic, a mere hundred and five light years from our base ... and at the mercy of com- puters. I've tucked in my crew for the long sleep. I'll join them presently.

2 INT. CABIN OF SPACESHIP - ESTABLISHING SHOT - NIGHT

The cabin is neither cramped nor spacious, but about the size of the President's cabin in Air Force One. In the immediate f.g. is a console of dials and switches flanked by four chairs. Only one of the chairs is occupied. The astronaut's back is to CAMERA. There is a ladder amidships which leads to an escape hatch. The after Dart of the cabin is obscured in darkness. We hear the MUSIC of a Mozart sonata emanating from a phonograph of stereotape. The astronaut is speaking into a microphone.

ASTRONAUT Within the hour we shall complete the sixth month of our flight from Cape Kennedy. By our time, that is ...

He pauses, looking up at:

3 TWO LARGE CLOCKS - ON CABIN WALL

One clock is marked SELF TIME, but instead of twelve numerals it has twenty-four. One of the needles is moving very slowly.

The other clock is labeled EARTH TIME, and its units, like those of a tachometer, are given by hundreds and thousands.

The largest needle of this clock makes one revolution every second. Over this we hear:

ASTRONAUT'S VOICE (o.s.) But according to Dr. Hasslein theory of time in a vehicle traveling at close to the speed of light, old Mother Earth has aged a few thousand years since our de- parture -- while we have scarcely aged at all.

4 CLOSE ON ASTRONAUT

This is TAYLOR. He wears simple dungarees (or Churchill suit) and comfortable boots. He seems calm and pensive. Extracting the butt of a cigar from the breast pocket of his dungarees, he lights it, then continues:

TAYLOR It may be so. This much is probable: the men who sent us on this journey have long since been moldering in forgotten graves; and those, if any, who read this message are a different breed. Hopefully, a better one.

He begins to roll up his left sleeve.

TAYLOR I leave the twentieth century without regret. Who was it? Marshall? ... said 'Modern man is the missin 'a link between the ape and the human being.'

He removes the cigar from his mouth, turns to look out through one of the portholes into the astral night.

TAYLOR One final thought -- nothing scientific, purely personal. Seen from up here, everything looks different ... Time bends and space is boundless. It squashes a man's ego. He begins to feel like no more than a mote in the eye of eternity. And he is nagged by a question: ahat if any- thing, will greet us on the end of man's first journey to a star? Are we to believe that throughout these thousands of galaxies, these millions of stars, only one, that speck of solar dust we call Earth, has been graced -- or cursed -- by human life? (pause) I have to doubt it.

He extracts a hypodermic needle from his breast pocket and injects it into the vein of his forearm. He continues speaking.

TAYLOR (sardonically) That's about all. I wonder if Man, that marvel of the universe, that glorious paradox who has sent me to the unknown... still makes war against his brother., and lets his neighbor's children starve.

Taylor withdraws the hypodermic needle from his vein and secures it in a drawer of the console.

TAYLOR Well then, Earthmen: A missing link salutes you. Bless you, my descendants.

Taylor snuffs out the cigar butt and places it in the drawer beside the hypodermic. Then, flicking a switch Au cut off the Mozart, he rises and looks up again at:

5 THE CLOCK MARKED EARTH TIME

The longest needle of this clock now makes nearly two revolutions per second. The shortest needle points to the numeral 2105.

6 INT. CABIN - TRACKING WITH TAYLOR

Space scientists have presumably solved the problem of weightlessness, for Taylor walks the short distance from; the console to the after section without particular effort. CAMERA FOLLOWS him, and we can now see four glass capsules, or "caskets", in the rear of the cabin. Taylor looks down at them.

7- SEVERAL SHOTS - THE FOUR CASKETS - FROM TAYLOR'S P.O.V. 10 One of them is open. The other three are occupied by astronauts: DODGE, LANDON and STEWART. They, too, wear dungarees and boots. Dodge and Landon are thirtyish, clean-shaven, virile -- America's finest. Stewart is a handsome young woman, her hair bobbed short. Their eyes are closed and they do not appear to be breathing -- yet no undertaker could make them so alive.

11 ANOTHER ANGLE - FAVORING TAYLOR

He grasps the handle of his own casket and slowly pulls himself into it. Continuing SILENCE. CAMERA MOVES IN as Taylor Dulls the glass lid shut and secures it. He adjusts two dials inside the capsule and lies back, buckling his safety belt. CAMERA MOVES INTO A CLOSEUP of Taylor. His eyes are open. He seems serene, even enraptured.

(NOTE: Credits will appear here over a series of shots designed to convey a sense of loneliness, of separation, and of the passage of time.)

DISSOLVE TO:

12- A SERIES OF SHOTS - A DISTANT GLOBE (MINIATURE) 16 We see a strange and distant planet. At first the globe occupies but a small area of the screen; but with each new VIEW it comes closer and looms larger, as if" observed from a spaceship in a spiraling orbit of descent.

The topography of the planet bears little resemblance to our own. Much of it is obscured by cloud cover; even more of-it appears to be cratered desert of reddish hue. We can, however, make out a few narrow "green belts" and a patch of blue water.

In the FINAL SHOTS of this SEQUENCE we see the strange planet as it would be observed from a spacecraft plummeting from twenty thousand feet to one thousand feet. It appears that the ship will fall into a vast lake surrounded by soaring sandstone pinnacles. The water is blue-black, the pinnacles vermillion. (This is the Lake Powell location, at Lone Rock.)

17 INT. SPACESHIP - FULL SHOT - DAY

Four empty pilot seats are seen in f.g., the four glass caskets in b.g. We HEAR the RHYTHMIC BLEAT of a WARNING SIGNAL, a RUSH OF WIND as in a rapid descent, and perhaps the ROAR OF RETROJETS. Then, a great CRASH as the craft hits water. The whole ship shudders on impact. Loose equipment falls to the cabin floor. CAMERA MOVES DOWN the cabin aisle as the ship begins to roll in the water and HOLDS on the four glass caskets. There are THREE LOUD METALLIC CLICKS as the glass domes of the caskets swing open automatically.

18 CLOSE ON TAYLOR

He now has a full beard. His eyes come open. Instantly alert, he rises to a sitting position, gazing across at:

19 DODGE AND LANDON - FROM TAYLOR'S P.O.V.

They, too, awaken and sit up, starring at Taylor. They, too, are bearded.

TAYLOR'S VOICE (o.s.) You all right?

They nod.

20 BACK TO TAYLOR - CLOSE SHOT

He glances at the casket beside his own.

TAYLOR Stewart? (struggling to his feet) Stewart?

21 CLOSE-SHOT --THE FOURTH CASKET

Its dome remains unopened. The young woman is a skeleton in a Churchill suit.

22 REACTION SHOT - THE THREE ASTRONAUTS

Dodge and Landon have joined Taylor and-stare at the grinning skull of their dead comrade. A low, descending HUM of equipment is heard. Simultaneously the lights begin to FADE. A moment later they brighten, but not as much as before.

TAYLOR There goes our primary power. We're on auxilliary.

A slight CRACKING sound is heard. Taylor turns quickly away and o.s.:

23 REVERSE ANGLE - THE FORWARD CABIN

A trickle of water has begun to seep through a ruptured seam in the cabin. Taylor darts to a porthole and peers cut.

24 LONG SHOT - WHAT TAYLOR SEES:

water

The porthole is no more than six inches above the line. In the distance we discern a shoreline of red desert.

TAYLOR'S VOICE (o.s.) We're in the soup. We're sinking.

