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                                                                1.



                                                       FADE IN:


1   EXT. MARFA, TEXAS - 1993 - WIDE - DAY                            1

    The Texas plains, horizon to horizon, nothing but the
    browns and ochres of earth and the blue and violet of the
    sky. The sheer scope of it sinks in: the blank slate of
    nature, the absence of man. On the screen superimpose:

    MARFA, TEXAS, 1993.

    CREDITS BEGIN.

    A plume of dust comes into frame. The dust is from a TRUCK,
    orange and white and violet, with "FedEx" blazoned across
    the side.

    The truck turns into a collection of ramshackle World War
    II era Quonset huts and outbuildings. Around the
    outbuildings are large sculptures of wood and metal.


2   EXT. QUONSET HUT - DAY                                           2

    The door is opened by a WOMAN in her late twenties. Hair
    pulled back, casual, an artist. She hands the DRIVER a
    FedEx BOX which is decorated with a drawing of two ANGEL
    WINGS. The Driver has a hand-held computer; a portable
    printer dangles from his belt.

    The Driver scans the package with his hand-held computer,
    prints out a label and sticks it on the Box, ready to go.

    But something on the box catches her eye. She wants it
    back. He glances at his watch. She draws RINGS around the
    Wings, uniting them. She gives the box to the Driver, then
    hands him a cup of coffee. They've done this before.

    He takes a sip of the coffee, then runs for the truck. He
    jumps in and heads back onto the plains.


3   EXT. FEDEX OFFICE - MIDLAND - ODESSA - NIGHT - HOURS LATER       3

    The Driver jams the distinctive Angel Wing Box on top of a
    dolly and loads it into a CONTAINER with clear plastic
    sides. A female Loader slaps a large bar code label on the
    container, scans it, then pulls the container across a belt
    of rollers onto a larger truck. The doors of the truck
    close. The latch slams down.
                                                                2.


    A forklift hoists the container to the cargo doors of a
    737.


4   EXT. MEMPHIS AIRPORT SUPERHUB - NIGHT                            4

    The 737 lands.


5   EXT. SUPERHUB - NIGHT - MINUTES LATER                            5

    One of a seemingly endless line of FedEx planes, our 737
    taxis to a gate at the FedEx SUPERHUB. The Hub is a vast
    living organism -- loud, complex, overwhelming, as much a
    symbol of modern life as was the factory in Modern Times.

    Five thousand people work in a frenzy of interconnected
    activity inside three vast hangers brightly lit. Hundreds
    of forklifts and cargo-pullers dart about, their headlights
    crisscrossing like a laser show.

    Loaders quickly roll the container onto a FORKLIFT.


6   INT. MEMPHIS SUPERHUB - NIGHT                                    6

    The forklift speeds inside one of the hangers to a LOADING
    BELT, where our Box is spilled into a Mississippi River of
    packages, HUNDREDS OF THOUSANDS of them, all shapes and
    sizes, from shoe boxes to engine blocks. Large mechanical
    arms divert the immense flow of Workers at dozens of
    stations. The packages surge and move.

    The Workers place the packages label-side-up on new belts,
    where they're scanned by laser readers. Picking up speed
    our Box is shunted across the acres of interlocking belts.

    The Box ends up in a much larger CONTAINER labeled CDG.


7   EXT. MEMPHIS SUPERHUB - NIGHT                                    7

    A forklift lifts the Container to a door on a giant MD-11.


8   INT. GLOBAL OPERATIONS CENTER - NIGHT                            8

    A jumbled room jammed with computers and dominated by a
    HUGE WALL GRAPHIC that charts hundreds of airplanes. An
    Operator moves a yellow strip labeled Jumbo 12 across the
    board.
                                                                 3.


9    EXT. CHARLES DE GAULLE AIRPORT - DAY                             9

     SERIES OF SHOTS

     The giant place touches down in Paris. The Angel Wing Box
     moves quickly on another belt and disappears into another
     CONTAINER, which is loaded onto still another AIRPLANE.


10   EXT. ST. PETERSBURG AIRPORT, RUSSIA - NIGHT                      10

     The plane lands. The container is unloaded down a belt. We
     see our Angel Box. Directly in front of it is a DENTED BOX.


11   INT. ST. PETERSBURG FEDEX OFFICE, RUSSIA                         11

     SERIES OF SHOTS

     Night. The manic activity has come to a dead stop. Our two
     Boxes sit on a table in a corner not far from a small
     Christmas tree.

     Daylight now. YURI, a Supervisor, saunters over, picks up
     the Angel Box, sees an attractive co-worker, puts it down.

     Night again. A cat walks by the table where our two Boxes
     have come to rest.


12   EXT. ST. PETERSBURG FEDEX OFFICE - DAY                           12

     A FedEx truck pulls out of the warehouse. The walls of the
     warehouse are covered with graffiti. The streets are
     slushy, the buildings blanketed in snow.


13   EXT. ST. PETERSBURG - DAY                                        13

     The Driver sits in the truck drinking tea. He takes a last
     sip, sighs, gets out with the Angel Box. Walks slowly
     toward an APARTMENT HOUSE.


14   EXT. ST. PETERSBURG APARTMENT HOUSE - MOMENTS LATER              14

     A beautiful young RUSSIAN WOMAN opens the door. A young
     AMERICAN MAN comes up behind her, signs the form and takes
     the Angel Box. We see Christmas decorations inside. The
     woman puts her arms around him as the door closes.

                       RUSSIAN WOMAN (O.S.)
                  (accented English)
                                                                 4.


             It's pretty. Who is it from?

                        AMERICAN MAN (O.S.)
             My wife.

     We stay with the Driver as he ambles back toward the truck.


15   EXT. ST. PETERSBURG OFFICE - MOMENTS LATER                       15

     The Driver has just delivered the Dented Box to ALEKSEI,
     Russian Businessman, who closes the door of a Czarist-era
     building. Aleksei checks his watch, picks up the phone.


16   EXT. FEDEX OFFICES - MANILA - DAY                                16

     CHUCK NOLAND, early thirties, walks along a line of
     brightly colored jitneys, each bearing the FedEx logo. With
     him is a Filipino FedEx SUPERVISOR wearing a guayabera.
     Chuck glistens with a thin layer of sweat.

                       CHUCK
             My guess is we're talking fuel
             filters here, Fernando. The gas is
             dirty, these jitneys get in the
             mountains, their engines cut out.

                       FERNANDO
             That could lose us half an hour.

                       CHUCK
             Easy. Each way.

     His beeper goes off.


17   INT. FEDEX OFFICES - MANILA - DAY - MOMENTS LATER                17

     Chuck is on the phone.

                       CHUCK
             So it finally turned up...

     Chuck hesitates for a moment, then looks at his watch.

                       CHUCK
             I'll catch the sweep tonight.


18   INT. FEDEX PLANE - NIGHT                                         18
                                                                 5.


     Strapped into the jump seat behind the pilots, Chuck sleeps
     with a mask over his eyes. On his lap are some travel
     brochures. We see sailboats, we see the Florida keys.


19   EXT. ST. PETERSBURG FEDEX OFFICES - DAY                          19

     Christmas in Russia. Snow everywhere. Brightly colored
     lights. Chucks gets out of a Volga with Aleksei. He has a
     bag over his shoulder, the dented package under one arm.


20   INT. FEDEX OFFICES - DAY                                         20

     The staff has assembled near the loading dock. Yuri the
     station manager stands in front, occasionally catching the
     eye of the attractive woman. Chuck displays the FedEx box.

                       CHUCK
             It took this test package thirty-
             two hours to get from Seattle to
             St. Petersburg, a distance of nine
             thousand miles. And then it took
             forty-one hours to get from our
             warehouse in St. Petersburg to
             here, a distance of, what --

                       ALEKSEI
             Six kilometers. Four miles.

                       CHUCK
             So how are we going to get this
             place shaped up?

     There's a muttered chorus of answers.

                       CHUCK
             There's only one way. We have to
             work together. Every one of us
             depends on everyone else. If one
             package is late, we are all late.
             If one truck misses the deadline,
             we all miss the deadline. Let's
             start by taking a look around.

     Chuck leads his team through the sorting area. Yuri
     squeezes right next to him, ostentatiously carrying a
     clipboard. Chuck stops.

                       CHUCK
             Here, this table is too far from
             the wall. Packages can slip
             down...like...
                                                           6.


             (pulls out a package from
             behind a table)
        ...this.

He hefts the package, as if trying to guess what's inside.

                  CHUCK
        What could be in here? Let's say
        one of you sent it. Could be the
        closing papers on your dacha, could
        be a toy for your grandson's
        birthday, could be a kidney to keep
        your mother alive. I don't think
        you want your mother's kidney to
        end up behind a table.

The Sorter shoves the table against the wall. Yuri says
something to the Translator.

                  TRANSLATOR
        He says they have been very busy.
        It is hard to get good employees.
        He is sure you understand.

Wrong answer: Chuck glances sharply at Yuri. Aleksei
appears with a cellular phone.

                  ALEKSEI
        Phone call. Malaysia.

Chuck takes the phone, opening his BAG as he does so.

                  CHUCK
        Kamal? Right. I'm getting them.

He pulls out a set of blueprints and tacks them to a
bulletin board as he talks.

                  CHUCK
        I'm looking at the blueprints of
        K.L. right now. The belts are too
        small for the sorters. Yeah,
        sometimes you never see what's
        right in front of your face. Look,
        it's --

Chuck keeps an eye on what is going on in the warehouse.

Then he notices something over by one of the trucks.

                  CHUCK
             (to a loader)
                                                                 7.


