scripts/Planet of the Apes.txt

				"PLANET OF THE APES"

				Screenplay
				by
				Michael Wilson


				Based on Novel
				By
				Pierre Boulle








							SHOOTING SCRIPT
 							May 5, 1967

							REVISED:
							05/11/67
							05/16/67
							05/23/67
							06/09/67
							06/15/67
							06/22/67
							07/06/67
							07/27/67









	FADE IN
	
1	EXT. CONSTELLATION OF ORION - NIGHT

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

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

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

2	INT. CABIN OF SPACESHIP - ESTABLISHING SHOT - NIGHT

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

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

	He pauses, looking up at:

3	TWO LARGE CLOCKS - ON CABIN WALL

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

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

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

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

4	CLOSE ON ASTRONAUT

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

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

	He begins to roll up his left sleeve.

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

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

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

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

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

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

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

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

5	THE CLOCK MARKED EARTH TIME

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

6	INT. CABIN - TRACKING WITH TAYLOR

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

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

11	ANOTHER ANGLE - FAVORING TAYLOR

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

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

								DISSOLVE TO:

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

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

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

17	INT. SPACESHIP - FULL SHOT - DAY

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

18	CLOSE ON TAYLOR

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

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

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

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

	They nod.

20	BACK TO TAYLOR - CLOSE SHOT

	He glances at the casket beside his own.

				TAYLOR 
			Stewart?
				(struggling to his feet) 
			Stewart?

21	CLOSE-SHOT --THE FOURTH CASKET

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

22	REACTION SHOT - THE THREE ASTRONAUTS

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

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

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

23	REVERSE ANGLE - THE FORWARD CABIN

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

24	LONG SHOT - WHAT TAYLOR SEES:

	water 

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

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

25	INT. CABIN - FULL SHOT

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

				TAYLOR
			Dodge! Read the atmosphere!

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

				TAYLOR
			Landon! Send a last signal.

				LANDON
				(dazed) 
			What signal?

				TAYLOR 
			To Earth! That we've landed!

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

								CUT TO:

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

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

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

27	INT. CABIN - CLOSE ON CLOSED ESCAPE HATCH

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

				DODGE 
			It's breathable.

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

	Dodge reaches for a control mechanism near the escape hatch.

28	CLOSE ON TAYLOR AND LANDON

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

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

				TAYLOR
			Forget it. Abandon ship.

29	WIDER ANGLE - TIM CABIN

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

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

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

31	EXT. TOP OF SPACECRAFT - MED. SHOT

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

32	CLOSE ON THE MEN IN THE RAFT

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

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

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

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

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

 	The craft vanishes beneath the water.

34	CLOSE ON THE MEN IN THE RAFT

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

				LANDON 
			Gone.

				TAYLOR
				(flatly)
			We're here to stay.

35	ANOTHER ANGLE - MOVING WITH THE RAFT

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

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

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

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

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

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

37	BACK TO ASTRONAUTS IN RAFT

	Landon glances skeptically at Taylor.

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

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

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

38	WIDER ANGLE - THE BEACH

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

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

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

				TAYLOR 
				(calls Dodge) 
			Got your sensors?

				DODGE 
			Yo!

				TAYLOR 
			Geiger counter?

				DODGE 
			Yo!

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

				DODGE
			But how long is a day?

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

39	ANOTHER ANGLE - FAVORING LANDON

	He seems not to have heard.

				TAYLOR
				(sharply)
			Landon! Join the expedition.

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

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

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

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

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

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

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

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

				LANDON
				long pause) 
			You know it.

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

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

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

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

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

				TAYLOR
			Any sign of dangerous ionization?

				DODGE
			No.

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

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

				DODGE
			Which direction?

				TAYLOR
				(decisively, pointing
				west) 
			That way.

				DODGE
			Any particular reason?

				TAYLOR 
			None at all.

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

40	REVERSE ANGLE - FEATURING LANDON

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

41	REVERSE  ANGLE - FEATURING TAYLOR AND DODGE

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

							DISSOLVE TO:

41-A	DAWN SHOT (GUNSIGHT	LOC #43)

42	THE ASTRONAUTS' TREK

	They descend from the plateau (Ochre Dunes)

43	ASTRONAUTS CONTINUE MARCH,

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

44	THEY MOVE ACROSS THE TERRAIN

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

45-	OUT
58

								QUICK DISSOLVE TO:

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

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

				TAYLOR
			Everybody all right?

