

		"ESCAPE FROM THE PLANET OF THE APES"




				Original Screenplay


						by


					PAUL DEHN





			Based on characters created by

				Pierre Boulle



									FINAL SCREENPLAY
									October 28, 1970

				APJAC Productions Inc.

-------------------------------------------------------------
	REVISED   12/9/70


	"ESCAPE FROM THE PLANET OF THE APES"

	FROM BLACK SCREEN
	SHOCK-CUT TO EXTREME CLOSEUP:

1	THE EXPLOSION OF ROCKETS

	as we watch a it speeds away from CAMERA.

										CUT TO:

A-l   EXT. SPACESHIP (STOCK)

	It soars into space.

2	INT. ORBITING SPACESHIP

	through whose windows the same light lividly
	illuminates three space-suited and helmeted ASTRONAUTS
	-- afraid and curiously hesitant at the controls. We
	establish a Dual Date Meter showing the year in terms
	both of "EARTH TIME" and "SELF-TIME."  Both panels
	read: 3955.

					ASTRONAUT 1 (MALE)
			We made it.

					ASTRONAUT 2 (MALE)
			So far.  But one thing i8 for certain.
			Whoever wins the war, there'll be no
			place on Earth for us.

					ASTRONAUT 3 (FEMALE)
			Where are we going?

					ASTRONAUT 2 (MALE)
				(briskly)
			Probably to our death.  But just
			possibly --

3	P.O.V. SHOT - EARTH'S RIM WHITENS TO INCANDESCENCE

	and a soundless explosion sends a column of fire an
	mushrooming up towards us.

4	SPACESHIP

	Appalled silence.  Through the ship's windows the
	ASTRONAUTS are watching (and we with them) the nuclear
	disintegration of Earth.  The incandescence almost
	burns through their space helmets.  In awed voices:

					ASTRONAUT 2
			The fools...they've finally destroyed
			themselves.

					ASTRONAUT 1
			My God, the earth is no more.

					ASTRONAUT 3
			And we've escaped.

	The spaceship begins to shudder.

					ASTRONAUT 2
			We have, if we survive the shock
			wave.

	The shock wave of the huge, megatonic explosion hits
	the spaceship from below.

	Chaos and pandemonium inside.  We multiply normal air
	turbulence a thousandfold and are bashed, buffeted,
	whirled, twirled, lifted a hundred miles and dropped
	fifty, before slowly flattening out to some semblance
	of equilibrium on (presumably) a new orbit.  The Date
	Meter digits under "EARTH TIME" have begun to click and
	race erratically. ASTRONAUT 2 watches intently.

					ASTRONAUT 2
			The shock must have ... unbalanced
			the mechanism.  I don't understand.

	Now he turns to look at another dial.

5	ILLUMINATED PANEL LABELED "AUTOMATIC RE-ENTRY SEQUENCE"

	Across it curves the descending graphline which traces
	optimum re-entry path.  Now the lights begin to trace
	the spacecraft's actual re-entry path, which sometimes
	slightly deviates to left or right of the graphline but
	always approximately follows its course.

					ASTRONAUT 2
			We've been forced out of orbit.

					ASTRONAUT 1
				(looking at panel)
			We're descending.

					ASTRONAUT 3
			But where?

	The spacecraft is seared with flames and smoke as it
	plummets through space.  The windows fog and blacken.
	ASTRONAUT feverishly works at controls to no response.

A-5   LONG SHOT - SPACECRAFT (STOCK)

	The fiery missile descends on our screen.

B-5   FLAMES AND SMOKE

	leap at the windows.  Descent is rapid, and suddenly
	through the blackened windows the entry is completed
	for light can be seen flickering through the charred
	cracks.

C-5   SUBJECTIVE P.O.V.

	We descend rapidly to be swallowed in a cloud bank.

D-5   INT. SPACECRAFT

	SHOOTING across the frozen ASTRONAUTS, we see the Date
	Meter spin to a halt.

					EARTH TIME
						1973

					SHIP TIME
						3955

E-5   SUBJECTIVE P.O.V. (STOCK)

	We are crashing rapidly into the ocean.

F-5   SPLASHDOWN (STOCK)

	The spacecraft split the water into churning waves.
	Then all is still.

