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"PLANET OF THE APES"
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Screenplay
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by
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Michael Wilson
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Based on Novel
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By
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Pierre Boulle
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SHOOTING SCRIPT
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May 5, 1967
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REVISED:
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05/11/67
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05/16/67
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05/23/67
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06/09/67
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06/15/67
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06/22/67
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07/06/67
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07/27/67
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FADE IN
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1 EXT. CONSTELLATION OF ORION - NIGHT
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Stars glitter like diamonds on the black velvet backdrop of space.
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The Belt of Orion is center screen, but much nearer and larger
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than ever seen by an Earth-bound astronomer.
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A speck of light appears in the lower left corner of the screen.
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No spaceship can be seen, but only a glowworm, a solitary sperma-
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tosoan gliding through the womb of the universe. Over this we HEAR
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the voice of an astronaut. He is concluding a report.
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ASTRONAUT'S VOICE
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(o.s.)
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So ends my last signal until we reach
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our destination. We are now on automatic,
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a mere hundred and five light years from
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our base ... and at the mercy of com-
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puters. I've tucked in my crew for the
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long sleep. I'll join them presently.
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2 INT. CABIN OF SPACESHIP - ESTABLISHING SHOT - NIGHT
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The cabin is neither cramped nor spacious, but about the size of the
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President's cabin in Air Force One. In the immediate f.g. is a console
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of dials and switches flanked by four chairs. Only one of the chairs
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is occupied. The astronaut's back is to CAMERA. There is a ladder
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amidships which leads to an escape hatch. The after Dart of the cabin
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is obscured in darkness. We hear the MUSIC of a Mozart sonata emanating
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from a phonograph of stereotape. The astronaut is speaking into a
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microphone.
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ASTRONAUT
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Within the hour we shall complete
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the sixth month of our flight from
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Cape Kennedy. By our time, that is ...
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He pauses, looking up at:
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3 TWO LARGE CLOCKS - ON CABIN WALL
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One clock is marked SELF TIME, but instead of twelve numerals it has
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twenty-four. One of the needles is moving very slowly.
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The other clock is labeled EARTH TIME, and its units, like those of a
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tachometer, are given by hundreds and thousands.
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The largest needle of this clock makes one revolution every second.
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Over this we hear:
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ASTRONAUT'S VOICE
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(o.s.)
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But according to Dr. Hasslein theory of
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time in a vehicle traveling at close to
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the speed of light, old Mother Earth has
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aged a few thousand years since our de-
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parture -- while we have scarcely aged
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at all.
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4 CLOSE ON ASTRONAUT
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This is TAYLOR. He wears simple dungarees (or Churchill suit) and
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comfortable boots. He seems calm and pensive. Extracting the butt of
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a cigar from the breast pocket of his dungarees, he lights it, then
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continues:
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TAYLOR
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It may be so. This much is probable: the
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men who sent us on this journey have long
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since been moldering in forgotten graves;
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and those, if any, who read this message
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are a different breed. Hopefully, a
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better one.
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He begins to roll up his left sleeve.
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TAYLOR
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I leave the twentieth century without
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regret. Who was it? Marshall? ... said
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'Modern man is the missin 'a link between
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the ape and the human being.'
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He removes the cigar from his mouth, turns to look out through one
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of the portholes into the astral night.
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TAYLOR
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One final thought -- nothing scientific,
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purely personal. Seen from up here,
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everything looks different ... Time bends
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and space is boundless. It squashes a
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man's ego. He begins to feel like no more
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than a mote in the eye of eternity. And
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he is nagged by a question: ahat if any-
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thing, will greet us on the end of man's
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first journey to a star? Are we to believe
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that throughout these thousands of galaxies,
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these millions of stars, only one, that
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speck of solar dust we call Earth, has
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been graced -- or cursed -- by human life?
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(pause)
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I have to doubt it.
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He extracts a hypodermic needle from his breast pocket and injects
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it into the vein of his forearm. He continues speaking.
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TAYLOR
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(sardonically)
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That's about all. I wonder if Man, that
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marvel of the universe, that glorious
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paradox who has sent me to the unknown...
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still makes war against his brother., and
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lets his neighbor's children starve.
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Taylor withdraws the hypodermic needle from his vein and secures it in
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a drawer of the console.
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TAYLOR
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Well then, Earthmen: A missing link
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salutes you. Bless you, my descendants.
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Taylor snuffs out the cigar butt and places it in the drawer beside the
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hypodermic. Then, flicking a switch Au cut off the Mozart, he rises and
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looks up again at:
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5 THE CLOCK MARKED EARTH TIME
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The longest needle of this clock now makes nearly two revolutions per
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second. The shortest needle points to the numeral 2105.
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6 INT. CABIN - TRACKING WITH TAYLOR
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Space scientists have presumably solved the problem of weightlessness,
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for Taylor walks the short distance from; the console to the after
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section without particular effort. CAMERA FOLLOWS him, and we can now
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see four glass capsules, or "caskets", in the rear of the cabin. Taylor
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looks down at them.
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7- SEVERAL SHOTS - THE FOUR CASKETS - FROM TAYLOR'S P.O.V.
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10
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One of them is open. The other three are occupied by astronauts: DODGE,
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LANDON and STEWART. They, too, wear dungarees and boots. Dodge and
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Landon are thirtyish, clean-shaven, virile -- America's finest. Stewart
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is a handsome young woman, her hair bobbed short. Their eyes are closed
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and they do not appear to be breathing -- yet no undertaker could make
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them so alive.
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11 ANOTHER ANGLE - FAVORING TAYLOR
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He grasps the handle of his own casket and slowly pulls himself into
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it. Continuing SILENCE. CAMERA MOVES IN as Taylor Dulls the glass lid
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shut and secures it. He adjusts two dials inside the capsule and lies
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back, buckling his safety belt. CAMERA MOVES INTO A CLOSEUP of Taylor.
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His eyes are open. He seems serene, even enraptured.
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(NOTE: Credits will appear here over a series of shots designed to
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convey a sense of loneliness, of separation, and of the passage of
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time.)
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DISSOLVE TO:
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12- A SERIES OF SHOTS - A DISTANT GLOBE (MINIATURE)
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16
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We see a strange and distant planet. At first the globe occupies but a
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small area of the screen; but with each new VIEW it comes closer and
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looms larger, as if" observed from a spaceship in a spiraling orbit of
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descent.
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The topography of the planet bears little resemblance to our own. Much
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of it is obscured by cloud cover; even more of-it appears to be
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cratered desert of reddish hue. We can, however, make out a few narrow
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"green belts" and a patch of blue water.
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In the FINAL SHOTS of this SEQUENCE we see the strange planet as it
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would be observed from a spacecraft plummeting from twenty thousand
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feet to one thousand feet. It appears that the ship will fall into a
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vast lake surrounded by soaring sandstone pinnacles. The water is
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blue-black, the pinnacles vermillion. (This is the Lake Powell
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location, at Lone Rock.)
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17 INT. SPACESHIP - FULL SHOT - DAY
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Four empty pilot seats are seen in f.g., the four glass caskets in
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b.g. We HEAR the RHYTHMIC BLEAT of a WARNING SIGNAL, a RUSH OF WIND
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as in a rapid descent, and perhaps the ROAR OF RETROJETS. Then, a
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great CRASH as the craft hits water. The whole ship shudders on impact.
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Loose equipment falls to the cabin floor. CAMERA MOVES DOWN the cabin
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aisle as the ship begins to roll in the water and HOLDS on the four
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glass caskets. There are THREE LOUD METALLIC CLICKS as the glass
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domes of the caskets swing open automatically.
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18 CLOSE ON TAYLOR
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He now has a full beard. His eyes come open. Instantly alert, he
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rises to a sitting position, gazing across at:
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19 DODGE AND LANDON - FROM TAYLOR'S P.O.V.
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They, too, awaken and sit up, starring at Taylor. They, too, are
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bearded.
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TAYLOR'S VOICE
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(o.s.)
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You all right?
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They nod.
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20 BACK TO TAYLOR - CLOSE SHOT
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He glances at the casket beside his own.
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TAYLOR
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Stewart?
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(struggling to his feet)
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Stewart?
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21 CLOSE-SHOT --THE FOURTH CASKET
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Its dome remains unopened. The young woman is a skeleton in a
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Churchill suit.
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22 REACTION SHOT - THE THREE ASTRONAUTS
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Dodge and Landon have joined Taylor and-stare at the grinning skull
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of their dead comrade. A low, descending HUM of equipment is heard.
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Simultaneously the lights begin to FADE. A moment later they brighten,
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but not as much as before.
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TAYLOR
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There goes our primary power. We're on
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auxilliary.
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A slight CRACKING sound is heard. Taylor turns quickly away and o.s.:
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23 REVERSE ANGLE - THE FORWARD CABIN
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A trickle of water has begun to seep through a ruptured seam in the
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cabin. Taylor darts to a porthole and peers cut.
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24 LONG SHOT - WHAT TAYLOR SEES:
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water
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The porthole is no more than six inches above the line. In the
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distance we discern a shoreline of red desert.
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TAYLOR'S VOICE
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(o.s.)
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We're in the soup. We're sinking.
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25 INT. CABIN - FULL SHOT
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The leak in the seam becomes a growing spray of water. Taylor
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turns away from the porthole, calling:
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TAYLOR
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Dodge! Read the atmosphere!
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Dodge moves instantly to the ladder beneath an escape hatch and
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mounts it. Taylor stumbles down the aisle of the rolling ship toward
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the console and addresses Landon, who is still staring at Stewart's
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skeleton.
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TAYLOR
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Landon! Send a last signal.
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LANDON
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(dazed)
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What signal?
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TAYLOR
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To Earth! That we've landed!
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As Landon lurches toward the communications equipment in f.g.
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CUT TO:
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26 EXT. TIM STRANGE PLANET - LONG PANORAMIC SHOT - LATE AFTERNOON (LONE
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ROCK, LAKE POWELL)
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We are looking at a lifeless desert of sandstone buttes and pinnacles.
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There is no sign of vegetation anywhere. CAMERA PANS DOWN to a body
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of water that could be the bay of an inland sea. The deep blue of the
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sea contrasts sharply to the red sands of the shoreline. CAMERA HOLDS
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on the stricken spaceship, wallowing like a beached whale a hundred
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yards offshore. The portholes of the craft are beneath the water, and
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only its roof and the tail fin of its tail assembly are visible. The
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red-hot skin of the ship vaporizes the water around it.
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Suddenly a snorkel-like tube sprouts from the escape hatch, which is
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located amidships.
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27 INT. CABIN - CLOSE ON CLOSED ESCAPE HATCH
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Dodge, standing halfway up the ladder., has fastened a kit of gauges
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to the end of the snorkel tube. He reads the dials, removes the kit,
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sniffs the air in the tube and then, taking a deep breath, announces:
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DODGE
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It's breathable.
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TAYLOR'S VOICE
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(o.s.)
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Okay! Blow the hatch before we lose
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auxilliary power.
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Dodge reaches for a control mechanism near the escape hatch.
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28 CLOSE ON TAYLOR AND LANDON
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The spray of water coming through the ruptured seam is increasing.
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The LIGHTS DIM again and the SOUND of the warning signal FADES. While
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Landon fiddles with the radio, Taylor tries to get the tape recorder
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rolling, but all we hear are scrambled and unintelligible noises.
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LANDON
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It's no use ... there she goes.
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TAYLOR
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Forget it. Abandon ship.
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29 WIDER ANGLE - TIM CABIN
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The escape hatch is now open. Taylor darts over to the ladder and
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passes a folded life raft up to Dodge. When Landon reaches the ladder,
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Taylor hands him two neatly packed rucksacks, and Landon climbs
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through the escape hatch. Taylor is about to follow with a third
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rucksack, then turns and crosses the cabin for a last look at:
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30 THE TWO CLOCKS - FROM TAYLOR'S P.O.V.
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Both clocks have stopped: the red needle of the clock labeled SELF
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TIME rests on the numeral 18; the red needle of the clock marked
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EARTH TIME rests on the numeral 3975.
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31 EXT. TOP OF SPACECRAFT - MED. SHOT
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Dodge inflates the raft with a cartridge of compressed air and
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tosses it into the water. He and Landon jump into the water and
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climb onto the raft as Taylor emerges from the hatch, Taylor slips
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into the water and climbs onto the raft. He and Landon begin to
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paddle toward shore, while Dodge immediately opens another kit and
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takes a sample of the water.
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32 CLOSE ON THE MEN IN THE RAFT
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DODGE
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(half to himself)
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Briny...twenty-five percent salinity.
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Near the saturation point.
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LANDON
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(looking back)
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She's still sinking...
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33 THE SPACESHIP - FROM THEIR P.O.V.
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Only the radio antenna and the tip of the tail fin remain visible.
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LANDON'S VOICE
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(o.s.)
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Going ... going...
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The craft vanishes beneath the water.
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34 CLOSE ON THE MEN IN THE RAFT
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Dodge is still busy with his kit. Landon is still looking back, but
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Taylor doesn't bother to turn his head.
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LANDON
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Gone.
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TAYLOR
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(flatly)
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We're here to stay.
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35 ANOTHER ANGLE - MOVING WITH THE RAFT
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They gaze at the forbidding sandstone battlements as they near the
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shore.
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LANDON
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Well? Where are we? Have any notion,
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skipper?
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TAYLOR
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(confidently)
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We're some three hundred and twenty
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light years from Earth. On an unnamed
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planet in orbit around a star in the
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constellation of Orion.
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(looks off at
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the "sun")
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That could be Bellatrix.
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36 THE SUN - FROM THEIR P.O.V.
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Low on the horizon, seen through a dense envelope of dust particles.
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DODGE'S VOICE
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(o.s.)
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Too red for Bellatrix.
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37 BACK TO ASTRONAUTS IN RAFT
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Landon glances skeptically at Taylor.
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LANDON
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You didn't have time to check the
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tapes, so you don't really know,
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do you?
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(as Taylor ignores
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him)
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What went wrong?
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(sardonically)
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We weren't programmed to land
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in water.
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DODGE
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(grinning)
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The question, Landon, is not so much
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where we are as when we are.
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TAYLOR
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(stands up in raft)
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We've had a nice snooze. Let's start
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earning all our back pay.
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38 WIDER ANGLE - THE BEACH
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As the three astronauts step out into shallow water and pull the
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raft ashore.
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TAYLOR
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Take your soil test, Dodge. I'll
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check the equipment.
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Dodge moves inland about ten yards, removes a small hand drill
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from his belt, extends the rod of the drill three feet and begins
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to take some subsoil samplings. Taylor begins to examine the contents
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of the three rucksacks. Landon sits down on the beach., hands around
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his knees, gazing moodily at the sunken spaceship. During this and
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succeeding scenes we sense that Dodge's obsession with scientific
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inquiry leaves him immune to fear: Landon is possibly more courageous
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and certainly more "human," for he has many fears to control: while
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Taylor -- detached, cool and misanthropic -- is something of an enigma.
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TAYLOR
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(calls Dodge)
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Got your sensors?
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DODGE
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Yo!
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TAYLOR
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Geiger counter?
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DODGE
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Yo!
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TAYLOR
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(taking inventory)
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One pistol... twenty-four rounds of
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ammo. two medical kits.. one camera...
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one TX9.
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(loudly to the
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others)
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We've enough food and water for three
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days.
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DODGE
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But how long is a day?
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TAYLOR
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Good question.
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(turning)
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Landon -- check your communications
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kit.
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39 ANOTHER ANGLE - FAVORING LANDON
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He seems not to have heard.
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TAYLOR
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(sharply)
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Landon! Join the expedition.
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LANDON
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(rising)
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Sorry...
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(crossing to his kit)
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I was thinking of Stewart. What
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d'you suppose happened?
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TAYLOR
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(flatly)
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Air leak. Died in her sleep.
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LANDON
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You don't seem very cut up about
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it.
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TAYLOR
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It's a little late for a wake. She's
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been dead nearly a year.
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LANDON
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Then we've been away from Earth for
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eighteen months.
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TAYLOR
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By our time.
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(smiling at Landon)
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You've turned gray.
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Landon involuntarily touches the gray hair of his temple as Taylor
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adds lightly:
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TAYLOR
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Apart from that, you look pretty chipper
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for a man who's two thousand and thirty
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one years old.
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(casually)
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I read the clocks. They bear out Hasslein's
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hypothesis. We've been away from Earth for
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two thousand years, give or take a decade.
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(pause)
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Still can't accept it, huh?