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

				TAYLOR 
			Water check.    

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

				DODGE 
			Eight ounces.

	Dodge lies back and looks up at the sky.

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

	Landon also looks up at the sky.

				LANDON
			If only we could get a fix.

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

				DODGE 
				(gently) 
			Taylor -- quit riding him.

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

				LANDON 
				(wearily)
			All right --

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

				LANDON 
				(quietly) 
			I'm prepared to die.

	Taylor turns to Dodge, throws up his hands.

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

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

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

				LANDON
				(hard) 
			Climb off me, will you!

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

				LANDON
			Taylor.	I'm telling you --

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

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

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

				TAYLOR 
			Don't bother

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

				TAYLOR
			But I'm not prepared to die.

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

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

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

60	ANOTHER ANGLE - FEATURING DODGE

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

61	CLOSEUP - WHAT DODGE SEES:

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

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

				DODGE 
			Taylor! Over here!

63	CLOSE. GROUP SHOT - ANGLING DOWN

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

				DODGE 
			Life. 

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

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

				TAYLOR 
			Let's find them all.

63-A	SUNSET SHOT

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

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

65	ASTRONAUTS CAST HUGE SHADOWS

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

65-A	JUMP SHOT

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

	They march across Crazy Canyon overlook.

65-C	REACTION SHOTS OF ASTRONAUTS

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

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

								QUICK DISSOLVE T0:

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

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

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

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

				LANDON 
			Look. . .

68	LONG SHOT - A CLIFF BEYOND THE TAMARISKS

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

				LANDON 
			Scarecrows?

				TAYLOR 
			Let's take a look.

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

69	REVERSE ANGLE - THE ASTRONAUTS

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

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

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

71	BACK TO THE ASTRONAUTS

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

				TAYLOR
				(half to himself)
			Never mind the scarecrows.

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

72	MOVING SHOT - DODGE AND LANDON

	Agonized with thirst, they follow Taylor.

73	FLASH SHOT - THE TOP OF THE CLIFF

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

74	EXT. A DECLIVITY IN THE CLIFF - FEATURING TAYLOR

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

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

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

76	CLOSEUP - TAYLOR

	His parched lips break into a smile.

								QUICK DISSOLVE TO:

77	EXT. WATERFALL AND POOL - FULL SHOT - DAY

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

				DODGE 
			It's loaded with minerals, but safe.

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

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

				TAYLOR
				(looks around)
			Okay.

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

78	DODGE AND LANDON SWIMMNG

79	TAYLOR

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

80	DODGE AND LANDON

	as they arrive at opposite shore.

81	MED . SHOT - FAR SIDE OF POOL

	as Landon sees something on shore.

82	TAYLOR IN WATER

	as he swims across.

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

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

83	CLOSE SHOT - WHAT THEY SEE:

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

84	GROUP SHOT - THE THREE ASTRONAUTS

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

								CUT TO:

85	THE OTHER SIDE OF THE POOL - FULL PANNING SHOT

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

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

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

87	ANOTHER ANGLE - AT EDGE OF POOL

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

88	BACK TO THE ASTRONAUTS - ON OTHER SIDE OF POOL

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

89	WHAT THEY SEE:

	Another pair of dungarees slithers into the underbrush and disappears.

90	REVERSE ANGLE - FULL PANNING SHOT - THE ASTRONAUTS

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

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

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

94	WHAT THE ASTRONAUTS SEE:

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

95	EXT. A SMALL CLEARING - FAVORING THE THREE ASTRONAUTS

	who stop at the edge of the clearing, startled by

96	WHAT THEY SEE:

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

97	BACK TO THE AST40IONAUTS

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

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

				TAYLOR
			Show them we're friendly.

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

				TAYLOR 
				(warmly)
			Greetings!

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

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

				TAYLOR
			No cigar.

				LANDON
			Try telling them our names.

	Taylor grimaces at Landon.

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

	More shrinking back by the frightened primitives.

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

99-	OUT
102

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

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

106	EXT. A JUNGLE PATH - THE ASTRONAUTS

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

				DODGE 
			They didn't leave much did they?

				LANDON 
			Shall we follow them?

				TAYLOR 
			Haven't much choice.

	As they walk off down the jungle path.

								DISSOLVE TO:

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

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

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

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

109	BACK TO ASTRONAUTS - CLOSE GROUP SHOT

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

				DODGE
			Blessed are the vegetarians.