6	EARTH - AERIAL SHOT - THE PACIFIC OCEAN - DUSK

	We are watching it from the P.O.V. of a U.S. Marine
	helicopter PILOT flying on normal coastal
	reconnaissance duty; and the coast itself as plane
	banks to include it) is California. All is peaceful,
	empty and deserted.  Until...PILOT mildly reacts to an
	object beached on the tideline far below.  His prop-
	blades louden as he goes into a steep, investigatory
	dive.

7	FROM PILOT'S P.O.V.

	We ZOOM towards the floating and still-unopened 
	spaceship.

8	INT. PILOT'S CABIN

	As he flattens off and reascends:

					PILOT
				(radio-reporting)
			Tower, this is Red Baron Five.  I
			have an object beached on the tide-
			line -- uh -- seemingly one of our
			spacecraft.  Coordinates are southeast
			corner of sector Alpha Charlie.  Relay
			this to appropriate recovery forces.
			I have enough fuel to orbit for forty-
			five minutes.  Please alert Red Baron
			Ops and I'll squawk Channel Two for
			radar fix.

										CUT TO:

9	INT. OPS ROOM

					DUTY OFFICER
				(on phone)
			Rescue, we have Red Baron Five
			report of possible spacecraft
			washed ashore in southeast sector
			Alpha Charlie.  Immediately launch
			two choppers to effect pickup and
			recovery.  Base Radar will vector
			them to the location.

	He picks up second phone and dials.

					DUTY OFFICER
			The Colonel, please.

10    EXT. COLONEL'S GARDEN

	The COLONEL, among friends, is barbecuing a steak on
	the lawn of his private quarters as the garden phone
	rings beside him.  The roar of the o.s. helicopters
	passing overhead and the nature of the phone message
	itself distract him from the steak which, during the
	brief conversation's course, is burnt to a cinder.  As
	the helicopters recede:

					COLONEL
			I didn't even know we had anything
			up.  Okay, I'll call Washington.
				(seeing burnt steak)
			Damn!

11    HELICOPTERS IN FLIGHT

12    OFFICE IN WASHINGTON

	3-star GENERAL BRODY stands against wall map of
	splashdown area and barks into phone.

					BRODY
			No serial number? ... Well, it
			may have been burnt out on re-entry.
			... No, neither did I.  I'll check
			with Deputy Director, NASA, and
			call you back.

	He cuts the call to initiate a new one.

13    EXT. HELICOPTER

	disgorging FROGMEN at spacecraft.  First helicopter
	departs.

14    OFFICE AT CAPE KENNEDY

	INTERCUTTING DEPUTY DIRECTOR with BRODY in Washington.

					DEPUTY DIRECTOR (CIVILIAN)
				(patiently)
			General Brody, I'm telling you...
			We have no spacecraft up.

					BRODY
				(irritably)
			You're telling me that what never
			went up can't come down.  And I'm
			telling you it just has.  And now
			I'm going to tell the President.

										CUT TO:

15    EXT. BEACH AREA

	Military vehicles, combat Marines, trucks, jeeps, etc.
	swarm.

16    WHITE HOUSE OFFICE

	The PRESIDENT is an articulate, unruffled professional
	politician with a flair for irony.  Into phone:

					PRESIDENT
			Let us hope and pray that you are
			right, General.  But I think we
			should be alert to a remoter
			possibility:  that the Russians
			retrieved one of our missing space-
			ships and remanned it with astronauts
			who have now accidentally splashed
			down in our own territorial waters.
			If they're alive, you may tell
			Colonel Winthrop at El Palomar to
			welcome them with caution.  Whether
			they're alive or not, have NASA go
			over that ship with whatever's the
			scientific equivalent of a fine tooth
			comb.  And until we know more, I want
			a full security clampdown on the entire
			operation.
				(dryly)
			You understand me, General.  This is
			not for the networks.

										CUT TO:

17    EXT. SPACECRAFT

	being towed ashore by cable attached to truck winch.
	FROGMEN, swimming alongside, shout orders to truck on
	beach.

										CUT TO:

18    INSIDE SPACESHIP

	Its windows still fogged and blackened; the OCCUPANTS
	still helmeted.  We hear 0.S. FROGMEN faintly shouting
	orders from outside.

					ASTRONAUT 2
			We are being pulled.

					FROGMAN'S VOICE
				(0.S.)
			How the hell do you hold onto this
			thing.

