"PLANET OF THE APES" (1968)

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

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

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

He pauses, looking up at:

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

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

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

4 CLOSE ON ASTRONAUT

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

He begins to roll up his left sleeve.

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

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

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

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

5 THE CLOCK MARKED EARTH TIME

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

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

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

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

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

We see a strange and distant planet. At first the globe occupies but a small area of the screen; but with each new VIEW it comes closer and looms larger, as if" observed from a spaceship in a spiraling orbit of descent.

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

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

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

18 CLOSE ON TAYLOR

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

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

They nod.

He glances at the casket beside his own.

21 CLOSE-SHOT --THE FOURTH CASKET

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

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

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

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

water

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

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

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

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

ROCK, LAKE POWELL)

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

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

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

Dodge reaches for a control mechanism near the escape hatch.

28 CLOSE ON TAYLOR AND LANDON

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

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

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

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

32 CLOSE ON THE MEN IN THE RAFT

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

The craft vanishes beneath the water.

34 CLOSE ON THE MEN IN THE RAFT

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

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

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

37 BACK TO ASTRONAUTS IN RAFT

Landon glances skeptically at Taylor.

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

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

He seems not to have heard.

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

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

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

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.

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

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

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

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.

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.

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

Dodge lies back and looks up at the sky.

Landon also looks up at the sky.

Taylor turns to Dodge, throws up his hands.

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.

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

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

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.

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

His eyes light up as he calls:

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.

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

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:

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.

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

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.

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.

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

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.

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

Agonized with thirst, they follow Taylor.

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

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

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

His parched lips break into a smile.

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.

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

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.

as Landon sees something on shore.

82 TAYLOR IN WATER

as he swims across.

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

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

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

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.

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

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.

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-

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.

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.

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

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 grimaces at Landon.

More shrinking back by the frightened primitives.

99- OUT

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

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

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.

As they walk off down the jungle path.

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.

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

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.

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

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

Taylor turns, looks back at:

114 THE DISTANT JUNGLE (OR FOREST)

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

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

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.

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

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

Stupefied, frozen in place.

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

As the "horsemen" close in on the creatures fleeing on foot.

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.

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

He drops at the side of his fallen comrade.

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.

(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.

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.

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

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

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.

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.

The hunter bares his teeth.

145 CLOSE ON TAYLOR

He faints.

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 looks down at Taylor.

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

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

His eyes come open. Over this we hear:

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:

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:

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

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

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.

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.

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.

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

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.

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.

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.

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

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

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

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

He winces, puts his hand to the bandage.

Taylor glares at Julius, slams the bars.

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

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

Taylor gestures for Zira to come closer to the bars.

She advances tentatively toward the cage.

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.

Zira draws back, looking at Taylor in surprise.

His face is twisted in frustration.

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

Taylor looks o.s.

152- OUT

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.

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.

Taylor just glares at her.

Taylor turns to Zaius.

Zira wiggles her fingers excitedly.

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

Taylor is frantically wiggling his fingers.

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

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

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

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

Taylor looks up.

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

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

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.

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.

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.

He gives her a quick peck on the cheek.

He drifts toward the fence, Nova behind him.

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

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.

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

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.

Cornelius bows respectfully. Zaius is patronizingly polite.

A-175 MED. SHOT - TAYLOR

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

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:

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

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.

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.

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

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.

His face is a mask.

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.

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

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

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.

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

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.

The guard returns her pen and notebook with the comment:

Zira glances at the notebook. Her face clouds.

A hasty, almost illegible scrawl:

MY NAME IS TAYLOR.

Her eyes afire with a wild surmise.

Her eyes never leave Taylor as she tells the guard:

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

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.

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

He looks at Taylor narrowly. Taylor nods.

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

She smiles. Cornelius bristles.

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

Taylor writes quickly, hands the note to Zira.

Taylor impatiently begins to fold a sheet of paper.

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.

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

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.

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.

Taylor nods, smiles gratefully.

Taylor slams his fist against the wall in frustration.

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

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

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

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

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

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

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

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.

The gorilla GUARDS enter from outside.

He regards the apes with hostility as they cross to him. One picks up his leash. Over THE SHOT we hear:

Zira stiffens, looking at Zaius. He is holding the paper plane fashioned by Taylor.