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|
|
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.
|
|
|
|
194 ANOTHER ANGLE - THE OFFICE - FAVORING ZAIUS
|
|
|
|
During the ensuing exchange, Zaius wanders idly through the office. He
|
|
glances at the scattered handwritten notes, but does not read them.
|
|
Meanwhile a rattled Zira replies to Maximus.
|
|
|
|
ZIRA
|
|
Yes, Sir. But this -- creature
|
|
is a special case.
|
|
|
|
MAXIMUS
|
|
Why special?
|
|
|
|
ZIRA
|
|
We're -- conducting a new experiment.
|
|
|
|
ZAIUS
|
|
Wouldn't it more properly be done in
|
|
your office?
|
|
|
|
ZIRA
|
|
Yes, Sir.
|
|
|
|
MAXIMUS
|
|
(calling)
|
|
Guards?
|
|
|
|
The gorilla GUARDS enter from outside.
|
|
|
|
MAXIMUS
|
|
Return this beast to the compound.
|
|
|
|
195 ANOTHER ANGLE - FAVORING TAYLOR
|
|
|
|
He regards the apes with hostility as they cross to him. One picks up
|
|
his leash. Over THE SHOT we hear:
|
|
|
|
ZAIUS' VOICE
|
|
(o.s.)
|
|
What's this?
|
|
|
|
196 REVERSE ANGLE - FEATURING ZAIUS
|
|
|
|
Zira stiffens, looking at Zaius. He is holding the paper plane
|
|
fashioned by Taylor.
|
|
|
|
ZIRA
|
|
A toy. It floats on the air.
|
|
(faint defiance)
|
|
Try it.
|
|
|
|
CORNELIUS
|
|
(a warning)
|
|
Zira....
|
|
|
|
Zaius looks down at the paper plane in his hand, then back to Zira. He
|
|
smiles tolerantly.
|
|
|
|
ZAIUS
|
|
Nonsense.
|
|
|
|
He crumples the paper plane into a b all., drops it on the desk. The
|
|
ape hooks the leash to Taylor's collar, starts leading him out. Zira
|
|
follows them.
|
|
|
|
DISSOLVE TO:
|
|
|
|
197 INT. CAGES - ANIMAL COMPOUND - FULL SHOT - DAY
|
|
|
|
The caged primitives are asleep. Julius, the keeper, dozes in a chair
|
|
outside Taylor's cage. CAMERA PIVOTS MOVING IN ON Taylor, who is lying
|
|
on his side, also asleep. Nova is curled up behind him. At the sound of
|
|
a door opening, she comes instantly awake, sitting up and clutching
|
|
Taylor's arm. He comes groggily awake, raising his head in time to
|
|
hear:
|
|
|
|
JULIUS' VOICE
|
|
(o.s.)
|
|
What's up, Lieutenant?
|
|
|
|
198 REVERSE ANGLE - WHAT TAYLOR SEES:
|
|
|
|
TWO GORILLA OFFICERS have just entered the compound. They wear side
|
|
arms. Julius has just risen from his chair.
|
|
|
|
APE LIEUTENANT
|
|
We're taking Number Four over to surgery
|
|
in five minutes. Have him ready.
|
|
|
|
JULIUS
|
|
How come? The beast's throat is nearly
|
|
healed.
|
|
|
|
LIEUTENANT
|
|
(snickering)
|
|
It's not his throat this time. The vet's
|
|
going to geld him.
|
|
|
|
199 CLOSEUP - TAYLOR
|
|
|
|
He stiffens but does not move. The apes, of course, speak freely in
|
|
front of him, believing the animal cannot understand.
|
|
|
|
JULIUS' VOICE
|
|
(o.s.)
|
|
Dr. Zira won't like it. She wants this
|
|
pair to mate.
|
|
|
|
200 BACK TO THE APES - FROM TAYLOR'S P.O.V.
|
|
|
|
As the Lieutenant replies:
|
|
|
|
LIEUTENANT
|
|
These orders came from Dr. Zaius himself.
|
|
There's nothing she can do about it.
|
|
|
|
The two gorillas exit. The guard crosses to a wall peg for a collar and
|
|
'Leash.
|
|
|
|
201 CLOSE TWO SHOT - TAYLOR AND NOVA
|
|
|
|
Pushing Nova aside, Taylor rises.
|
|
|
|
202 MED. SHOT - THE CAGE
|
|
|
|
As Julius unlocks the door and cautiously approaches Taylor, carrying
|
|
the collar and leash.
|
|
|
|
JULIUS
|
|
(murmuring)
|
|
If only you knew, Bright Eyes, what
|
|
they're going to do ...
|
|
(raising collar)
|
|
Stand still now...don't give me any
|
|
trouble.
|
|
|
|
The heel of Taylor's right palm crashes into the keeper's, chin, nearly
|
|
snapping his neck. Julius falls unconscious. Taylor leans over him,
|
|
taking his night stick and a set of keys on his belt.
|
|
|
|
203 REVERSE ANGLE - TO INCLUDE NOVA AND MALE IN ADJACENT CAGE
|
|
|
|
The male has awakened. He stares stupidly at Taylor. Nova is
|
|
whimpering, little strange cries of fear. Taylor moves o.s.
|
|
|
|
204 ANOTHER ANGLE - PANNING WITH TAYLOR
|
|
|
|
He leaves the cage, moves swiftly to the nearby door and exits.
|
|
|
|
205 INT. A DARK CORRIDOR - FULL SHOT - DAY
|
|
|
|
Barefoot, Taylor silently pads down the corridor to a locked door.
|
|
|
|
206 CLOSE ON A DOOR
|
|
|
|
Which is visible because of a beam of sunlight from the half-open door
|
|
of a guard room. We HEAR a murmur of ape voices and LAUGHTER. Taylor
|
|
fumbles with the keys, finds one that fits the lock and opens the door.
|
|
|
|
207 EXT. ANIMAL COMPOUND - MED. SHOT - TAYLOR - DAY
|
|
|
|
He emerges, quietly locking the door behind him. Two tethered horses
|
|
can be seen in deep b.g., and another gust of LAUGHTER can be heard
|
|
from the nearby guard room. Taylor looks off.
|
|
|
|
208 LONG SHOT - WHAT TAYLOR SEES:
|
|
|
|
As already established, the animal compound is situated on the
|
|
outskirts of the apes' community. The strange skyline of the town can
|
|
be seen in the distance.
|
|
|
|
209 PANNING WITH TAYLOR
|
|
|
|
He starts to cross an open field outside the compound. At that moment
|
|
we HEAR a shrill police WHISTLE from the guard room. Taylor breaks into
|
|
a run.
|
|
|
|
210 REVERSE ANGLE - THE COMPOUND
|
|
|
|
As the two gorilla officers emerge from the building and run toward
|
|
their horses.
|
|
|
|
211 EXT. A DIRT ROAD - LONG SHOT - TAYLOR
|
|
|
|
He runs down the road, starts across the long causeway that bisects a
|
|
small lake, looking over his shoulder.
|
|
|
|
QUICK DISSOLVE TO:
|
|
|
|
212 EXT. APETOWN - LONG ESTABLISHING SHOT - DAY
|
|
|
|
The community we sue at the end of the causeway is small and arcane.
|
|
There are no power lines, no street lamps -- indeed, no streets as
|
|
such, but only a small cluster of buildings around a pleasant mall. The
|
|
architecture of the buildings is faintly derivative of the simpler and
|
|
less rococo work of Antonio Gaudi -- columns and pillars of brick or
|
|
exterior masonry look like the trunks and branches of great trees and
|
|
suggest an arboreal past.
|
|
|
|
A small number of apes are visible on the mall:
|
|
|
|
Taylor darts behind the buttress of a building, casing the situation.
|
|
He looks back at:
|
|
|
|
213 EXT. LAKE AND CAUSEWAY - LONG SHOT - MORNING
|
|
|
|
The two mounted gorilla-police can be seen on the causeway, galloping
|
|
straight toward CAMERA. It is evident they will soon spot Taylor.
|
|
|
|
214 BACK TO TAYLOR - CLOSE SHOT
|
|
|
|
He retreats from the buttress to a dark archway and vanishes inside the
|
|
building.
|
|
|
|
215 INT. A DARK VESTIBULE - MOVING WITH TAYLOR
|
|
|
|
The vestibule is nothing, no set required, a dark space through which
|
|
Taylor moves toward a shaft of light. We HEAR faintly the discordant
|
|
chords of an organ. Or is it an organ? At any rate,a strange and
|
|
melancholy tune. Taylor arrives at a font.
|
|
|
|
216 INT. A TEMPLE - PANNING WITH TAYLOR
|
|
|
|
He appears out of darkness into half-light. The rear of the temple is
|
|
obscure. Taylor darts behind a screen. Crouching there, he observes:
|
|
|
|
217 A FUNERAL CEREMONY IN THE TEMPLE - MED. LONG SHOT
|
|
|
|
The temple itself is small and austere. There is no altar, but against
|
|
a plain backdrop we see a statue of the Lawgiver, a Great Ape holding a
|
|
book. Below the Lawgiver is an ORANGUTAN MINISTER clothed in black
|
|
robes. He stands in front of a closed coffin. A dozen mourners, seated
|
|
on comfortable wicker chairs, form a semi-circle around the coffin. The
|
|
ape ladies wear cowls.
|
|
|
|
MINISTER
|
|
Weep if you must, but make an end of
|
|
sorrow. He lives again. Yes, he has
|
|
found peace in Heaven.
|
|
|
|
218 CLOSEUP - TAYLOR
|
|
|
|
Crouching, listening, wide-eyed.
|
|
|
|
MINISTER'S VOICE
|
|
(o.s.)
|
|
He was a model for us all, a gorilla to
|
|
remember; hunter, warrior, defender of
|
|
the Faith.
|
|
|
|
219 BACK TO FUNERAL CEREMONY - FROM TAYLOR'S P.O.V.
|
|
|
|
As the minister continues his eulogy, a small ape boy detaches himself
|
|
(as children will) from the group of mourners and comes marching up the
|
|
aisle toward the rear of the temple.
|
|
|
|
MINISTER
|
|
Cherished husband, beloved father,
|
|
generous master -- yes, he was a font
|
|
of simian kindness.
|
|
|
|
220 REVERSE ANGLE - SHOOTING AT TAYLOR
|
|
|
|
Who is still crouching behind the screen in deep b.g. The small fry is
|
|
coming closer. Over this we hear:
|
|
|
|
MINISTER'S VOICE
|
|
(o.s.)
|
|
The dear departed once said to me:
|
|
'I never met an ape I didn't like'...
|
|
|
|
The small fry spots Taylor.
|
|
|
|
CHILD
|
|
(shrill soprano)
|
|
Look!. It's a man!
|
|
|
|
The mourners' heads turn. Taylor slinks toward the vestibule.
|
|
|
|
221 ANOTHER ANGLE - FEATURING THE MINISTER
|
|
|
|
He is aghast.
|
|
|
|
MINISTER
|
|
In Heaven's name ...
|
|
(aside to ushers)
|
|
Get rid of that creature.
|
|
|
|
Two ushers rise, moving past CAMERA and o.s.
|
|
|
|
222 EXT. TEMPLE - CLOSE ON VESTIBULE DOOR
|
|
|
|
Staying close on the temple wall, Taylor moves stealthily away from the
|
|
vestibule door. The two ape ushers appear.
|
|
|
|
FIRST USHER
|
|
(pointing)
|
|
There he is:
|
|
|
|
They move toward Taylor.
|
|
|
|
223 FLASH SHOT - TAYLOR
|
|
|
|
He runs out onto the mall.
|
|
|
|
224 FULL SHOT - THE MALL
|
|
|
|
Taylor belatedly sees that he is running straight toward his two
|
|
mounted pursuers. Darting off in another direction, he races past
|
|
startled pedestrians.
|
|
|
|
225 REACTION SHOT - TWO CHIMP PEDESTRIANS
|
|
|
|
They do a slow take.
|
|
|
|
FIRST CHIMP
|
|
You see what I saw?
|
|
|
|
SECOND CHIMP
|
|
Must've escaped from the zoo.
|
|
|
|
226 MED. SHOT - A MOUNTED COP
|
|
|
|
He has spotted Taylor. Drawing a folded net from his saddlebag, he
|
|
swings it overhead (like a cowboy with a lariat) and gallops off in
|
|
pursuit of the man.
|
|
|
|
227- SEVERAL SHOTS - TAYLOR AND PURSUING MOUNTIE
|
|
231
|
|
|
|
Taylor runs frantically from building to building, rounding corners,
|
|
vanishing momentarily and reappearing on another part of the mall. At
|
|
one point the mountie nearly overtakes him and flings his net, which
|
|
falls short. Taylor runs on.
|
|
|
|
232 EXT. AN AMPHITHEATER - LOW ANGLE SHOT (FROM GROUND LEVEL)
|
|
|
|
It is an open-air structure, like a Greek theater, located near the
|
|
central mail. Steeply tiered, it seats no more than fifty apes. The
|
|
dais in the pit is some fifteen feet above ground level.
|
|
|
|
Taylor enters scene, running toward the amphitheater. Changing
|
|
direction, he darts into what appears to be an access tunnel. A moment
|
|
later the pursuing cop rides into' scene, dismounts and walks toward
|
|
the amphitheater, looking around for Taylor.
|
|
|
|
233 EXT. AMPHITHEATER - HIGH ANGLE SHOT (FROM TOPMOST TIER)
|
|
|
|
Taylor suddenly emerges from the access tunnel and runs up a ramp
|
|
encircling the amphitheater. (A retaining wall shields him from the
|
|
view of the apes.) Pausing for breath at the top of the ramp, Taylor
|
|
crouches behind the uppermost tier of seats and peers down:
|
|
|
|
THE AMPHITHEATER - FROM TAYLOR'S P.O.V.
|
|
|
|
The cop looks around, spots Taylor at the top tier, and starts up after
|
|
him.
|
|
|
|
235- OUT
|
|
237
|
|
|
|
238 EXT. TOP OF AMPHITHEATER - PANNING WITH TAYLOR
|
|
|
|
He starts to run back down the ramp, but is suddenly confronted by his
|
|
original pursuer (the dismounted cop coming up the ramp. Reversing
|
|
direction, Taylor runs around the rim of the amphitheater and vanishes
|
|
into an exit tunnel. The cop blows his whistle, summoning another cop,
|
|
who joins him in the chase.
|
|
|
|
239- ANOTHER PART OF THE MALL - A SWIFT SEQUENCE OF SHOTS
|
|
244
|
|
|
|
In which we see the fugitive, his pursuers and the reactions of ape
|
|
shoppers and workers.
|
|
|
|
245- EXT. OPEN-AIR MARKET - SEVERAL SHOTS
|
|
248
|
|
|
|
A market has been set up on one side of the mall, where street vendors
|
|
behind carts or tables hawk their wares: fruits, vegetables, wearing
|
|
apparel, etc. As Taylor runs frantically through the market place,
|
|
several apes join the chase. In the ensuing pandemonium, like the
|
|
proverbial Chinese fire drill, several tables are overturned.
|
|
|
|
249 EXT. A BUILDING - CLOSE ON AN ARCHWAY
|
|
|
|
Taylor runs into scene, pauses, panting, and looks back at his
|
|
pursuers. Then he darts through the archway into the building.
|
|
|
|
250 INT. BUILDING - TRACKING WITH TAYLOR - DAY
|
|
|
|
For the moment he is the sole visitor in this wing. His pace slows to a
|
|
walk as he and we observe fleetingly the specimens in what is a simian
|
|
museum: Possibly several stuffed and unfamiliar animals; primitive
|
|
artifacts and fossils; possibly the skeleton of a dog, a cat, etc. Over
|
|
this we hear a shrill police WHISTLE.
|
|
|
|
251 FLASH SHOT - TAYLOR
|
|
|
|
He runs again.
|
|
|
|
252 MED. SHOT - AN APE MOTHER AND CHILD
|
|
|
|
Looking at the stuffed animals as Taylor races past. The mother gives a
|
|
startled SCREAM.
|
|
|
|
253 REACTION SHOT - A MUSEUM GUARD
|
|
|
|
He starts after the fugitive.
|
|
|
|
254 ANOTHER PART OF THE MUSEUM - FEATURING TAYLOR
|
|
|
|
He runs past displays of other stuffed animals toward CAMERA and halts
|
|
abruptly in close f.g., shocked by:
|
|
|
|
255 WHAT HE SEES: DODGE
|
|
|
|
stuffed and mounted, Dodge bares his teeth at the world.
|
|
|
|
256 CLOSEUP - TAYLOR
|
|
|
|
Reacting in horror. He hears another police WHISTLE and the echoing
|
|
FOOTSTEPS of approaching guards, which mufffle his strangled gasp:
|
|
|
|
TAYLOR
|
|
Dodge ...