             Hold it! Hazardous material needs
             its own container!
                  (back on the phone)
             -- three in the afternoon there,
             right? That gives you five hours
             until the sweep comes through. Do
             the sort by hand tonight, then put
             in a new feeder belt, say a twenty-
             four incher. Yes, overtime is
             authorized.

     He hangs up the phone. He turns to the crew.

                       CHUCK
             I'm going out on every route, I'm
             going to work every job here, until
             I know enough to help you. That's
             it.

     The crew disperses back to work. Chuck and Aleksei walk
     toward the office. They've done this before. Chuck lets a
     corner of his command persona slip.

                         ALEKSEI
             It's bad.

                       CHUCK
             Worse than Warsaw.

                       ALEKSEI
             Nobody remembers that.

                       CHUCK
             The failures they remember. It's
             the successes they forget.


21   EXT. ST. PETERSBURG - DAY - MOMENTS LATER                        21

     A FedEx truck pulls out of the FedEx office. Chuck is
     inside. He notices the graffiti on the walls.


22   INT. TRUCK - MOMENTS LATER                                       22

     Chuck rides next to LEV, the driver, a serious sort. The
     Translator squats on some boxes between them, trying to
     keep his balance.

                       CHUCK
             You sorted your packages before you
             left. None of the other drivers
             did.
                                                              8.


     The Translator and Lev exchange a few words.

                       TRANSLATOR
             He says he wants to be organized.
             Do packages in order.

     Chuck looks at Lev with respect. Right answer.

                       CHUCK
             So how come the other drivers
             haven't left yet?

     The Translator asks Lev, who looks at him as if he is
     crazy, then snorts an answer. The Translator blushes.

                       TRANSLATOR
             He says -- he is a very rude fellow
             --

                       CHUCK
             Tell me exactly what he said.

                       TRANSLATOR
             He says why don't his farts smell
             sweet?

     Chuck grins. Lev shrugs and says something else.

                       TRANSLATOR
             He says that's just the way it is.

                       CHUCK
             Lev -- it's Lev, right? Listen,
             this is FedEx. We don't have to
             accept the way it is.


23   EXT. HOTEL - ST. PETERSBURG                                   23

     A weary Chuck enters the hotel. In the sky above him we see
     the Northern Lights. He doesn't even look up.


24   INT. HOTEL ROOM - NIGHT - LATER                               24

     Chuck is watching CNN on the television, working his
     PowerBook, and holding the phone.

                       CHUCK
             No, keep trying. A circuit's bound
             to open up.

     He hangs up.
                                                          9.


                  CHUCK
             (to himself)
        Those damn Northern Lights.

Just then the lights go off. For a moment everything is
darkness. Then a small light switches on. Chuck has a
headlamp on.

He gets up, heads into the bathroom. We stay in the
bedroom. After only a moment, the light reemerges. It heads
over to his bag. We go with it.

Chuck takes out a roll of toilet paper. The guy is prepared
for anything. He goes into the bathroom, closes the door.

The lights come back on just as the phone rings.

We hear scuffling sounds on the other side of the door.

Chuck charges out, holding up his pants.

Grabs the phone.

                  CHUCK
        Hello? Great. Try it.

He waits. We hear an ANSWERING MACHINE.

                  KELLY (V.O.)
        This is Kelly, leave me a message
        and I'll call you back soon as I
        can.

This is not what Chuck wanted to hear.

                  CHUCK
        Kelly, damn, look, this is Chuck.
        I'm going to be a little late.
        Well, more than a little. I had to
        go to Russia. Couldn't be helped.
        Could you call and cancel the trip?
        Look, we'll sail the Keys in March.
        It's better then anyway. I'll be
        back before Christmas. I promise. I
        think. I mean, I will. I, uh --

He's stumbling over whether to say I love you.

                  CHUCK
        I miss you.

He gently hangs up the phone.
                                                                10.


25   INT. FEDEX OFFICES - ST. PETERSBURG - SERIES OF SHOTS            25

     A surprised Yuri stands with the attractive assistant as
     Chuck takes his clipboard away.

     An even more surprised Lev stands by his truck as Chuck
     hands the clipboard to him.

     Chuck and the loaders clean off the graffiti.

     Working alongside the sorters as the packages come in,
     Chuck points out how to organize the inflow.

     Chuck and Lev go over large maps of St. Petersburg with the
     drivers.


26   INT. FEDEX WAREHOUSE - ST. PETERSBURG - WEEK LATER               26

     A big semi is being loaded with outgoing packages for the
     airport run. Aleksei, Chuck, Lev and the office executives
     watch as containers are rolled on.

                       LEV
             We've never got all the trucks in
             on time. Never.

     Chucks looks at the clock.

                       CHUCK
             Only one still left?

                       LEV
             Route six.

     Aleksei points at the big semi.

                       ALEKSEI
             If we don't send it now we may miss
             the connection in Paris.

     The pressure in on. Chuck looks around at his team.

                       CHUCK
                  (to Aleksei)
             Give it five minutes.


27   EXT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER              27

     The last truck rolls in.
                                                                11.


28   INT. FEDEX OFFICES - ST. PETERSBURG                              28

     The last truck enters and loading dock. A few loaders move
     toward it. The executives all stand and watch. But not
     Chuck. He's hands on.

                         CHUCK
             Let's go.

     He heads toward the truck and begins pulling off packages.

     All the other executives follow him.


29   INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER              29

     Led by Chuck, who works like a man possessed, they sort the
     packages.

                       CHUCK
             That's Bermuda. Bermuda is in the
             Memphis thru container. No, Azores
             is Europe.

     He gestures at a closed container.

                       CHUCK
             The Paris container. Africa too.
             Japan goes to Memphis.

     Chuck is everywhere, setting the example. The whole office
     is energized, working together.


30   INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER              30

     They load the last container on the waiting truck. Chuck
     pounds the truck on the side. Go.

     The truck roars out of the loading dock.

     Everyone takes a breath. They are happy, proud.

                       LEV
             We did it. All of them.

                       CHUCK
             Great job, everyone. Remember, work
             together. We are like a hand...

     They've heard this before. Lev holds up his hand just
     before Chuck does.
                                                             12.


                       LEV
             One finger, weak. All fingers
             working together, strong.

     This makes Chuck smile.

                       CHUCK
             You got it.


31   EXT. CHARLES DE GAULLE AIRPORT - DAY                          31

     A FedEx MD-11 is being loaded with huge containers of
     freight. Chuck goes up the gangway next to the forklifts.


32   INT. MD-11 - MOMENTS LATER                                    32

     The pilots -- JACK and GWEN -- are going down their check
     lists. Chuck sticks his head in the cockpit.

                       CHUCK
             I absolutely, positively, have to
             get to Memphis overnight.

                       JACK
             Can't help you. Try UPS.

                       CHUCK
             Jack -- gotta be something wrong
             with our physicals, you keep
             getting certified to fly. Gwen,
             aren't you worried?

                       GWEN
             Terrified.

                       CHUCK
             We're on time, right?

                       JACK
             On time, Chuck.

     Chuck hands Jack and Gwen small packages.

                       CHUCK
             Little present from the emerging
             republics.

     Another FedEx Road Warrior named STAN gets on. He and Chuck
     are obviously old hands at this.

                       CHUCK
                                                         13.


        What connects the world? What makes
        it one?
             (they ignore him)
        We do. FedEx.

                  GWEN
        You are such a lifer.

                  STAN
        What do you expect, from the guy
        who stole a kid's bicycle when his
        truck broke down?

                  CHUCK
        Borrowed. I borrowed it.

The two of them strap in.

                  STAN
        How'd it go?

                  CHUCK
        Great. Terrific. The good guys won
        one for a change.

He's finished a tough job. He's relaxed and on his way
home. But Stan's his boss, and Stan's got bad news.

                  STAN
        I had to bump your plane last
        night.

Chuck can't believe it.

                    CHUCK
        You what?

                  STAN
        It was fifteen minutes late.

The plane begins to taxi.

                  CHUCK
        I checked the weather, you had the
        jet stream, you could have made it
        up.

                  STAN
        But I might not have.

                    CHUCK
                                                             14.


             Jesus. I got it working... You have
             no idea how hard it was... They're
             finally a team...

                       STAN
             I'm touched.

                       CHUCK
             You fucked us over.

                       STAN
             The point of FedEx, as I understand
             it, is to make the damn connection.

                       CHUCK
             I was making a point.

                       STAN
             What? Let Paris hold its plane? Let
             Memphis take care of it? Let
             somebody down the line clean up
             your mess?

                       CHUCK
             Every person counts, every package
             counts, that's my point.

                       STAN
             You know what your problem is? You
             just see the packages in front of
             you. You don't see the big picture.

                       CHUCK
             Baloney. I do see the damn "big
             picture."


33   EXT. CHARLES DE GAULLE AIRPORT - NIGHT                        33

     The MD-11 takes off.


34   INT. MD-11 - NIGHT                                            34

     Chuck is focused on his PowerBook with the screen away from
     us, Stan is doing tai chi amidst the FedEx containers. It
     feels a little surreal, all those containers surrounding
     them.

     Stan comes over, looks at the image on the computer. It's a
     sailboat with some technical specifications under it.

                          STAN
                                              15.


        I didn't know we had sailboats.

                  CHUCK
        It's a ketch Kelly and I had
        chartered.

                  STAN
        For all those vacation days you got
        coming.

Chuck doesn't look up.

                  CHUCK
        And never take.

                  STAN
        Look, I'm sorry about your plane.
        But I couldn't risk being late into
        Memphis.

                  CHUCK
        Forget it.

                  STAN
        You know General McLelland, he
        wouldn't attack unless he had
        everything just right. Finally Abe
        Lincoln came to him and said,
        General, if you're not going to use
        my army, could I borrow it for a
        while? So he gave it to Grant and
        Grant just said, let's go.