					FROGMAN'S VOICE
				(O.S.)
			Some Frogman you are.

	He laughs.

					ASTRONAUT 1
			They speak our language.  At least
			they have intelligence.

					ASTRONAUT 2
				(urgently)
			Then at least let us conceal our
			intelligence from our captors.
			Our safety may lie in silence.

										CUT TO:

19    EXT. FIRST HELICOPTER RETURNS

	and lands on beach.  COLONEL emerges, with two
	AIDES, to view:

20    EXT. SPACECRAFT AT WATER'S EDGE

21    MARINES SURROUND SPACECRAFT AT THE READY

22    THE OPENING OF THE SPACESHIP'S HATCH

	Our helmeted ASTRONAUTS emerge, descend; and draw the
	selves up, line abreast, facing:

23    COLONEL AND AIDES

					COLONEL
			Welcome, gentlemen.

	Then their faces stiffen in aghast astonishment, as we:

										CUT TO:

24    FROM THEIR P.O.V. - THE ASTRONAUTS UNHELMETED

	They are all chimpanzees.  One of them (MILO) is a
	character new to our series.  The other two are
	CORNELIUS and is wife ZIRA.  Over their heads we SUPER:

			TITLE AND CREDITS
	which continue over a:

25    MONTAGE

	A.  CREDIT:  ESCAPE FROM THE PLANET OF THE APES
		Frozen shot of the three apes.

	B.  CREDIT:  (STARRING)
		A shot of the Colonel and two aides.  Camera ZOOMS
		into head shot of Colonel.

	C.  CREDIT:  RODDY McDOWALL
		Close shot of Cornelius.  Pull back to Med. shot.
		He looks off.

	D.  CREDIT:  KIM HUNTER
		Camera pans to Zira.

	E.  CREDIT:  BRAD DILLMAN
		Full shot - beach action.  Colonel and two aides
		run towards jeep.

	F.  CREDIT  NATALIE TRUNDY
		Colonel in f.g. reaches for phone in jeep.  Two
		aides in b.g.

	G.  CREDIT:  ERIC BRAEDEN
		General Brody reacting to news on telephone (freeze
		frame).

	H.  CREDIT:  (CO-STARRING)
		Deputy Director, NASA, reacting to news (freeze
		frame).

	I.  CREDIT:  SUPPORTING CAST
		President of the U.S. reacting to the news (freeze
		frame).

	J.  CREDIT:  RICARDO MONTALBAN AS ARMANDO
		Full shot - Ops Room receiving news on teletype.

	K.  CREDIT:  MUSIC - JERRY GOLDSMITH
		Tighter shot - Ops Room - activity on phone.

	L.  CREDIT:  PHOTOGRAPHY - JOE BIROC
		Full shot - security gate.  Trucks and ambulance
		entering air base.

	M.  CREDIT:  ART DIRECTION, ETC.
		Security gates being closed   Zooming into off-
		limits sign.

	N.  CREDIT:  MAKEUP DESIGN AND FILM EDITOR
		Full shot - trucks and ambulance arriving at air
		base depot.

	O.  CREDIT:  UNIT MANAGER, ETC.
		Ambulance being opened to admit Ape-onauts.

	P.  CREDIT:  PANAVISION, ETC.
		by soldiers to guardhouse (director's
		note:  possible two shot).

	Q.  CREDIT:  ASSOCIATE PRODUCER
		Low-bed truck carrying spacecraft.

	R.  CREDIT:  WRITTEN BY
		Tighter shot on moving truck carrying spacecraft.

	S.  CREDIT:  PRODUCED BY
		Jeep arriving at air base depot.  Aide to Colonel
		enters building.

	T.  CREDIT:  DIRECTED BY
		Colonel and Aide emerge from building heading
		towards guardhouse.

	MONTAGE ENDS.

26    EXT. MARINE BASE - COLONEL AND AIDE

	who is carrying a large paperbag, as they walk past
	Headquarters Buildings.

					COLONEL
			Did you call the Zoo?

					AIDE
			Yes, sir.  We're in luck.  The
			sick bay's almost empty except
			for a mauled fox cub, a deer with
			pneumonia, and a depressed gorilla.
			The Apes will be hidden from the
			public.  They'll be quarantined.
			If they want medical attention, it's
			available on the spot.  And the
			experts can start giving them the
			once-over first thing in the morning.
			General Brody's very pleased.