|
|
|
|
Taylor vanishes in a BLUR of movement.
|
|
|
|
CUT TO:
|
|
|
|
257 EXT. THE MALL - APETOWN - FULL SHOT FROM ON HIGH - DAY
|
|
|
|
Order has been restored in the open-air market. Taylor bursts suddenly
|
|
into view from a building on the far side of the mall, running in panic
|
|
from ape guards in close pursuit. A mounted policeman spots him and
|
|
heads him off. Changing direction, Taylor is intercepted by another
|
|
mounted Gorilla. And then a third.
|
|
|
|
CAMERA HOLDS, ANGLING DOWN on the center of the mall. We are witnessing
|
|
a hideous game: "baiting the man." The mounted police do not shoot or
|
|
club Taylor, for he cannot escape -- but they circle him, their long
|
|
whips CRACKING over his head.
|
|
|
|
258 CLOSER ANGLE - THE CIRCLE AROUND TAYLOR - FAVORING A MOUNTIE
|
|
|
|
who unfolds his net, swings it overhead and flings it at Taylor. This
|
|
time he bags his quarry. Taylor gives up. Spent, docile, entangled in
|
|
the net, he stands stock-still in the center of the mall. Guards and
|
|
civillians on foot join the circle around the man at bay. They regard
|
|
him warily.
|
|
|
|
259 CLOSE SHOT - DR. ZIRA
|
|
|
|
She pushes through the simian crowd around Taylor and hurries to his
|
|
side.
|
|
|
|
260 CLOSE TWO SHOT - TAYLOR AND ZIRA
|
|
|
|
She paws at the net, crying impulsively:
|
|
|
|
ZIRA
|
|
Taylor, why'd you run away?
|
|
|
|
Zira removes the net from his face. Panting with exhaustion, Taylor
|
|
flicks a wild glance at her. He looks demented.
|
|
|
|
261 WIDER ANGLE - TO INCLUDE TWO GORILLA OFFICERS
|
|
|
|
who approach Taylor and Zira. (They are the same gorillas introduced in
|
|
Scene 198.) One of them carries a collar and leash. The other presents
|
|
an I.D. card to Zira.
|
|
|
|
LIEUTENANT
|
|
Security police.
|
|
|
|
ZIRA
|
|
(promptly)
|
|
I'm in charge of this man.
|
|
|
|
LIEUTENANT
|
|
No longer, madame. He is now in the
|
|
custody of the Ministry of Science.
|
|
|
|
His colleague moves toward Taylor with a muzzle.
|
|
|
|
262 CLOSE SHOT - FEATURING TAYLOR
|
|
|
|
He speaks at last, his voice hoarse but audible.
|
|
|
|
TAYLOR
|
|
Get away from me, you dirty ape!
|
|
|
|
263 FULL SHOT - THE SIMIANS AROUND TAYLOR
|
|
|
|
The arresting officer steps back involuntarily. All the apes freeze,
|
|
staring at the speaking animal with mute astonishment as we:
|
|
|
|
FADE OUT
|
|
|
|
FADE IN
|
|
|
|
264 INT. CAGES - CLOSE SHOT - TAYLOR AND NOVA - DAY
|
|
|
|
The compound is dimly lit. Taylor, the bandage now gone from his
|
|
throat, is back in his old cage. The other cages, however, are empty --
|
|
their occupants presumably having been moved to the surgery or the zoo.
|
|
He is seated on a pile of straw in the rear corner, Nova's head cradled
|
|
on his lap. Idly he strokes her coarse hair. There is a dull glow of
|
|
madness in his eyes, and his manner is one of abstract soliloquy, like
|
|
a man talking to a dog.
|
|
|
|
TAYLOR
|
|
...and that's when I decided to take
|
|
up astronautical engineering., you see. I
|
|
was halfway through college and I...
|
|
(he breaks off)
|
|
It's an old trick! The silent treatment.
|
|
Four weeks and three days, and not a word
|
|
from anyone. Not Zira.,or Cornelius...or
|
|
that damn Julius. No one'll listen...
|
|
only you. You...Nova. NO-VAH.
|
|
|
|
His manner is now more direct, and educative., but she stares in blank
|
|
comprehension. She brushes his moving lips with her fingers. He shrugs
|
|
wryly.
|
|
|
|
TAYLOR
|
|
Yeah...me Tarzan, you Jane. That's all
|
|
right ... I had a puppy once that never
|
|
barked. He just licked my hand.
|
|
(pause)
|
|
He's dead now. They're all dead. Everything...
|
|
I think maybe they'll kill me, too. Are they
|
|
afraid of me? I can't hurt them... but I
|
|
threaten them somehow. Threaten their faith
|
|
in simian superiority. Yeah ... you're right.
|
|
They'll have to kill me.
|
|
|
|
Faint footsteps are heard o.s. Taylor and Nova look in the direction of
|
|
the sound. A sudden stream of water shoots through the bars and strikes
|
|
Taylor in the chest.
|
|
|
|
265 WIDER ANGLE - WHAT THEY SEE:
|
|
|
|
An ape GUARD has a high pressure hose trained on Taylor. It forces him
|
|
back toward the rear of the cage. Julius, whip in hand, unlocks the
|
|
cage, steps inside. He unlimbers the whip., cracks it-'in Nova's
|
|
direction. She recoils. The jet of water hold Taylor at bay. Julius
|
|
grabs Nova, begins to pull her toward the door of the cage. Taylor
|
|
tries to fight his way through the water toward Julius.
|
|
|
|
TAYLOR
|
|
Let her alone!
|
|
|
|
Julius swings the whip. It cracks against Taylor's legs, biting into
|
|
the skin. Taylor stumbles, falls to one knee
|
|
|
|
TAYLOR
|
|
Where are you taking her? What are you
|
|
going to do?
|
|
|
|
Julius drags and pushes the girl through the door, slamming and locking
|
|
it behind him. Taylor, fights through the stream of water, flings
|
|
himself against the bars.
|
|
|
|
TAYLOR
|
|
(raging)
|
|
Take your hands off her, you black
|
|
monster! You filth!
|
|
|
|
Julius shoves Nova across the aisle to a cage opposite Taylor's, locks
|
|
her inside.
|
|
|
|
TAYLOR
|
|
Why are you doing this? Say something,
|
|
you hairy scum!
|
|
|
|
Julius gestures toward the ape guard
|
|
|
|
JULIUS
|
|
Turn it off!
|
|
|
|
The ape guard shuts off the hose.
|
|
|
|
TAYLOR
|
|
Answer me!
|
|
|
|
Julius strides over to Taylor's cage.
|
|
|
|
JULIUS
|
|
(fiercely)
|
|
Shut up! The reason no one'll talk to
|
|
you is because you're a freak!
|
|
|
|
TAYLOR
|
|
Where's Dr. Zira? Why--?
|
|
|
|
JULIUS
|
|
I said shut up!
|
|
|
|
He slashes viciously with his whip handle against Taylor's fingers.
|
|
Taylor yells in pain. Julius and the ape guard start out of the
|
|
compound.
|
|
|
|
TAYLOR
|
|
(wildly)
|
|
Ape! Apes wearing clothes!
|
|
It's a madhouse! A madhouse!
|
|
|
|
He sinks to the floor as the apes go out.
|
|
|
|
266 OUT
|
|
|
|
267 FULL SHOT - CAGE
|
|
|
|
Taylor looks desolately through the bars across to Nova's cage. She
|
|
eyes him sadly.
|
|
|
|
TAYLOR
|
|
(gently)
|
|
Now I don't even have you.
|
|
(pause)
|
|
Imagine me -- needing someone. Back on
|
|
Earth there was nobody. Women, yes.
|
|
Lots of them. Love making ithout love.
|
|
That's the kind of world it was turning
|
|
into, with the help of cynics like myself.
|
|
So I left it -- because there was no one
|
|
dear enough to keep me there.
|
|
(pause)
|
|
Did I tell you about Stewart?
|
|
(Looking away)
|
|
There was a lovely girl. The most precious
|
|
cargo we brought along. If human life could
|
|
survive here, she was to be the new Eve.
|
|
(morosely)
|
|
It's probably just as well she didn't live
|
|
to see this.
|
|
|
|
He looks at Nova. She stretches her hands through the bars toward him.
|
|
|
|
TAYLOR
|
|
I wonder if it's Love between us.
|
|
(looks around,
|
|
smiles ironically)
|
|
What a place to find it.
|
|
|
|
C-267 FULL SHOT - THE CAGE
|
|
|
|
Two gorilla officers enter, carrying torches. (These are the same apes
|
|
introduced in Scene 198.) One carries a double set of manacles. Julius
|
|
comes to meet them. The Lieutenant takes the two sets of manacles from
|
|
the other officer, hands them to Julius, whispers something. Julius
|
|
comes over and unlocks the door of Taylor's cage. He advances to
|
|
Taylor, who does not move, bends down and clamps the manacles around
|
|
each of his ankles. Then he straightens, lifts Taylor's arms, pulls his
|
|
wrists together, snaps on the cuffs.
|
|
|
|
D-267 WIDER ANGLE - THE CAGE
|
|
|
|
Taylor looks across at Nova, blows her a kiss. Julius leads him out of
|
|
the cage, takes his leash from a snaps it onto Taylor's collar, hands
|
|
the other end to the Lieutenant. Nova and Julius watch in silence as
|
|
Taylor is led down the aisle and out the door.
|
|
|
|
268- OUT
|
|
272
|
|
|
|
DISSOLVE TO:
|
|
|
|
273 INT. INQUIRY ROOM - ESTABLISHING SHOT - DAY
|
|
|
|
Taylor, wearing his manacles, is seated at a table in the otherwise
|
|
deserted chamber. There is an empty chair on either side of him. Across
|
|
the room stands a dais with three rude, high-backed chairs. There is a
|
|
small table directly below the dais. A third table stands at right
|
|
angles to the dais. Taylor looks around the empty room. A door is
|
|
opened by a gorilla BAILIFF, and Zira and Cornelius come into the room,
|
|
sit down on each side of Taylor. A moment later, DR.HONORIUS, the
|
|
Prosecutor and a CLERK enter, take their seats at the third table.
|
|
|
|
TAYLOR
|
|
(softly)
|
|
Where have you been? Why didn't you come
|
|
to see me?
|
|
|
|
ZIRA
|
|
Shhhh!
|
|
|
|
TAYLOR
|
|
What is this?
|
|
|
|
ZIRA
|
|
A hearing.
|
|
|
|
CORNELIUS
|
|
(hissing)
|
|
Be clever. Be quiet,
|
|
|
|
BAILIFF
|
|
All rise!
|
|
|
|
Everyone gets up as THE PRESIDENT, Dr. Zaius and Dr. Maximus enter and
|
|
mount the dais. The President takes the center chair; the other two
|
|
flanking him.
|
|
|
|
BAILIFF
|
|
Be seated.
|
|
|
|
All sit down.
|
|
|
|
PRESIDENT
|
|
(pounds gavel once)
|
|
This ad hoc Tribunal of the National
|
|
Academy is now in session. President of
|
|
the Academy presiding. On my right, Dr.
|
|
Maximus, Commissioner for Animal Affairs.
|
|
On my left, Dr. Zaius, Minister of Science
|
|
and Chief Defender of the Faith...
|
|
(glancing at Prosecutor)
|
|
Appearing for the State, Dr. Honorius,
|
|
Deputy Minister of Justice.
|
|
|
|
Honorius rises and bows.
|
|
|
|
PRESIDENT
|
|
(raps gavel once)
|
|
Let it be clear at the outset that all
|
|
matters pertaining to this inquiry are
|
|
confidential, and anyone discussing them
|
|
outside this chamber will be held in
|
|
contempt of the Tribunal.
|
|
(a beat)
|
|
You may proceed, Dr. Honorius.
|
|
|
|
ZIRA
|
|
(rising)
|
|
By your leave, Mr. President -- the
|
|
Tribunal has not yet defined the purpose
|
|
of this inquiry.
|
|
|
|
The President appears to be taken aback. He glances at his colleagues.
|
|
|
|
MAXIMUS
|
|
You asked for the opportunity to present
|
|
your case. Surely you must know why you're
|
|
here.
|
|
|
|
ZIRA
|
|
My own purpose is to save this exceptional
|
|
creature from mutilation.
|
|
|
|
MAXIMUS
|
|
(promptly)
|
|
And our purpose is to settle custodial and
|
|
jurisdictional questions concerning this
|
|
beast, and determine what's to be done with
|
|
him.
|
|
|
|
ZIRA
|
|
At the very least, this man has the right
|
|
to know whether there's a charge against
|
|
him.
|
|
|
|
HONORIUS
|
|
(rising)
|
|
Objection. The accused is indeed a man.
|
|
Therefore, he has no rights under ape law.
|
|
|
|
PRESIDENT
|
|
Well, Dr. Zira? This is a man, is he not?
|
|
|
|
274 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE
|
|
|
|
Sensing that the President has given them an opening, Zira smiles
|
|
confidently.
|
|
|
|
ZIRA
|
|
He is unlike any man you have ever seen -
|
|
as we hope to prove.
|
|
|
|
PRESIDENT'S VOICE
|
|
(o.s.)
|
|
Answer the question. Is he a man?
|
|
|
|
CORNELIUS
|
|
(tentatively)
|
|
Sir? The question is the point at issue:
|
|
Is he a man? Or a deviate? Or a freak of
|
|
nature?
|
|
|
|
HONORIUS' VOICE
|
|
(o.s.)
|
|
Objection!
|
|
|
|
275 FULL SHOT - THE INQUIRY ROOM
|
|
|
|
As the Prosecutor continues:
|
|
|
|
PRESIDENT
|
|
Sustained. In all fairness, Dr. Zira,
|
|
you must admit the accused is a nonape,
|
|
and therefore has no rights under ape law.
|
|
|
|
ZIRA
|
|
(rising)
|
|
Then why is he called the accused Your
|
|
Honors must think him guilty of something.
|
|
|
|
Honorius seems confounded. Zaius takes over.
|
|
|
|
ZAIUS
|
|
This man is not being tried. He is being
|
|
disposed of.
|
|
(pointing at
|
|
Zira and Cornelius)
|
|
It is scientific heresy that is actually
|
|
on trial here.
|
|
|
|
MAXIMUS
|
|
Well put, Dr. Zaius. Let us warn
|
|
our friends that they endanger their
|
|
own careers by defending this animal.
|
|
|
|
276 CLOSE SHOT - THE DEFENSE
|
|
|
|
Both Cornelius and Zira appear shaken by this threat. Sensing their
|
|
predicament, Taylor rises impatiently.
|
|
|
|
TAYLOR
|
|
Then I'll defend myself.
|
|
|
|
277 FULL SHOT - THE INQUIRY ROOM
|
|
|
|
Although the judges and Prosecutor have been told that this man can
|
|
speak, they react in stunned silence to the first sound of his voice.
|
|
Flustered, the President bangs his gavel.
|
|
|
|
PRESIDENT
|
|
Dr. Zira -- tell Bright Eyes to
|
|
sit down.
|
|
|
|
TAYLOR
|
|
My name is Taylor.
|
|
|
|
The President refuses to address Taylor directly. Checking a document,
|
|
he speaks to Zira.
|
|
|
|
PRESIDENT
|
|
It says here that his name is Bright
|
|
Eyes. You gave him that name yourself.
|
|
|
|
TAYLOR
|
|
(voice rising)
|
|
This hearing is absurd! Let me tell
|
|
my story...
|
|
|
|
PRESIDENT
|
|
(pounds gavel)
|
|
Bailiff! Make the animal be quiet.
|
|
|
|
The Bailiff quickly crosses to Taylor and shoves him roughly into his
|
|
chair.
|
|
|
|
PRESIDENT
|
|
State your case, Mr. Prosecutor.
|
|
|
|
HONORIUS
|
|
Learned Judges: My case is simple. It is
|
|
based on our first Article of Faith: that
|
|
the Almighty created the ape in his own
|
|
image; that He gave him a soul and a mind;
|
|
that He set him apart from the beasts of
|
|
the jungle, and made him the lord of the
|
|
planet.
|
|
|
|
278 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE
|
|
|
|
Taylor has begun to write something on a sheet of paper. Zira and
|
|
Cornelius remain attentive to:
|
|
|
|
HONORIUS' VOICE
|
|
(o.s.)
|
|
These sacred truths are self-evident. The
|
|
proper study of apes is apes. But certain
|
|
young cynics have chosen to study man -
|
|
yes, perverted scientists who advance on
|
|
insidious theory called 'evolution.'
