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Following the events of Planet of the Apes, time-displaced astronaut Taylor (Charlton Heston) and the mute Nova (Linda Harrison) are riding on horseback through the desert of the Forbidden Zone. Without warning, fire shoots up from the ground and deep chasms open. Confused by the strange phenomenon, Taylor investigates a cliff wall and disappears before Nova's eyes.
Elsewhere in the Forbidden Zone, a second spaceship has crash landed after being sent to search for Taylor and his crew. Like Taylor's ship, it has traveled into Earth's distant future. However, surviving astronaut Brent (James Franciscus) believes he has traveled to another planet. He encounters Nova and notices she is wearing Taylor's dog tags. Hoping Taylor is still alive, he rides with her to Ape City, where he is shocked to discover the simian civilization. He observes the gorilla General Ursus (James Gregory) leading a rally calling for the apes to conquer the Forbidden Zone and use it as a potential food source, against the objections of the orangutan Dr. Zaius (Maurice Evans). Brent is wounded by a gorilla soldier and taken by Nova to the home of the chimpanzees Cornelius (David Watson) and Zira (Kim Hunter), who treat his wound and tell him of their time with Taylor. The humans hide when Dr. Zaius arrives and announces that he will accompany Ursus on the invasion of the Forbidden Zone.
Attempting to flee the city, Brent and Nova are captured by gorillas. Ursus orders they be used for target practice, but Zira helps them escape. They hide in a cave which Brent soon discovers is the ruins of the Queensboro Plaza station of the New York City Subway, making him realize that he has traveled through time to Earth's post-apocalyptic future. After following a humming sound deeper into the underground tunnels, Brent begins to hear voices telling him to kill Nova. Entering the remains of St. Patrick's Cathedral, he finds a population of telepathic humans who worship an ancient nuclear bomb.
Brent and Nova are captured and telepathically interrogated, and Brent reveals the apes are marching on the Forbidden Zone. The telepaths attempt to repel the apes by projecting illusions of fire and other horrors, as they had done to Taylor and Nova. Dr. Zaius sees through the illusions, however, and leads the ape army to the ruined city. With the apes closing in, the telepaths plan to detonate their "Divine Bomb" as a last resort. They hold a religious ceremony, at the height of which they remove their masks to reveal that they are in fact still-intelligent humans who are descended from survivors of the nuclear wars. The nuclear fallout has mutated them by removing layers of their skin, but greatly increased their psychic abilities.
Brent is separated from Nova and taken to a cell, where he finds Taylor. The mutant Ongaro (Don Pedro Colley) uses his telepathic powers to force Brent and Taylor to fight each other to the death. Nova escapes her guard and runs to the cell, screaming her first word: "Taylor!" This breaks Ongaro's concentration, freeing Brent and Taylor from his control. They then overpower and kill him. Brent describes the bomb the mutants worship and Taylor recognizes it as a "doomsday bomb", capable of destroying the planet, marked with the Greek letters Alpha and Omega on its casing.
The apes invade the subterranean city, killing Nova and making their way to the cathedral. They are confronted by Mendez (Paul Richards), who raises the bomb into activation position before being gunned down. Brent and Taylor attempt to stop Ursus from accidentally setting off the weapon, but Taylor is shot. Brent manages to kill Ursus before being shot dead by the gorillas. The mortally wounded Taylor pleads with Dr. Zaius for help, but Zaius refuses, saying that man is only capable of destruction. In his last moment, Taylor brings his hand down on the activation switch, triggering the bomb and destroying the Earth. The film ends with a voice-over saying, "In one of the countless billions of galaxies in the universe, lies a medium-sized star, and one of its satellites, a green and insignificant planet, is now dead".
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BENEATH THE PLANET
OF THE APES
. . . in the buried ruins of what was once New York City, lived an incredible race of men, mutated beyond belief by the effects of the ancient Holocaust.
. . . in the ashes of atomic dust, chimpanzees picketed for peace while their gorilla leaders prepared for war.
. . . where a great church once shone in the sunlight, dark religious ceremonies paid tribute to the Great Bomb, bringer of life and death.
This is the Earth, thousands of years from now, and this the story of two men from the 20th century who somersaulted through a time warp into the most plausible and yet most fantastic adventure ever conceived.