Zaius looks down at the paper plane in his hand, then back to Zira. He smiles tolerantly.

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.

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:

TWO GORILLA OFFICERS have just entered the compound. They wear side arms. Julius has just risen from his chair.

He stiffens but does not move. The apes, of course, speak freely in front of him, believing the animal cannot understand.

As the Lieutenant replies:

The two gorillas exit. The guard crosses to a wall peg for a collar and 'Leash.

Pushing Nova aside, Taylor rises.

As Julius unlocks the door and cautiously approaches Taylor, carrying the collar and leash.

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.

He leaves the cage, moves swiftly to the nearby door and exits.

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.

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.

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.

As the two gorilla officers emerge from the building and run toward their horses.

He runs down the road, starts across the long causeway that bisects a small lake, looking over his shoulder.

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:

The two mounted gorilla-police can be seen on the causeway, galloping straight toward CAMERA. It is evident they will soon spot Taylor.

He retreats from the buttress to a dark archway and vanishes inside the building.

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.

He appears out of darkness into half-light. The rear of the temple is obscure. Taylor darts behind a screen. Crouching there, he observes:

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.

Crouching, listening, wide-eyed.

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.

Who is still crouching behind the screen in deep b.g. The small fry is coming closer. Over this we hear:

The small fry spots Taylor.

The mourners' heads turn. Taylor slinks toward the vestibule.

He is aghast.

Two ushers rise, moving past CAMERA and o.s.

Staying close on the temple wall, Taylor moves stealthily away from the vestibule door. The two ape ushers appear.

They move toward Taylor.

He runs out onto 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.

They do a slow take.

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.

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.

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.

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

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

In which we see the fugitive, his pursuers and the reactions of ape shoppers and workers.

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.

Taylor runs into scene, pauses, panting, and looks back at his pursuers. Then he darts through the archway into the building.

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.

He runs again.

Looking at the stuffed animals as Taylor races past. The mother gives a startled SCREAM.

He starts after the fugitive.

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.

Reacting in horror. He hears another police WHISTLE and the echoing FOOTSTEPS of approaching guards, which mufffle his strangled gasp:

Taylor vanishes in a BLUR of movement.

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.

She pushes through the simian crowd around Taylor and hurries to his side.

She paws at the net, crying impulsively:

Zira removes the net from his face. Panting with exhaustion, Taylor flicks a wild glance at her. He looks demented.

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.

His colleague moves toward Taylor with a muzzle.

He speaks at last, his voice hoarse but audible.

The arresting officer steps back involuntarily. All the apes freeze, staring at the speaking animal with mute astonishment as we:

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.

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.

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.

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.

Julius swings the whip. It cracks against Taylor's legs, biting into the skin. Taylor stumbles, falls to one knee

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.

Julius shoves Nova across the aisle to a cage opposite Taylor's, locks her inside.

Julius gestures toward the ape guard

The ape guard shuts off the hose.

Julius strides over to Taylor's cage.

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.

He sinks to the floor as the apes go out.

266 OUT

Taylor looks desolately through the bars across to Nova's cage. She eyes him sadly.

He looks at Nova. She stretches her hands through the bars toward him.

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

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.

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.

All sit down.

Honorius rises and bows.

The President appears to be taken aback. He glances at his colleagues.

Sensing that the President has given them an opening, Zira smiles confidently.

As the Prosecutor continues:

Honorius seems confounded. Zaius takes over.

Both Cornelius and Zira appear shaken by this threat. Sensing their predicament, Taylor rises impatiently.

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.

The President refuses to address Taylor directly. Checking a document, he speaks to Zira.

The Bailiff quickly crosses to Taylor and shoves him roughly into his chair.

Taylor has begun to write something on a sheet of paper. Zira and Cornelius remain attentive to:

As the Prosecutor continues:

Honorius crosses to the defendant's table and favors Taylor with an evil smile.

Zira moves toward the dais. Honorius returns to his own table.

Zira crosses to the dais, handing the statement to the President. He glances at it, laughs derisively and passes it to Zaius.

Returning to her table, Zira gestures to Taylor to remain silent.

The President rises, starts out, followed by the others. Taylor is last, being led on a leash by the bailiff.

280 OUT

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.

He turns to Zira, his eyes shining with vindication.