                  CHUCK
        I'm from Arkansas. Tell me a story
        with Robert E. Lee in it and maybe
        I'll pay attention.

                  STAN
        We're warriors, not desk jockeys.
        We've got to be bold. You always
        want all your ducks lined up. But
        nothing's 100 percent. It's always
        60-40, maybe 51-49. Hell, I'd take
        40-60. Then roll the dice.

                  CHUCK
        That's why you're a gambling man.

                  STAN
        That's why I'm running foreign and
        you're not. That's why you're not
        married and I am.
                                                     16.


                  CHUCK
        For the third time.

                  STAN
        Take the plunge, admit your
        mistakes, move on to tomorrow.
        That's FedEx, that's women, that's
        life.

Stan is so outrageous, Chuck can't help but laugh.

                  CHUCK
        You are one sick fucker.

                  STAN
        I'm trying to help you here.
        There's Warsaw, there's this --

                  CHUCK
        This was nothing like Warsaw. I
        held the truck then minutes, it's
        not that big a deal.

But apparently it is.

                  STAN
        Look, that kids' bike, that's a guy
        who'll do what it takes to get
        there on time. Live up to your
        legend, that's all I'm saying.

Chuck reaches in his pocket, pulls out a bill.

                  CHUCK
        A hundred rubles St. Petersburg
        hits 95 percent in a month.

                  STAN
        Ninety five percent? Just give me
        the money now.

                  CHUCK
        Talk is cheap. Are we on or not?

                    STAN
        We're on.

Chuck closes the PowerBook.

                  CHUCK
        Let's go off-line.
                                                             17.


     They both take out their Valium -- the price they pay for
     being such road warriors.

                       CHUCK
             Two Valium...

     Stan puts on his Walkman.

                       STAN
             And the Stones. Got to be.

     It's their ritual. Chuck puts headphones from his Walkman
     over his ears, puts a mask over his eyes and leans his head
     back onto the headrest. We hear the Rolling Stones.


35   EXT. MEMPHIS AIRPORT - NIGHT - WIDE                           35

     The MD-11 arrives at its gate. The cargo doors open.

     Forklifts and a gangway roll up to the side.


36   INT. MD-11 - NIGHT                                            36

     Stan stands smiling over Chuck.

                       STAN
             Chuck. Wake up Chuck.

     Chuck pulls off the mask, takes out the earplugs. He
     manages a groggy grin.

                       STAN
             You gotta do your own delivery from
             here.


37   INT. SUPERHUB - NIGHT                                         37

     Chuck walks through the extraordinary nexus of speeding
     packages that intersect in intricate paths above and around
     him. This is the beating center of the FedEx world, the
     crossroads, the deep core where everything connects. In his
     still-drugged state it all seems weirdly psychedelic. A
     Christmas tree goes by, then a huge plastic Santa Claus,
     both with shipping labels.


38   EXT. CHICKASAW GARDENS - MEMPHIS - NIGHT                      38
                                                               18.


     Chuck's car pulls into the driveway of a small cottage in
     an older Memphis neighborhood. The radio is playing the
     news.


39   INT. CHUCK'S HOUSE - MOMENTS LATER                              39

     Chuck drops his briefcase and his bag. The place is a
     jumble of clothes, papers, books, etc. In the living room
     is a tank of tropical fish. The water looks a little green.

     No bubbles are coming from the filter.

     Uh oh.

     Chuck walks to the tank. He tightens a piece of tape that
     holds the power cord onto the filter, taps the filter with
     his finger, once, twice...the bubbles start again.

                        CHUCK
              Damn thing.

     But for a couple of fish floating on top of the tank it's
     too late.

     Chuck gets out his scoop and slowly skims them off.

                        CHUCK
              Sorry, I'm really sorry.


40   EXT. CHUCK'S HOUSE - BACK YARD                                  40

     Chuck digs a small hole in the back yard with a large
     kitchen spoon.

     Drops the dead fish in.

     Fills the hole.


41   INT. CHUCK'S HOUSE - LATER                                      41

     The CD is playing. Chuck lies in bed, switches on the TV.

     This is no good. He doesn't care how late it is, he's going
     to find Kelly.


42   EXT. MEMPHIS - NIGHT - LATER                                    42

     Chuck drives in his car through the streets of Memphis.
                                                                19.


43   EXT. UNIVERSITY - NIGHT                                          43

     Chuck pulls up to a lab building at Memphis State.


44   INT. LAB - NIGHT                                                 44

     Two doctoral candidates are playing Doom on their computers
     when Chuck walks in.

                       CHUCK
             You seen Kelly Frears?

     One of them gestures toward a door.

                       GUY
             Xerox machine.


45   INT. HALLWAY - NIGHT                                             45

     Chuck makes his way in the semi-darkness past rack after
     rack of specimens in bottles.

     Ahead of him we see the flashing green light of a Xerox
     machine.


46   INT. XEROX ROOM                                                  46

     The light goes off. KELLY leans over the machine, bangs on
     it.

                       KELLY
             Sonofabitch!

                       CHUCK
             Hey, be nice to it, it'll be nice
             to you.

     Surprised, Kelly turns to greet Chuck.

                       KELLY
             Chuck! You're back!

     She leaps into his arms.

                       KELLY
             Your eyes are puffy. Did you take
             Valium again?

                        CHUCK
                                                        20.


        You smell like formaldehyde.

Kelly looks over at the Xerox.

                  KELLY
        My last chapter's in there, and the
        damn machine's jammed.

                  CHUCK
        Let's take a look.

He lifts up the cover.

                  KELLY
        How was Russia?

                  CHUCK
        Cold.

                  KELLY
        Don't overwhelm me with details,
        you know how I hate that. Did you
        get it fixed?

                  CHUCK
        I thought I did.

He pries up one feeder, then another.

                  CHUCK
        Got to follow the paper path here.

                  KELLY
        Chuck, forget the Xerox. So Russia
        didn't turn out well?

But Chuck doesn't want to talk. He's focused on the
machine.

                  CHUCK
        Used to you could fix these
        yourself.

She pulls him out of the machine. He has toner on his
fingers.

                  KELLY
        Chuck.

                  CHUCK
                                                             21.


             What do you want me to say? That I
             thought I'd done a great job but it
             all turned to shit? That I might as
             well have gone sailing for all the
             good I did?

                       KELLY
             Yeah, tell me. Tell me all of it.

     He suddenly looks really tired.

                       KELLY
             You don't even know what time it
             is. What day it is.

     He turns to the Xerox in frustration.

                       CHUCK
             And I can't fix this damn machine.

     She looks at him.

                         KELLY
             Come on.


47   INT. KELLY'S OFFICE - MOMENTS LATER                           47

     A tiny cubicle with a door. She closes it, takes some paper
     towels out of the desk, wipes his fingers.

                       KELLY
             We're on the deck of the ketch, the
             air's soft, the water's clear as
             crystal...

     She licks the last bit of toner off his fingers.

                       CHUCK
             That's carcinogenic.

     She ignores that, stays with the fantasy.

                       KELLY
             We're covered with suntan lotion
             and sweat. Our skin is so hot, it's
             glowing...

     And she comes closer to him.

                       KELLY
             We could take a swim.
                                                               22.


     She's really close now.

                       CHUCK
             On the other hand we could not take
             a swim...

     They squiggle themselves onto the desk.


48   INT. LAB - NIGHT                                                48

     Someone kicks the door shut. Now the figures are in
     silhouette, lit by the light in the office.

     And then the light goes out.


49   EXT. FEDEX OFFICES - NEXT MORNING                               49

     A nondescript office park near the airport. No sign.

     Chuck's car screeches into the parking lot. He jumps out,
     glances at this watch, and heads for the building at a run.


50   INT. EXECUTIVE CONFERENCE ROOM - MOMENTS LATER                  50

     A large room dominated by an animated MAP OF THE WORLD.

     Lights at various locations blink and flash. Above the map
     are a large Sign saying "Here Today, Gone Tomorrow" and two
     huge digital Clocks -- one keeping time, the other a
     countdown clock for that day's package sort at the
     SuperHub.

     The operations team of FedEx sits around a large table.

     Each has on a headset. BECCA TWIGG, the business-like
     senior vice president of Operations, addresses questions to
     a man -- COLIN PARKER-BOWLES, the European operations
     manager -- on a LARGE TV SCREEN in front of her. "London"
     is superimposed on the screen.

                       BECCA
             So why was Milan late, Colin?

                        COLIN
                                                           23.


        One of the race horses coming from
        Ireland got colic and had to be
        off-loaded in Brussels. That put
        the Jumbo six hours late into
        Charles De Gaulle. Customs had
        difficulty locating the dutiable
        items...

Colin continues as Chuck, out of breath, slips under the
screen and heads for the one remaining vacant seat --
across from Stan. Next to Stan is MAYNARD GRAHAM, an MBA
systems man. Becca addresses a question over to Stan.

                  BECCA
        Stan, can we get P&A down to work
        with Milan customs?

                  STAN
        We're already on it.

                  BECCA
        Good. And let's look at our live
        animal policy. I don't think the
        income stream justifies delaying IP
        product, especially at Christmas.

Colin disappears. A red light goes on. Becca pushes a
button. Another face comes on the screen. "Oakland" appears
under the face.

                  BECCA
        Stand by, Benson, we're still
        wrapping up foreign.

She turns pointedly to Chuck.

                  BECCA
        Chuck, thanks for joining us.
        Status?

Chuck swallows nervously, tries to talk matter-of-factly.