|
|
|
|
279 FULL SHOT - THE INQUIRY ROOM
|
|
|
|
As the Prosecutor continues:
|
|
|
|
HONORIUS
|
|
There is a conspiracy afoot to undermine
|
|
the very cornerstone of our Faith
|
|
|
|
PRESIDENT
|
|
Come to the point, Dr. Honorius.
|
|
|
|
HONORIUS
|
|
Directly, Mr. President. This wretched man,
|
|
the accused, is only a pawn in the conspiracy.
|
|
We know that he was wounded in the throat at
|
|
the time of his capture. The State charges
|
|
that Dr. Zira and a corrupt surgeon named
|
|
Galen experimented on this wounded animal,
|
|
tampering with his brain and throat tissues
|
|
to create a speaking monster ...
|
|
|
|
ZIRA
|
|
(on her feet)
|
|
That�s a lie!
|
|
|
|
PRESIDENT
|
|
(pounding gavel)
|
|
Mind your tongue, madame.
|
|
|
|
ZIRA
|
|
Did we create his mind too? Not only
|
|
can this man speak. He can write. He can
|
|
reason.
|
|
|
|
HONORIUS
|
|
He can reason? With the Tribunal's permission,
|
|
let me expose this hoax by direct examination.
|
|
|
|
PRESIDENT
|
|
Proceed. But don't turn this hearing into a
|
|
farce.
|
|
|
|
Honorius crosses to the defendant's table and favors Taylor with an
|
|
evil smile.
|
|
|
|
HONORIUS
|
|
Tell the court, Bright Eyes -- what is
|
|
the second Article of Faith?
|
|
|
|
TAYLOR
|
|
I admit, I know nothing of your culture.
|
|
|
|
HONORIUS
|
|
Of course he doesn't know our culture -
|
|
because he cannot think.
|
|
(to Taylor)
|
|
Tell us why all apes are created equal.
|
|
|
|
TAYLOR
|
|
Some apes, it seems, are more equal than
|
|
others.
|
|
|
|
HONORIUS
|
|
Ridiculous. That answer is a contradiction
|
|
in terms. Tell us, Bright Eyes, why do men
|
|
have no souls? What is the proof that a
|
|
divine spark exists in the simian brain?
|
|
|
|
TAYLOR
|
|
(hands paper to Zira)
|
|
Show this to the President.
|
|
|
|
Zira moves toward the dais. Honorius returns to his own table.
|
|
|
|
ZIRA
|
|
Since the defendant is forbidden to speak
|
|
in his own defense, he asks that this
|
|
statement be read into the record.
|
|
|
|
PRESIDENT
|
|
Read it yourself.
|
|
|
|
ZIRA
|
|
(reading aloud)
|
|
'I have come to you from a planet in a
|
|
different solar system. I am an explorer
|
|
in space, with no hostile intentions against
|
|
your civilization. On my planet it was the
|
|
primate Man who evolved Into a thinking
|
|
animal, while the apes remained..."
|
|
|
|
PRESIDENT
|
|
(rapping gavel)
|
|
Stop right there. Bring me that paper.
|
|
|
|
Zira crosses to the dais, handing the statement to the President. He
|
|
glances at it, laughs derisively and passes it to Zaius.
|
|
|
|
PRESIDENT
|
|
(to Zira)
|
|
This is a joke in very poor taste.
|
|
|
|
ZIRA
|
|
Is it a joke to seek the truth about
|
|
this man?
|
|
|
|
ZAIUS
|
|
(glancing at document)
|
|
Dr. Zira -- you state here that a ship
|
|
from outer space sank in an inland sea
|
|
of our eastern desert.
|
|
|
|
ZIRA
|
|
I do not state it, sir. The prisoner does.
|
|
|
|
ZAIUS
|
|
Do you believe him?
|
|
|
|
ZIRA
|
|
(uneasily)
|
|
Like you, I find it difficult.
|
|
|
|
ZAIUS
|
|
But how convenient that the proof of
|
|
his arrival has vanished?
|
|
(glancing again
|
|
at document)
|
|
You also state that Bright Eyes had two
|
|
intelligent companions at the time of
|
|
his capture.
|
|
|
|
ZIRA
|
|
This is his assertion.
|
|
|
|
ZAIUS
|
|
Where are they now?
|
|
|
|
TAYLOR
|
|
(blurting it out)
|
|
One is in a museum!
|
|
|
|
PRESIDENT
|
|
(pounding gavel)
|
|
Dr. Zira! Silence that man!
|
|
|
|
Returning to her table, Zira gestures to Taylor to remain silent.
|
|
|
|
ZAIUS
|
|
How sad. Stuffed and mounted, eh? Dead
|
|
men, like sunken ships, can tell no
|
|
stories. And his other companion?
|
|
|
|
ZIRA
|
|
He doesn't know.
|
|
|
|
ZAIUS
|
|
Mr. President, I believe the Prosecutor
|
|
has reassembled all he surviving humans
|
|
captured in the hunt along with Bright Eyes.
|
|
|
|
HONORIUS
|
|
That's true, Dr. Zaius. My witnesses --
|
|
correction -- my exhibits are on display in
|
|
the amphitheater.
|
|
|
|
PRESIDENT
|
|
Very well. I suggest we go and look at them.
|
|
|
|
The President rises, starts out, followed by the others. Taylor is
|
|
last, being led on a leash by the bailiff.
|
|
|
|
280 OUT
|
|
|
|
281 EXT. AMPHITHEATER - FULL SHOT - DAY
|
|
|
|
The inquiry group files through a door into the amphitheater. Two APES
|
|
stand guard over a number of leashed and nearly naked human beings in
|
|
the center of the pit below the dais. There are three primitive males,
|
|
the female Nova -- and Landon. He is dirty and bearded, but his hair is
|
|
cropped close.
|
|
|
|
282 CLOSE - TAYLOR
|
|
|
|
He turns to Zira, his eyes shining with vindication.
|
|
|
|
TAYLOR
|
|
(a whisper)
|
|
It's him...Landon.
|
|
|
|
ZIRA
|
|
Which one?
|
|
|
|
TAYLOR
|
|
Second from the left.
|
|
|
|
283 FULL SHOT - THE AMPHITHEATER
|
|
|
|
Zaius glances at the accused.
|
|
|
|
ZAIUS
|
|
Well...do you acknowledge kinship with
|
|
any of these creatures?
|
|
|
|
TAYLOR
|
|
With one of them.
|
|
|
|
ZAIUS
|
|
Identify him, then. Speak to him.
|
|
|
|
Taylor moves forward for a few paces, stops.
|
|
|
|
TAYLOR
|
|
Landon?
|
|
|
|
284 CLOSER SHOT - FEATURING LANDON - FROM TAYLOR'S P.O.V.
|
|
|
|
Landon looks catatonic. His face is in shadow
|
|
|
|
285 WIDER ANGLE - TO INCLUDE TAYLOR
|
|
|
|
Stunned by Landon's imbecility.
|
|
|
|
TAYLOR
|
|
John ... it's me, Taylor.
|
|
|
|
Taylor steps forward to grasp his arm. There is still no response.
|
|
Taylor takes Landon's head in his hands and looks at his face. There is
|
|
a fresh scar running from his forehead to the top of his cranium.
|
|
|
|
286 FULL SHOT - THE AMPHITHEATER
|
|
|
|
As Taylor whirls on Zira.
|
|
|
|
TAYLOR
|
|
You! ... You knew about this?
|
|
|
|
ZIRA
|
|
No, I swear -- I never saw this
|
|
man before.
|
|
|
|
TAYLOR
|
|
(whirling on Zaius)
|
|
You did this to him! You've removed his
|
|
frontal lobes!
|
|
|
|
PRESIDENT
|
|
Silence!
|
|
(turning)
|
|
Bailiff, take the prisoner inside!
|
|
|
|
The bailiff Jerks brutally on Taylor's leash, pulling him toward the
|
|
door leading under the amphitheater.
|
|
|
|
A-286 INT. INQUIRY ROOM - MED. SHOT - DAY
|
|
|
|
The bailiff enters, dragging Taylor behind him, shoves him into his
|
|
chair. Moments later the other apes enter the room. All take their
|
|
seats but Zaius. Taylor glares at him furiously.
|
|
|
|
ZAIUS
|
|
(calmly)
|
|
Mr. President, a word of explanation: the
|
|
creature in question suffered a skull
|
|
fracture during the hunt. Two fine
|
|
veternary surgeons under my direction
|
|
were able to save his life. But the beast
|
|
could not speak, of course. Nor will he
|
|
ever speak
|
|
|
|
Taylor leaps from his chair, livid with rage, approaches the dais.
|
|
|
|
TAYLOR
|
|
You destroyed his memory! His mind! His
|
|
identity! And, you want to do the same to
|
|
me!
|
|
|
|
PRESIDENT
|
|
(pounding gavel)
|
|
Bailiff! Stop this outburst! Gag that
|
|
monstrosity!
|
|
|
|
The bailiff and a husky guard seize Taylor, who continues shouting:
|
|
|
|
TAYLOR
|
|
You barbarians!
|
|
|
|
The powerful guard twists Taylor's arms behind his back and the bailiff
|
|
lashes his wrists together. Then the bailiff gags Taylor. His voice is
|
|
cut off as the bailiff ties the twisted kerchief around his open mouth.
|
|
The guard holds Taylor's leash during the rest of this scene.
|
|
|
|
Meanwhile, Cornelius has risen to his feet. His tone is firm, but
|
|
conciliatory.
|
|
|
|
CORNELIUS
|
|
May it please the Tribunal: I for one
|
|
grant that this being cannot have come
|
|
from another planet. But this much is
|
|
certain -- he comes from somewhere in the
|
|
Forbidden Zone. He has described the region
|
|
to us, and described it accurately, for I
|
|
have been there.
|
|
|
|
PRESIDENT
|
|
You visited the Forbidden Zone?
|
|
|
|
CORNELIUS
|
|
Why, yes, sir. A year ago. With the special
|
|
permission of the Academy.
|
|
|
|
ZAIUS
|
|
(to President)
|
|
He exceeded his orders. His travel permit
|
|
was promptly revoked.
|
|
|
|
CORNELIUS
|
|
Yes, sir, so it was -- thanks to you. But
|
|
not before I discovered evidence of a simian
|
|
culture that existed long before the Sacred
|
|
Scrolls were written ...
|
|
|
|
HONORIUS
|
|
Objection! These remarks are profane and irrelevant.
|
|
|
|
PRESIDENT
|
|
Sustained.
|
|
(to Cornelius)
|
|
Your archeological theories have no bearing
|
|
on the disposition of this creature.
|
|
|
|
ZAIUS
|
|
(softly)
|
|
Let them talk, Mr President. Let them talk.
|
|
|
|
ZIRA
|
|
(rising)
|
|
Sirs: our theories have a bearing on his
|
|
identity.
|
|
|
|
PRESIDENT
|
|
How so?
|
|
|
|
ZIRA
|
|
Let us assume, as common sense dictates,
|
|
that the prisoner's story is false. But if
|
|
he does not come from another planet, then
|
|
surely he sprang from our own. Yes, sprang.
|
|
(a beat)
|
|
As an animal psychologist, I have found no
|
|
physiological defect to explain why humans
|
|
are mute.
|
|
|
|
HONORIUS
|
|
Objection!
|
|
|
|
PRESIDENT
|
|
Sustained.
|
|
|
|
ZIRA
|
|
(plunging on)
|
|
Their speech organs are adequate. The flaw
|
|
lies not in anatomy but in the brain.
|
|
|
|
HONORIUS
|
|
Objection!
|
|
|
|
PRESIDENT
|
|
Sustained.
|
|
|
|
ZIRA
|
|
(voice rising)
|
|
Sustain all objections, but face the truth!
|
|
|
|
Cornelius has regained his courage. Rising to Zira's support, he points
|
|
at Taylor.
|
|
|
|
CORNELIUS
|
|
Yes! Behold this marvel, this living paradox,
|
|
this missing link in an evolutionary chain!
|
|
|
|
PRESIDENT
|
|
(pounding gavel)
|
|
Silence!
|
|
(Puffing with rage)
|
|
You have gone too far.
|
|
|
|
ZAIUS
|
|
(calmly)
|
|
There you are, Mr. President. I warned you
|
|
these two would use this hearing as a forum
|
|
for subversion.
|
|
|
|
MAXIMUS
|
|
You were right! The advocates of heresy have
|
|
revealed themselves.
|
|
|
|
ZAIUS
|
|
Mr. President, I think an indictment is
|
|
in order.
|
|
|
|
HONORIUS
|
|
(promptly)
|
|
Yes, sir. The State charges Doctors Zira
|
|
and Cornelius with contempt of this Tribunal,
|
|
malicious mischief and scientific heresy.
|
|
|
|
PRESIDENT
|
|
Be it so ordered. The Tribunal will examine
|
|
all the evidence presented here and in due
|
|
time render a verdict on the proposed
|
|
indictment and on the disposition of the
|
|
deviate in question.
|
|
(pounds gavel once)
|
|
This hearing is adjourned.
|
|
|
|
All rise. The guard drags Taylor from the inquiry room. Zira and
|
|
Cornelius stand there, stunned by the entrapment into which Zaius has
|
|
maneuvered them.
|
|
|
|
287-
|
|
289 OUT
|
|
|
|
DISSOLVE TO:
|
|
|
|
290 INT. A SMALL OFFICE - CLOSE ON DR. ZAIUS - NIGHT
|
|
|
|
The office is as unadorned and Spartan as that of Cornelius -- in
|
|
fact, with minor changes in decor, the same set can be used. There are
|
|
many thick leatherbound books on this scholar's desk. Zaius is reading
|
|
one of them and taking notes. He looks up as someone KNOCKS at the
|
|
door.
|
|
|
|
291 REVERSE ANGLE - SHOOTING PAST ZAIUS
|
|
|
|
The two agents push Taylor through the doorway.
|
|
|
|
ZAIUS
|
|
Wait outside.
|
|
|
|
The officers withdraw, closing the door. Collared, wrists manacled,
|
|
Taylor stands facing the desk.
|
|
|
|
ZAIUS
|
|
The verdict is in. At the moment your
|
|
simian friends -- and sponsors -- are
|
|
free on bail. But they'll soon be brought
|
|
to trial for heresy.
|
|
|
|
292 ANOTHER ANGLE - FAVORING ZAIUS
|
|
|
|
who falls silent, as if this were the only news of import. We note at
|
|
once a change In Zaius' tone and attitude. He no longer treats Taylor
|
|
like a freak animal, but addresses him as an imaginative adversary who
|
|
must be intimidated by the threat of terror.
|
|
|
|
TAYLOR
|
|
What about me?
|
|
|
|
ZAIUS
|
|
(offhandedly)
|
|
Oh, your case was preordained. In a way,
|
|
you performed a service for the State ...
|
|
(smiling)
|
|
Because your hearing made it possible
|
|
for us to expose Zira and Cornelius.
|
|
(a beat)
|
|
And now the Tribunal has placed you in
|
|
my custody for...final disposition. Do
|
|
you know what that means?
|
|
|
|
TAYLOR
|
|
No.
|
|
|
|
ZAIUS
|
|
Emasculation, to begin with. Then
|
|
experimental surgery. On the speech
|
|
centers. On the brain. Ultimately, a
|
|
kind of living death.
|
|
|
|
Taylor stiffens but says nothing. Zaius lets this prospect sink in,
|
|
then continues.
|
|
|
|
ZAIUS
|
|
However, it's within my power to grant
|
|
You a reprieve. That is why I summoned
|
|
you here tonight.
|
|
(a beat)
|
|
Tell me who and what you really are and
|
|
where you come from, and no veterinary
|
|
will touch you.
|
|
|
|
TAYLOR
|
|
I told the truth at that 'hearing'of yours.
|
|
|
|
ZAIUS
|
|
You lied. Where is your tribe?
|
|
|
|
TAYLOR
|
|
My tribe, as you call it, lives on another
|
|
planet in a distant solar system.
|
|
|
|
ZAIUS
|
|
Then how is it we speak the same language?
|
|
(suddenly intense)
|
|
Even in your lies, some truth slips
|
|
through! That mythical community you're
|
|
supposed to come from -- Fort Wayne'?
|
|
|
|
TAYLOR
|
|
What about it?
|
|
|
|
ZAIUS
|
|
A fort! Unconsciously, you chose a name
|
|
that was belligerent.
|
|
(more calmly)
|
|
Where were you nurtured?
|
|
|
|
TAYLOR
|
|
I take it you don't believe the prosecutor's
|
|
charge -- that I'm a monster created by
|
|
Dr. Zira.