25 INT. CABIN - FULL SHOT

The leak in the seam becomes a growing spray of water. Taylor turns away from the porthole, calling:

TAYLOR Dodge! Read the atmosphere!

Dodge moves instantly to the ladder beneath an escape hatch and mounts it. Taylor stumbles down the aisle of the rolling ship toward the console and addresses Landon, who is still staring at Stewart's skeleton.

TAYLOR Landon! Send a last signal.

LANDON (dazed) What signal?

TAYLOR To Earth! That we've landed!

As Landon lurches toward the communications equipment in f.g.

CUT TO:

26 EXT. TIM STRANGE PLANET - LONG PANORAMIC SHOT - LATE AFTERNOON (LONE ROCK, LAKE POWELL)

We are looking at a lifeless desert of sandstone buttes and pinnacles. There is no sign of vegetation anywhere. CAMERA PANS DOWN to a body of water that could be the bay of an inland sea. The deep blue of the sea contrasts sharply to the red sands of the shoreline. CAMERA HOLDS on the stricken spaceship, wallowing like a beached whale a hundred yards offshore. The portholes of the craft are beneath the water, and only its roof and the tail fin of its tail assembly are visible. The red-hot skin of the ship vaporizes the water around it.

Suddenly a snorkel-like tube sprouts from the escape hatch, which is located amidships.

27 INT. CABIN - CLOSE ON CLOSED ESCAPE HATCH

Dodge, standing halfway up the ladder., has fastened a kit of gauges to the end of the snorkel tube. He reads the dials, removes the kit, sniffs the air in the tube and then, taking a deep breath, announces:

DODGE It's breathable.

TAYLOR'S VOICE (o.s.) Okay! Blow the hatch before we lose auxilliary power.

Dodge reaches for a control mechanism near the escape hatch.

28 CLOSE ON TAYLOR AND LANDON

The spray of water coming through the ruptured seam is increasing. The LIGHTS DIM again and the SOUND of the warning signal FADES. While Landon fiddles with the radio, Taylor tries to get the tape recorder rolling, but all we hear are scrambled and unintelligible noises.

LANDON It's no use ... there she goes.

TAYLOR Forget it. Abandon ship.

29 WIDER ANGLE - TIM CABIN

The escape hatch is now open. Taylor darts over to the ladder and passes a folded life raft up to Dodge. When Landon reaches the ladder, Taylor hands him two neatly packed rucksacks, and Landon climbs through the escape hatch. Taylor is about to follow with a third rucksack, then turns and crosses the cabin for a last look at:

30 THE TWO CLOCKS - FROM TAYLOR'S P.O.V.

Both clocks have stopped: the red needle of the clock labeled SELF TIME rests on the numeral 18; the red needle of the clock marked EARTH TIME rests on the numeral 3975.

31 EXT. TOP OF SPACECRAFT - MED. SHOT

Dodge inflates the raft with a cartridge of compressed air and tosses it into the water. He and Landon jump into the water and climb onto the raft as Taylor emerges from the hatch, Taylor slips into the water and climbs onto the raft. He and Landon begin to paddle toward shore, while Dodge immediately opens another kit and takes a sample of the water.

32 CLOSE ON THE MEN IN THE RAFT

DODGE (half to himself) Briny...twenty-five percent salinity. Near the saturation point.

LANDON (looking back) She's still sinking...

33 THE SPACESHIP - FROM THEIR P.O.V.

Only the radio antenna and the tip of the tail fin remain visible.

LANDON'S VOICE (o.s.) Going ... going...

The craft vanishes beneath the water.

34 CLOSE ON THE MEN IN THE RAFT

Dodge is still busy with his kit. Landon is still looking back, but Taylor doesn't bother to turn his head.

LANDON Gone.

TAYLOR (flatly) We're here to stay.

35 ANOTHER ANGLE - MOVING WITH THE RAFT

They gaze at the forbidding sandstone battlements as they near the shore.

LANDON Well? Where are we? Have any notion, skipper?

TAYLOR (confidently) We're some three hundred and twenty light years from Earth. On an unnamed planet in orbit around a star in the constellation of Orion. (looks off at the "sun") That could be Bellatrix.

36 THE SUN - FROM THEIR P.O.V.

Low on the horizon, seen through a dense envelope of dust particles.

DODGE'S VOICE (o.s.) Too red for Bellatrix.

37 BACK TO ASTRONAUTS IN RAFT

Landon glances skeptically at Taylor.

LANDON You didn't have time to check the tapes, so you don't really know, do you? (as Taylor ignores him) What went wrong? (sardonically) We weren't programmed to land in water.

DODGE (grinning) The question, Landon, is not so much where we are as when we are.

TAYLOR (stands up in raft) We've had a nice snooze. Let's start earning all our back pay.

38 WIDER ANGLE - THE BEACH

As the three astronauts step out into shallow water and pull the raft ashore.

TAYLOR Take your soil test, Dodge. I'll check the equipment.

Dodge moves inland about ten yards, removes a small hand drill from his belt, extends the rod of the drill three feet and begins to take some subsoil samplings. Taylor begins to examine the contents of the three rucksacks. Landon sits down on the beach., hands around his knees, gazing moodily at the sunken spaceship. During this and succeeding scenes we sense that Dodge's obsession with scientific inquiry leaves him immune to fear: Landon is possibly more courageous and certainly more "human," for he has many fears to control: while Taylor -- detached, cool and misanthropic -- is something of an enigma.

TAYLOR (calls Dodge) Got your sensors?

DODGE Yo!

TAYLOR Geiger counter?

DODGE Yo!

TAYLOR (taking inventory) One pistol... twenty-four rounds of ammo. two medical kits.. one camera... one TX9. (loudly to the others) We've enough food and water for three days.

DODGE But how long is a day?

TAYLOR Good question. (turning) Landon -- check your communications kit.

39 ANOTHER ANGLE - FAVORING LANDON

He seems not to have heard.

TAYLOR (sharply) Landon! Join the expedition.

LANDON (rising) Sorry... (crossing to his kit) I was thinking of Stewart. What d'you suppose happened?

TAYLOR (flatly) Air leak. Died in her sleep.

LANDON You don't seem very cut up about it.

TAYLOR It's a little late for a wake. She's been dead nearly a year.

LANDON Then we've been away from Earth for eighteen months.

TAYLOR By our time. (smiling at Landon) You've turned gray.

Landon involuntarily touches the gray hair of his temple as Taylor adds lightly:

TAYLOR Apart from that, you look pretty chipper for a man who's two thousand and thirty one years old. (casually) I read the clocks. They bear out Hasslein's hypothesis. We've been away from Earth for two thousand years, give or take a decade. (pause) Still can't accept it, huh?

LANDON long pause) You know it.

TAYLOR Because time has wiped out everyone and everything you cared for -- they're dust.

LANDON Prove it. If we can't get back, it's still just a theory.

TAYLOR It's a fact, Landon. Buy it. You'll sleep better.

Dodge enters scene. A handful of reddish sand dribbles through his fingers.

DODGE Nothing will grow here .... there's just a trace of hydrocarbons, and most of the nitrogen is locked into nitrates.

TAYLOR Any sign of dangerous ionization?

DODGE No.

TAYLOR (rising) Okay. If there's no life here, we've got just seventy-two hours to find it. That's when the groceries run out.

He picks up one of the rucksacks and puts it on. The others follow suit.

DODGE Which direction?

TAYLOR (decisively, pointing west) That way.

DODGE Any particular reason?

TAYLOR None at all.

He moves out. Dodge follows. CAMERA PANS with them. They have gone only a few paces when Taylor looks back over his shoulder and halts.