					COLONEL
			Me, too.  Can't have a lot of monkeys
			making messes in the Guardhouse.  Have
			we fed them?  Like raw steak or
			something?

					AIDE
			The Zoo tells me that chimpanzees,
			like all apes, are vegetarian, sir.

					COLONEL
			Good God.

					AIDE
				(indicating paper bag)
			They suggested oranges.

	They have reached:

27    EXT. GUARDHOUSE

	whose door is unlocked by an obviously shaken MARINE
	M.P.

					COLONEL
			What's the matter?

	MARINE M.P. helplessly ushers them into:

28    INT. GUARDHOUSE

	Its rear section (behind bars) is furnished with
	austere but serviceable beds, chairs, tables and a
	washing sink with plates and cutlery in rack above.  On
	the floor: a capacious rawhide valise, from which ZIRA
	(gloved and shod) has extracted a robe into which she
	is changing. Her discarded space suit lies at her feet.
	MILO and CORNELIUS have already changed.  Their space
	suits are hanging neatly from wall hooks.  At COLONEL'S
	entry, MILO and CORNELIUS rise courteously to their
	feet, while ZIRA struggles hastily into her robe.  From
	the threshold:

					COLONEL
				(automatically)
			Excuse me.  I didn't mean to
			disturb....
				(aghast to Aide)
			What am I saying?

					AIDE
			They're...pretending to dress.

					COLONEL
			What d'you mean, pretending?
			They are dressing.  Where'd they
			get those clothes?

					MARINE M.P.
				(indicating valise)
			They brought them with them, sir.
				(gulping)
			In a suitcase.

					COLONEL
			Suit....?
				(with an effort;
				to Aide)
			Greg, give them their oranges.

	AIDE advances cautiously with paper bag.

29    MASTER SHOT

	We HOLD COLONEL and MARINE M.P. talking in f.g., while
	AIDE proffers oranges (which the TRIO gracefully
	accepts) in b.g.

	ZIRA, holding her orange, has gone straight to the sink
	rack, from which she takes three plates, three knives
	and three forks.

					COLONEL
				(not noticing;
				to Marine M.P.)
			Arrange prisoner escort for 16:30
			hours...

	ZIRA distributes plates and cutlery to MILO and
	CORNELIUS. To AIDE's astonishment, the APES draw up
	chairs and sit round the table.

					COLONEL
				(not noticing;
				to Aide)
			We're sending them to the Zoo Infirmary.

	The APES start meticulously quartering their oranges on
	their plates with their knives.

					COLONEL
				(still to Aide)
			They'll have company.  There's
			a gorilla in the next cage.

	ZIRA, overhearing this, reacts violently; rises, picks
	up her plate and hurls it to the ground.

					COLONEL
				(looking round at
				last)
			Now why the hell did it do that?

	The full implications of the plates and the knives only
	strike him as we:

										CUT TO:

30    INT. ZOO INFIRMARY - NIGHT

	We START on CLOSE SHOT of the deer with pneumonia,
	cradled under ultraviolet lamps which (as we PULL BACK)
	prove to be the huge, clinically furnished room's only
	light source -- for the sick animals must get their
	rest.  We PAN past a recumbent camel and the mauled fox
	cub, into whose small sleeping body the rubber tube of
	a suspended flask is intravenously dripping plasma; and
	END on a white-coated KEEPER (with flashlamp)
	inspecting our APE TRIO, now installed in one of two
	large, contiguous cages at the dim room's center:  
	straw for them to lie on; a bowl of water for drinking;
	and a generous supply of oranges and bananas, one of
	which he cautiously proffers to ZIRA through the bars,
	while playfully patting her head.  ZIRA reacts the
	banana and slaps his face.  Taken aback but still
	amicably:

					KEEPER
			Have it your own way, mate.

	Clang!  He locks them in and exits.  When the light
	from his flashlamp has faded to near-darkness, we hear
	an outer door more distantly locked.

					ZIRA
				(outraged whisper
				to Cornelius)
			I'm not his mate.  I'm yours.

					CORNELIUS
			Zira, please control yourself.
			I think they're trying to be kind.

					ZIRA
			This cage stinks of gorilla.