Zaius glances at the accused.

Taylor moves forward for a few paces, stops.

Landon looks catatonic. His face is in shadow

Stunned by Landon's imbecility.

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.

As Taylor whirls on Zira.

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.

Taylor leaps from his chair, livid with rage, approaches the dais.

The bailiff and a husky guard seize Taylor, who continues shouting:

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 has regained his courage. Rising to Zira's support, he points at Taylor.

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

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.

The two agents push Taylor through the doorway.

The officers withdraw, closing the door. Collared, wrists manacled, Taylor stands facing the desk.

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 stiffens but says nothing. Zaius lets this prospect sink in, then continues.

The two burly security agents open the door and enter.

The guards seize Taylor, start to shove him toward the doorway. He twists around, faces Zaius.

Zaius jerks his head silently toward the door. The apes drag Taylor through it.

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.

A solemn, teen-age chimp named LUCIUS appears outside the cage. The guard Julius rises from his chair.

Taylor enters scene, coming over to the cage bars as Lucius continues gravely, with just a note of disdain.

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.

Lucius suddenly gives Julius a violent shove. The guard's head crashes against the bars and he is stunned.

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.

Taking the guard's keys, Lucius rises and unlocks the cage. Nova enters the scene, coming to the bars of her cage.

He gazes at her, tense with indecision. She flashes an imploring smile, a mute appeal that cannot be denied. Over this we hear:

as Taylor leaves his cage.

Lucius unlocks Nova's cage. She comes out quickly, takes Taylor's hand. They follow Lucius out of the compound.

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.

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:

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

As the mounted hunter nears the wagon, we can see two bodies slung across the backs of the pack animals.

They look out at:

The bodies on the horses are naked human corpses.

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.

Lucius obeys. The hunters on foot swarm around his wagon as their leader calls authoritatively:

as the Hunt Club Leader rides over, recognizing the animal psychologist.

He moves to the rear of the wagon.

Lucius jumps down and runs toward the rear of the wagon.

The hunters have opened the tailgate and are shining their torches on the humans. They sound ready for sport.

One of the hunters points his torch at Taylor, who, quite naturally, shrinks back as Lucius runs into scene.

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.

The fugitives' wagon recedes beyond the gazebo, as we:

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).

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.

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.

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.

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:

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.

He moves toward one of the horses. Cornelius starts after him.

Taylor takes a rifle from one of the packs, examines it.

Zira and Lucius have come up.

Taylor makes a helpless gesture, realizing that he cannot present sure proof.

Nova seizes Taylor's arm to get his attention. Trying to communicate, she makes whimpering sounds and points at:

313- 314 OMIT

This is the same view of the jungle that Taylor saw when the gorilla hunters emerged from the trees. (Page 25)

316 BACK TO TAYLOR AND THE OTHERS

Taylor smiles at Nova, gives her a reassuring shrug.

Nova turns away, still holding Taylor's arm, tries to lead him toward the jungle.

She looks at him sadly.

He and Lucius move off toward the horses.

He walks off to help Lucius and Cornelius. Nova tags along behind him as we:

A-316 THE GROUP MOVES ACROSS A PLATEAU

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.

They halt briefly and look up at the crosses. Lucius is impressed.

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.

He hands the reins to Nova. She just sits there. He demonstrates.

Nova flicks the reins, reacting in wide-eyed, open-mouthed disbelief as the horse obeys her.

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.

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.

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.

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.

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.

E-321 THREE SHOT - TAYLOR, LUCIUS AND CORNELIUS

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.

G-321 CLOSEUP - TAYLOR

Consternation slowly gives way to wonder. He grins.

322-

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.

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.

Lucius and Cornelius come up, Zira with them.

Taylor grins wryly at Cornelius, picks up his rifle.

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.

The party rides up.

327- OUT

He wavers, lowering his piece.

Zaius' gorillas ride forward a few paces, but halt again as Taylor shouts:

Taylor aims at Zaius and calls out:

Silence. Zaius knows Taylor isn't bluffing.

They obey. Taylor calls again:

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.

As Zaius draws nearer) Lucius lowers his rifle. But Taylor keeps his at the ready.

Zaius laughs derisively, then turns to the apes.

He gestures toward the path leading to it. Zaius, Zira, and Cornelius start upward. Lucius starts to follow them.