40 REVERSE ANGLE - FEATURING LANDON

Landon is squatting in the sand, sticking something into the soil. It is a small American flag, the size of a handkerchief.

41 REVERSE ANGLE - FEATURING TAYLOR AND DODGE

Mirth bubbles up in Taylor's throat. He explodes with wild laughter. He is still laughing as they move out.

DISSOLVE TO:

41-A DAWN SHOT (GUNSIGHT LOC #43)

42 THE ASTRONAUTS' TREK

They descend from the plateau (Ochre Dunes)

43 ASTRONAUTS CONTINUE MARCH,

Across the top of the hills there suddenly runs a line of fire (Black Dunes).

44 THEY MOVE ACROSS THE TERRAIN

Jagged bolts of lightning flash across the sky, but bring, no rain, and thunder claps sound like heavy artillery. (Gray Area)

45- OUT 58

QUICK DISSOLVE TO:

59 ANOTHER PART OF THE CANYON (OCHRE DUNES AREA) - GROUP SHOT - DAY

Several huge boulders are dislodged, and the three astronauts run. wildly to escape the falling rocks. When the avalanche ends, they sprawl on the lifeless sands, breathing heavily and drenched with sweat, surrounded by enormous boulders. Taylor looks about him.

TAYLOR Everybody all right?

Murmurs of assent from Dodge and Landon. Taylor rummages through a limp rucksack, comes up with some empty food cartons,rummages again, coming up with a cigar butt.

TAYLOR Water check.

Dodge takes a plastic canteen from another rucksack and inspects it.

DODGE Eight ounces.

Dodge lies back and looks up at the sky.

DODGE It doesn't add up. There's a mantle of dust around this planet and yet it's as humid as a jungle. Thunder and lightning and yet no rain. Cloud cover every night and that strange luminosity, and yet no moon.

Landon also looks up at the sky.

LANDON If only we could get a fix.

TAYLOR (needling him) What would you learn? I've told you where you are and when you are.

DODGE (gently) Taylor -- quit riding him.

TAYLOR (harshly, to Landon) You're more than three hundred light years from your precious planet. Your loved ones have been dead and forgotten for twenty centuries. Even if you could get back, they'd think you were something that fell out of a tree.

LANDON (wearily) All right --

TAYLOR There's only one reality left. We're here and it's now. You get ahold of that and hang on tight, or you might as well be dead.

LANDON (quietly) I'm prepared to die.

Taylor turns to Dodge, throws up his hands.

TAYLOR He's prepared to die! Doesn't that make you misty? Chalk up another victory for the human spirit!

Dodge rises and moves off, o.s., either embarrassed by this colloquy or unwilling to hear it again. Taylor, cigar clamped between his teeth, spins toward Landon.

TAYLOR Straighten me out on something. Why did you come along at all? You volunteered. Why? (a beat; no answer) I'll tell you. They nominated you for the Big One and you couldn't turn it down. Not without losing your All-American standing

LANDON (hard) Climb off me, will you!

TAYLOR And the glory, don't forget that. There's a life-sized bronze statue of you somewhere. It's probably turned green by now, and nobody can read the name plate. But never let it be said we forget our heroes.

LANDON Taylor. I'm telling you --

TAYLOR Oh, and one last item. Immortality. You wanted to go on forever. (pause) Well, you damn near made it. Except for Dodge and me, you've lived longer than anybody. And with Stewart dead, it looks like we're the last of the strain. You got what you wanted, kid. How does it taste?

Silence. Taylor lies down, spent of his venom, pillowing his head on a rucksack.

LANDON (softly) Okay. You read me well enough. Why can't I read you?

TAYLOR Don't bother

LANDON (looking off) Dodge ... he's not like me at all. But he makes sense. Held walk naked into a live volcano if he thought he could learn something no other man knew. I understand why he's here. But you...You're no seeker. You're negative.

TAYLOR But I'm not prepared to die.

LANDON (heatedly) I'd like to know why not. You thought life on Earth was meaningless. You despised people. So what did you do? You ran away.

Taylor's eyes are closed. He is silent for a moment. When he speaks, his tone is soft, reflective.

TAYLOR No, not quite, Landon. I'm a bit of a seeker myself. But my dreams are a lot emptier than yours. (pause) I can't get rid of the idea that somewhere in the Universe there must be a creature superior to man.

60 ANOTHER ANGLE - FEATURING DODGE

who has been wandering around, studying the boulders and the barren soil. Taylor and Landon can be seen in b.g. Dodge spots something and squats down to examine it.

61 CLOSEUP - WHAT DODGE SEES:

It is a tiny desert flower, no more than an inch high.

62 CLOSEUP - DODGE His eyes light up as he calls:

DODGE Taylor! Over here!

63 CLOSE. GROUP SHOT - ANGLING DOWN

as Taylor and Landon hurry over and kneel down on either side of Dodge. The astronauts hover over the tiny flower like three magi perceiving the infant Deliverer.

DODGE Life.

He digs gently around the roots of the plant with a small instrument.

DODGE Where there's one there's another. And another. And another.

TAYLOR Let's find them all.

63-A SUNSET SHOT

64 END OF THE TREK AS THE ASTRONAUTS START FROM THE CANYON TO THE TAMARISK AREA

Absolute desolation (Ochre Area). The astronauts start down the canyon.

65 ASTRONAUTS CAST HUGE SHADOWS

As they move across the terrain (top of Crazy Canyon).

65-A JUMP SHOT

As they jump across a gap. Thunder and lightning again (top of Crazy Canyon). 65-B THEY MOVE DOWN

They march across Crazy Canyon overlook.

65-C REACTION SHOTS OF ASTRONAUTS

66- A-R SERIES OF SHOTS OF DESCENT OF ASTRONAUTS DOWN SHEER FACE OF A CANYON (Wire Grass Canyon).

For a brief moment several "creatures" appear. We cannot identify the species.

QUICK DISSOLVE T0:

67 EXT. A DRY WASH - CLOSE GROUP SHOT - DAY

Blooming tamarisks border a. dry stream bed. Taylor and Landon hover over Dodge, who is probing the soil with his drill. Their dungarees and faces are caked with dust.

DODGE It's a stream bed., no doubt about it -- but bone dry.

Landon strightens up and looks off, startled by something he sees.

LANDON Look. . .

68 LONG SHOT - A CLIFF BEYOND THE TAMARISKS

with the astronauts in f.g. In the distance, on the skyline, we can make out a long row of wooden crosses. Some animal or vegetable matter appears to be tied to the crosses.

LANDON Scarecrows?

TAYLOR Let's take a look.

Taylor plunges into the thicket of tamarisks, followed by Dodge and Landon. Their view of the cliff is momentarily obscured. CAMERA HOLDS on the distant crosses. For an instant only, three "creatures" again appear on the skyline near the crosses. Then they vanish.

69 REVERSE ANGLE - THE ASTRONAUTS

as they emerge from the tamarisk thicket-nearer to the base of the- cliff. They halt and look up at:

70 THE CROSSES - ANGLING UP - FROM ASTRONAUT'S P.O.V.

We can now see the pelts of unrecognizable animals have been bound to the crosses and, thus mounted in a long row, seem to make a boundary or serve as a warning. The living bipeds are no longer visible.

71 BACK TO THE ASTRONAUTS

Dodge and Landon are still looking up at the strange crosses, but Taylor is scanning the terrain at the base of the cliff. The sound of rushing water can be heard.

TAYLOR (half to himself) Never mind the scarecrows.