20th Century-Fox Presents
An Arthur P. Jacobs Production
BENEATH THE PLANET
OF THE APES
Starring
JAMES FRANCISCUS • KIM HUNTER
MAURICE EVANS • LINDA HARRISON
Co-starring
PAUL RICHARDS • VICTOR BUONO
JAMES GREGORY • JEFF COREY
NATALIE TRUNDY • THOMAS GOMEZ
and
CHARLTON HESTON
as
Taylor
Produced by
APJAC PRODUCTIONS
Associate Producer
MORT ABRAHAMS
Directed by
TED POST
Screenplay by
PAUL DEHN
Story by
PAUL DEHN and
MORT ABRAHAMS
Based upon Characters Created by
PIERRE BOULLE
Music by
LEONARD ROSEMAN
BENEATH THE PLANET OF THE APES
A Bantam Book / published July 1970
All rights reserved
Copyright © 1970 by Twentieth Century-Fox Film Corporation.
This book may not be reproduced in whole or in part by
mimeograph or any other means, without permission.
For information address: Bantam Books, Inc.
PRINTED IN THE UNITED STATES OF AMERICA
CONTENTS
Title
Copyright
Dedication
BENEATH THE PLANET
OF THE APES
1. GENESIS
2. TAYLOR
3. BRENT
4. URSUS
5. ZIRA AND CORNELIUS
6. NOVA
7. BRENT AND NOVA
8. SPECTERS
9. MENDEZ
10. MASKS
11. “TAY-LOR!”
12. DR. ZAIUS
13. APE AND MAN
14. BOMB
15. ARMAGEDDON
For Pierre Boulle
for his two very important
contributions to the arts of
Literature and Film—
The Bridge Over The River Kwai
and Planet Of The Apes.
1.
GENESIS
Wasteland.
Total, glaring, absolute.
Stark, terrible.
Nothing growing.
Nothing moving.
Ageless, perpetual silence. Eternal solitude. Only the piercing whine of the dry nameless wind blowing in from a distantly heard sea.
Desolation. A universe of nakedness and nil.
Utter, supreme. Everlasting.
Nothing of Life. Only the unrelenting deathly stillness. The infinity of zero, emptiness, nothingness.
This is the planet where Man has lost his supreme position in the scheme of things. Listen to the Wind.
If it could speak, it would tell you of Taylor. The man, the scientist, the space-explorer. The scorching, chilling breath of the wind’s passage would carry the terrible tale to the walls of Infinity, down the endless corridors of that vast timelessness which seems to be the core of the land itself . . .
Listen, the Wind . . .
“This is the truth eternal: whatever thinks, can speak, And whatever speaks can murder,
“But what is there to murder in this dead place?”
There is no answer for the Wind.
“When the astronaut, Taylor, came first among us from a voyage in outermost space, he perceived that his ship had passed through a fold in the Fourth Dimension, which is Time. And Taylor knew that he was older than when his journey had begun . . . by two thousand years and ten.”
The Wind whines higher and louder, scoring eerily over a dead landscape. Weird lambent lights suffuse the terrain. There is a vast unearthly brilliance invested in a panorama of Nothingness.
“But in the first days he did not know the name of the planet on which he had set foot—where Apes, risen to great estate, had acquired the power of tongues, while Man, fallen from his zenith to become a beast of the earth, had lost the means of speech, and was dumb . . .”
The dead sands remained unmoving, the wind prowled over the monolithic expanse of desert-like desolation. And isolation. The unknown lights bathed the wasteland with a dull, inflexible glow.
“Now Taylor hated war. And since Man had made war upon himself—murdered himself—over and over again, ever since the first town was built and burned and bloodied—Taylor believed that the race of Man was hopeless.”
A Dead Sea. Dead like the Dead Land.
The wind stole quietly over the still, stagnant, murky waters.
“Yet the great Apes were hardly better. They put Taylor in a cage as they had once been caged. When he and his woman escaped from the City of the Apes into the wilderness called the Forbidden Zone . . . he found a desert land of rock and stone. Barren, unfruitful, devoid of life and eternally laid waste by Man’s vilest war in Man’s history. And in this wilderness, Taylor set eyes upon the Statue . . .”
A statue with spikes.
A stone lady, gazing out over the limitless endless acres of sand. Oblivious to the mean waves lapping at her copper-lined bosom. A Colossus, with upstretched arm, bearing aloft a torch that had lost all its meaning. All its truth. All its light.
A long-dead lady of stone eyes, stone ears and stone senses—whose only companion for an eon had been—
—the Wind.
“. . . and Taylor knew he was back on Earth . . . an Earth defiled and destroyed by the hand of Man. Set this down: whatever speaks, can murder.”