110	THE OTHER CAMP - FEATURING A YOUNG WOMAN

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

111	BACK TO ASTRONAUTS

	Landon looks o.s. at the primitives.

				LANDON
			We got off at the wrong stop.

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

				DODGE
				(suddenly)
			Look...

112	THE PRIMITIVES - THEIR P.O.V.

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

113	CLOSE GROUP SHOT - THE ASTRONAUTS

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

				LANDON
			Think they'll attack us?

	Taylor turns, looks back at:

114	THE DISTANT JUNGLE (OR FOREST)

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

115	LONG PANNING SHOT - THE PRIMITIVES

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

116	VERY LONG SHOT - THE JUNGLE (OR FOREST)

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

117	LONG PANNING SHOT - THE PRIMITIVES

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

118	LONG SHOT - THE RIDERS

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

119	CLOSE GROUP SHOT - THE THREE ASTRONAUTS

	Stupefied, frozen in place.

120 	LONG SHOT - THE RIDERS

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

121	MED. SHOT.

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

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

125	MED. CLOSE SHOT - A RIDER

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

126	FLASH SHOT - DODGE

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

127	FLASH SHOT - TAYLOR

	He drops at the side of his fallen comrade.

128	CLOSE TWO SHOT - ANGLING DOWN ON DODGE

	As Taylor rolls him over. Dodge is dead.

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

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

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

136	EXT, SAVANNA - PANNING WITH TAYLOR

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

137	CLOSE ON TAYLOR

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

								DISSOLVE TO:

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

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

139-	OUT
140

141	CLOSE ON TAYLOR - WITHIN WAGON CAGE

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

142	CLOSE SHOT - WHAT TAYLOR SEES:

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

143	CLOSE ON TAYLOR

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

144	TRUCKING WITH THE WAGON - WHAT TAYLOR SEES:

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

				APE PHOTOGRAPHER
			Smile.

	The hunter bares his teeth.

145 	CLOSE ON TAYLOR

	He faints.

								FADE OUT

								FADE IN

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

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

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

				ZIRA 
			Which one was wearing the strange 
			clothes?

				GALEN
			Him.

	Zira looks down at Taylor.

				ZIRA
			Will he live?

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

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

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

				NURSE
			Yes, sir.

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

				ZIRA
			This place is dirty, doctor.

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

147	CLOSE TWO SHOT - TAYLOR AND NOVA

	His eyes come open. Over this we hear:

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

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

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

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

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

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

148	BACK TO GROUP AROUND OPERATING TABLE

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

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

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

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

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

				GALEN
			Hmph.

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

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

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

				GALEN 
				(to Nurse) 
			Hold his head.

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

								DISSOLVE TO:

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

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

149-A	CLOSE - TAYLOR

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

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

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

				TAYLOR 
				(soundlessly) 
			Hey! Hey!

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

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

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

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

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

				JULIUS
			Good morning, Dr. Zira.

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

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

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

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

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

				ZIRA
			Do we want some sugar, old-timer?

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

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

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

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

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

150	CLOSE SHOT - FEATURING TAYLOR - ZIRA AND JULIUS

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

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

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

	He winces, puts his hand to the bandage.

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

				JULIUS 
			See? He keeps pretending he can 
			talk.

	Taylor glares at Julius, slams the bars.

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

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

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

				JULIUS
			Huh?

				ZIRA
			He's trying to form words.

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

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

				JULIUS
			Now what?

	Taylor gestures for Zira to come closer to the bars.

				ZIRA
			He seems to want something.

	She advances tentatively toward the cage.

				JULIUS
			I'd be careful, doctor.

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

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

	Zira draws back, looking at Taylor in surprise.

151	CLOSER - TAYLOR

	His face is twisted in frustration.

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

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

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

	Taylor looks o.s.

152-	OUT
160

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

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

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

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

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

	Taylor just glares at her.

				ZIRA
			Speak! Go on.	Speak again.

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

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

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

	Taylor turns to Zaius.

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

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

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

	Zira wiggles her fingers excitedly.

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

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

				ZAIUS
			An animal?

				JULIUS
			Look!

	Taylor is frantically wiggling his fingers.

				ZIRA
			He's moving his fingers!

				ZAIUS
			Of course. He saw you moving yours.

				ZIRA
			But perhaps he understood --

161-A	CLOSE - TAYLOR 

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

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

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

161-B	CLOSE - ZAIUS

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

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

161-C	CLOSER - TAYLOR

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

161-D	MED. THE GROUP

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

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

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

				ZAIUS
			It's a question of simian survival.