	She sits down disconsolately on the straw.  Instantly
	CORNELIUS sits by her and takes her hand.  In 
	undertones:

					ZIRA
			Cornelius -- where are we?  What's
			happened?

	CORNELIUS helplessly shrugs.  From the shadows, very
	softly:

					MILO
			I know where we are.  I know what
			has happened.

	ZIRA and CORNELIUS stare at him.

					MILO
			In some fashion -- and I lack
			the intellect to know precisely how
			-- we have traveled from Earth's
			future into Earth's past.

					CORNELIUS
			But we saw Earth destroyed.

					MILO
			And Earth will be destroyed --
			just as we saw it.  Only, since
			fleeing it, we have passed through
			a....backward disturbance in time --
			did you notice the Date Meter
			clicking down after the shock
			wave hit our ship? -- and we
			have returned to Earth almost
			two thousand years before its
			destruction.
					(solemnly)
			That is another reason for keeping
			silence.  Our human captors would
			not be edified to know that, one
			day, their world will crack like
			an egg and fry to a cinder, because
			of an Ape war of aggression.

	His low tones have become just emphatic enough to
	disturb:

31    GORILLA IN NEXT CAGE

	It shifts, grunts and whimpers uneasily.

32    BACK TO SCENE

	The TRIO reacts.  We CLOSE to:

					MILO
			Apes, at this instant in time,
			cannot yet talk.  For the moment,
			we should follow their example.

										FADE OUT


	FADE IN

33    EXT. ZOO - MISTY MORNING SHOTS (6:00 A.M.)

	We hear occasional call of a tropical early bird, and
	CLOSE to two human early birds:  LEWIS DIXON, a young
	animal psychiatrist, and his pretty (female) research
	assistant, STEVIE.  As they walk:

					LEWIS
				(feeling in
				pocket)
			The driver brought e report from
			the Air Base.
				(scanning it)
			The usual imitatory behavior ...
			mimicking salutes ... hand-shaking
			... sitting on chairs ... eating
			off plates with knives ... but--

	He hesitates.

					STEVIE
			What, Lewis?

					LEWIS
			There was a sort of carpetbag in
			the ship.

					STEVIE
			With food?

					LEWIS
			No -- clothes.  Stevie, they changed
			into them.

					STEVIE
			I don't believe it.

	But his reaction says it is true.  We have reached the
	Infirmary's main (open) door which is guarded by two
	SOLDIERS.

					STEVIE
			What are they doing here?

					LEWIS
			Security.
				(undertone)
			Join the Marines and see the Zoo ...

	Passing between the SOLDIERS, they enter:


A-33  INT. INFIRMARY CORRIDOR

	They don white smocks (marked with their own names)
	hanging from wall hooks; walk past the sick deer and
	the fox under treatment in small box-cages against the
	wall; and enter:

B-33  MAIN ROOM - DOUBLE CAGE

	In one half of the cage sleeps the depressed GORILLA;
	in the other half, very much awake, sit CORNELIUS and
	ZIRA staring at the Intelligence Test apparatus.
	Outside the cage stands KEEPER.

					LEWIS
			Good morning, Arthur.

					ARTHUR
			Hi, Dr. Dixon.....Dr. Branton.

	Our APES survey them stonily.

					ARTHUR
				(fingering bruise
				on cheek)
			The female's a bit uppity, sir.

					LEWIS
			Okay, I'll be careful.  We'll
			start with the Wisconsin
			Multiphasic.

	STEVIE opens the cage.

					LEWIS
			Go easy, Stevie.

					STEVIE
			They look pretty docile.

					LEWIS
			Yes, but don't take any chances.

	The Wisconsin Multiphasic is a screen which can be
	lowered and raised (like a window shade) between the
	Investigator on one side and the Subject on the other.
	ZIRA winks knowledgeably at CORNELIUS.  MILO gestures
	her into more discreet behavior.  KEEPER sets up
	apparatus during:

					LEWIS
				(to Stevie)
			Unless the spacecraft was
			remotely controlled, they must
			have been conditioned to press
			at least some of the right
			buttons.  They can't be morons.
				(to Keeper)
			The female first, Arthur.  And
			set up Tic-Tac-Toe.

