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ROD SERLING: Starring t o night,

Steve F o rrest,

Dina Merri Il

and Fernand o Lamas.

Good evening.

For the benefit of those of you who are perhaps

still uninitiated into this particular item of art,

this is a special display.

Now, anyone can show you a Rembrandt or a Picasso or a Jackson Pollock,

but we dig much deeper with our paintings.

Frequently, six feet underground,

as is the case with this painting.

It's called Hatred Unt o Death.

And it makes comment on the fact

that there are certain anthropologists and psychologists,

who hold the conviction that blood memories are passed along in the genes.

You scratch the surface of the 20th century man,

and you uncover a Neanderthal.

Now, if we were to accept this theory,

it suggests a kind of unending reincarnation.

But if man has a Mr. Hyde perpetually struggling deep within him,

what lies beneath the surface of the lower beasts?

We offer neither a postulate nor a promise.

We simply suggest that you watch and listen.

This is the Night Ga Il ery.

What are you doing?

I'm trying to compose a foreword.

Foreword? We haven't even written the book yet.

Anyway, we're not supposed to do that.

We get some big authority to say how sensational a book is

and it doesn't look like we're bragging.

RUTH: You really think it's gonna be sensational?

A book about the social life of a tribe of monkeys?

GRANT: It better be. I didn't spend six months in a treetop house

to wind up on a remainder shelf.

I need a refill.

Six months.

I never loved life so much. I never loved you so much.

I never loved...

(YELLING IN LOCAL LANGUAGE)

Can you understand what he's saying?

Something about a lion pit.

(SPEAKING LOCAL LANGUAGE)

(LOW GROWLING)

(SPEAKING LOCAL LANGUAGE)

(GROWLING)

Oh, he's tremendous!

He is beautiful! He's magnificent!

Hey, chief, aren't you going to look up?

Hey, chief!

Let's get look at those eyes. We're not going to harm you, we're going to set you free.

Chief?

Hello, beautiful.

How about me?

(SNARLING)

Look at the hatred in those eyes!

It's almost as if he knew me!

What's the matter with you? I never did anything to you.

Come on, Grant, let's get in the car!

Why does he hate me so?

He could get out of there!

(SPEAKING LOCAL LANGUAGE)

Grant, you're not safe here.

Please, Grant, get in the truck. Let the men free him.

Who says I'm going to free him?

What?

Who says I'm going to free him?

(SPEAKING LOCAL LANGUAGE)

Grant, what's the matter with you?

So you hate me, huh? So we've met before, huh?

When? A million years ago?

I've got news for you, old boy.

I'm still the boss.

(SNARLING)

(SPEAKING LOCAL LANGUAGE)

(SPEAKING LOCAL LANGUAGE)

Grant, I beg you, let him go!

No, I need the money.

You don't need the money!

$4000. $4000 would give us time to write our book!

You mean, you'd sell him to a zoo?

Darling, that's against everything we stand for.

Look, you don't have to do this. I beg you.

Cut the ropes and free him.

Shut up.

This godly creature. You torture him by locking him up in a zoo.

Not a zoo. It's the Neurological Institute.

Ramirez would like him. He's never had a gorilla there before.

You put micro-electrodes in his head,

there's no telling what you might find out.

Maybe why he hates me so.

Maybe why I hate him.

(SPEAKING LOCAL LANGUAGE)

PERKINS: I'm delighted you're back.

You both look wonderful.

You must've had a great six months there.

(THUNDER RUMBLING)

PERKINS: I'm glad you can keep him here for a week or so.

GRANT: It's a good place. The temperature is controlled.

PERKINS: We're building him an air-conditioned room.

Since we've just been working with monkeys, nothing we have here is strong enough for him.

I'll get the light.

PERKINS: Everything all right between you and Grant?

Yes.

I thought things were a little bit tense.

Well, we're both a little tired.

Here we go.

(EXCLAIMING) Mi madre, what is this?

Storage. For the Natural History Museum.

Everybody else puts his junk in here.

You have great publicity here, you know?

Did you see the article in Life on you?

Yes, The Nati o na I Ge o graphic and the Sunday Times magazine.

Right.

(THUNDER CRASHING)

This is where we do most of our restoration work.

In the next room, we build our displays.

Get ready, Ramirez. Hmm?

Get ready.

You're going to see some gorilla.

RUTH: We've got an enormous new show coming up on the endangered species.

We're going to show not only the species itself but why and how it's endangered.

I see.

(SNARLING)

Fantastic! Just fantastic!

What do you call him?

N,gi. That's Watusi for "chief."

It's also their word for God.

One of their gods. He's the god of destruction.

Earthquake, tidal waves, wars and pestilence.

I can't for the life of me figure out why Grant wanted to bring this beauty here.

For science. I brought him here for science.