|
|
|
|
ZAIUS
|
|
Certainly not. You're a mutant.
|
|
|
|
TAYLOR
|
|
That's exactly what Zira and Cornelius
|
|
claim. You're talking heresy, doctor.
|
|
|
|
ZAIUS
|
|
(smiling)
|
|
Of course.
|
|
|
|
TAYLOR
|
|
(growing bolder)
|
|
All right, suppose I am a mutant? Why
|
|
does the appearance of one mutant send
|
|
you into a panic?
|
|
|
|
ZAIUS
|
|
Because you're not unique. There was the
|
|
one you call Landon --
|
|
|
|
TAYLOR
|
|
Then you admit --
|
|
|
|
ZAIUS
|
|
I admit that where there's one mutant there's
|
|
probably another. And another. A nest of them.
|
|
Where's your nest, Taylor? Where are your women?
|
|
|
|
TAYLOR
|
|
(pause)
|
|
Thank you for calling me Taylor.
|
|
(more firmly)
|
|
Dr. Zaius, I know who I am. Who are you? How
|
|
did this upside down civilization ever get
|
|
started?
|
|
|
|
ZAIUS
|
|
(strangely calm)
|
|
You may well call it upside down, since you
|
|
occupy its lowest level. And deservedly.
|
|
(pause)
|
|
The eastern desert has never been explored --
|
|
because we've always assumed that no life can
|
|
exist there.
|
|
(a beat)
|
|
Save yourself, Taylor. Tell me -- is there
|
|
another jungle beyond the Forbidden Zone?
|
|
|
|
TAYLOR
|
|
I don't know.
|
|
|
|
ZAIUS
|
|
If you are protecting others of your kind,
|
|
it will cost you your identity.
|
|
|
|
TAYLOR
|
|
I'm not protecting anybody! That hearing
|
|
was a farce. What have I done?
|
|
|
|
ZAIUS
|
|
You're a menace! A walking pestilence. I
|
|
do know who you are, Taylor. As I know
|
|
that others of your kind must live in the
|
|
Forbidden Zone.
|
|
(decisively)
|
|
You have just six hours to make a full
|
|
confession. After that I'll employ surgery
|
|
to obtain one.
|
|
(calling off)
|
|
Guards!
|
|
|
|
The two burly security agents open the door and enter.
|
|
|
|
ZAIUS
|
|
Take this creature back to his cage.
|
|
|
|
The guards seize Taylor, start to shove him toward the doorway. He
|
|
twists around, faces Zaius.
|
|
|
|
TAYLOR
|
|
All right, you can cut me to pieces. It's
|
|
within your power.
|
|
(with force)
|
|
But know this, doctor. You do it because
|
|
you're afraid of me. You do it from fear!
|
|
|
|
Zaius jerks his head silently toward the door. The apes drag Taylor
|
|
through it.
|
|
|
|
DISSOLVE TO:
|
|
|
|
293 INT. ADJACENT CAGES - MED. SHOT - NIGHT
|
|
|
|
A few hours have passed. Nova is watching Taylor from her cage across
|
|
the aisle. He sits on the pile of straw. There is an ugly welt on his
|
|
cheek made by the security officer's whip. FOOTSTEPS are heard. Taylor
|
|
and Nova look up and off.
|
|
|
|
294 REVERSE ANGLE - WHAT THEY SEE:
|
|
|
|
A solemn, teen-age chimp named LUCIUS appears outside the cage. The
|
|
guard Julius rises from his chair.
|
|
|
|
LUCIUS
|
|
Are you Julius?
|
|
|
|
JULIUS
|
|
What do you want?
|
|
|
|
LUCIUS
|
|
I'm from the Office of Animal Affairs.
|
|
(indicating Taylor)
|
|
This male's to be transferred to the zoo.
|
|
|
|
JULIUS
|
|
At this hour? Who says so?
|
|
|
|
Taylor enters scene, coming over to the cage bars as Lucius continues
|
|
gravely, with just a note of disdain.
|
|
|
|
LUCIUS
|
|
Don't they tell you anything? The Anti-
|
|
vivisectionist Society is up in arms. They're
|
|
going to save this beast from those butchers
|
|
in the lab. If he can speak he belongs in the
|
|
public zoo.
|
|
(taking off)
|
|
But what'll probably happen is that some
|
|
money-mad grown-up will put him in a circus.
|
|
And then we'll have to pay to see what
|
|
rightfully should have --
|
|
|
|
JULIUS
|
|
Stop making speeches and show me the order.
|
|
|
|
Lucius hands the guard a document. It is dark here, so Julius crosses
|
|
to a beam of light near the bars and studies the document. Lucius,
|
|
behind the guard's back, signals frantically for Taylor to seize or
|
|
strike the guard. Taylor is slow to understand. Lucius shakes his
|
|
head impatiently.
|
|
|
|
JULIUS
|
|
(peering at document)
|
|
This order's no good. It must be counter-
|
|
signed by Dr. Zaius --
|
|
|
|
Lucius suddenly gives Julius a violent shove. The guard's head crashes
|
|
against the bars and he is stunned.
|
|
|
|
LUCIUS
|
|
Hit him!
|
|
|
|
Taylor complies bringing down the heel of his fist on the nape of the
|
|
guard's neck. Julius collapses. The youngster immediately squats down,
|
|
gags him, and begins to bind him hand and foot. CAMERA MOVES IN.
|
|
|
|
TAYLOR
|
|
Who are you?
|
|
|
|
LUCIUS
|
|
(looking up,coolly)
|
|
So you can talk.
|
|
(as he works)
|
|
I'm Dr. Zira's nephew. This abduction was
|
|
her idea. You're not really going to the
|
|
zoo. That's just our cover story in case
|
|
we're stopped.
|
|
(off again)
|
|
Although I do feel that if it ever came
|
|
down to a question of whether something
|
|
like you should be public or private
|
|
property --
|
|
|
|
TAYLOR
|
|
Come on. Get me out of here.
|
|
|
|
Taking the guard's keys, Lucius rises and unlocks the cage. Nova enters
|
|
the scene, coming to the bars of her cage.
|
|
|
|
295 CLOSE TWO SHOT - TAYLOR AND NOVA
|
|
|
|
He gazes at her, tense with indecision. She flashes an imploring smile,
|
|
a mute appeal that cannot be denied. Over this we hear:
|
|
|
|
LUCIUS' VOICE
|
|
(o.s.)
|
|
We've got to move fast.
|
|
|
|
296 WIDER ANGLE - TO INCLUDE LUCIUS
|
|
|
|
as Taylor leaves his cage.
|
|
|
|
TAYLOR
|
|
She comes along too.
|
|
|
|
LUCIUS
|
|
Zira doesn't want your female.
|
|
|
|
TAYLOR
|
|
I want her.
|
|
|
|
LUCIUS
|
|
(a shrug)
|
|
If you insist. But I'm not taking
|
|
any orders --
|
|
|
|
TAYLOR
|
|
Fine. Just let her out.
|
|
|
|
Lucius unlocks Nova's cage. She comes out quickly, takes Taylor's hand.
|
|
They follow Lucius out of the compound.
|
|
|
|
297 EXT. ANIMAL COMPOUND - MED. SHOT - NIGHT
|
|
|
|
A horse-drawn caged wagon (like that used in the hunt) stands near the
|
|
building. Zira waits at the rear of the wagon. Lucius, Taylor and Nova
|
|
emerge from a doorway or archway and join her. Zira notes Nova's
|
|
presence with disapproval. They speak in undertones.
|
|
|
|
ZIRA
|
|
(to Lucius)
|
|
I told you not to bring the other one.
|
|
|
|
LUCIUS
|
|
He wouldn't leave her.
|
|
|
|
ZIRA
|
|
(with a sigh)
|
|
All right...
|
|
(to the humans)
|
|
Get in...hurry. Put this on.
|
|
|
|
TAYLOR
|
|
Listen-
|
|
|
|
ZIRA
|
|
Taylor -- just keep quiet and we may get
|
|
away with this. Remember that men all
|
|
look alike to most apes.
|
|
|
|
Taylor and Nova comply, climbing into the cage. Lucius closes the
|
|
tailgate. Lucius and Zira move to the front of the wagon and climb
|
|
aboard. Lucius takes the reins. As they move off:
|
|
|
|
WIPE TO:
|
|
|
|
298 EXT. LAKE AND CAUSEWAY - LONG HIGH ANGLE SHOT - NIGHT
|
|
|
|
As previously established, the animal compound is on the outskirts of
|
|
Apetown. The abductors must cross the causeway on their route of
|
|
escape. In the distance, near the gazebo, we can see the lights of
|
|
several torches.
|
|
|
|
The caged wagon rolls into scene and out onto the causeway. At the same
|
|
time a mounted gorilla leading two pack animals appears on the far side
|
|
of the causeway, coming toward CAMERA. Lucius stops the wagon.
|
|
|
|
299 CLOSE TWO SHOT - LUCIUS AND ZIRA - ON THE WAGON
|
|
|
|
LUCIUS
|
|
(apprehensively)
|
|
Gorilla hunters ...
|
|
|
|
ZIRA
|
|
Keep moving. We can't turn back now.
|
|
|
|
300 BOOM SHOT - THE CAUSEWAY
|
|
|
|
As the mounted hunter nears the wagon, we can see two bodies slung
|
|
across the backs of the pack animals.
|
|
|
|
301 FLASH SHOT - TAYLOR AND NOVA - IN WAGON CAGE
|
|
|
|
They look out at:
|
|
|
|
302 THE PASSING HORSES - FROM THEIR P.O.V.
|
|
|
|
The bodies on the horses are naked human corpses.
|
|
|
|
303 MED. LONG SHOT - THE CAUSEWAY - REVERSE ANGLE
|
|
|
|
In immediate f.g., near the gazebo, is a similar wagon. It has lost a
|
|
wheel, and its rear axle lies on the edge of the causeway. Two naked
|
|
primitive males can be dimly seen within the cage. Four or five armed
|
|
gorilla hunters stand near the wagon: two of them carry torches; the
|
|
others are passing a jug from hand to hand-.
|
|
|
|
The leader of the Hunt Club, still on horseback, holds up his hand as
|
|
the lab wagon approaches.
|
|
|
|
LEADER
|
|
Hold it!
|
|
|
|
Lucius obeys. The hunters on foot swarm around his wagon as their
|
|
leader calls authoritatively:
|
|
|
|
LEADER
|
|
Ah, Doctor Zira! Our wagon broke down! I'm
|
|
afraid we'll have to commandeer yours.
|
|
|
|
304 CLOSER ANGLE - THE LAB WAGON
|
|
|
|
as the Hunt Club Leader rides over, recognizing the animal
|
|
psychologist.
|
|
|
|
ZIRA
|
|
You can't! I've two sick humans in the
|
|
cage. We're taking them to the chief vet
|
|
at the zoo ...
|
|
|
|
LEADER
|
|
(indicating his
|
|
own wagon)
|
|
We bagged two live ones today. I'll have
|
|
to ask you to take them along.
|
|
|
|
He moves to the rear of the wagon.
|
|
|
|
ZIRA
|
|
(following him;
|
|
frantically)
|
|
No, no, my animals are diseased... Leave
|
|
them alone! They're diseased, I tell you!
|
|
|
|
Lucius jumps down and runs toward the rear of the wagon.
|
|
|
|
305 REVERSE ANGLE - REAR OF WAGON
|
|
|
|
The hunters have opened the tailgate and are shining their torches on
|
|
the humans. They sound ready for sport.
|
|
|
|
FIRST HUNTER
|
|
Give him a taste of fire!
|
|
|
|
One of the hunters points his torch at Taylor, who, quite naturally,
|
|
shrinks back as Lucius runs into scene.
|
|
|
|
LUCIUS
|
|
Stand back! He's dangerous!
|
|
|
|
FIRST HUNTER
|
|
Why?
|
|
|
|
ZIRA
|
|
He's rabid! His bite is fatal!
|
|
|
|
FIRST HUNTER
|
|
You serious?
|
|
|
|
LUCIUS
|
|
You would die in agony!
|
|
(with appropriate gestures)
|
|
Frothing at the mouth!
|
|
|
|
The hunters fall back. Lucius promptly locks the tailgate and he and
|
|
Zira run back to the front of the wagon. Lucius snaps the reins and the
|
|
wagon moves off. The hunters follow it a few paces, pausing near their
|
|
mounted leader.
|
|
|
|
FIRST HUNTER
|
|
They treat those animals better than they
|
|
treat us.
|
|
|
|
LEADER
|
|
I still say the only good human is a dead
|
|
human.
|
|
|
|
The fugitives' wagon recedes beyond the gazebo, as we:
|
|
|
|
DISSOLVE TO:
|
|
|
|
306 EXT. AN OPEN RANGE - LONG SHOT - DAWN
|
|
|
|
The horse-drawn wagon is silhouetted-against the dawn light, bumping
|
|
across a semi-arid plain studded with mesquite and sage. (This SCENE
|
|
can be SHOT either on the Navajo reservation near Page or on the
|
|
Ranch).
|
|
|
|
DISSOLVE TO:
|
|
|
|
307 EXT. SAVANNA (OR CULTIVATED FIELDS) - LONG SHOT - MORNING
|
|
|
|
This is the same area described on page 24, where the hunt occurred. As
|
|
the wagon rolls along a dirt track, the tall grasses of the savanna (or
|
|
cultivated field) can be seen in b.g.
|
|
|
|
308 CLOSE TWO SHOT - TAYLOR AND NOVA - IN WAGON CAGE
|
|
|
|
Taylor is dozing, but the girl is alert and nervous. She peers out at
|
|
the field, apparently recognizing or remembering this terrain. She
|
|
nudges Taylor, waking him.
|
|
|
|
309 EXT. GROVE OF WILD FRUIT TREES - LONG PANNING SHOT - DAY
|
|
|
|
This, too, is the location described on page 24. CAMERA PANS with the
|
|
wagon as it rolls into the grove and HOLDS on three horses. Cornelius
|
|
sits astride one horse; the other two nags are heavily burdened with
|
|
packs and saddlebags.
|
|
|
|
310 CLOSER ANGLE - THE GROVE - FAVORING CORNELIUS
|
|
|
|
He dismounts as Zira and Lucius jump down from the wagon
|
|
and hurry toward him. Cornelius and his fiancee embrace and kiss
|
|
lightly, ape-fashion.
|
|
|
|
CORNELIUS
|
|
How did it go?
|
|
|
|
ZIRA
|
|
There was one bad moment -- some hunters
|
|
stopped us.
|
|
|
|
LUCIUS
|
|
(calmly)
|
|
I pursuaded them our beasts had rabies.
|
|
|
|
311 CLOSE TWO SHOT - TAYLOR AND NOVA - IN CAGED WAGON
|
|
|
|
The apes discussing the abduction are out of earshot. Exasperated to be
|
|
thus ignored and caged, Taylor kicks the tailgate, shouting:
|
|
|
|
TAYLOR
|
|
Let me out of here!
|
|
|
|
312 WIDER ANGLE - TO INCLUDE THE GROUP
|
|
|
|
Lucius hurries back to unlock the tailgate. Taylor gets out of the
|
|
wagon, stretching his stiffened joints. Nova follows suit. During the
|
|
ensuing exchange the girl seems strangely agitated, pacing to and fro,
|
|
her eyes scanning the grove and fields in search of someone or
|
|
something.
|
|
|
|
CORNELIUS
|
|
(approaching)
|
|
Well, Taylor -- we're all fugitives now.
|
|
|
|
TAYLOR
|
|
Do you have any weapons?
|
|
|
|
CORNELIUS
|
|
The best. But we won't need them.
|
|
|
|
TAYLOR
|
|
Just the same, I want one.
|
|
|
|
He moves toward one of the horses. Cornelius starts after him.
|
|
|
|
CORNELIUS
|
|
Look here, Taylor. I'm in charge of this
|
|
expedition --
|
|
|
|
Taylor takes a rifle from one of the packs, examines it.
|
|
|
|
TAYLOR
|
|
Fair enough. But you're no longer in
|
|
charge of me. And I don't mean to be
|
|
captured again.
|
|
|
|
Zira and Lucius have come up.
|
|
|
|
CORNELIUS
|
|
(peeved)
|
|
As you wish.
|
|
|
|
TAYLOR
|
|
Zaius seems to think there might be
|
|
another jungle beyond the Forbidden Zone.
|
|
That's what we'll try for. What about you?
|
|
|
|
ZIRA
|
|
Cornelius and I have been indicted for
|
|
heresy. Unless we can prove our theories,
|
|
we don't stand a chance of acquittal.