	To everyone's surprise and KEEPER's relief, ZIRA
	promptly squats down on her side of the raised screen.
	The hyper-cautious MILO disapprovingly shakes his head.
	LEWIS raises screen and displays a single red cube for
	three seconds before lowering screen to mask ZIRA's
	view.  When he raises it again, he is simultaneously
	displaying a blue pyramid, a green cone, a yellow
	sphere, a blue cube, a red octahedron and the red cube.
	ZIRA instantly selects the red cube, which she offers
	courteously back to LEWIS. LEWIS gives an astonished
	whistle.  STEVIE, too, reacts in amazement.

					LEWIS
			She seems to be pretty smart.
			All right -- let's make it
			difficult.

	He lowers the screen, and readies an assortment of five
	colored blocks, then raises the screen only for a
	second, then lowers it.  He now adds additional blocks
	to make it an even dozen, and breaks up the pattern of
	five previously seen by ZIRA.  Now, almost smugly, he
	raises the screen, but any superiority he may have felt
	is quickly erased as ZIRA swiftly selects the original
	five blocks. LEWIS is dumbfounded, STEVIE drops her
	notebook and the KEEPER stares in utter disbelief.

	Now, LEWIS pulls the drawer out from the table, and we
	see that slots for all twelve blocks have been carved
	in the bottom.  No slouch ZIRA.  She deftly and swiftly
	fits all twelve blocks into their proper niches.  
	Whereat she rises to her feet, clasps hands over her
	head like a boxer acknowledging victory.  CORNELIUS
	responds with mirth, but MILO shakes his head.

	LEWIS has risen at this interplay between the apes and
	now questions the KEEPER quietly.

					LEWIS
			They haven't eaten this morning?

					ARTHUR
			Not a bite....just as you ordered.

					LEWIS
			Good.  We'll go for the banana...

	Scattered about the cage are a number of oddly
	constructed wooden boxes, all gaily painted.  STEVIE
	now adds several more, as ARTHUR tugs on a rope pulley
	to lower a banana from the top of the cage.

	This is a test unfamiliar to ZIRA, who responds to its
	challenge.  She speculatively eyes the banana; then
	stoops to prowl among the boxes, which she carefully
	examines without touching them.  Then she 
	straightens... and thinks. The tension is 
	insupportable.  Suddenly ZIRA, moving into action, 
	interlocks all the boxes so that they form
	a somewhat eccentric staircase leading to the banana.
	Having done so, she ascends the "stairs," sits on the
	top, and stares smugly at the banana, now only inches
	from her nose.

					STEVIE
			Why doesn't she take it?


					ZIRA
			Because I loathe and detest bananas.

					CORNELIUS
			Zira!

	As though in a slow nightmare, STEVIE sags and faints.
	Somehow, LEWIS catches her and lowers her to the cage
	floor.  Somehow, KEEPER sluices water from the drinking
	bowl over her upturned race.  As she recovers:

					LEWIS
				(sweating)
			Help me get her away.  I'll come
			back.

	Jointly supporting STEVIE, they leave the cage, which
	KEEPER locks.  We STAY with:

34    OUT

35    APE TRIO

					MILO
			Zira, are you mad?

					CORNELIUS
			Dr. Milo, please don't call my
			wife mad.

					MILO
				(evenly)
			I did not call her mad.  I merely
			asked her if she was.  And I repeat
			the question.
				(to Zira)
			Are you mad?

					ZIRA
			I hate deceit.

					MILO
			There is a time for truth and
			a time, not for lies, but for
			silence.  Until we know who i8
			our friend and who our enemy--

					ZIRA
			And how in the name of God are we
			to know that, unless we communicate?
			We can speak.  So I spoke.

					MILO
			We can also listen 

					CORNELIUS
			To a lot of psychiatric small talk --

					MILO
			And we can watch ...

					CORNELIUS
			A display of primitive apparatus --

					ZIRA
				(kicking the apparatus)
			Primitive?  Its prehistoric.  It
			couldn't test the intelligence of
			a newt.

	She kicks the apparatus again, and it collapses.  The
	GORILLA in the next cage gives a disturbed grunt.

					CORNELIUS
			Zira, calm yourself --

					ZIRA
			I am calm.

	She knocks another piece of apparatus endways. Now even
	MILO's self-control snaps.  He stalks to the side bars
	and (with eyes screwed shut in frustration) briefly but
	fiercely shakes them before spinning round, with back
	pressed against the bars, to glare at his two 
	tormentors. We SHOOT AT AND PAST HIM into the next cage
	where the GORILLA now shambles to its feet and slowly
	advances from b.g., during:

					MILO
			Stop arguing.  It's too late for
			that.