He breaks into a run, CAMERA PANNING with him as he moves toward a declivity in the face of the cliff.

72 MOVING SHOT - DODGE AND LANDON

Agonized with thirst, they follow Taylor.

73 FLASH SHOT - THE TOP OF THE CLIFF

For an instant we see the bipeds again, moving in the same direction.

74 EXT. A DECLIVITY IN THE CLIFF - FEATURING TAYLOR

He scrambles up a rock-strewn gorge and looks off at the terrain beyond.

75 EXT. A WATERFALL - FROM TAYLOR'S P.O.V.

The cascade is not spectacular, but the vegetation around it is startlingly lush. (This location is not at Lake Powell, but at the Ranch).

76 CLOSEUP - TAYLOR

His parched lips break into a smile.

QUICK DISSOLVE TO:

77 EXT. WATERFALL AND POOL - FULL SHOT - DAY

The cascade has formed a cool and inviting pool. Thick foliage grows to its very edge. Dodge is on his hands and knees, testing the liquid with his kit. The others wait expectantly.

DODGE It's loaded with minerals, but safe.

Without further ado Landon ducks his face into the pool. Dodge scoops up water in his hands and drinks. Taylor follows suit.

LANDON (coming up for air) Can we take a dip?

TAYLOR (looks around) Okay.

Landon and Dodge immediately remove their boots, strip down and plunge into the pool. But Taylor does not yet disrobe. Alert and curious, he strolls along the bank of the pool, looking around.

78 DODGE AND LANDON SWIMMNG

79 TAYLOR

as he briefly looks around, then starts taking off his shirt.

80 DODGE AND LANDON

as they arrive at opposite shore.

81 MED . SHOT - FAR SIDE OF POOL

as Landon sees something on shore.

82 TAYLOR IN WATER

as he swims across.

LANDON'S VOICE (o.s.) Hey, Taylor! Look at this --

Dodge and Taylor climb out of the pool and squat beside Landon.

83 CLOSE SHOT - WHAT THEY SEE:

The print of a large five-toad foot is clearly visible in the wet sand.

84 GROUP SHOT - THE THREE ASTRONAUTS

Taylor rises and walks slowly toward the underbrush, scanning the ground for other sports.

CUT TO:

85 THE OTHER SIDE OF THE POOL - FULL PANNING SHOT

Our view of the astronauts beyond the cascade in b.g. is partially obscured by broad-leafed foliage directly in front of CAMERA, which PANS SLOWLY away from the waterfall and HOLDS on the astronauts' clothing at the edge of the pool. Suddenly and inexplicably a pair of dungarees slithers away into the underbrush. A few seconds pass. Now a pair of bronzed and brawny shoulders fill the SCREEN, blocking our view.

86 REVERSE ANGLE - CLOSE ON A HUMAN FACE IN HEAVY FOLIAGE

Or is it human? The hair is matted, the face bearded, the jaw prognathous, the orbital rim prominent.

87 ANOTHER ANGLE - AT EDGE OF POOL

A brown thick-fingered hand appears from behind heavy foliage and plucks at a boot. The boot vanishes.

88 BACK TO THE ASTRONAUTS - ON OTHER SIDE OF POOL

Dodge is standing near Taylor and looking back at the spot where they left their clothing. Suddenly he seizes Taylor's arm and points silently at the far bank of the pool.

89 WHAT THEY SEE:

Another pair of dungarees slithers into the underbrush and disappears.

90 REVERSE ANGLE - FULL PANNING SHOT - THE ASTRONAUTS

Led by Taylor, they dive back into the pool and swim to the other bank. Emerging from the water, they look around in bewilderment. Taylor makes hand signals to indicate absolute silence and a reconnaissance. The three astronauts fan out and move cautiously into the jungle (or rain forest).

91- 93 EXT. - JUNGLE (OR RAIN FOREST) - SEVERAL SHOTS - MOVING WITH THE ASTRONAUT'S

Little sunlight penetrates this dense vegetation. These SHOTS are INTERCUT with:

94 WHAT THE ASTRONAUTS SEE:

fleeting forms as yet unidentified; trembling foliage; brown shadows against a green backdrop.

95 EXT. A SMALL CLEARING - FAVORING THE THREE ASTRONAUTS

who stop at the edge of the clearing, startled by

96 WHAT THEY SEE:

a number of primitive bipeds, male and female, scarcely visible behind trees and bushes on the other side of the clearing -- here a face, there a portion of a head and torso. Throughout this sequence, the primitives are never seen clearly or at close range.

97 BACK TO THE AST40IONAUTS

reacting. They speak in whispers. LANDON My God..they look almost human.

DODGE They -- there's a herd of them.

TAYLOR Show them we're friendly.

CAMERA PULLS BACK as Taylor advances a few steps into the clearing, extending his empty hands and beaming like a politician.

TAYLOR (warmly) Greetings!

98 REVERSE - THE STRANGE CREATURES - FROM TAYLOR'S P.O.V.

There are perhaps a dozen of them. They shrink back as Taylor advances -- hostile, frightened or both. We now see that some of them are clutching articles of the astronauts' clothing and equipment. Taylor stops, stares at them glumly.

TAYLOR No cigar.

LANDON Try telling them our names.

Taylor grimaces at Landon.

TAYLOR Well, if we're looking for an icebreaker... (turning to the creatures) Listen, folks .....

More shrinking back by the frightened primitives.

DODGE (softly) I'm afraid they aren't having any.

99- OUT 102

103- A SERIES OF FLASH SHOTS - THE JUNGLE (OR RAIN FOREST): 105

A pistol goes off with a deafening crash, and the primitive creatures scatter in panicky flight. After a while, quiet returns to the jungle.

106 EXT. A JUNGLE PATH - THE ASTRONAUTS

They examine the remnants of their clothing and equipment and start to don whatever is able to be worn. Taylor puts on what remains of a ripped pair of trousers; Dodge starts to improvise from the remnants of the kit (it is a torn shelter half). Landon, like Taylor, has the remains of his pants.

DODGE They didn't leave much did they?

LANDON Shall we follow them?

TAYLOR Haven't much choice.

As they walk off down the jungle path.

DISSOLVE TO:

107 EXT. A GROVE OF FRUIT TREES - ESTABLISHING SHOT - DAY

This need not be a cultivated grove. A few trees (peach or apricot or avocado, it matters not) grow wild in a pleasant glade. Nor is the grove extensive. The three astronauts sit under a tree in f.g.; the primitives sit under a clump, of trees some fifty yards away. Each camp is feeding and warily watching the other. In the distance beyond the fruit trees is an open grassy plain or cultivated field.

108 THE PRIMITIVES - FROM LANDON'S P.O.V.

They too are sitting under trees, munching fruit. There are no more than a dozen altogether.

109 BACK TO ASTRONAUTS - CLOSE GROUP SHOT

TAYLOR Well, at least they haven't tried to bite us.

DODGE Blessed are the vegetarians.

110 THE OTHER CAMP - FEATURING A YOUNG WOMAN

Squatting on her haunches, eating fruit, gazing back at Taylor. Her hair is long and black, her skin nut brown, her face hauntingly lovely and hauntingly stupid. This is NOVA.

111 BACK TO ASTRONAUTS

Landon looks o.s. at the primitives.

LANDON We got off at the wrong stop.

TAYLOR You're our optimist Look at the bright side. If that's the best there is around here, in six months we'll be running this planet.

DODGE (suddenly) Look...

112 THE PRIMITIVES - THEIR P.O.V.

They appear to be agitated although neither we nor the astronauts have yet heard or seen any cause for alarm. The primitives get to their feet, sniffing, listening

113 CLOSE GROUP SHOT - THE ASTRONAUTS

Puzzled and alarmed by the primitives' behavior, they too get to their feet.