Be interesting to see if I can control all that malevolence.

You don't need to worry. He can't get out.

And besides, I keep the doors locked. They're solid oak.

I don't suppose he knows how to run an elevator, huh?

(ALL LAUGHING)

Hey, who cleans the cage?

Ruth.

It's amazing.

She feeds him, gives him clean bedding. I think they have a thing going.

Well, Ruth has always had a way with animals.

Yes, all the way across the ocean, she sat by him, holding his hand.

He was in shock. He was lonely.

Shall we go now?

Ruth?

I think she prefers gorillas to men.

Gorillas don't drop napalm on children.

Are you coming or aren't you?

You know, this earth doesn't need man. He's only ruining it.

Come on, Ruth. There's a thunderstorm coming, I want to get home.

The gorillas and the elephants and the porpoises would manage

and work things out very well by themselves.

Without man, this would be a fabulous place.

I said, "Are you coming?"

No. This is his first night here and I'm going to stay here for a little while.

All right. I'll go to the office and check the mail.

Phone me when you're ready. I'll meet you at the back door. Here's the flash.

And your keys. Be sure to lock the door.

Hi, N,gi.

Want to say something to me? Want me to tell you a story?

Ramirez,

that miserable gorilla is breaking up our marriage.

It's my fault. I should have let him go.

But when I saw him looking up at me from that pit,

I felt such a message of hatred.

Such a blast of hatred that I got this hunch.

No, not a hunch.

I knew that he recognized me.

How could he recognize you?

You've never worked with gorillas before.

I'd never seen one before. Not even in the wild.

But when I saw that he knew me,

then I got this crazy compulsion that I must have known him.

And I hated him. I had to master him.

And that's why I'm giving him to you.

I want you to turn him into a vegetable.

Grant, you're freaking out just because you think the animal hates you.

I can't help it.

There's something in that ugly skull of his that I ought to know.

And I want to crush him just as he wants to crush me.

And he tried to once.

Do you remember the pale man-creature, N,gi?

He was hairy and dark like you once, a long time ago.

Remember, N,gi? You fought him.

You fought him in the moonlight forest opening.

From tree to tree.

And why, N,gi?

For her.

She was dark and fuzzy and beautiful.

And you fought him for her, and to be head of your tribe.

But he...

He conquered.

He won the fight, and he won her.

And he dug a pit and he trapped you.

And he stoned you to death.

N,gi, shh, boy.

All right, come on, you. Come on.

Maybe some racial memory, brute instinct.

Ruth was petting him on the ship once.

I tried to pull her away from him.

And the swipe he took at me would have shattered my skull if he had succeeded.

Now, why should he feel that way about me?

Grant, I believe that brute instinct

is the sum total of all the knowledge a creature acquires.

Not only in his own lifetime and experience,

but from the accumulated experience of all his ancestors.

Then you're saying that animal instinct is a kind of memory in the blood.

Yes, going back eons and eons.

Well, then, maybe we did meet once, a million years ago.

Maybe I outsmarted him and he still hasn't gotten over it.

Good boy. That's the way now.

Down we go. Good boy. Good boy.

Down through the eons, he's changed.

He's grown pale and weak.

Oh, and hairless.

But still, he's your captor,

still your master.

Why, N,gi?

What's happened to your power?

Man. The weak one wins again.

N,gi. What? Come on.

Give 'em back.

All right now. Stay there.

That's a good boy.

That's the way.

No! Bad boy, N,gi. Bad boy. Take your paws off there.

(SCREAMS)

(GRUNTING)

(TELEPHONE RINGING)

Yes?

(SCREAMS)

Ruth?

(SNARLING)

Ruth!

(RUTH SCREAMS)

(SCREAMS)

(THUNDER RUMBLING)

(SNARLING)

(CRIES OUT)

(WHISPERS) Power failure!

Will the elevator run?

No. If there's no power for lights, there's none for the elevator.

(BUST SHATTERING)

Look, Ruth.

In here.

Now, you stay here. He doesn't want you. He wants me.

And don't worry, I've got three shots left.

Grant!

(ROARING)

Ruth, have you see him? No.

Grant, be careful. You only have two more shots left.

N,gi!

Here I am.

I'm coming after you.

Your time has come, old boy.

Hey, gorilla! You remember me?

Well, I remember you!

I'm coming to get you, N,gi.

I'm coming to get you.

(SNARLING)

RUTH: Look out, Grant!

(GUN FIRING)

N,gi, ol d b o y.

This has a Il happened bef o re s o mewhere Io ng ag o.

And it wi Il happen again, s o me time.

But where?

Wh o wi Il be the winner then?

RUTH: Look out, Grant!

No!

(SCREAMS)

(SOBBING)

(SNORING)

Are you sure?

Well, it couldn't hurt. Subtitles OCR by : Tommy0412

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