	His body masking the GORILLA's crouched and stealthy 
	approach from them -- but not from us.

					MILO
			Use your heads and start thinking.
			Now that they know we can speak,
			how much shall we tell them?  ow--

					ZIRA
				(screaming)
			Milo-o-o!

	Through the bars two hairy hands converge on MILO's
	throat and strangle him to death.  The roaring of the
	GORILLA, the throttled cries of MILO and ZIRA's screams
	combine to launch:


36    VARIOUS ZOO SHOTS

	of alarmed birds and beasts as panic briefly infects
	the Zoo.  E.g., a sleeping owl opens huge eyes; cranes
	cry; mallards take off from pool; seals cough; apes
	gibber; tigers snarl; lions roar, and elephants 
	trumpet.  We might (instead of separating each cry)
	overlay sound cumulatively so that each new noise is
	added to its predecessors, as we build visually and
	aurally to a massive and bestial crescendo before:

									CUT BACK TO:

37    THE CAGE

	The "panic" is over.  Outside, STEVIE (shaken but
	recovered) confers with LEWIS.  As KEEPERS 1 and 2 lift
	a blanketed stretcher and carry MILO's body out of
	shot:

					LEWIS
			We shall want a full autopsy ...

					STEVIE
			With particular emphasis on the
			cranial and oral areas.

					LEWIS
			Keep him in cold storage till the
			reports in.  Then send him to
			Taxidermy.
				(wryly)
			He's a museum piece.

	A low moan turns their heads toward the cage's
	interior. ZIRA sits crouched in a corner, her head in
	her hands and rocking from side to side.  CORNELIUS is
	comforting her.

					LEWIS
				(to Stevie)
			I'd better do this alone.

	She nods and stays outside the cage, which LEWIS
	enters. He looks compassionately at the two huddled
	APES, the straw, the orange peel, the bananas, the
	abandoned Intelligence Test apparatus.

					LEWIS
				(gently)
			We mean you no harm.

	Silence and stillness.

					LEWIS
			Do you understand?  We mean you
			no harm.

	Slowly and bitterly, ZIRA points an ironic and accusing
	finger at the next cage, where an anesthetized and
	chained GORILLA slumps in the shadows.

					LEWIS
			But he isn't us.  He's your own
			kind.

					ZIRA
				(angrily on her
				feet in a flash)
			He's a gorilla.

	As CORNELIUS soothes her:

					LEWIS
			I mean he's of your race.
			He's an Ape.  Look.  You don't
			have to be afraid.  We've put him
			in chains and under sedation.
			Do you understand that?

					ZIRA
			I should.  I've been doing it
			half my life to Humans.

					LEWIS
				(dumbfounded)
			Humans?

					ZIRA
				(as though this
				explained everything)
			I'm a psychiatrist.

	A second shock.  LEWIS covers dazed eyes with his hand
	and, after a struggle, regains his self-control.

					LEWIS
			So am I.  And I mean you no harm.

					CORNELIUS
				(at last)
			We know that.

	LEWIS, over one hurdle, exhales.

					LEWIS
			Do you have a name?

					CORNELIUS
			My name is Cornelius.  And this
			is Zira -- my wife.

					LEWIS
			My name is Lewis -- Lewis Dixon .

	He diffidently extends a hand,  CORNELIUS takes it.
	ZIRA doesn't.

					LEWIS
			Nobody's going to believe it.

					CORNELIUS
			Believe what?

					LEWIS
			That primitive apes can talk.

					ZIRA
				(furious)
			Primitive?

					LEWIS
				(quick smile)
			I mean that in our 'primitive'
			civilization, apes just don't talk.
			I mean I think it's important that,
			when our 'primitive' security
			precautions are lifted, the first
			time you say something in public you
			should talk to what we 'primitively'
			call the Right People.

	ZIRA gives him a long, searching look ... and smiles.

					ZIRA
			May I say something personal?

					LEWIS
				(smiling back)
			Please

					ZIRA
			I like you.

	LEWIS look gratefully from her to:

					CORNELIUS
			I did from the beginning.



TO BE CONTINUED...