LANDON Think they'll attack us?

Taylor turns, looks back at:

114 THE DISTANT JUNGLE (OR FOREST)

From which they recently emerged. There is no sign of life.

115 LONG PANNING SHOT - THE PRIMITIVES

They suddenly run laterally across the grove, heading back toward their jungle. A rumble becomes audible it is the SOUND of HOOFBEATS.

116 VERY LONG SHOT - THE JUNGLE (OR FOREST)

Twelve "horsemen" suddenly emerge from the trees, riding abreast at a canter, like a squadron of cavalry about to charge. The horses look huge. So do the riders, but at this distance we cannot identify them.

117 LONG PANNING SHOT - THE PRIMITIVES

Cut off from their natural habitat, they reverse direction and flee toward the tall grasses of the savanna (or cultivated field).

118 LONG SHOT - THE RIDERS

With an exultant battle cry they break into a gallop. The hunt is on.

119 CLOSE GROUP SHOT - THE THREE ASTRONAUTS

Stupefied, frozen in place.

120 LONG SHOT - THE RIDERS

Coming closer. We HEAR a rifle shot, then a flurry of shots.

121 MED. SHOT.

A bullet spanks into the fruit trees above their heads. They run, CAMERA PANNING with them as they race toward the tall grass in deep b.g.

122- A SERIES OF FLASH SHOTS - THE HUNT IN THE SAVANNA 124 As the "horsemen" close in on the creatures fleeing on foot.

125 MED. CLOSE SHOT - A RIDER

He reins in, raises his rifle and fires. For the first time, we se that he is a GORILLA. He wears a simple quasi-military uniform -- tunic, trousers and boots.

126 FLASH SHOT - DODGE

Running through the high grass. He is shot in the back and falls.

127 FLASH SHOT - TAYLOR

He drops at the side of his fallen comrade.

128 CLOSE TWO SHOT - ANGLING DOWN ON DODGE

As Taylor rolls him over. Dodge is dead.

129 WIDER ANGLE SHOT - THE SAVANNA - FEATURING A LINE OF BEATERS

The beaters are all GORILLAS. They carry long sticks and nets, and their task is to flush out the terrified primitives cowering in the tall grass.

130- A SERIES OF SHOTS - THE HUNTERS AND THE HUNTED: 135 (a) Landon flees from one rider only to be cut off by another. He stumbles and a rearing stallion tramples him. (b) A third mounted gorilla flings a net over a running female. She is hopelessly entangled. This is Nova. (c) Landon lies unconscious on the grassy plain, an ugly gash on his forehead. (d) Taylor crawls through the tall grass on his hands and knees. A rider crosses his path without seeing him. (e) The beaters close in on Taylor, blocking his escape route. (f) Taylor changes direction and decides to run for it.

136 EXT, SAVANNA - PANNING WITH TAYLOR

Bent low, he flees through the tall grass. A SHOT rings out. Taylor falls.

137 CLOSE ON TAYLOR

Lying on his back. His fingers go to his throat. Blood appears between his fingers. He opens his mouth in pain, but no sound comes forth, as Taylor sinks into unconsciousness.

DISSOLVE TO:

138 EXT. GROVE - FULL SHOT - THE HUNTERS - DAY

The hunting party has reassembled here beneath the fruit trees. Some of the gorillas have dismounted; others are still on horseback. In the middle distance is a crude horse-drawn wagon. The sides and top of the wagon form a wire cage. Three captive males and one female are visible within the cage. Dodge and Landon are nowhere to be seen. Two gorilla porters enter scene, dragging a male human corpse by the ankles, as two other bearers enter scene with a living burden on a long carrying pole. Taylor dangles from the pole, held aloft by the bonds around his wrists and ankles. CAMERA PANS with the two gorillas as they dump Taylor into the wagon and close the tail gate.

139- OUT 140

141 CLOSE ON TAYLOR - WITHIN WAGON CAGE

His throat is smeared with blood. His eyelids flutter as he regains consciousness.

142 CLOSE SHOT - WHAT TAYLOR SEES:

Three primitive males bound hand and foot. They seem docile in captivity. The female, Nova, clasps bound wrists around her bound ankles and gazes blankly at Taylor. There is a JOLT of MOVEMENT as the wagon gets underway

143 CLOSE ON TAYLOR

With a great effort he raises himself on one elbow and looks out from the cage.

144 TRUCKING WITH THE WAGON - WHAT TAYLOR SEES:

A gorilla hunter stands over a dead man, one foot planted he chest of his kill and his rifle butt resting on the on abdomen. Facing him is another gorilla with an old-fashioned camera on a tripod.

APE PHOTOGRAPHER Smile.

The hunter bares his teeth.

145 CLOSE ON TAYLOR

He faints.

FADE OUT

FADE IN

146 INT. A SURGERY - ANGLING DOWN ON TWO OPERATING TABLES NIGHT

The surgery is dimly-lit. (If possible we should be unaware of the source of illumination.) Taylor lies strapped to the nearer table. He appears to be unconscious. The young female captive, Nova, is strapped to the table beside him. She is conscious. Taylor is receiving a direct blood transfusion from her.

Hovering over Taylor are a NURSE and a surgeon named GALEN. Both are chimpanzees. Galen wears a bloody surgical apron, the nurse a white smock. Galen is removing a filthy bandage from Taylor's neck. A door behind them opens and DR. ZIRA, an animal psychologist, enters. She, too, is a chimpanzee and wears a smock like the nurse's.

ZIRA Which one was wearing the strange clothes?

GALEN Him.

Zira looks down at Taylor.

ZIRA Will he live?

GALEN (irritably) I don't know. This beast lost a lot of blood.

Galen paws through a tray of surgical instruments. The equipment is obsolescent and the room untidy -- like that of a callous small-town veterinarian.

GALEN (to Nurse ) There's no probe here. Find one!

NURSE Yes, sir.

She exits. Zira runs a forefinger across a dusty table.Her voice is soft and well-modulated.

ZIRA This place is dirty, doctor.

GALEN (defensively) These animals are dirty, doctor. They stink, and they carry communicable diseases. Why aren't they cleaned up before they're brought here?

147 CLOSE TWO SHOT - TAYLOR AND NOVA

His eyes come open. Over this we hear:

ZIRA'S VOICE (o.s.) You don't sound happy in your work.

GALEN'S VOICE (o.s.) I'm nothing more than a vet in this laboratory...

Taylor feebly turns his head and looks at Nova. She returns his gaze with an unchanged empty stare. We sense that Taylor realizes her blood is flowing into his veins. Over this we hear:

GALEN'S VOICE (o.s.) You promised to speak to Dr. Zaius about me.

ZIRA'S VOICE (o.s.) I did. But you know how he looks down his nose at chimpanzees.

Taylor rolls his eyes toward the apes. Weak as he is,we see his astonishment at hearing them talk.

148 BACK TO GROUP AROUND OPERATING TABLE

as the Nurse reenters with a probe and hands it to Dr. Galen, who protests to Zira:

GALEN But the quota system's been abolished! You made it. Why can't I?

ZIRA What do you mean, made it? I'm an animal psychologist, that's all. We don't have any authority.

GALEN You do pretty well when it comes to getting space and equipment.

ZIRA That's because Dr. Zaius realizes our work has value.

GALEN Hmph.

ZIRA The foundations of scientific brain surgery are being laid right here - in studies of cerebral function in these animals.