161-E	CLOSE - TAYLOR

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

				APE GUARD
			Is this the one you wanted, Doctor?

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

	Taylor looks up.

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

161-F	ANOTHER ANGLE - THE CAGE

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

				ZIRA
			Put her in with him.

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

162-	OUT
169

								DISSOLVE TO:

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

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

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

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

171	CLOSER ANGLE - THE YARD - FEATURING TAYLOR

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

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

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

				CORNELIUS
			Do you have to work tonight?

				ZIRA 
			No.

				CORNELIUS 
			Neither do I.

	He gives her a quick peck on the cheek.

173	CLOSER - TAYLOR

	He drifts toward the fence, Nova behind him.

174	MED. SHOT - ZIRA AND CORNELIUS

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

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

				CORNELIUS 
			What's so special about him?

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

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

				ZIRA 
				(excited)
			Look -- she remembers.

				CORNELIUS
			Remembers what?

				ZIRA
			The blood transfusion.

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

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

175	ANOTHER ANGLE - THE YARD - FEATURING DR. ZAIUS

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

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

	Cornelius bows respectfully. Zaius is patronizingly polite.

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

A-175	MED. SHOT - TAYLOR

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

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

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

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

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

			I CAN WRITE

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

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

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

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

				A VOICE
				(o.s.)
			Guards!

177	WIDER ANGLE - THE FIGHT

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

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

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

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

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

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

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

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

				ZAIUS
			That man can be domesticated.

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

179	THE DUST UNDERFOOT

	Just beyond the fence we can make out the letters:

			I CAN

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

180	CLOSEUP - ZAIUS

	His face is a mask.

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

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

				JULIUS 
			What happened?

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

				JULIUS 
			I'll see.

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

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

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

				ZIRA
			I'm sorry, Bright Eyes.

183	ANOTHER ANGLE - TO INCLUDE TAYLOR

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

				JULIUS
			I told you what you'd get!

184	WIDER ANGLE - TO INCLUDE THEM ALL

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

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

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

185	ANOTHER ANGLE - FAVORING ZIRA

	The guard returns her pen and notebook with the comment:

				JULIUS 
			Natural born thieves, aren't they?

	Zira glances at the notebook. Her face clouds.

186	INSERT - WHAT SHE READS:

	A hasty, almost illegible scrawl:

		MY NAME IS TAYLOR.

187	CLOSEUP - ZIRA

	Her eyes afire with a wild surmise.

188	TWO SHOT - ZIRA AND JULIUS

	Her eyes never leave Taylor as she tells the guard:

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

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

				ZIRA 
			Do as I say.

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

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

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

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

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

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

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

190	ANOTHER ANGLE - THE OFFICE

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

				CORNELIUS 
			Jefferson Public School, Fort Wayne, 
			Indiana?

	He looks at Taylor narrowly. Taylor nods.

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

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

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

	She smiles. Cornelius bristles.

				CORNELIUS
			Now, just a minute --

				ZIRA
			Oh, Cornelius, be quiet.

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

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

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

	Taylor writes quickly, hands the note to Zira.

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

	Taylor impatiently begins to fold a sheet of paper.

				CORNELIUS
			Flight is a scientific impossibility.

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

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

				CORNELIUS
				(softly)
			Well, now...

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

				ZIRA
				(reading)
			'Do you have maps?'

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

191	CLOSE ON MAP

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

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

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

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

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

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

	Taylor nods, smiles gratefully.

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

	Taylor slams his fist against the wall in frustration.

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

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

192	WIDER ANGLE - THE THREESOME

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

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

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

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

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

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

				CORNELIUS 
			No, they won't -

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

				ZIRA 
			Cornelius has developed a brilliant 
			hypothesis -

				CORNELIUS
				(quickly)
			It's probably wrong --

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

				CORNELIUS
			The evidence was very meager --

				ZIRA
			You didn't think so then.

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

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

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

				CORNELIUS 
			He's touchy, isn't he?

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

				ZIRA
			'I am not a missing link.'

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

				ZIRA 
			Well, maybe they're not.

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

				ZIRA
			Oh, Cornelius, show some strength!

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

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

193	REVERSE ANGLE - TO INCLUDE THE DOOR

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

				CORNELIUS
				(flustered)
			Dr. Zaius --

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

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

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

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

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

				MAXIMUS
			What is that?

				ZIRA
			A man, Dr. Maximus.

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

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