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

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.

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.

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.)

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.

CAMERA (ON BOOM) MOVES IN SLOWLY as Cornelius continues:

CAMERA KEEPS MOVING IN on the group in and around the excavation as Cornelius continues:

Zaius flicks a hostile glance at Taylor, then looks down at the artifacts. He nudges them with his foot.

Zaius deigns to stoop and pick it up.

It is only a porcelain fragment, but the head is intact, and it is unmistakably the form of a human child.

Exasperated, Zira turns to the man for confirmation.

Zaius idly tosses the doll to the ground near Nova. She picks it up, studies it.

Cornelius tries again.

A-361 ANOTHER ANGLE - TO INCLUDE TAYLOR AND NOVA

As Zira again appeals to the man.

Taylor, who has been toying with objects in the dirt, looks up.

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.

He picks up the twisted fragment of a pair of spectacles.

As Taylor continues his monologue, he picks up the other objects one by one.

Taylor pauses. Zaius picks up two of the steel rings, studies them.

She is poking her finger inside the decapitated head of the doll. From it comes a distorted SOUND.

The apes stare at the doll in astonishment. Taylor snatches the doll from Nova, brandishes it at the astonished Zaius.

Zaius looks at him, speechless. At that moment the CRACK of a distant rifle shot reverberates through the cavern. All present freeze, listening.

363- 364 OUT

Taylor alone is armed. Raising his rifle, he glowers at Zaius.

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.

Expressionless, he looks down at the doll, then moves toward the mouth of the cave.

Cornelius emerges from mouth of the cave and runs down the trail toward CAMERA. He halts in f.g., looking down at:

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.

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.

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.

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:

His head is visible behind the boulder as he reloads his piece .

374 FLASH SHOT

He aims and fires.

Taylor has missed him, but the sniper ducks behind the boulder.

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.

The sniper's SECOND SHOT rings out. Instead of returning the fire, Taylor looks up the rail at:

He is standing impassively on the trail a short distance below the mouth of the cave.

Bent low, he comes charging up the trail toward Zaius. The sniper's THIRD SHOT splatters rock fragments around him.

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.

Taylor releases the pressure on Zaius' throat but keeps the gun pointed at his back.

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.

They move off down the trail.

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 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.

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.

Zira and Cornelius look down at the captive mandarin. Their rebellious spirit has evaporated, and they are clearly afraid.

ZIRA, (weakly) But we can't be sure.

385- 388 OUT

As Zira and Cornelius look at him expectantly.

Cornelius crosses to Zaius, and takes a small book bound in black leather from the breast pocket of his tunic.

Cornelius thumbs through the book, finds the citation and reads aloud:

Cornelius falls silent and looks down at Zaius.

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:

Lucius comes up with the horse. Taylor checks the provisions in the saddlebags. Lucius is frowning.

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.

He reaches down, grasps Cornelius' hand, then grins crookedly.

Taylor smiles, leans down, kisses her.

He extends his hand to Lucius, who takes it.

Taylor looks piercingly at Zaius, more troubled than offended.

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.

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.

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

Zaius watches as Taylor's horse moves farther away along the beach. Then he turns to an ape called MARCUS.

He remounts his horse and rides o.s.

Cornelius throws himself at Zaius.

Zaius looks emptily at one of his apes.

A hairy hand is clapped over Cornelius' mouth. He is dragged off, struggling, kicking. Julius, unafraid, glares at Zaius.

Zaius looks benevolently at Julius.

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.

A-406 CLOSEUP - ZAIUS

His face is A mask, his tone enigmatic.

B-406 WIDER ANGLE - TIE APES P.O.V.

A moment later, as they watch, Taylor and Nova vanish around the bend.

407- OUT

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.

He is alert, sniffing the salt air, sizing up the situation. Hearing the CRIES of birds, he reins in and looks' up.

Sea gulls are soaring overhead.

His expression is expectant, searching. Nova emits a whimper of anticipation, pointing off.

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.

He smiles at her hopefully.

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.

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

As they round the promontory, the tip of a strange rock formation comes into view. it appears to be jutting from the sea.

He reins in momentarily, baffled by what he sees. Then he rides on.

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.

Frowning with consternation. His horse proceeds at a slow walk.

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.

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