GALEN They're still dirty. And their bite is septic. Look at that ...

He shows Zira infected teeth marks on the back of his left hand.

GALEN (to Nurse) Hold his head.

The Nurse complies, gripping Taylor's skull with both hands. Galen leans down and begins to probe the throat wound. Taylor passes out.

DISSOLVE TO:

149 INT. A ROW OF CAGES - ANIMAL LABORATORY - TRACKING SHOT DAY

The cages are no larger than small jail cells. There are four of them. Bars, not walls, divide the cages, so that all four are visible. Each of the first three cages is occupied by a primitive male. At the moment the first two are quiet -- dozing or scratching apathetically. The third occupant is stolidly regarding a half-dozen brightly colored hollow wooden boxes, or blocks, Of varying sizes and proportions on the floor of his cage. He is trying to stack the boxes in such a way as to reach a banana dangling from a cord twelve feet overhead. He has correctly selected the first two large, sturdy blocks for his tower under the banana -- but the tall third block is too unstable on its small base to support the broad-based fourth block.

149-A CLOSE - TAYLOR

Taylor, Looking much stronger, sits on a pile of dirty straw in the fourth cage. There is a clean bandage around his throat. He watches the block-building primitive with contemptous amusement.

Both the third and fourth blocks tumble to the floor when the primitive tries to mount his tower. He stands there, staring dully at the scattered blocks, then up at the unattainable banana.

149-B MED. - THE LABORATORY A door at the end of the aisle opens and a gorilla named JULIUS enters, dressed in a keeper's uniform. He quickly closes the door, snatches up a broom, starts sweeping. Julius is obviously late for work. Taylor struggles to his feet, moves to the bars of the cage, tries to call out.

TAYLOR (soundlessly) Hey! Hey!

The three other primitives move toward the bars of their cages. Julius barks at them.

JULIUS Simmer down! (points at Taylor) You especially.

The third primitive goes back to stacking his blocks. Julius comes up to Taylor's cage, indicates a like set of blocks strewn across its floor, extends his broom handle to whack the banana overhead.

JULIUS Better give it a try, stupid. Unless you like going hungry.

He returns to his sweeping. Taylor glowers at him. A moment later, the door at the end of the aisle opens and Dr. Zira enters.

JULIUS Good morning, Dr. Zira.

ZIRA Good morning, Julius. How's our patient today?

JULIUS No change. The minute you open the door, he goes into his act.

She starts down the aisle toward Taylor's cage. He grasps the bars, awaiting her anxiously. As she passes the second cage, the primitive in it shakes the bars, jumps up and down. His tongue is hanging out. Zira smiles, stops, digs into the pocket of her smock.

ZIRA (playfully) Well, what do we want this morning? Do we want something? Speak! Come on, speak!

The primitive continues to jump up and down energetically. Zira takes a cube of sugar from her pocket, holds it up for his inspection.

ZIRA Do we want some sugar, old-timer?

The man eagerly sticks his hand through the bars. She drops the cube in his hands. He jams it into his mouth.

JULIUS (concerned) You could get hurt doing that, Doctor.

ZIRA Don't be silly. He's perfectly tame.

She moves toward Taylor's cage, Julius behind her.

JULIUS They're all tame until they take a chunk out of you.

150 CLOSE SHOT - FEATURING TAYLOR - ZIRA AND JULIUS

Taylor starts to open his mouth as Zira comes up to the bars.

ZIRA Well, Bright Eyes, is our throat feeling better?

TAYLOR (frantic mouthing) Listen, listen -- I can speak --

He winces, puts his hand to the bandage.

ZIRA (sympathetically) Awww, it still hurts, doesn't it?

JULIUS See? He keeps pretending he can talk.

Taylor glares at Julius, slams the bars.

TAYLOR (mouthing) I'm not pretending! I can talk!

Zira hurriedly takes a pen and notebook from the breast Docket of her smock, starts to scribble.

ZIRA (excitedly) Did you see that? It's remarkable!

JULIUS Huh?

ZIRA He's trying to form words.

JULIUS Well, you know what they say. Human see, human do.

Taylor is staring in silent fascination at the open and notebook.He stops mouthing, points at them.

JULIUS Now what?

Taylor gestures for Zira to come closer to the bars.

ZIRA He seems to want something.

She advances tentatively toward the cage.

JULIUS I'd be careful, doctor.

Taylor suddenly reaches through the bars, tries to snatch the pen and notebook from Zira. Julius instantly jabs his broom handle through the bars, hitting Taylor in the ribs.

JULIUS What did I tell you! (to Taylor) Try that again, I'll break your arm!

Zira draws back, looking at Taylor in surprise.

151 CLOSER - TAYLOR

His face is twisted in frustration.

TAYLOR (mouthing) What's the matter with you? I can talk! Can't you see that?

Over this a door is heard opening o.s., and Julius' voice, nervous, deferential:

JULIUS' VOICE (o.s.) Good morning, Your Excellency.

Taylor looks o.s.

152- OUT 160

161 BOOM SHOT - THE THREE APES - FROM TAYLOR'S P.O.V.

Julius and Zira cross to a stout, imposing orangutan who has just entered the laboratory. Julius bows to him. This is DR. ZAIUS. Like the other apes, he wears a simple tunic and trousers, but his garments are of a Costlier material, and several decorations are woven into the sash of his tunic.

ZIRA (bubbling) Dr. Zaius, I'm so glad you could come. He's over here.

Zaius crosses with them to Taylor's cage. Beneath his austere manner, we sense tension, worry. Zira looks up at Taylor, her tone an appeal.

ZIRA Bright Eyes, show him! Go ahead! Do your trick!

Taylor just glares at her.

ZIRA Speak! Go on. Speak again.

TAYLOR (silent mouthing) My - name - isn't - Bright Eyes It's Taylor!

ZIRA There! Can you believe it? I looks like he's talking.

ZAIUS (evenly) Yes, amusing. A man who acts like an ape.

Taylor turns to Zaius.

TAYLOR (silent mouthing) I'm not acting! I can talk! How much proof do you want?

ZIRA (thunderstruck) Dr. Zaius, I could have sworn he was answering you!

ZAIUS (nodding, but unmoved) He shows a definite gift for mimicry.

Zira wiggles her fingers excitedly.

ZIRA I wonder how held score on a Hopkins manual dexterity test?

Zaius' voice is quiet, but there is steel in it.

ZAIUS An animal?

JULIUS Look!

Taylor is frantically wiggling his fingers.

ZIRA He's moving his fingers!

ZAIUS Of course. He saw you moving yours.

ZIRA But perhaps he understood --

161-A CLOSE - TAYLOR

He is pleading silently as Zaius' voice is heard over the SHOT.

ZAIUS' VOICE (o.s., hard) Man has no understanding, Dr. Zira. He can be taught a few simple tricks. Nothing more.

ZIRA'S VOICE (o.s.) I beg to disagree. According to my exper- iments --

161-B CLOSE - ZAIUS

A warning burns out of his eyes as he stares at Taylor.

ZAIUS A word to the wise, Dr. Zira. Experimental brain surgery on these creatures is one thing. I'm all for it.

161-C CLOSER - TAYLOR

Fear clouds his eyes. Abruptly, he stops moving his lips.

161-D MED. THE GROUP

Zaius sees the effect his words have had on Taylor. He turns to Zira, goes on in a more detached tone.

ZAIUS But your behavioral studies are another matter entirely. To suggest that we can learn something about simian nature from a study of man is nonsense. Besides, men are a nuisance. They outgrow their own food supply in the forest and migrate to our green belts and ravage our crops. (looking casually at Taylor) The sooner they're exterminated, the better.