                  CHUCK
        Becca, as you know St. Petersburg
        was consistently running late by
        six to ten hours -- sometimes a
        full day or more. I replaced the
        station manager. We identified
        inefficiencies and worked out a
        quality improvement plan I believe
        can be met.

                  MAYNARD
                                                              24.


             You replaced the station manager
             with a driver. A local with no
             knowledge of our systems.

                       BECCA
             Shouldn't you have brought in
             someone from Memphis? Russia is
             priority one.

                       MAYNARD
             James Pottinger is available.

     The process is being ripped out of Chuck's hands. He
     struggles to get an answer.

                       STAN
             He's a numbers cruncher. Chuck's
             done all the right things here...

     Stan is doing his best to back up Chuck.

                       CHUCK
             Jim's a terrific financial man, no
             question. But we can't always
             parachute in from Memphis. We've
             got to build up our local staff.

                       MAYNARD
             We've got to improve foreign on-
             time, that's what we've got to do.
             If this new guy's so good, how come
             the very first plane he sent missed
             the connection in Paris?

     Maynard knows how to go for the jugular. Everyone looks at
     Chuck.

                       CHUCK
             We're building a new team here. We
             got every package on the truck for
             the first time ever. Success is the
             best teacher.

                       MAYNARD
             I don't call missing the plane a
             success.

     Everyone looks at Chuck.


51   EXT. KELLY'S HOUSE - DAY - LATE THAT AFTERNOON                 51

     Chuck lugs a big package up to the door, knocks on it.
                                                                25.


     Kelly opens the door.

                       KELLY
             Merry Christmas eve.

                       CHUCK
             Not if you work for FedEx.


52   INT. KELLY'S HOUSE - DAY                                         52

     Chuck enters as they keep talking. Her house is cozy but
     also where she works. There's a computer, specimen jars,
     and some terrariums with frogs inside. A Christmas tree
     with packages under it.

                       KELLY
             You break four million packages
             last night?

     In the b.g. one of the packages by the Christmas tree is
     starting to shake on its own.

                       CHUCK
             Four four. A record.

                       KELLY
             You don't seem too happy about it.

                       CHUCK
             Ah, the staff meeting could have
             gone better.

                       KELLY
             Let me guess, Russia came up?

     Chuck's attention goes to the tree.

                       CHUCK
             One of those packages just moved.

     The package turns over, something darts out. It's a puppy,
     with a bow around its neck.

                       KELLY
             Merry Christmas.

     Chuck bends down to see the puppy.

                       CHUCK
             Hey, look at you.
                                                        26.


                  KELLY
        I figure, if we could take care of
        a puppy, we could, you know, take
        care of --

A baby, she wants to say, but that's going a little fast so
she catches herself. Chuck picks the puppy up.

                  CHUCK
        He is a cute thing.

                  KELLY
        He's your cute thing.

                  CHUCK
        I can't even keep fish alive.

                  KELLY
        A puppy's got a little more
        personality than a fish.

                  CHUCK
        And for you --

Chuck hands over his present.

                  KELLY
        So do good things come in large
        packages?

Kelly opens Chuck's present -- a very large box.

It's a piece of luggage.

                  CHUCK
        You know, for when you travel.

                  KELLY
        For when I travel?

She can't believe it. It's the exact opposite of what she
wanted.

                  KELLY
        You should have got me something
        that shows you want us to be
        together, not apart.

Chuck is flummoxed. Women read so much into things.

                  CHUCK
        I wasn't sending a message. I
        though you'd like it.
                                                        27.


Chuck's beeper goes off.

                  KELLY
        You should have got me a ring.

He checks the number.

                  CHUCK
        I have to go. I'm on call for
        overflow down at the Hub.

                  KELLY
        A ring. I wanted a ring.

                   CHUCK
        You did?

She nods. What to do?

                  CHUCK
        Look, I love the puppy. I love you.
        But I have to go.

                  KELLY
        You can't go now.

                  CHUCK
        I have to.

                  KELLY
        You want to.

Chuck picks up the puppy.

                  CHUCK
        What should we call him? Or is it
        her? How about Jango?

Kelly is having one of those moments when everything comes
clear.

                  KELLY
        This isn't working out.

                  CHUCK
        We're a little emotional here. It's
        Christmas, maybe we're over-
        reacting.

                  KELLY
        "We're" not over-reacting.
                                                              28.


                       CHUCK
             Could you watch Jango?

                       KELLY
             No.

                       CHUCK
             I can't take him to work.

     He hands her the puppy.

                       CHUCK
             We'll talk about it when I come
             back. It'll all be fine. Really.

     This is not a happy woman he is leaving behind.


53   EXT. KELLY'S HOUSE - HOUSE LATER                               53

     It's dark now. Chuck returns. The stars are putting on an
     amazing show, but he doesn't notice as he heads for the
     door.


54   INT. KELLY'S HOUSE - MINUTES LATER                             54

     Chuck enters. The tree and the presents under it are gone.

                       CHUCK
             Kelly? Kelly?

     No answer, nothing but the sound of Jango, who begins
     yelping in the kitchen.


55   INT. KELLY'S HOUSE - KITCHEN - MOMENTS LATER                   55

     Chuck picks up Jango, who is barricaded in the kitchen with
     some food, some water, and some wet newspapers.

                       CHUCK
             There. There. Easy now.


56   EXT. KELLY'S HOUSE - BACK YARD - NIGHT - MINUTES LATER         56

     Holding Jango, Chuck walks out into the back yard.

                       CHUCK
             Kelly?
                                                             29.


     A fire still smolders. The packages have burned. The tree
     is a blackened mess.

     Chuck stares at it.


57   EXT. CHUCK'S HOUSE - NEXT MORNING                             57

     Chuck gets into his car, puts Jango on the front seat next
     to him. Pulls out of the driveway.


58   EXT. ARKANSAS HIGHWAY - DAY                                   58

     Chuck is in his car, with the dog on his lap.


59   EXT. FARM HOUSE - DAY                                         59

     Chuck's car drives up to a typical Arkansas farm house. His
     MOM is setting some Christmas tree lights around the door.

     Chuck gets out of the car. There's a large wet spot on the
     front of his pants.

                       MOM
             What happened to your pants?

                       CHUCK
             Mom, meet Jango.

     Chuck displays the puppy.


60   EXT. FARM HOUSE - SHED - DAY                                  60

     Chuck works on an old tractor in the shed. Some small legs
     appear in his vision, then a small face. This is AMANDA,
     his niece.

                       AMANDA
             Dinner's ready.


61   INT. FARM HOUSE - KITCHEN - DAY                               61

     Around the table are Chuck's brother ROGER, his wife MARY,
     Amanda, and her TWO BROTHERS. Mom brings in the turkey,
     places it on the table, sits down. They all hold hands and
     bow their heads.

                       MOM
                                                             30.


             Chuck?

     Chuck hesitates just a moment.

                       CHUCK
             Bless us O Lord, and these thy
             gifts, which we are about to
             receive, from thou bounty, through
             Christ the Lord. Amen.

                       ROGER
             Let's eat.


62   EXT. FARM HOUSE - LATER THAT DAY                              62

     The children burst out the door, shrieking, chased by
     Jango.


63   INT. FARM HOUSE - DAY                                         63

     The grown-ups are cleaning up after Christmas dinner. The
     scene moves between the table, the kitchen counter, and the
     refrigerator. It's an old-fashioned kitchen, simply
     furnished.

                       MARY
             How's Kelly?

                         CHUCK
             Great.

                       ROGER
             Thought you were going to bring
             her.

                         CHUCK
             So did I.

                       MOM
             It seemed like she had such a good
             time last time.

                       CHUCK
             It's nothing you did, Mom, believe
             me.

                       MARY
             Jennifer's still down at the post
             office. And she's still got that
             crush on you.
                                                    31.


                  ROGER
        And she's still got those --

                  MARY
        Roger.

                  ROGER
        You should have stuck around.

This is an old, sore subject.

                  CHUCK
        Look, I help take care of the
        place. You got my check, didn't you
        Mom?

                  MOM
        That new roof, that's your doing.

                  ROGER
        You're just allergic to farming,
        that's what dad said. Can't stand
        to be alone. Can't stand to be in
        one place. Can't stand the sight
        of...blood.

He drops the turkey giblets into the trash.

                  MARY
        Roger's going to put chickens in
        here.

Chuck can't believe this.

                  CHUCK
        Come on Roger, this is dad all over
        again. You already did beefalo,
        chinchillas, and what was that,
        ostrich? They chased Mom around the
        yard, sprained her hip.

Mom goes to the freezer and takes out some frozen
strawberries.

                  MOM
        It wasn't that bad, dear.

                  MARY
        You can't make a living out of this
        place. We tried.

                  CHUCK
        But chickens?
                                                         32.


                  ROGER
        Sixty three pounds consumed per
        capita, up from twenty seven in
        1960. Going to pass beef. Chicken's
        global. No religious taboos. You
        don't see your Hindus and your
        Muslims boycotting poultry.

                  CHUCK
        True enough. No sacred chickens
        nowhere, so far as I know.

                  MOM
        Roger's working at Tyson's now.

Mom mashes the block of frozen strawberries with a fork to
separate the strawberries from the ice.

                   CHUCK
        Really?

                  ROGER
        Come on down to the plant. It's
        state of the art. We're doing for
        chickens what FedEx did for the
        delivery business.

                  CHUCK
        Just don't count 'em before they
        hatch.

Roger grins at him. This is just how they are.

                  ROGER
        I'll try to remember that.

                   MOM
        Dessert.

They all sit down. Mom brings the slushy frozen
strawberries to the table, squirts on some Reddi-whip.

Looks pointedly at Chuck.