|
|
|
|
TAYLOR
|
|
You're going back to the Forbidden Zone?
|
|
|
|
CORNELIUS
|
|
To the diggings I worked at a year ago.
|
|
It's a three day ride across the eastern
|
|
desert, near where you claim you landed
|
|
from that planet of yours.
|
|
|
|
TAYLOR
|
|
You still don't believe me, do you?
|
|
|
|
CORNELIUS
|
|
(shrugs)
|
|
It's a long detour to Dead Lake. What
|
|
would we find?
|
|
|
|
Taylor makes a helpless gesture, realizing that he cannot present sure
|
|
proof.
|
|
|
|
TAYLOR
|
|
Nothing much. The remnants of a life raft.
|
|
Maybe a small flag. The emblem of my
|
|
countrymen.
|
|
|
|
CORNELIUS
|
|
Sorry, Taylor. The terrain around that lake
|
|
is poisonous. There is no fresh water, no
|
|
vegetation. Nothing.
|
|
|
|
TAYLOR
|
|
I know ... Nevertheless, I thank you
|
|
for saving us. You'll be in trouble for
|
|
going there.
|
|
|
|
ZIRA
|
|
(a smile)
|
|
We've been in trouble since the moment we
|
|
met you.
|
|
|
|
Nova seizes Taylor's arm to get his attention. Trying to communicate,
|
|
she makes whimpering sounds and points at:
|
|
|
|
313-
|
|
314 OMIT
|
|
|
|
315 THE DISTANT JUNGLE - AS SEEN FROM THE GROVE
|
|
|
|
This is the same view of the jungle that Taylor saw when the gorilla
|
|
hunters emerged from the trees. (Page 25)
|
|
|
|
ZIRA'S VOICE
|
|
(o.s.)
|
|
What's she pointing at?
|
|
|
|
316 BACK TO TAYLOR AND THE OTHERS
|
|
|
|
Taylor smiles at Nova, gives her a reassuring shrug.
|
|
|
|
TAYLOR
|
|
That's the way home. And she knows it.
|
|
|
|
Nova turns away, still holding Taylor's arm, tries to lead him toward
|
|
the jungle.
|
|
|
|
TAYLOR
|
|
(sharply)
|
|
Nova!
|
|
(she turns; he shakes
|
|
his head, says gently)
|
|
We can't stay there. It's not safe.
|
|
|
|
She looks at him sadly.
|
|
|
|
ZIRA
|
|
We'd better get started. If the mounted
|
|
police pick up our trail, they'll come
|
|
this far at least.
|
|
|
|
CORNELIUS
|
|
Right.
|
|
(to Lucius)
|
|
Let's put the water and provisions in
|
|
the wagon.
|
|
|
|
He and Lucius move off toward the horses.
|
|
|
|
ZIRA
|
|
(indicating Nova)
|
|
Are you going to take her with you?
|
|
|
|
TAYLOR
|
|
Yes.
|
|
|
|
ZIRA
|
|
Actually, you're a different breed.
|
|
This creature will never evolve.
|
|
|
|
TAYLOR
|
|
Maybe not.
|
|
|
|
ZIRA
|
|
(smiling)
|
|
You want her that much?
|
|
|
|
TAYLOR
|
|
(testily)
|
|
You threw us together, remember? And you
|
|
guessed right. Men, like apes, get
|
|
despondent without a mate.
|
|
|
|
He walks off to help Lucius and Cornelius. Nova tags along behind him
|
|
as we:
|
|
|
|
DISSOLVE TO:
|
|
|
|
A-316 THE GROUP MOVES ACROSS A PLATEAU
|
|
|
|
DISSOLVE TO:
|
|
|
|
317 EXT. DRY WASH AND TAMARISKS - FEATURING SCARECROWS - DAY
|
|
|
|
The caravan is crossing, in a reverse direction, the route taken by the
|
|
astronauts on page 17. The three apes are on horseback. Taylor and Nova
|
|
follow in the wagon. They are nearing the row of sinister scarecrows on
|
|
the bluff above the dry wash.
|
|
|
|
318 MED. SHOT - THE THREE MOUNTED APES
|
|
|
|
They halt briefly and look up at the crosses. Lucius is impressed.
|
|
|
|
LUCIUS
|
|
Who put them up?
|
|
|
|
ZIRA
|
|
The Hunt Club.
|
|
|
|
LUCIUS
|
|
To scare off humans?
|
|
|
|
CORNELIUS
|
|
To scare us, too. We're entering
|
|
the Forbidden Zone.
|
|
|
|
They move off again, riding across the dry wash.
|
|
|
|
319 TWO SHOT - TAYLOR AND NOVA - SEATED ON THE WAGON
|
|
|
|
They, too, have stopped and are looking up at the scarecrows. Nova is
|
|
plainly terrified. She grabs Taylor's arm, whimpers.
|
|
|
|
TAYLOR
|
|
Don't worry. You'll be safe with me.
|
|
(sudden smile)
|
|
Here. It's time you learned to earn
|
|
your keep.
|
|
|
|
He hands the reins to Nova. She just sits there. He demonstrates.
|
|
|
|
TAYLOR
|
|
You can do it. Like this ...
|
|
|
|
Nova flicks the reins, reacting in wide-eyed, open-mouthed disbelief as
|
|
the horse obeys her.
|
|
|
|
DISSOLVE TO:
|
|
|
|
320 EXT. DESERT PLATEAU - LONG HIGH ANGLE SHOT - DAY FOR NIGHT
|
|
|
|
The party is traversing a red desert to the east of Dead Lake. Great
|
|
sandstone monoliths rise from the desert floor. From this vantage point
|
|
the horses look no bigger than ants.
|
|
|
|
DISSOLVE TO:
|
|
|
|
321 EXT. RIM OF A DEEP GORGE - HELICOPTER SHOT - DAY
|
|
|
|
This is terrain never before seen in this picture. (Lake Powell
|
|
location, a few miles northeast of Wahweap). The party can be seen on
|
|
the rim of a flat desert tableland that falls away abruptly to a vast,
|
|
irregular river of deep blue water. Taylor, Cornelius and Lucius are
|
|
unloading the wagon and repacking their provisions and equipment on the
|
|
backs of horses. Zira watches them.
|
|
|
|
A-321 CLOSER ANGLE - THE GROUP
|
|
|
|
Zira wanders off, falls to her knees.
|
|
|
|
LUCIUS
|
|
Something's wrong with your mate.
|
|
|
|
Taylor looks off. He and the others move quickly to Nova, CAMERA
|
|
PANNING with them.
|
|
|
|
B-321 CLOSE GROUP SHOT - AROUND NOVA
|
|
|
|
She has been retching. Taylor lifts her up. She is faint with nausea.
|
|
Zira squats down beside them.
|
|
|
|
ZIRA
|
|
Let me handle this.
|
|
(ruefully, to Taylor)
|
|
You may be smarter than I am, but I'm
|
|
the veterinary on this planet.
|
|
|
|
Assisting Nova to her feet, Zira leads her off toward the wagon.
|
|
|
|
C-321 MED. SHOT - CORNELIUS, TAYLOR AND LUCIUS.
|
|
|
|
Taylor watches the departing females, then looks down at the river.
|
|
|
|
TAYLOR
|
|
Where does the river lead?
|
|
|
|
CORNELIUS
|
|
It empties into a sea some miles from
|
|
here. That's where the cave is.
|
|
|
|
D-321 LONG SHOT - THE RIVER - FROM THEIR P.O.V..
|
|
|
|
The river winds o.s. between the sheer sandstone Cliffs rising from
|
|
either bank.
|
|
|
|
TAYLOR'S VOICE
|
|
(o.s.)
|
|
And beyond that?
|
|
|
|
E-321 THREE SHOT - TAYLOR, LUCIUS AND CORNELIUS
|
|
|
|
CORNELIUS
|
|
Don't know. At high tide you can't ride
|
|
along the shore, and we had no boats on
|
|
the last expedition.
|
|
|
|
TAYLOR
|
|
You've never told me why this region's
|
|
called the Forbidden Zone.
|
|
|
|
CORNELIUS
|
|
No one really knows. It's an ancient
|
|
taboo. Set forth in the Sacred Scrolls.
|
|
The Lawgiver pronounced the area deadly.
|
|
|
|
LUCIUS
|
|
Shouldn't we be moving on?
|
|
|
|
TAYLOR
|
|
I'm for that.
|
|
|
|
They start toward the horses and wagon.
|
|
|
|
F-321 GROUP SHOT - NEAR WAGON
|
|
|
|
Zira is looking curiously at Nova, who stands in the shade leaning
|
|
against the wagon as the males enter the scene. Nova's nausea has
|
|
passed, and she comes smiling to Taylor.
|
|
|
|
TAYLOR
|
|
What's the diagnosis, doctor? A touch
|
|
of the sun?
|
|
|
|
ZIRA
|
|
She's not sick at all.
|
|
(a beat)
|
|
She's pregnant.
|
|
|
|
G-321 CLOSEUP - TAYLOR
|
|
|
|
Consternation slowly gives way to wonder. He grins.
|
|
|
|
TAYLOR
|
|
So I'm not an altogether
|
|
different breed, you see?
|
|
|
|
DISSOLVE TO:
|
|
|
|
322-
|
|
325 THE DESCENT OF THE GORGE - SEVERAL SHOTS - DAY
|
|
|
|
To reach the camp site -- a beach at the base of the gorge -- the party
|
|
must lead the horses along a narrow trail that zigzags down the face of
|
|
the sandstone cliffs. They have abandoned the wagon.
|
|
|
|
DISSOLVE TO:
|
|
|
|
326 EXT. ARCHEOLOGICAL CAMP - ESTABLISHING SHOT - DAY
|
|
|
|
Sand bars and two narrow beaches are in evidence here. The camp itself
|
|
consists of several lean-tos against the cliff wall. Above the camp,
|
|
reached by ladders connected to scaffolding, is the mouth of a cave.
|
|
Zira is cleaning up the breakfast things; Zaius and Lucius are sorting
|
|
out equipment.
|
|
|
|
A-326 CLOSER ANGLE - TAYLOR AND ZIRA
|
|
|
|
A small bowl of water rests on the ground in front of Taylor He has
|
|
nearly finished shaving himself with a sharp hunting knife. Nova
|
|
watches, a look of fascinated approval on her face. Taylor rinses off
|
|
his knife, starts to dry it. Nova reaches out, gently strokes his
|
|
smooth -- if nicked -- chin.
|
|
|
|
TAYLOR
|
|
(smiling)
|
|
You like it?
|
|
|
|
Lucius and Cornelius come up, Zira with them.
|
|
|
|
LUCIUS
|
|
(disapprovingly)
|
|
Why did you do that? Scrape off your
|
|
hair?
|
|
|
|
TAYLOR
|
|
In my world -- before I left it -
|
|
only youngsters of your age wore un-
|
|
scraped hair.
|
|
|
|
CORNELIUS
|
|
(to Taylor, quizzically)
|
|
It makes you look somehow ... less
|
|
intelligent.
|
|
|
|
Taylor grins wryly at Cornelius, picks up his rifle.
|
|
|
|
TAYLOR
|
|
When are you going to show me what's
|
|
in the cave?
|
|
|
|
CORNELIUS
|
|
Right now, if you like.
|
|
|
|
They cross the beach to the ladders, when suddenly they hear the sound
|
|
of horses. They look o.s.
|
|
|
|
B-326 WHAT THEY SEE:
|
|
|
|
Dr. Zaius and five armed and mounted apes have come around the corner
|
|
of the beach and ride toward them through the rocks.
|
|
|
|
C-326 MEDIUM - THE GROUP
|
|
|
|
Taylor scrambles up onto the lower scaffold. Lucius runs to a lean-to,
|
|
scoops up his rifle.
|
|
|
|
CORNELIUS
|
|
Lucius -- don't fire at them.
|
|
|
|
The party rides up.
|
|
|
|
ZAIUS
|
|
You're all under arrest!
|
|
(to Lucius)
|
|
You seditious scoundrel. Drop that
|
|
rifle.
|
|
|
|
327- OUT
|
|
348
|
|
|
|
349 FLASH SHOT - LUCIUS
|
|
|
|
He wavers, lowering his piece.
|
|
|
|
350 WIDER ANGLE - TO INCLUDE BOTH GROUPS
|
|
|
|
Zaius' gorillas ride forward a few paces, but halt again as Taylor
|
|
shouts:
|
|
|
|
TAYLOR
|
|
Stop right there.
|
|
|
|
ZAIUS
|
|
Don't be a fool. You're outnumbered
|
|
and outgunned.
|
|
|
|
Taylor aims at Zaius and calls out:
|
|
|
|
TAYLOR
|
|
If there's any shooting, Dr. Zaius,
|
|
you'll be the first to die. Depend
|
|
on it.
|
|
|
|
CORNELIUS
|
|
(protesting)
|
|
Taylor, you're not in command here.
|
|
Put down that gun.
|
|
|
|
TAYLOR
|
|
Shut up.
|
|
|
|
Silence. Zaius knows Taylor isn't bluffing.
|
|
|
|
ZAIUS
|
|
Very well.
|
|
(to his followers)
|
|
Lower your weapons.
|
|
|
|
They obey. Taylor calls again:
|
|
|
|
TAYLOR
|
|
(pointing)
|
|
Tell them to move around the point.
|
|
Out of range.
|
|
|
|
Zaius turns and whispers to his apes. They rein about and ride away
|
|
through the rocks. Zaius dismounts and approaches the fugitives alone.
|
|
He is unarmed.
|
|
|
|
351 CLOSER ANGLE - THE GROUP
|
|
|
|
As Zaius draws nearer) Lucius lowers his rifle. But Taylor keeps his at
|
|
the ready.
|
|
|
|
CORNELIUS
|
|
(uncertainly)
|
|
How did you know we'd come here?
|
|
|
|
ZAIUS
|
|
It wasn't difficult. Only an apostate
|
|
or a lunatic would flee to the Forbidden
|
|
Zone.
|
|
(a glance at Taylor)
|
|
I see you brought along the female of
|
|
your species.
|
|
(Taylor nods)
|
|
I didn't realize a man could be monogamous.
|
|
|
|
TAYLOR
|
|
On this planet -- it's easy.
|
|
|
|
Zaius laughs derisively, then turns to the apes.
|
|
|
|
ZAIUS
|
|
(evenly)
|
|
I ask you to reconsider the rash course
|
|
you've taken. If you're convicted of heresy,
|
|
the most you'll get is two years. But if
|
|
you persist in pointing guns in my direction,
|
|
you'll hang for high treason.
|
|
|
|
CORNELIUS
|
|
(respectfully)
|
|
We've never meant to be treasonable, sir.
|
|
(pointing off)
|
|
But up there, in the face of that Cliff,
|
|
is a vast cave -- and in that cave a
|
|
fabulous treasure of fossils and artifacts.
|
|
|
|
ZAIUS
|
|
I've seen some of your fossils and artifacts.
|
|
They're worthless.
|
|
|
|
TAYLOR
|
|
(derisively)
|
|
And that's your Minister of Science. Honor-
|
|
bound to expand the frontiers of knowledge.
|
|
|
|
ZIRA
|
|
(worried)
|
|
Taylor, please --
|
|
|
|
TAYLOR
|
|
Except that he's also the Chief Defender
|
|
of the Faith.
|
|
|
|
ZAIUS
|
|
(loftily)
|
|
There is no contradiction between faith
|
|
and science. True science.
|
|
|
|
TAYLOR
|
|
(suddenly angered)
|
|
All right, let's see if you're willing
|
|
to put that statement to a test.
|
|
|
|
CORNELIUS
|
|
Taylor, I'd rather you -
|
|
|
|
TAYLOR
|
|
No. You saved me from this fanatic. Maybe
|
|
I can pay you back.
|
|
|
|
ZAIUS
|
|
(calmly)
|
|
What is your proposal?
|
|
|
|
TAYLOR
|
|
When were the Sacred Scrolls written?
|
|
|
|
ZAIUS
|
|
Twelve hundred years ago.
|
|
|
|
TAYLOR
|
|
Very well. If Zira and Cornelius can prove
|
|
that those scrolls don't tell the whole
|
|
truth of your history; if they can show you
|
|
definite evidence of another culture from an
|
|
unrecorded past -- will you exonerate them?
|
|
|
|
ZAIUS
|
|
Of course.
|
|
|
|
TAYLOR
|
|
Okay.Up to the cave.
|
|
|
|
He gestures toward the path leading to it. Zaius, Zira, and Cornelius
|
|
start upward. Lucius starts to follow them.
|
|
|
|
TAYLOR
|
|
Sorry, Lucius. You'll have to stay here
|
|
and guard the horses.