He turns toward the door. A disappointed Zira follows him. Zaius looks back at Taylor just before going out.

ZAIUS It's a question of simian survival.

161-E CLOSE - TAYLOR

He stares after Zaius, than looks away, slumps to the floor. A pause, then a VOICE is heard.

APE GUARD Is this the one you wanted, Doctor?

ZIRA'S VOICE (o.s.) Yes, thank you. (pause, her voice much closer) Bright Eyes?

Taylor looks up.

ZIRA'S VOICE (o.s.) I've got a present for you.

161-F ANOTHER ANGLE - THE CAGE

Standing outside the cage, held on a leash by an APE GUARD is Nova. She looks at Taylor without expression. Zira gestures at JULIUS.

ZIRA Put her in with him.

Julius unlocks the cage door-, leads Nova inside, removes her leash and collar. Taylor has gotten to his feet. Julius goes out, locking the door behind him. Nova hesitates, then slowly reaches out, takes Taylor's hand. Zira beams at them.

162- OUT 169

DISSOLVE TO:

170 EXT.- EXERCISE YARD - ANIMAL COMPOUND - ESTABLISHING SHOT DAY

It is nothing elaborate, A wire fence encloses a dirt yard. This compound is situated on the outskirts of Apetown and the town is visible in the distance.

There are about a dozen adult human captives within the enclosure, no more than a third of them females. Some of them trudge around the dusty yard like convicts in a penitentiary. Others squat against the sun- drenched wall.

A big male suddenly runs to the fence and tries to climb it. Several guides, armed with whips and torches, immediately close in on him. The primitive recoils in fear from a fiery torch and rejoins the captives' circle.

171 CLOSER ANGLE - THE YARD - FEATURING TAYLOR

He plods sullenly back and forth across the rear of the yard, occasionally glancing off toward the approaches to the compound. Nova is at his heels. He ignores her. Once again he looks off, stops suddenly. Nova bumps into him. He turns, impatiently shoos her away, then looks o.s., again.

172 ZIRA AND COMPANION - TAYLOR'S P.O.V.

Zira can be seen approaching with a young chimpanzee, DR. CORNELIUS. He wears a simple smock over his tunic and trousers. Cornelius glances surreptitiously around, covertly takes Zira's hand.

CORNELIUS Do you have to work tonight?

ZIRA No.

CORNELIUS Neither do I.

He gives her a quick peck on the cheek.

173 CLOSER - TAYLOR

He drifts toward the fence, Nova behind him.

174 MED. SHOT - ZIRA AND CORNELIUS

They come up to the fence. Zira nods toward Taylor.

ZIRA That's Bright Eyes. The one I was telling you about.

CORNELIUS What's so special about him?

ZIRA Watch. (to Taylor) Hello, Bright Eyes. How's our throat today?

Taylor stares at her impassively, then looks around to a that no guards are watching, hunkers down, begins to scratch in the dust. Nova extends unclean fingers to touch the bandage on his throat. Taylor flinches, pushes her hand away. Nova touches a bluish bruise on the inside of her own forearm, then searches for a similar bruise on Taylor's forearm.

ZIRA (excited) Look -- she remembers.

CORNELIUS Remembers what?

ZIRA The blood transfusion.

CORNELIUS (peeved) Zira, come on. You know they can't -- (he stops, looking off) Oh oh. Here comes Number One.

Taylor looks up and o.s., quickly rises.

175 ANOTHER ANGLE - THE YARD - FEATURING DR. ZAIUS

Who is approaching the two scientists from deep b.g. Zaius is followed by a huge and much decorated gorilla Whom we recognize as the Leader of the Hunt Club. ZIRA (in a whisper, to Cornelius) Something's bothering him. He's been prying around the lab for the last two days ...

ZIRA (as Zaius comes nearer) Good morning, Dr. Zaius. You know Dr. Cornelius, my fiance.

Cornelius bows respectfully. Zaius is patronizingly polite.

ZAIUS Oh, yes -- the young ape with a shovel. I hear you're planning another archeological expedition.

A-175 MED. SHOT - TAYLOR

He has stepped back from the marks he made in the-dust, is watching Zaius with concern.

CORNELIUS' VOICE (o.s.) Yes, sir. If the academy agrees.

ZAIUS' VOICE (o.s.) The project will require my support, of course.

176 MED. CLOSE SHOT - ANGLING DOWN ON TAYLOR AND NOVA

A primitive male squats down to see what Taylor has marked on the ground. In letters a foot high he has written:

I CAN WRITE

Nova, at once petulant and playful, erases the WRITE with a bare foot. Taylor angrily flings her aside. This violence provokes the primitive male, who snarls at Taylor and cuffs him. Over this we HEAR from a distance:

CORNELIUS' VOICE (o.s.) I hope I can count on it, sir.

ZAIUS' VOICE (o.s) A friendly warning, Cornelius -- when you're digging for artifacts, don't bury your reputation.

Taylor slugs the snarling male, who wades in, trying to bite him.

A VOICE (o.s.) Guards!

177 WIDER ANGLE - THE FIGHT

Two gorilla guards rush in to break up the fight. One of them lashes out with his whip. The other pokes his torch at Taylor. Its flame brushes his arm. Taylor opens his mouth, gives a silent yell of pain, shrinks back. Zira runs to the fence.

ZIRA (to guards) Stop! You've hurt him! Take them inside!

Prodding the malcreants with their torches, the two guards herd them toward a doorway in the wall. Zira hurries around the side of the fence and o.s.

178 MED. SHOT - ZAIUS, CORNELIUS, HUNT CLUB LEADER

ZAIUS Cornelius, if you have a moment today, I'd like to discuss this expedition of yours in more detail.

CORNELIUS (eagerly) Certainly, sir. I'll get my notes and come right over.

He exits hurriedly. The Hunt Club Leader turns to Zaius.

HUNT CLUB LEADER I don't understand these animal psychologists. What's Dr. Zira trying to prove?

ZAIUS That man can be domesticated.

The hunter guffaws. Zaius turns away and looks down at:

179 THE DUST UNDERFOOT

Just beyond the fence we can make out the letters:

I CAN

Zaius' extended foot appears beneath the bottom wire of the fence. The foot wipes out the letters.

180 CLOSEUP - ZAIUS

His face is a mask.

181 INT. TAYLOR'S CAGE - MED. SHOT - DAY

He is slumped against the bars of the cell, gingerly touching a large, reddening blotch on his arm. Julius watches him uncertainly from a few yards away . In the b.g., the outside door opens and Zira rushes in, hurries down the aisle.

JULIUS What happened?

ZIRA Those fools and their torches! Do you have any ointment?

JULIUS I'll see.

He moves to a cabinet at the other end of the laboratory, rummages through some drawers.

182 MED. SHOT - ZIRA - FROM TAYLOR'S P.O.V.

Zira comes up to Taylor's cage, studies him solicitously.

ZIRA I'm sorry, Bright Eyes.

183 ANOTHER ANGLE - TO INCLUDE TAYLOR

He looks steadily at Zira, who is only an arm's length away. CAMERA MOVES IN on them. Suddenly Taylor reaches out, snatching the pen and notebook from the pocket of her smock. Zira leaps back with a cry. Julius grabs a club, races up to the cage, unlocks the door.

JULIUS I told you what you'd get!

184 WIDER ANGLE - TO INCLUDE THEM ALL

Taylor is scribbling furiously on a sheet of note paper. The guard moves in, his club upraised.

ZIRA (pleading) Julius, don't. It doesn't matter.