                  MOM
        Speaking of hatching, I could sure
        use some more grandchildren.

Not a timely topic with Chuck.

                   CHUCK
                                                                33.


             Mom, this is a farm. We've got real
             strawberries growing outside, we've
             got real cream.

                       MOM
             Oh no, the prodigal son's home. We
             bring out the store bought.

     Chuck takes a bite, winces a little as the cold
     strawberries hit his teeth.


64   EXT. MOM'S HOUSE - LATER THAT DAY                                64

     Chuck fixes the drain pipe while Mom prunes the rose bushes
     around the porch.

                       CHUCK
             Maybe I should take a few days off.
             Roger's working now, you could use
             some help around here...

                       MOM
             Don't you even think about it.

                       CHUCK
             The place is falling apart.

                       MOM
             I'm doing fine.

     She looks pointedly at Chuck.

                       CHUCK
             Doing great, Mom, don't worry about
             me.

                       MOM
             There's settled folks, and there's
             nomads. You're just not a settled
             folk. You never belonged here.

     Chuck finishes the drain pipe. Gives it a thunk with his
     finger.

                       CHUCK
             Come on inside, Mom. You've had a
             long day.


65   INT. FARM HOUSE - BEDROOM - NIGHT                                65
                                                             34.


     In his boyhood room, we see Chuck's laptop, which is hooked
     up to the internet FedEx homepage. All around him are
     models of boats and planes, maps, pictures of far-off
     places. The room of a boy who always fantasized about
     getting away.

     Chuck is beside it, slumped down on the desk. Asleep.


66   EXT. FARM HOUSE - DAY                                         66

     His mom waves to him as Chuck drives away.


67   INT. FEDEX OFFICE - LATER THAT DAY                            67

     Chuck enters his office, on the go. His assistant LESLIE is
     waiting for him.

                       CHUCK
             I need the latest PDRs on St.
             Petersburg.

                       LESLIE
             And how was your Christmas?

                       CHUCK
             Terrific. Yours?

     She nods, used to this.

                       CHUCK
             And get me in to the dentist. My
             tooth's acting up.

     Stan enters.

                       STAN
             Malaysia's tanking. We're meeting
             in ten in operations.

                       CHUCK
             Right.
                  (to Leslie)
             Get me everything on Indonesia, New
             Guinea, all the way to Australia.


68   INT. OPERATIONS ROOM - MINUTES LATER                          68

     Chuck, Leslie, Stan and another executive from the meeting
     named DICK are gathered around the TV screen. A squawk box
     is on the table.
                                                           35.


                  CHUCK
        Kamal? Kamal? Can you hear us?

The box squawks. The TV screen rolls an imperfect image.

                  DICK
        Can't we get this working?

A Technician is fiddling with the TV set.

                  TECHNICIAN
        Trying.

                  CHUCK
        Kamal, you're breaking up. Can you
        hear us?

                  VOICE (SQUAWK BOX)
        Kamal is not here.

                  CHUCK
        Who is this? Where is Kamal?

                  VOICE (SQUAWK BOX)
        It is Ibrim, I, I am a sorter.

                  CHUCK
        What's going on down there?

                  VOICE (SQUAWK BOX)
        Kamal is not here. We are very
        defused.

                  CHUCK
        Who's in charge then, where is
        Chinn?

The squawk box hums and crackles. Nothing. Chuck turns to
the Technician.

                  STAN
        We got Telex, e-mail?

                  TECHNICIAN
        Sure. Just not getting any answers.

Chuck turns to Leslie.

                  CHUCK
        When's the next Jumbo?

                  LESLIE
                                                             36.


             The regular flight is scheduled for
             oh three hundred tomorrow.

                       CHUCK
             Anything else?

                       LESLIE
             There's a sweep leaving Memphis in
             an hour, goes through Sydney.

                       STAN
             Maybe you should get your ducks
             lined up first.

     Chuck looks over at Stan.

                       CHUCK
             Call Operations. Get me on it.

     And Stan is impressed.


69   EXT. CHUCK'S HOUSE - DAY                                      69

     Chuck leaves with his bag over his shoulder and the puppy
     under his arm.


70   EXT. KELLY'S HOUSE - DAY - MINUTES LATER                      70

     Kelly opens the door. Chuck is there with the puppy.

                       KELLY
             That's your dog.

                       CHUCK
             It's our dog. It belongs to us.

                       KELLY
             There isn't any us.

                       CHUCK
             Yes there is.

     Kelly can't stay mad.

                       KELLY
             I'm sorry about the presents. I got
             a little carried away.

                       CHUCK
                                                          37.


        No, it was great. Maybe a little
        overkill --

                  KELLY
        I burned the Christmas tree.

She's half-laughing, half-wanting-to-cry.

                  KELLY
        Why didn't you come over, get mad
        at me, tell me what a stupid bitch
        I was.

                  CHUCK
        I guess I hadn't thought through
        how I felt.

                  KELLY
        What, you were going to come over
        the next day all calm and say,
        Kelly that really made me mad?
        Don't tell me you're mad. Be mad.
        Be who you are right now.

                  CHUCK
        Look, we'll do our trip as soon as
        I get back.

                  KELLY
        Don't even start.

And then it hits her.

                  KELLY
        Get back? From where?

                  CHUCK
        Malaysia. They're holding the
        sweep.

She stares at him for a long moment, then at the puppy.

                  KELLY
        Give him to me.

He hands her the dog.

                  KELLY
        Chuck, you're breaking my heart.

                  CHUCK
        A week, max. Okay? Okay?
                                                             38.


                       KELLY
             Go on. We'll be fine. I'll feed
             Jango to the frogs.

     She kisses the puppy.


71   INT. FEDEX PLANE - NIGHT                                      71

     Chuck enters the cockpit, where two different pilots are
     going through their checklists. Chuck repeats his familiar
     patter.

                       CHUCK
             Al -- gotta be something wrong with
             our physicals, you keep getting
             certified to fly. John, aren't you
             worried?

                       JOHN
             I disconnected his controls. He
             only thinks he's flying.

     Chuck settles into his seat.

                       CHUCK
             You're on your way home, Al?

     Al has an Australian accent.

                       AL
             Right. Down home, down under.

                       CHUCK
             We're on time, right?

                       AL
             On time, Chuck.


72   INT. FEDEX PLANE - NIGHT - HOURS LATER                        72

     Settled into the jump seat, Chuck finishes up his notes on
     his PowerBook and begins his flight ritual.

     He puts in his ear plugs and takes out his Valium. He
     swallows one, then thinks, and swallows two more. Then he
     turns on his Walkman to the Rolling Stones, puts the mask
     over his eyes, and, as usual, goes to sleep.

                                                    DISSOLVE TO:
                                                               39.


73   INT. FEDEX PLANE - NIGHT                                        73

     The plane is SHAKING badly. HEAR frantic, garbled radio
     talk. Chuck stirs, struggles to his feet, drowsy and
     drugged.


74   INT. FEDEX PLANE - CHUCK'S POV                                  74

     Everything is hazy, out of focus, as it was in his earlier
     drugged condition. But this is real haze. SMOKE. And the
     cabin also TWISTS and TILTS.

     Chuck tries to steady himself against the wall. This is
     nightmarish. Is this really happening?


75   INT. FEDEX PLANE - CHUCK'S POV - COCKPIT                        75

     The pilots wrestle with the controls. They have their life
     jackets on. John glances back at Chuck, his face floating
     in a cloud of fear.


76   INT. FEDEX PLANE - MOMENTS LATER                                76

     Chuck struggles to put on his life jacket. The plane is
     VIBRATING VIOLENTLY. He can't get the straps straight. He
     is KNOCKED against one wall, then another, then to the
     floor.

     Chuck tries to blow on the mouth tubes for his life jacket.

     Can't do it! Puff. Puff. Shit! John motions frantically for
     Chuck to pull on the automatic inflators on his jacket.

     Chuck fumbles for them.

     Huge palettes shift and groan, one BREAKS FREE, banging
     violently against the side of the plane, spilling out its
     boxes. Then it swings and KNOCKS Chuck on the head! He goes
     down!


77   INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER                   77

     A CONTROLLER mans the global operations desk. His
     SUPERVISOR stands behind him, sipping some coffee. The mood
     is eerily calm. An assistant moves Plane Locator Cards on a
     giant board.

                       CONTROLLER
             Jumbo 14 is overdue in Sector K.
                                                                40.


                       SUPERVISOR
             Where are they?

     Another CONTROLLER tracks a giant computer screen.

                       CONTROLLER 2
             Somewhere east of Port Moresby.
             Guam is getting a signal but no
             location. Maybe the GPS is out.

     The signal flashes, but is strangely still compared to the
     others, which are moving.


78   EXT. FEDEX PLANE - NIGHT                                         78

     The giant plane PLUMMETS down from the sky.


79   INT. FEDEX PLANE - NIGHT                                         79

     Chuck is semi-conscious and bleeding from the head. John
     pulls the inflators on Chuck's life jacket, which fills
     with a WHOOSH!, sending Chuck's arms out to the sides. Al
     struggles with the LIFE RAFT. It's all blurred, frantic,
     terrifying.


80   EXT. PACIFIC - NIGHT - MOMENTS LATER                             80

     The plane hits the ocean with a CRASH and a WAVE of water.


81   INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER                    81

     The Controller is speaking mechanically into the
     microphone.

                       CONTROLLER
             Guam, I need a fix on Jumbo 14.


82   EXT. PACIFIC - NIGHT                                             82

     Shrouded with fog and surrounded by debris, the tail of the
     big plane slowly SINKS beneath the angry, storm-driven
     waves.