|
|
|
|
LUCIUS
|
|
Always giving orders. Just like every
|
|
other adult.
|
|
|
|
TAYLOR
|
|
Relax. You'll see it all later.
|
|
|
|
He pats the barrel of Lucius' gun, in the manner of a stern but
|
|
benevolent non-com, then starts up the trail with Nova at his heels.
|
|
Lucius, unused to taking commands from an animal, scowls after him,
|
|
then shrugs, adjusting to the Idea.
|
|
|
|
352-
|
|
355 OUT
|
|
|
|
356 EXT. WESTERN WALL OF GORGE - LONG SHOT - ANGLING UP
|
|
AFTERNOON
|
|
|
|
The sun hovers over the lofty rim of the lake like a great red balloon.
|
|
The wall of the gorge, in shadow, is a darker hue.
|
|
|
|
357 EXT. EASTERN WALL OF GORGE - LONG SHOT - ANGLING UP
|
|
|
|
The crenelated east wall, looking like a red cathedral, is aglow with
|
|
sunlight. So is the mouth of the cave as the three apes, Taylor and
|
|
Nova pass through it and o.s.
|
|
|
|
358 INT. CAVERN - BOOM SHOT - DAY
|
|
|
|
Nature has formed a vaulted room here. It need not be enormous, but
|
|
should be as weird and fantastic as production capabilities permit.
|
|
There is an ape-made excavation in the floor of the cave, some ten feet
|
|
square and eight feet deep. Some small objects lie on the rim of the
|
|
excavation. Zaius, Cornelius, Zira, Taylor and Nova enter from the
|
|
outside.
|
|
|
|
(AUTHOR'S NOTE: The effect should be an eyeful. I wish to create an
|
|
illusion of sunlight penetrating this cave, flooding it with direct,
|
|
refracted illumination, transforming it into a kaleidoscopic cavern.)
|
|
|
|
ZAIUS
|
|
Present your evidence, Cornelius.
|
|
|
|
Cornelius clambers down into the pit, followed by Zira. Taylor bends
|
|
down, examines some of the artifacts lined along the edge of the
|
|
excavation. Nova sits beside him.
|
|
|
|
CORNELIUS
|
|
(pointing)
|
|
It was at this level I discovered traces
|
|
of an early ape creature -- stage of
|
|
primitive barbarism, really -- dating back
|
|
roughly thirteen hundred years. It was here
|
|
I found cutting tools and arrowheads of
|
|
quartz and the fossilized bones of
|
|
carnivorous gorillas.
|
|
|
|
CAMERA (ON BOOM) MOVES IN SLOWLY as Cornelius continues:
|
|
|
|
CORNELIUS
|
|
But the artifacts lying at your feet
|
|
were found here, at this level. And
|
|
that's the paradox. The more ancient
|
|
culture is the more advanced. Admittedly,
|
|
many of these objects are unidentified,
|
|
but clearly they were fashioned by beings
|
|
with a knowledge of metallurgy.
|
|
|
|
CAMERA KEEPS MOVING IN on the group in and around the excavation as
|
|
Cornelius continues:
|
|
|
|
CORNELIUS
|
|
Indeed, the very fact that these tools
|
|
are unknown to us could suggest a culture
|
|
in certain ways almost equal to our own.
|
|
Some of the evidence is uncontestable ...
|
|
|
|
ZAIUS
|
|
(interrupting)
|
|
Don't speak to me in absolutes. The
|
|
evidence is contestable.
|
|
|
|
CORNELIUS
|
|
I apologize.
|
|
|
|
ZAIUS
|
|
To begin with, your methods of dating
|
|
the past are crude, to say the least. There
|
|
are geologists on my staff who would laugh at
|
|
your speculations.
|
|
|
|
TAYLOR
|
|
Perhaps that's why they're on your staff.
|
|
|
|
Zaius flicks a hostile glance at Taylor, then looks down at the
|
|
artifacts. He nudges them with his foot.
|
|
|
|
ZAIUS
|
|
Secondly, if these 'tools' as you call
|
|
them, are unidentified, why are they
|
|
introduced as 'evidence' of anything?
|
|
|
|
ZIRA
|
|
(promptly)
|
|
But there's the doll, sir.
|
|
|
|
ZAIUS
|
|
What?
|
|
|
|
CORNELIUS
|
|
(pointing)
|
|
Right there. The human doll.
|
|
|
|
Zaius deigns to stoop and pick it up.
|
|
|
|
359 CLOSE ON DOLL - IN ZAIUS' HAND
|
|
|
|
It is only a porcelain fragment, but the head is intact, and it is
|
|
unmistakably the form of a human child.
|
|
|
|
ZAIUS
|
|
What does this prove? My grand-
|
|
daughter plays with human dolls.
|
|
|
|
360 FULL SHOT - THE EXCAVATION - INCLUDING TAYLOR
|
|
|
|
Exasperated, Zira turns to the man for confirmation.
|
|
|
|
ZIRA
|
|
Taylor! Tell him.
|
|
|
|
TAYLOR
|
|
He has a point. On my planet children
|
|
often play with ape dolls.
|
|
|
|
Zaius idly tosses the doll to the ground near Nova. She picks it up,
|
|
studies it.
|
|
|
|
361 GROUP SHOT - THE THREE APES
|
|
|
|
Cornelius tries again.
|
|
|
|
CORNELIUS
|
|
A doll alone proves nothing. True. But
|
|
the doll was found beside the jawbone
|
|
of a man -- and no trace of simian fossils
|
|
has turned up in this deposit.
|
|
|
|
ZAIUS
|
|
Your conclusion is premature. Have you
|
|
forgotten your Scripture? The Thirteenth
|
|
Scroll?
|
|
(quoting from memory)
|
|
'And Proteus brought the upright beast
|
|
into the garden, and chained him to a tree,
|
|
and the children made sport of him.'
|
|
|
|
CORNELIUS
|
|
(impatiently)
|
|
No sir, I haven't forgotten.
|
|
|
|
ZAIUS
|
|
Well? For a time the ancients kept humans
|
|
as household pets. Until the Lawgiver
|
|
proved that man could not be tamed. Keep
|
|
digging Cornelius. You'll find evidence of
|
|
the master of this house: an ape.
|
|
|
|
A-361 ANOTHER ANGLE - TO INCLUDE TAYLOR AND NOVA
|
|
|
|
As Zira again appeals to the man.
|
|
|
|
ZIRA
|
|
Are you going to let that pass without
|
|
an answer?
|
|
|
|
Taylor, who has been toying with objects in the dirt, looks up.
|
|
|
|
TAYLOR
|
|
Yes. I have to agree. From all you've
|
|
found so far, his position's as good as
|
|
yours.
|
|
|
|
CORNELIUS
|
|
(annoyed)
|
|
What are you doing there?
|
|
|
|
TAYLOR
|
|
Reconstructing a life. Care to have a
|
|
look?
|
|
|
|
Cornelius and Zira cross the pit and Zaius walks around the rim of the
|
|
excavation.
|
|
|
|
B-361 MED. CLOSE SHOT - FAVORING TAYLOR AND NOVA
|
|
|
|
As the apes come close. A number of artifacts have been arranged in
|
|
front of Taylor.
|
|
|
|
TAYLOR
|
|
(to Cornelius)
|
|
These were found near the human doll,
|
|
right?
|
|
(Cornelius nods)
|
|
Well, whoever owned them was in pretty
|
|
bad shape.
|
|
|
|
He picks up the twisted fragment of a pair of spectacles.
|
|
|
|
TAYLOR
|
|
Defective eyesight..
|
|
|
|
As Taylor continues his monologue, he picks up the other objects one by
|
|
one.
|
|
|
|
TAYLOR
|
|
He wore false teeth.
|
|
(pause)
|
|
He suffered from a hernia and used
|
|
this truss to hold up his insides ...
|
|
(pause)
|
|
And toward the end, these little rings
|
|
of stainless steel enclosed a prefab-
|
|
ricated valve in his failing heart.
|
|
|
|
Taylor pauses. Zaius picks up two of the steel rings, studies them.
|
|
|
|
TAYLOR
|
|
I don't say he was a man like an Earthman,
|
|
but I'd call him a close relative, for
|
|
he was plagued by most of man's ills.
|
|
(to Zaius pointedly)
|
|
Yet, fragile as he was, he came before you
|
|
-- and was superior to you.
|
|
|
|
ZAIUS
|
|
(a calm smile)
|
|
That's lunacy. I can give an alternate
|
|
description for everyone of those objects
|
|
that's equally as inventive as yours. But
|
|
it would be conjecture, not proof.
|
|
|
|
362 WIDER ANGLE - TO INCLUDE TAYLOR AND NOVA
|
|
|
|
She is poking her finger inside the decapitated head of the doll. From
|
|
it comes a distorted SOUND.
|
|
|
|
DOLL'S HEAD
|
|
Mamma! Mamma! Mamma!.
|
|
|
|
The apes stare at the doll in astonishment. Taylor snatches the doll
|
|
from Nova, brandishes it at the astonished Zaius.
|
|
|
|
TAYLOR
|
|
Dr. Zaius! Would an ape make a human
|
|
doll that talks?
|
|
|
|
Zaius looks at him, speechless. At that moment the CRACK of a distant
|
|
rifle shot reverberates through the cavern. All present freeze,
|
|
listening.
|
|
|
|
ZIRA
|
|
Lucius....
|
|
|
|
363-
|
|
364 OUT
|
|
|
|
365 FULL SHOT - THE CAVERN - REVERSE ANGLE
|
|
|
|
Taylor alone is armed. Raising his rifle, he glowers at Zaius.
|
|
|
|
TAYLOR
|
|
You louse!
|
|
|
|
Cornelius is already crossing the pit. He climbs out arid races toward
|
|
the mouth of the cave. Taylor runs after him. Zira and Nova hurry after
|
|
Taylor.
|
|
|
|
366 MED. SHOT - ZAIUS
|
|
|
|
Expressionless, he looks down at the doll, then moves toward the mouth
|
|
of the cave.
|
|
|
|
367 EXT. TRAIL FROM CAVE TO CAMP - ANGLING UP
|
|
|
|
Cornelius emerges from mouth of the cave and runs down the trail toward
|
|
CAMERA. He halts in f.g., looking down at:
|
|
|
|
368 THE CAMP SITE - AS SEEN FROM THE TRAIL
|
|
|
|
Two of Zaius' gorillas have disarmed Lucius and are clubbing him with
|
|
their rifle butts. Two other mounted apes are driving the scientists'
|
|
horses back beyond the trees.
|
|
|
|
369 EXT. THE TRAIL - AS SEEN FROM THE BEACH
|
|
|
|
Cornelius, Taylor, Nova and Zira (in that order) can be seen high
|
|
above, descending the trail. CAMERA PULLS BACK TO DISCLOSE A GORILLA
|
|
SNIPER in immediate f.g., crouching behind a boulder near the water. He
|
|
sights his rifle at the man on the trail. Taylor is still too distant
|
|
to make a sure target, and so the sniper waits.
|
|
|
|
370 CLOSER ANGLE - TAYLOR ON THE TRAIL
|
|
|
|
This portion of the trail has no cover or concealment. Unaware of the
|
|
sniper, Taylor looks down at the camp as he makes his descent.
|
|
|
|
371 LONG SHOT - TAYLOR - AS SEEN IN THE SNIPER'S SIGHTS
|
|
|
|
The gorilla fires.
|
|
|
|
372 CLOSE SHOT - TAYLOR
|
|
|
|
The bullet ricochets off the rock wall a foot above his head. Taylor
|
|
scans the terrain bewlow, looking for the sniper. Nova comes to his
|
|
side, pointing at:
|
|
|
|
373 THE SNIPER - FROM THEIR P.O.V.
|
|
|
|
His head is visible behind the boulder as he reloads his piece .
|
|
|
|
374 FLASH SHOT
|
|
|
|
He aims and fires.
|
|
|
|
375 FLASH SHOT - THE SNIPER
|
|
|
|
Taylor has missed him, but the sniper ducks behind the boulder.
|
|
|
|
376 THE TRAIL - PANNING WITH TAYLOR AND NOVA
|
|
|
|
Taylor takes her hand and they race back up the trail to where Zira is
|
|
standing. Outcroppings of rock offer some cover here. Taylor pushes
|
|
Nova down behind a rock and signals for Zira to follow suit.
|
|
|
|
377 CLOSE GROUP SHOT - TAYLOR, NOVA AND ZIRA
|
|
|
|
The sniper's SECOND SHOT rings out. Instead of returning the fire,
|
|
Taylor looks up the rail at:
|
|
|
|
378 ZAIUS - FRO14 TAYLOR'S P.O.V.
|
|
|
|
He is standing impassively on the trail a short distance below the
|
|
mouth of the cave.
|
|
|
|
379 FLASH SHOT - TAYLOR
|
|
|
|
Bent low, he comes charging up the trail toward Zaius. The sniper's
|
|
THIRD SHOT splatters rock fragments around him.
|
|
|
|
380 REVERSE ANGLE - THE TRAIL - ANGLING UP
|
|
|
|
Zaius starts to retreat to the cave, but stumbles and falls on some
|
|
loose shale. No sooner has Zaius regained his feet than Taylor
|
|
overtakes him. Seizing the ape around the neck with his left arm.
|
|
Taylor drives the muzzle of his pistol into Zaius' kidney. He spins
|
|
Zaius around, using him as a shield.
|
|
|
|
381 CLOSE TWO SHOT - ZAIUS AND TAYLOR
|
|
|
|
Taylor releases the pressure on Zaius' throat but keeps the gun pointed
|
|
at his back.
|
|
|
|
TAYLOR
|
|
Tell him to pull back!
|
|
|
|
ZAIUS
|
|
(a hoarse cry)
|
|
Cease fire! Withdraw!
|
|
|
|
His command echoes from the west wall of the canyon.
|
|
|
|
382 LONG SHOT - THE FLOOR OF THE GORGE - FROM THEIR P.O.V.
|
|
|
|
The sniper emerges from behind a boulder near the shore, and walks off
|
|
along the beach.
|
|
|
|
383 BACK TO TAYLOR AND ZAIUS
|
|
|
|
Taylor lift's the muzzle of his rifle and presses it against the back
|
|
of Zaius' head.
|
|
|
|
TAYLOR
|
|
I ought to kill you right now.
|
|
(nudging him)
|
|
Let's go.
|
|
|
|
They move off down the trail.
|
|
|
|
384 EXT. ARCHEOLOGICAL CAMP - MED. SHOT - DAY
|
|
|
|
Zira rushes down the trail to Lucius, who is sprawled on the ground. He
|
|
has a bloody nose and a lump on his forehead. Nova and Cornelius come
|
|
next, then Taylor, prodding Zaius ahead of him at gun point. Lucius
|
|
appears to be more humiliated than hurt.
|
|
|
|
LUCIUS
|
|
They took me by surprise. Sneaked
|
|
up on me while I was watering the
|
|
horses. What's happened to honor?
|
|
(pause, glum)
|
|
I got off one round to warn you.
|
|
|
|
CORNELIUS
|
|
(gloomingly)
|
|
They've taken everything.
|
|
|
|
TAYLOR
|
|
Not everything. They left a hostage.
|
|
(a pause)
|
|
How do you feel, Lucius?
|
|
|
|
LUCIUS
|
|
Disillusioned...
|
|
(turning on)
|
|
But vindicated! I've been right all
|
|
along. You can't trust the older
|
|
generation. It's a matter of values --
|
|
|
|
TAYLOR
|
|
(gently)
|
|
All right, all right. Will You do me
|
|
a favor? No orders.
|
|
|
|
LUCIUS
|
|
(pause)
|
|
What is it?
|
|
|
|
TAYLOR
|
|
I want you to go around the bend and
|
|
tell those gorillas their leader is my
|
|
prisoner.
|
|
|
|
LUCIUS
|
|
(thoughtfull pause)
|
|
Yes, I can do that.
|
|
|
|
TAYL0R
|
|
Good. Say I want a week's supply of food
|
|
for the woman and myself. A horse. A spade.
|
|
And fifty rounds of ammunition.
|
|
|
|
LUCIUS
|
|
What if they won't agree to your terms?
|
|
|
|
TAYLOR
|
|
Then tell them Dr. Zaius won't leave
|
|
here alive.
|
|
|
|
ZIRA
|
|
(shocked)
|
|
Taylor, you can't.
|
|
|
|
ZAIUS
|
|
(Calmly)
|
|
Oh yes he can. He's a born killer.
|
|
(to Lucius)
|
|
Deliver the message.