Julius swings his-club at Taylor's head. Taylor lifts his right arm to ward off the blow, and the stick strikes him sharply on the hand. He drops the pen and notebook. The guard swings again, driving Taylor to the wall. Then Julius retrieves the stolen articles.

185 ANOTHER ANGLE - FAVORING ZIRA

The guard returns her pen and notebook with the comment:

JULIUS Natural born thieves, aren't they?

Zira glances at the notebook. Her face clouds.

186 INSERT - WHAT SHE READS:

A hasty, almost illegible scrawl:

MY NAME IS TAYLOR.

187 CLOSEUP - ZIRA

Her eyes afire with a wild surmise.

188 TWO SHOT - ZIRA AND JULIUS

Her eyes never leave Taylor as she tells the guard:

ZIRA Get me a collar and leash. I'm taking him to the infirmary.

JULIUS He's vicious, Doctor. Besides, it's against the rules.

ZIRA Do as I say.

The guard shrugs and moves Off 0.3. Zira beckons to Taylor. He comes forward to the bars of the cage.

ZIRA (sotto voce) You wouldn't hurt me, would you... Taylor?

189 INT. DR. CORNELIUS' OFFICE - ESTABLISHING SHOT - DAY

The office is simple, almost Spartan. There are books but no bric-a- brac; several painted portraits of Great Apes but no tape recorder or other modern office equipment. Taylor sits at a desk, scribbling furiously on a sheet of paper. His leash has been removed, but not his collar. Zira stands at his elbow. Cornelius paces nervously up and down, reading a sheaf of notes Taylor has already written.

CORNELIUS (stubbornly) It's a stunt. Humans don't write.

ZIRA Dear, you're a scientist. Don't you believe your own eyes?

CORNELIUS (to Taylor) Where did you learn to do this?

190 ANOTHER ANGLE - THE OFFICE

Taylor scribbles something on a small desk pad, rips off the page, hands it to Cornelius.

CORNELIUS Jefferson Public School, Fort Wayne, Indiana?

He looks at Taylor narrowly. Taylor nods.

CORNELIUS (sardonically) Back on that planet you say you came from? (Taylor nods again) Um-hm. (to Zira) He may be intelligent, but he's also mad.

Taylor scribbles something else on the pad, hands it to Zira, points at Cornelius.

ZIRA (reads aloud) 'And you're a fool'.

She smiles. Cornelius bristles.

CORNELIUS Now, just a minute --

ZIRA Oh, Cornelius, be quiet.

Taylor has resumed writing. He hands the sheet to Zira, who reads aloud.

ZIRA 'Dodge was killed in the hunt. What happened to Landon?' (looking at Taylor) I don't know.

CORNELIUS (scornfully) And they fell out of the sky with you?

Taylor writes quickly, hands the note to Zira.

ZIRA (reading) 'Not fell -- flew!'

Taylor impatiently begins to fold a sheet of paper.

CORNELIUS Flight is a scientific impossibility.

ZIRA And even if it weren't, why fly? Where would it get you?

Taylor points to the floor and mouths the word "Here." He flings the paper plane he has just fashioned into the air. It describes a graceful arc around the room and lands at the feet of Cornelius, who slowly picks it up, then exchanges a long glance with Zira.

CORNELIUS (softly) Well, now...

Taylor scribbles on a piece of paper, hands it to Zira.

ZIRA (reading) 'Do you have maps?'

Cornelius puts the paper plane on his desk, crosses to a wall map designed like a window shade. He pulls it down Taylor and Zira join him at the map.

191 CLOSE ON MAP

It's not a map of the whole planet, of course, but only of that portion known to the apes. Therefore it has the antique and fragmentary aspect of a map drawn by some Babylonian cartographer.

A swatch of blue at the right margin indicates a sea. In the southwest quadrant are the "greenbelts" of the ape civilization, looking on the map like jade stones strung on crescent-shaped necklace. Rubyidots in the lade indicate ape communities. The northwest quadrant, colored brown, is apparently uninhabited. East of the green belts is a patch of green savanna, and next to it the darker green of a jungle. The eastern quadrants are rendered in yellow, and except for a blue lake, appear to be lifeless desert and barren mountain. This area is marked FORBIDDEN ZONE.

Using a pointer, Cornelius orients Taylor, indicating a red dot in the middle of the green belt.

CORNELIUS We are here ... (moving pointer) You were captured about here.

Taylor studies the map, then pointing at the lake in the eastern desert, he goes into a brief charade, dramatizing the astronauts' landing and trek.

ZIRA (interpreting his movements) You fell in the water here? ... you came ashore ... you marched across the desert ... the mountains ... many days and nights ... and reached the jungle.

Taylor nods, smiles gratefully.

CORNELIUS (flatly) Out - of - the - question!.

Taylor slams his fist against the wall in frustration.

ZIRA (annoyed) Cornelius, why do you insist on provoking him?

CORNELIUS (tapping map) No creature can survive in that part of the Forbidden Zone. I've been there. I've seen it.

192 WIDER ANGLE - THE THREESOME

Taylor strides to the desk, writes something, hands it to Zira.

ZIRA (reading) 'Then how do you account for me?,

CORNELIUS I don't. And I'm not going to try.

ZIRA But what about your theory? The existence of someone like Taylor might prove it.

CORNELIUS (shushing her) Zira, are you trying to get my head cut off?

ZIRA Don't be foolish. If it's true, they'll have to accept it.

CORNELIUS No, they won't -

Taylor touches Zira on the arm, makes a gesture of inquiry.

ZIRA Cornelius has developed a brilliant hypothesis -

CORNELIUS (quickly) It's probably wrong --

ZIRA -- that the ape evolved from a lower order of primate, possibly man. In his trip to the Forbidden Zone he discovered traces of a culture older than recorded time -

CORNELIUS The evidence was very meager --

ZIRA You didn't think so then.

CORNELIUS That was before Dr. Zaius and half the Academy said the idea was heresy.

ZIRA How can scientific truth be heresy? What if Taylor is exactly the proof you needed? A mutation. A missing link between the unevolved primate and the ape -

Taylor bangs his fist on the desk, mouths the word "No!" scribbles something on a piece of paper.

CORNELIUS He's touchy, isn't he?

Taylor thrusts the sheet at Zira, who reads it aloud.

ZIRA 'I am not a missing link.'

CORNELIUS Because if he is a missing link, it means the Sacred Scrolls aren't worth their parchment.

ZIRA Well, maybe they're not.

CORNELIUS No, thank you'. I won't get into that battle.

ZIRA Oh, Cornelius, show some strength!

CORNELIUS Zira, listen to me. We've got a fine future ahead of us. Marriage. Stimulating careers. I'm up for a raise --

At that moment there is a. loud RAP at the door o.s. All turn.

193 REVERSE ANGLE - TO INCLUDE THE DOOR

Dr. Zaius enters with another portly figure, DR. MAXIMUS. Like Zaius., Maximus is an orangutan.

CORNELIUS (flustered) Dr. Zaius --

ZAIUS (not unkindly) Did you forget our appointment, Cornelius?

CORNELIUS Oh., no., sir. I was just assembling my notes.

ZAIUS You know Dr. Maximus, our Commissioner for Animal Affairs?

CORNELIUS Certainly, sir. It's a pleasure to see you again.

He hurries to his desk, starts gathering papers. Maximus notes Taylor with distaste.

MAXIMUS What is that?

ZIRA A man, Dr. Maximus.

MAXIMUS I know it's a man. And you know the rules. No animals outside the compound, and most certainly not without a leash.

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