83   EXT. PACIFIC - DAY                                               83

     A life raft is tossed on dark, storm-driven seas. Inside
     it, semi-conscious, Chuck hangs on.
                                                                41.


84   EXT. PACIFIC - NIGHT                                             84

     We catch glimpses of the yellow lift raft in the dark as
     the storm continues.


85   EXT. BEACH - EARLY MORNING                                       85

     The storm has ended. Waves lap gently on a beach cut like a
     scallop out of a rocky shore. On the beach we see scattered
     FEDEX BOXES. And we see, face-down, half-buried in sand, a
     MAN IN A SUIT and a life jacket.

     Chuck.

     The tide gently rocks him, laps at his face. He chokes.

     Slowly he gets to his knees. Vomits seawater, big heaves.

     He rolls over, sits down. Dazed. Still confused. Where am
     I? What happened?

     Chuck's first instinct is to check the time. He looks at
     his watch, taps it in frustration.

     Then he looks around, and we look with him.


86   CHUCK'S POV - BEACH                                              86

     The fog has thinned. We can see palm groves and mangrove
     thickets leading back into a thickly wooded valley climbing
     up a steep, rocky hillside. The rocks on the opposite point
     end in a barren ridge. Clouds hide the top of the hill.

     ON CHUCK

     as he takes in his surroundings. He licks his lips. He's
     thirsty. But something he sees is even more important. We
     stay with him as he WALKS. He comes to a FEDEX PACKAGE in
     the sand, picks it up, brushes off the sand, walks farther.
     He picks up another package.


87   EXT. BEACH - WIDE                                                87

     Chuck walks down the beach, picking up FedEx packages,
     leaving a trail of footprints in the sand. Ahead of him we
     notice a package decorated with ANGEL WINGS.


88   EXT. BEACH - LATER THAT MORNING                                  88
                                                                42.


     Chuck has made a neat stack of FedEx boxes under some palm
     trees at the rim of the beach. He examines the Angel Wing
     drawing with passing curiosity, then puts it on the stack.

     Chuck takes off his life jacket, sits down in the shade,
     makes himself comfortable, and waits.


89   EXT. BEACH - SUNSET                                              89

     Chuck is still waiting. He's a systems man, and the system
     isn't working.

                       CHUCK
             All right, guys. I'm here. Check
             the GPS, get moving.


90   EXT. BEACH - NIGHT                                               90

     The full moon shines a ghostly light on the beach. Trees
     cast moon-shadows on the sand. Chuck seems very, very
     alone.

     We HEAR from the dark thickets a STRANGE NOISE. Rustling in
     the leaves. Something crashing in the trees, or is it a
     wave? A jolt of adrenaline courses through Chuck's body.

     He lurches to his feet.

     We HEAR the noises again. Chuck edges toward the rocks at
     the barb of the hook. Keeping his eye on the thicket, he
     bends down and picks up a stone. His first weapon.

     In the rocks he finds a piece of driftwood. He picks it up
     in his other hand. He backs between two rocks and stands
     facing the thicket, every sense alert. A cloud passes over
     the moon. The shadow streaks across Chuck's anxious face.


91   EXT. BEACH - MORNING                                             91

     The morning TIDE is coming in. We follow the tide as it
     laps amidst the rocks and finds Chuck, staring out to sea.

     The empty sea.

                       CHUCK
             Where the fuck are you?

     But now he is really thirsty. We WALK with Chuck up the
     beach.
                                                        43.


Beneath the palms he sees a couple of coconuts. He picks
one of them up and studies it. It's heavy, almost the size
of a volleyball. How to get in it?

He throws it down on a rock. The coconut just bounces off.

He wedges the coconut between two rocks, then throws a rock
down on it. It bounces off. He throws down a bigger rock.

It smashes on the rocks and chips. Chuck picks up the rock.

OW! Where the rock had chipped the edge is sharp. It cuts
him.

                  CHUCK
        Sonofabitch.

The blood stains the rock a bright red. Chuck sucks on his
finger, then he gets an idea -- the same idea primitive man
first got when he discovered stone tools.

He picks up the rock, test the edge. Sharp -- really sharp.

He throws another rock down, but it doesn't break. He picks
up another rock and strikes the first one. Then again,
harder. And again. A large flake shoots off. This edge is
even sharper.

He has a knife.

OPENING THE COCONUT - SERIES OF SHOTS

Chuck uses the stone knife to saw at the coconut. No luck.

Chuck clumsily sharpens a stick with the sharp rock.

Chuck brings the sharpened stick down hard on the coconut,
but the stick slides off, sending the coconut rolling away.

Chuck positions the stick, pointed end up, in a hole, then
SLAMS the coconut down hard on it. Success! The green nut
of the coconut splits. The brown inner nut is free! He
smashes the nut with a rock, but -- OW! -- he hits his
hand! Chuck licks his fingers, but he is so thirsty there's
no more saliva. He smashes again. The shell breaks to
smithereens. Coconut milk splashes everywhere.

                  CHUCK
        That was smart, really smart.
                                                             44.


     Rotating a nut along its axis and carefully moving his
     fingers out of the way, he SMASHES the nut again. The shell
     splits! The precious liquid splashes out. Left inside is a
     swallow or two, which Chuck laps up eagerly. The milky
     white liquid dribbles down his face.

                          CHUCK
             Ahhh.


92   EXT. BEACH - SUNRISE                                          92

     Chuck squints at the ocean. His sunburn is bad -- his lips
     are cracked. A stack of broken coconut shells is beside
     him. No one's there -- again.

                       CHUCK
             Maybe the GPS malfunctioned. That
             Korean airliner did.

     Clouds scud in front of the sun. Beyond the reef the waves
     are high and churning. Chuck can see them pound onto the
     reef.

                       CHUCK
             Okay, do the math. Maybe they know
             where you are within, say 500
             miles. That's a circle with an area
             of, uh, pi r squared. So, uh,
             250,000 times three point one four,
             that's about 800,000 square miles.
             Three times the size of Texas.

     This sinks in. Then Chuck gets an idea.

                       CHUCK
             They could use a satellite.

     But even that doesn't give him much hope.

                       CHUCK
             Say each satellite photo is 30 feet
             square, that's uh...fuck
             it...billions and billions of
             photos.

     That sinks in.

                       CHUCK
             Aw, someone will come.


93   EXT. BEACH - NIGHT                                            93
                                                                45.


     Chuck sleeps by the coconuts. The tide is coming in. Chuck
     stirs, gets up, staggers over to a palm tree to relieve
     himself.

     He stares idly out at the moonlight on the waves. Then not
     so idly. Something's out there, something floating on the
     tide.

                       CHUCK
             What the hell?


94   EXT. BEACH - MOMENTS LATER                                       94

     Chuck splashes into the gentle surf, reaches the dark
     object.

     It's a body. Chuck turns it over. It's Al, one of the
     pilots, his face gray and waterlogged and very dead.

                         CHUCK
             Oh Jesus.


95   EXT. BEACH - MOMENTS LATER                                       95

     Chuck drags the body up on the beach and then collapses,
     exhausted. He sits by it, staring at it.

                       CHUCK
             I'm so sorry, Al. So sorry.


96   EXT. BEACH - MORNING                                             96

     Chuck has almost finished a grave in the sand back of the
     palm trees. He's been digging with a piece of driftwood
     sharpened with his stone knife.

     He drags the body into the pit. Stares down at it. That
     could be me.

                       CHUCK
             Got to cover Al up.

     He wants to say more, can't. He scoops some sand over the
     body.

                       CHUCK
             Got to cover Al up.

     He scoops in some more sand. It's eerily like burying the
     tropical fish in his back yard.
                                                                46.


97   EXT. BEACH - LATER                                               97

     With a rock Chuck hammers a crude driftwood marker into the
     sand.


98   EXT. BEACH - LATER THAT DAY                                      98

     As Chuck sits on the beach, he half-sings, half-talks
     "Yellow Submarine" very quietly to himself.

                       CHUCK
             We all live in a yellow submarine,
             yellow submarine...

     He looks over at the deep woods and down to the rocky
     point.

     Comes to a decision. He takes a drink of coconut, picks up
     his club and a coconut, sticks the stone knife in his
     pants.

     He's ready to go.


99   EXT. BEACH - DAY - MOMENTS LATER                                 99

     Chuck climbs over the rocks and disappears out of sight.

     He's still half-singing to himself.

                       CHUCK
             Yellow submarine. We all live in a
             yellow submarine...


100 EXT. ISLAND - DAY - MOMENTS LATER                                 100

     Chuck's way is blocked by rocks and jungle. He hesitates.

     He picks up a rock and THROWS IT to scare away all those
     bad things. It crashes into the ferns and palm trees. He
     takes a step into the jungle.


101 EXT. JUNGLE - MINUTES LATER                                       101

     Chuck struggles through a dense thicket beneath a jungle
     canopy. Vines and creepers reach out toward him. There is
     no path, nothing to show him where to go.
                                                            47.


102 EXT. JUNGLE - HALF HOUR LATER                                 102

    Chuck climbs through a tangle of vines and ferns. He takes
    a drink from the coconut he is carrying. The last drink.

                       CHUCK
             Bad idea. Should have saved some.

    He throws away the husk. He looks up, but the only sunlight
    reaching him is dappled from the canopy above him.


103 EXT. ISLAND - MOMENTS LATER                                   103

    Chuck emerges onto a ridge that leads to a summit. He
    climbs across a rocky lava field covered with scrub lichen
    and low ferns, soil dark as coffee beans, his way crossed
    by steep gullies that cut like dark fingers into the lava.

    The lava field narrows, forcing Chuck closer to the sea. He
    passes a series of CAVES, their mouths dark and mysterious
    and scary. He gives them a wide berth.