|
|
|
|
Lucius looks to Taylor for confirmation. Taylor nods. The young ape
|
|
hurries away through the rocks. Taylor crosses to a useless saddle,
|
|
picks up a coil of rope, gestures at Zaius, indicating a nearby tree.
|
|
|
|
TAYLOR
|
|
Sit down. Over there.
|
|
|
|
Zaius squats on the ground beside the tree. Taylor sets his rifle
|
|
against the trunk, fashions a noose and places it around Zaius' neck.
|
|
Then, using an ingenious combination of knots, he ties Zaius' hands
|
|
behind his back, and finally fastens the rope around the base of the
|
|
tree.
|
|
|
|
TAYLOR
|
|
(as he works)
|
|
Now, Minister of Science - let me explain
|
|
certain principle stress and strain. If
|
|
you exert pressure to remove these bonds,
|
|
you'll choke yourself to death. It'll be
|
|
suicide, you see?
|
|
|
|
Zira and Cornelius look down at the captive mandarin. Their rebellious
|
|
spirit has evaporated, and they are clearly afraid.
|
|
|
|
ZIRA
|
|
Taylor, please -- don't treat him that
|
|
way.
|
|
|
|
TAYLOR
|
|
Why not?
|
|
|
|
ZIRA
|
|
It's humiliating.
|
|
|
|
TAYLOR
|
|
Wasn't I humiliated? By all of you?
|
|
Didn't you lead me around on a leash?
|
|
|
|
CORNELIUS
|
|
That was different. We thought you
|
|
were .... inferior.
|
|
|
|
TAYLOR
|
|
(wintry smile)
|
|
And now you know the truth.
|
|
(to Zaius)
|
|
Cornelius has beaten you, Doctor. He
|
|
proved it. Man preceded you here. You
|
|
owe him your science, your language,
|
|
whatever knowledge you have.
|
|
|
|
ZAIUS
|
|
(quietly)
|
|
Then answer this: If ran was superior,
|
|
why didn't he survive?
|
|
|
|
TAYLOR
|
|
(shrugging)
|
|
He might have been wiped out by a plague.
|
|
Natural catastrophe. Like a fiery storm
|
|
of meteors. From the looks of this part
|
|
of your planet, I'd say that was a fair bet.
|
|
|
|
ZIRA,
|
|
(weakly)
|
|
But we can't be sure.
|
|
|
|
TAYLOR
|
|
(indicating Zaius)
|
|
He is. He knew all the time. Long before
|
|
your discovery, he knew.
|
|
(to Zaius)
|
|
Defender of the Faith. Guardian of the
|
|
terrible secret. Isn't that right, doctor?
|
|
|
|
385-
|
|
388 OUT
|
|
|
|
389 REVERSE ANGLE - CIRCLE - FAVORING ZAIUS
|
|
|
|
As Zira and Cornelius look at him expectantly.
|
|
|
|
ZAIUS
|
|
What I know of man was written long ago
|
|
-- set down by the wisest ape of all --
|
|
our Lawgiver.
|
|
(to Cornelius)
|
|
Open my breast pocket.
|
|
|
|
Cornelius crosses to Zaius, and takes a small book bound in black
|
|
leather from the breast pocket of his tunic.
|
|
|
|
ZAIUS
|
|
Read it to him: the twentythird Scroll,
|
|
ninth Verse.
|
|
|
|
Cornelius thumbs through the book, finds the citation and reads aloud:
|
|
|
|
CORNELIUS
|
|
'Beware the beast man, for he is the
|
|
devil's pawn. Alone among God's primates,
|
|
he kills for sport, or lust or greed.
|
|
Yes, he will murder his brother to possess
|
|
his brother's land. Let him not breed
|
|
in great numbers, for he will make a desert
|
|
of his home and yours. Shun him. Drive him
|
|
back into his jungle lair: For he is the
|
|
harbinger of death'.
|
|
|
|
Cornelius falls silent and looks down at Zaius.
|
|
|
|
ZAIUS
|
|
(quietly)
|
|
I found nothing in the cave to alter that
|
|
conception of man. And I still live by its
|
|
injunction.
|
|
|
|
A-389 ANOTHER ANGLE - THE GROUP
|
|
|
|
Lucius hurries out of the rocks leading a saddled horse. Zaius' five
|
|
mounted gorillas appear behind him. Taylor calls out to them:
|
|
|
|
TAYLOR
|
|
Stay where you are!
|
|
|
|
Lucius comes up with the horse. Taylor checks the provisions in the
|
|
saddlebags. Lucius is frowning.
|
|
|
|
LUCIUS
|
|
They think you're behaving foolishly. I
|
|
must say I agree. Where will you go?
|
|
|
|
TAYLOR
|
|
(nodding o.s.)
|
|
I'll start by following the shoreline.
|
|
(a smile)
|
|
And my nose.
|
|
|
|
ZIRA
|
|
But suppose you find nothing but a
|
|
wasteland. How will you survive?
|
|
|
|
ZAIUS
|
|
(firmly)
|
|
He won't survive.
|
|
(all look at him)
|
|
Do you know what sort of life awaits
|
|
you out there, Taylor? That of an animal.
|
|
If you aren't eventually hunted down and
|
|
killed by apes, some jungle beast will
|
|
devour you.
|
|
|
|
TAYLOR
|
|
Then there is another jungle?
|
|
|
|
ZAIUS
|
|
(shrugs; then,
|
|
sardonically)
|
|
Of course, you could return with us. Our
|
|
society might find a place for you and
|
|
your mate.
|
|
|
|
TAYLOR
|
|
Sure. In a cage.
|
|
|
|
ZAIUS
|
|
Where else, but in a cage, does man
|
|
belong?
|
|
|
|
TAYLOR
|
|
No, thanks. I'll take freedom.
|
|
|
|
Taylor mounts the horse, extends a helping hand to Nova, who vault's
|
|
nimbly onto the horse's rump. Taylor looks at Zira and Cornelius.
|
|
|
|
TAYLOR
|
|
Would you like to come along?
|
|
|
|
ZIRA
|
|
We can't.
|
|
|
|
TAYLOR
|
|
It's better than going to prison for
|
|
heresy.
|
|
|
|
CORNELIUS
|
|
They can't convict us of that. You
|
|
proved our innocence. Besides...
|
|
(indicating Zaius)
|
|
... his culture is our culture.
|
|
|
|
TAYLOR
|
|
Good luck then.
|
|
|
|
He reaches down, grasps Cornelius' hand, then grins crookedly.
|
|
|
|
TAYLOR
|
|
Dr. Zira, I'd like to kiss you
|
|
good-bye.
|
|
|
|
ZIRA
|
|
All right, but....
|
|
(tears in her eyes)
|
|
...you're so damned ugly!
|
|
|
|
Taylor smiles, leans down, kisses her.
|
|
|
|
ZIRA
|
|
(softly)
|
|
Go with God, Taylor.
|
|
(half smile)
|
|
That's an old expression. it comes
|
|
from both ape and man.
|
|
|
|
TAYLOR
|
|
God bless you.
|
|
|
|
He extends his hand to Lucius, who takes it.
|
|
|
|
TAYLOR
|
|
Lucius.
|
|
|
|
LUCIUS
|
|
I think you're making a mistake.
|
|
|
|
TAYLOR
|
|
That's the boy. Keep 'em flying.
|
|
|
|
LUCIUS
|
|
What?
|
|
|
|
TAYLOR
|
|
The flags of discontent. It's the only
|
|
way anything ever gets changed.
|
|
(to Zaius)
|
|
Don't try to follow us.
|
|
(pats stock of
|
|
his rifle)
|
|
I'm pretty handy with things like this.
|
|
|
|
ZAIUS
|
|
Of that I'm sure. All my life I've
|
|
awaited your coming and dreaded it.
|
|
Like death itself.
|
|
|
|
Taylor looks piercingly at Zaius, more troubled than offended.
|
|
|
|
TAYLOR
|
|
Why? From the first, I've terrified you,
|
|
Doctor. And in spite of every sign that
|
|
I'm an intelligent being who means no
|
|
harm, you continue to hate and fear me.
|
|
Why?
|
|
|
|
ZAIUS
|
|
(calmly,
|
|
without rancor)
|
|
Because you are a man. And you were right
|
|
-- I have always known about man. From the
|
|
evidence, I believe his wisdom must walk
|
|
hand in hand with his idiocy. His emotions
|
|
must rule his brain. He must be a warlike
|
|
animal who gives battle to everything around
|
|
him -- even himself.
|
|
|
|
TAYLOR
|
|
What evidence? No weapons were found in
|
|
the cave.
|
|
|
|
ZAIUS
|
|
The Forbidden Zone was once a paradise.
|
|
Your breed made a desert of it, ages ago.
|
|
|
|
TAYLOR
|
|
(he waits,
|
|
then wearily)
|
|
We're back at the beginning. I still don't
|
|
know the why. A planet where apes evolved
|
|
from men. A world turned wrong side up.
|
|
A puzzle with one piece missing.
|
|
|
|
ZAIUS
|
|
(softly)
|
|
Don't look for it, Taylor. You may not
|
|
like what you find.
|
|
|
|
B-389 WIDER ANGLE - TAYLOR AND THE GROUP
|
|
|
|
Taylor shakes his head, still baffled, digs his heels into the horse's
|
|
flank. It canters off along the sandy shore. Zira, Cornelius and
|
|
Lucius sadly watch the departure.
|
|
|
|
ZAIUS
|
|
Untie me!
|
|
|
|
Cornelius moves quickly to remove the rope from Zaius' neck. Behind
|
|
them, the five mounted gorillas gallop forward. Zaius gets up, waves
|
|
them to a halt.
|
|
|
|
ZAIUS
|
|
No, no! Let him go!
|
|
|
|
C-389 MOVING SHOT - TAYLOR AND NOVA ON HORSEBACK
|
|
|
|
Taylor looks back, sees that Zaius has stopped the mounted apes, slows
|
|
his horse to a trot, smiles at Nova.
|
|
|
|
390- OUT
|
|
405
|
|
|
|
406 MED. SHOT - THE APES
|
|
|
|
Zaius watches as Taylor's horse moves farther away along the beach.
|
|
Then he turns to an ape called MARCUS.
|
|
|
|
ZAIUS
|
|
(quietly)
|
|
Fetch your explosives. We're going
|
|
to seal the cave.
|
|
|
|
MARCUS
|
|
Yes, sir.
|
|
|
|
He remounts his horse and rides o.s.
|
|
|
|
CORNELIUS
|
|
(aghast)
|
|
Seal the cave?
|
|
|
|
ZAIUS
|
|
That's correct. And you will both stand
|
|
trial for heresy.
|
|
|
|
ZIRA
|
|
But the proof? The doll?
|
|
|
|
ZAIUS
|
|
In a few minutes there will be no doll.
|
|
There can't be.
|
|
(honest regret)
|
|
I'm sorry.
|
|
|
|
Cornelius throws himself at Zaius.
|
|
|
|
CORNELIUS
|
|
You mustn't! You gave your 'word!
|
|
|
|
Zaius looks emptily at one of his apes.
|
|
|
|
ZAIUS
|
|
What I do, I do with no pleasure. Silence
|
|
him.
|
|
|
|
A hairy hand is clapped over Cornelius' mouth. He is dragged off,
|
|
struggling, kicking. Julius, unafraid, glares at Zaius.
|
|
|
|
LUCIUS
|
|
Dr. Zaius, this is inexcusable! Why must
|
|
knowledge stand still? What about the
|
|
future?
|
|
|
|
Zaius looks benevolently at Julius.
|
|
|
|
ZAIUS
|
|
I may just have saved it for you.
|
|
|
|
Julius and Zira look at each other, befuddled. Once more their eyes
|
|
follow the retreating figures of Taylor and Nova. The beach separating
|
|
the water from the canyon becomes narrower as they move downstream.
|
|
|
|
LUCIUS
|
|
What will he find out there, doctor?
|
|
|
|
A-406 CLOSEUP - ZAIUS
|
|
|
|
His face is A mask, his tone enigmatic.
|
|
|
|
ZAIUS
|
|
His destiny.
|
|
|
|
B-406 WIDER ANGLE - TIE APES P.O.V.
|
|
|
|
A moment later, as they watch, Taylor and Nova vanish around the bend.
|
|
|
|
407- OUT
|
|
408
|
|
|
|
409 EXT. PALISADE AND BEACH - LONG HIGH ANGLE SHOT - DAY
|
|
|
|
Taylor and Nova are already far downstream. There is a striking change
|
|
in the terrain. The area is still desolate,but some vegetation can be
|
|
seen on the palisade above the narrow beach, and the river has widened
|
|
to form a vast tidal basin where it meets the sea.
|
|
|
|
A NOTE ON PRODUCTION: If feasible at new location site, this scene
|
|
should be shot at high tide, so that the water laps at the base of the
|
|
cliffs, making a passage difficult and risky.
|
|
|
|
410 CLOSER ANGLE - PANNING WITH TAYLOR AND NOVA ON HORSEBACK
|
|
|
|
He is alert, sniffing the salt air, sizing up the situation. Hearing
|
|
the CRIES of birds, he reins in and looks' up.
|
|
|
|
411 SKY SHOT - CIRCLING BIRDS
|
|
|
|
Sea gulls are soaring overhead.
|
|
|
|
412 TWO SHOT - TAYLOR AND NOVA ON HORSEBACK
|
|
|
|
His expression is expectant, searching. Nova emits a whimper of
|
|
anticipation, pointing off.
|
|
|
|
413 LONG SHOT - WHAT THEY SEE:
|
|
|
|
A verdant forest atop a distant palisade. Their view of the beach below
|
|
the forest, is cut off by a rocky promontory in the middle distance.
|
|
|
|
414 CLOSE SHOT - NOVA AND TAYLOR
|
|
|
|
He smiles at her hopefully.
|
|
|
|
TAYLOR
|
|
Yes, Nova -- I see it.
|
|
(looks again at
|
|
forest)
|
|
In my old profession green meant
|
|
safe. Green meant go.
|
|
|
|
The horse moves off at a trot, CAMERA PANNING. But they have gone only
|
|
a short distance when they hear the distant THUNDER of an EXPLOSION.
|
|
Taylor reins in and looks back.
|
|
|
|
415 VERY LONG SHOT - A CLOUD OF SMOKE
|
|
|
|
A column of smoke and dust rises from the exploded cave far upstream.
|
|
|
|
416 BACK TO TAYLOR AND NOVA
|
|
|
|
Frowning with concern, Taylor gazes for a moment at the smoke, then
|
|
decides this is no time to linger. He digs his heels into the horse's
|
|
flanks and they move off at a canter, riding toward the promontory that
|
|
splits the beach. They are nearing the promontory that blocks their
|
|
view of the beach beyond.
|
|
|
|
417- OUT
|
|
418
|
|
|
|
419 CLOSER ANGLE - TRACKING WITH TAYLOR AND NOVA.
|
|
|
|
As they round the promontory, the tip of a strange rock formation comes
|
|
into view. it appears to be jutting from the sea.
|
|
|
|
420 REACTION SHOT - TAYLOR
|
|
|
|
He reins in momentarily, baffled by what he sees. Then he rides on.
|
|
|
|
421 THE STRANGE FORMATION - AS SEEN BY TAYLOR
|
|
|
|
An immense column juts from the beach at a thirty-degree angle. We can
|
|
now see that it is not rock, but metal. Green metallic tints show
|
|
through its gray salt-stained surface. As we draw closer, the object
|
|
takes on the appearance of a massive arm, its top shaped like a hand
|
|
holding a torch.
|
|
|
|
422 REVERSE ANGLE - FAVORING TAYLOR
|
|
|
|
Frowning with consternation. His horse proceeds at a slow walk.
|
|
|
|
423 TRACKING WITH TAYLOR - WHAT HE SEES:
|
|
|
|
Near the base of the column, where the shore and water meet, are a row
|
|
of metal spikes. From this angle they look like tank traps.
|
|
|
|
A-423 CLOSER - TAYLOR
|
|
|
|
Dumbfounded, he slides from his saddle, approaches the spikes. Nova
|
|
dismounts and follows him.
|
|
|
|
TAYLOR
|
|
(a cry of agony)
|
|
My God!
|
|
|
|
He falls to his knees, buries his head in his hands. CAMERA SLOWLY
|
|
DRAWS BACK AND UP to a HIGH ANGLE SHOT disclosing what Taylor has
|
|
found. Half-buried in the sand and washed by the waves is the Statue of
|
|
Liberty.
|
|
|
|
424- OUT
|
|
451
|
|
|
|
FADE OUT
|
|
|
|
|
|
|
|
THE END
|
|
|
|
|
|
|