104 EXT. ISLAND - CLIFF - MOMENTS LATER                           104

    The land narrows to a ledge that stretches across a high
    cliff perched over the ocean. Beyond this rock bridge the
    path smoothes out to a summit.

    Chuck stares at the narrow bridge, then down at the waves
    breaking on the rocks far below. To get any view, he will
    have to cross the bridge. He's thirsty. The late afternoon
    sun is hot.

                       CHUCK
             Other than that, Mrs. Lincoln, how
             did you enjoy the play?

    Hugging the wall of the cliff, taking each step with great
    caution, he sets out across the bridge.


105 EXT. ISLAND - CLIFF                                           105

    Step by step, Chuck negotiates the narrow bridge. He
    reaches a flume of polished basalt which cuts across the
    ledge like a slide in a water park -- except this flume
    ends high above the waves. Chuck tries to step across it,
    can't quite, tries one foot first, then the other.

                       CHUCK
             Shit!
                                                            48.


    He looks back, but that seems even scarier.

                       CHUCK
             Got to get there. Got to see.
             C'mon... c'mon. Don't be such a
             wuss. Be bold.

    He looks down at the ocean beneath him, closes his eyes,
    and jumps. It's only a few feet, but he's breathing hard
    when he lands on the other side. He hugs the rocks, getting
    his breath.


106 EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER                   106

    Chuck looks to each point on the compass. He is on an
    ISLAND, small, inhospitable, without sign of habitation or
    anything human. On three sides the waves break against
    steep, hostile cliffs. A reef encloses the cove where he
    came from.

                       CHUCK
             No way on. No way off.

    Chuck stares out to sea in every direction. Nothing.

                       CHUCK
             This is bad. Really, really bad.

    The last rays of sun hit his face. The ocean turns a deep
    reddish gold.


107 EXT. CLIFF - MOMENTS LATER                                    107

    Going down is even scarier. It's dusk and the light is flat
    and gray. Chuck stares at the ledge.

                       CHUCK
             Come on. Crawl if you have to.

    Chuck crawls on his hands and knees across the rock bridge.


108 EXT. ROCKY SLOPE - MOMENTS LATER                              108

    Chuck stumbles over the rocks. The caves look ominous and
    primal.


109 EXT. EDGE OF JUNGLE - NIGHT                                   109
                                                              49.


    It's getting dark now. The jungle seems impenetrable, the
    dark wood of fable. Chuck hesitates, then plunges into it.


110 EXT. JUNGLE - NIGHT MINUTES LATER                               110

    The moon has just begun to rise, casting eerie light into
    the jungle. The shadows reach out to grab Chuck, then real
    branches and vines tug at him. He heads into thick
    blackness.


111 EXT. BEACH - NIGHT - LATER                                      111

    Chuck emerges around the rocks. He reaches the stack of
    familiar FedEx boxes -- Ahh, home! He's breathing hard,
    from both fear and exertion.

                       CHUCK
             Got to drink. Got to drink
             something.

    With his last strength he opens a coconut on the stick. He
    bangs hard on the shell and gulps down the milk. He stares
    at the stack of FedEx boxes. What could be inside? He
    reaches out and touches one.

                       CHUCK
             They don't belong to you.

    Responsibility gets the better of necessity, and he takes
    his hand away.


112 EXT. BEACH - MORNING                                            112

    Face red from the sun, Chuck hacks at a palm frond with his
    stone knife. He saws the palm frond off near the base,
    leaving it about a foot long.

                       CHUCK
             Got to have shade. Got to have a
             hat.

    He ties the loose fibers into a sort of circle, then sets
    it upon his head. It looks amazingly like some sort of
    primitive cap.

    He grabs a couple of FedEx boxes and heads for the beach.


113 EXT. BEACH - LATER                                              113
                                                             50.


    Chuck finishes the P on H E L P, which he has spelled out
    with the FedEx boxes on the beach.


114 EXT. JUNGLE - DAY - LATER                                      114

    Chuck scrambles down a ravine. He kneels down and feels the
    ground. It is dry, completely dry.


115 EXT. LAVA SLOPE - DAY                                          115

    Chuck traverses the slope, determined to find water.


116 A FLAT ROCK - LATER                                            116

    With a puddle of dirty water trapped in a tiny hollow.

    Suddenly Chuck flops down into frame. He tries to scoop up
    some water in his hands, but he just splashes it around. He
    licks his fingers. Then he gets down on his stomach and
    laps up the water with his tongue. Like an animal.

    In the bottom of the small depression is some fine mud. He
    rubs it on his reddened face and across his burned lips.

                       CHUCK
             Oh, God. Thank you.


117 EXT. BEACH - NIGHT                                             117

    Chuck lies in darkness, his eyes reflecting the moon.


118 EXT. JUNGLE - DAY                                              118

    Chuck is drenched in sweat. He is at the bottom of a hole
    six feet deep. He takes one last dig with the flat stick,
    then licks the moist clay that sticks to it.


119 EXT. BEACH - DAY                                               119

    Chuck breaks open another coconut and gulps down the milky
    liquid. With a stone knife he digs in the shell for some of
    the meat, but it's dry and chewy and fibrous. He spits it
    out, then lies back on the sand and stares at the first
    stars. Half sings to himself.

                       CHUCK
             You deserve a break today...
                                                              51.


    He is desperately thirsty. Hunger gnaws at him.


120 EXT. BEACH - DAY - LATER                                        120

    Holding a sharpened stick, Chuck wades in the shallows at
    low tide, looking for fish. It's difficult to keep his
    balance. Suddenly a shadow flashes by, glinting in the
    morning sunlight. Chuck hurls the spear, which ricochets
    off the water and floats away.

    Chuck plunges into the water after the fish with his bare
    hands. The fish reverses direction. Chuck leaps after it
    and goes under. He comes up spluttering, on his hands and
    knees in the shallows.

    Suddenly a whole school of fish swims by him, moving in
    unison, like one creature, splitting around Chuck like
    mercury. He grabs at them desperately. Nothing.

                       CHUCK
             Damn fish!

    On some rocks he sees clusters of limpets. He takes a rock
    and tries to dislodge one, but it smashes into a soggy
    mess.


121 EXT. BEACH - DAY                                                121

    Discouraged, he sits down on the beach and gets his breath.

    Idly, Chuck takes out his wallet. The money is soaked. He
    lays it out to dry. He finds a PHOTOGRAPH OF KELLY, soaked
    and mushy.

    He tries to smooth it out. For a moment he is overcome.

    His face tightens, his eyes get moist. He stares out to
    sea.

                       CHUCK
             Wait a minute. Wait just a minute.

    He picks up his wallet again and takes out a credit card.


122 EXT. BEACH - MINUTES LATER                                      122

    Chuck wades in the water, stops by a rock covered with
    limpets. He uses a CREDIT CARD to scrape off a limpet.

                       CHUCK
                                                               52.


             Don't leave home without it.

    With his finger, he prods around in the mucous-like meat,
    then tilts up the shell and we see the gooey gray stuff
    slide off the shell into his mouth.

                         CHUCK
             Yuck.

    He starts to spit it out. Tries to make himself like it.

                         CHUCK
             Yumm.

    And he swallow it.


123 EXT. BEACH - SUNSET                                              123

    Chuck sits in the shade of a palm tree surrounded by a pile
    of smashed coconut husks and a stack of limpet shells. He
    checks his watch for a moment.

                       CHUCK
             Got to get this fixed.

    But what's the point? Everything that was so valuable
    before is useless now.


124 EXT. JUNGLE - LATER                                              124

    Chuck digs yet another hole. He chants to himself, almost
    delusionally.

                       CHUCK
             Water, water, everywhere, water,
             water everywhere...

    Covered in sweat, desperate and exhausted, he throws down
    his wooden spade.

                       CHUCK
             Where's the water on this fucking
             island?

    He lies on his back, breathing hard. Pulls his hat over his
    eyes.

                       CHUCK
             Just rest a minute.
                                                               53.


125 EXT. JUNGLE - DAY - LATER                                        125

    Chuck is lying in the hole. We find his feet. Slowly water
    is oozing out of the clay, a puddle is building around his
    toes.


126 EXT. JUNGLE - DAY - LATER                                        126

    Chuck's eyes snap awake. He looks down at his feet.

    There's a pool of muddy water there. He dips his hand in
    it, touches a finger to his lips to be sure he's not
    dreaming.

    He grabs his sharpened stone, begins to attack the clay.

                       CHUCK
             Oh yeah, oh yeah, oh yeah.


127 EXT. BEACH - SUNSET                                              127

    Chuck carefully makes marks on a palm tree with his rock
    knife. One for each day. Very neat. Very precise. Very
    Chuck.

                        CHUCK
             Let's see, I waited two days.
                  (makes marks)
             Then I buried Al.
                  (slowly makes another
                  mark)
             Al. You never made it home, buddy.

                       CHUCK
             Then American Express got me those
             clam things...
                  (makes another mark)
             I dug all those damn holes, the
             clouds over the moon...
                  (makes more marks)
             And today, the historic discovery
             of H, Two, Oh.
                  (makes a tenth mark and
                  underlines it)
             Ten days. Shit.

    For a moment, he feels the weight of his isolation. Then he
    allows himself a deep breath. There is order now, after
    all. Time is under control.
                                                               54.


128 EXT. CLIFF - DAY                                                 128

    Very carefully, but standing this time, Chuck makes his way
    across the ledge.


129 EXT. SUMMIT - DAY                                                129

    He emerges on the top, takes a drink from a hand-made
    canteen, and looks in all directions. Again, he sees
    nothing but ocean.


130 EXT. BEACH - DAY                                                 130

    He resumes his efforts at fishing. A shape scuttles
    raggedly beneath him.

                       CHUCK
             A crab, it's a crab.

    He freezes, holding his spear motionless. Then he jabs at
    the crab -- misses! The crab scurries away toward the
    rocks.

                        CHUCK
             Dammit!

    Chuck splashes after it, stabbing as he goes, falling,
    getting up, stabbing again.

    Suddenly one stab feels different. Chuck carefully lifts up
    the spear. On the end is a squirming crab.

                       CHUCK
             I did it. I did it!

    He walks carefully with it to the beach. Lowering the
    spear, he lets the crab slip off.

    It darts toward the water. Chuck heads it off, trying to
    avoid the snapping claws.

    He kicks it back toward the beach, then slams a rock down
    on it. He twists off a crab claw, expecting to see flaky
    white meat. But a crab has an exoskeleton. The flesh simply
    pours out, like mucous.

                        CHUCK
             Jesus.
                                                               55.


    This is too much. He needs the next step, from the raw to
    the cooked. The crucial next step from primitive man to the
    beginnings of civilization.


131 EXT. PALM GROVE SERIES OF SHOTS - TRYING TO MAKE FIRE            131

    Chuck rubs two sticks together. Nothing.

    Chuck positions a makeshift drill in a hole he has scooped
    out in a piece of driftwood. He spins the drill with great
    effort. Nothing.

                       CHUCK
             Stupid fucking thing!

    He quits, exhausted. He looks at his hands. They are raw
    and blistered. He feels like Job.

                       CHUCK
             I don't know what I did, God, but
             whatever is was, I am really,
             really sorry. You hear me? Really
             sorry.


132 EXT. BEACH - DAY                                                 132

    Chuck emerges from the jungle and walks to the edge of the
    ocean. He dips his blistered hands into the sea water, then
    looks over at the FedEx boxes that spell out H E L P.

                       CHUCK
             Don't have a choice, do I?

    He walks over and picks a few boxes up from the P.


133 EXT. PALM GROVE - DAY                                            133

    With his stone knife and spear to help him. Chuck begins to
    open the FedEx boxes. Chuck rips open the end of one box
    and shakes it. Out tumble some videotapes. Chuck looks at
    them: what good are they?

    Chuck tears another box open. Out slide some legal papers
    covered with Post-its.

    In quick cuts, we see him dump out computer memory boards,
    some designer dresses, flowers, a pair of roller blades, a
    script with a red cover -- which he never reads.
                                                               56.


134 EXT. BEACH - LATER                                               134

    By now he has taken all the boxes in the P. Only H E L
    remains. He pauses to let the irony of that sink in, then
    collects more boxes. He is even more exhausted.


135 EXT. PALM GROVE                                                  135

    Two boxes remain. One is the box with Angel Wings. Chuck
    sets it aside. He opens the other box. Out tumbles a
    DOCTOR'S BAG. Chuck can't believe it. He opens the bag.

    It's full of great stuff. Medicine. A scalpel. A saw.

                       CHUCK
             Okay. Okay now.


136 EXT. PALM GROVE - LATER                                          136

    Hands bandaged, Chuck tries to strike a spark on the roller
    blade wheel housing. Tries over and over. Nothing.

    He takes a long drink from his canteen, and flinches. His
    tooth is starting to hurt. He fishes some Tylenol out of
    the surgeon's bag and takes two.


137 EXT. OTHER SIDE OF ISLAND - DAY                                  137

    Chuck picks some berries and gingerly tries them. They're
    not bad. He eats more. Then more. What a relief.


138 EXT. BEACH - NIGHT                                               138

    Chuck lies on his palm fronds, groaning and holding his
    stomach. He drags himself to his knees, crawls a few feet,
    and throws up in great, violent heaves.


139 EXT. BEACH - DAY                                                 139

    Still looking a little green, Chuck marks another day on
    his tree calendar.


140 EXT. SUMMIT                                                      140

    He stares out to sea. Nothing.
                                                              57.


141 EXT. WELL - DAY                                                 141

    Chuck lies on his belly and drinks from the well, which has
    filled with water. Then he washes his face and splashes
    water over his neck. The surface of the well stills,
    bringing CHUCK'S REFLECTION into focus. He stares at
    himself.

    Very carefully Chuck shaves with the surgeon's scalpel.

    Chuck checks out his new appearance in the water. Much
    better. A clean start now.


142 EXT. BEACH - LATER THAT DAY                                     142

    He sits in front of his failed efforts to make fire.

                       CHUCK
             You're not getting it hot enough.
             Got to hold the heat. Got to hold
             the heat.


143 EXT. BEACH - LATER                                              143

    Chuck carefully shaves some tinder. Puts it under a piece
    of bamboo split lengthwise with a notch cut across it.


144 EXT. BEACH - LATER                                              144

    Chuck uses a bamboo stick to try to make friction in the
    split half of the bamboo. He saws back and forth with all
    his might, pressing it down in the groove.


145 EXT. BEACH - LATER                                              145

    Chuck gives one last saw with his bamboo and stops, utterly
    defeated. It's all too much.

                       CHUCK
             Sonofabitch!

    He starts to rub again. He breathes hard, sweat pours off
    his face. He is really going for it, what the hell! A tiny
    wisp of smoke appears! Chuck saws with even more energy.

                       CHUCK
             Come on. Come on.
                                                            58.


    The smoke increases. Chuck rips away the bamboo, grabs the
    nest of shavings, and blows on it frantically. The smoke
    flickers and dies. Chuck can't believe it.

                       CHUCK
             No. No. No.


146 EXT. BEACH - NIGHT                                            146

    Chuck lies in his bed of palm fronds, shivering. He looks
    up at the stars, which blaze furiously.

                       CHUCK
             That's the big dipper...Orion...or
             is that the Southern Cross...?
             Kelly would know.

    And he misses her so much. A shower of meteors streaks
    across the sky, as if the very heavens are raining down on
    Chuck.


147 EXT. BEACH - DAY                                              147

    Chuck readies his two sticks of bamboo again and begins
    sawing with tremendous energy. He smells something. Is it
    smoke? He pulls off the log and looks eagerly at the nest
    of tinder. There's nothing there.

                         CHUCK
             Dammit!

    He replaces the log and starts wearily to saw again.

                       TIME CUT
             The sun has moved in the sky. Chuck
             is still sawing. Again the smoke
             appears. Again sweat pours from his
             face. The smoke increases. He saws
             even harder. His breath comes in
             anguished gulps. Smoke is curling
             up now. Chuck tears away the
             bamboo, picks up the nest of
             kindling, and blows on it gently.
             The smoke increases.

    He blows some more. A fragile crimson spark appears.

                       CHUCK
             Careful now, careful...
                                                              59.


    He gently places the nest of shavings in the kindling, then
    blows on it with utmost care, as if he were holding life
    itself. He shreds his money and business cards over the
    tiny flame.

    Suddenly, the evening breeze lifts the nest out of the
    kindling. Desperate, Chuck grabs it. Trying to shield it
    with his body, he grabs some palm fronds and jams them into
    the sand, trying to make a windbreak. They rustle and shake
    and blow over.

    The wind blows harder. Chuck jams some rocks in a circle to
    make an eddy. But the fire is out. No words now, just a
    loud, primal groan of pure despair.

    And then, into his vision floats...smoke.

    Chuck looks down. A wisp of smoke curls up from the nest of
    tinder! Chuck blows on it gently. Suddenly a tiny tongue of
    flame flickers and catches on the kindling!

                       CHUCK
             Yes! Yes! Yes!

    He feeds in some more twigs, more tinder. The flames lick
    out, catch, grow.

                       CHUCK
             If I ever forgot to thank you God,
             and I am sure I did, thank you now.


148 EXT. BEACH - WIDE - NIGHT                                       148

    The fire burns on the beach. Chuck rushes about, piling on
    driftwood.


149 EXT. BEACH - CLOSER                                             149

    Chuck darts into the jungle and returns dragging a huge
    log.

    He throws it on the fire. We see his face in the light of
    the fire. He is exultant. He dances. He sings at the top of
    his lungs. Papa-ooo-mow-mow!

    Chuck throws another huge log on the fire. Papa-papa-papa-
    oooo! The log splutters and explodes, sending up a huge
    shower of sparks that climb and sparkle in the
    darkness...until they merge with the stars.
                                                               60.


150 EXT. PALM GROVE - MORNING                                        150

    Chuck makes a mark on the tree. Around it he carves a flame
    -- the day he mastered fire.


151 EXT. PALM GROVE - LATER THAT MORNING                             151

    Chuck sharpens his spear with his stone knife. Then he
    sticks it in the flame to harden it, pulls it out, checks
    it, scrapes some more.


152 EXT. BEACH - DAY                                                 152

    Chuck wades in the water with his spear. Suddenly he stabs
    it down. A crab is on the end.


153 EXT. BEACH - HALF HOUR LATER                                     153

    Chuck removes a crab from out of the fire and breaks a
    steaming crab claw. Chuck takes a bite of the flaky white
    meat. Ahhh. It tastes great. He takes another bite -- and
    flinches.

                       CHUCK
             Damn tooth!

    He fumbles for his Tylenol and takes two pills.


154 EXT. SUMMIT - SUNSET                                             154

    Chuck stands on the summit, looking in all directions.

    Then, something on the island brings Chuck's eyes back from
    their distant focus on the horizon. From down on the beach,
    beneath the palm grove, there curls a thin column of smoke.

    Chuck lets a bit of pride creep into his face as he sees
    it.

    He kneels down and begins to build a signal fire.


155 EXT. BEACH - NIGHT - LATER                                       155

    Chuck curls up in his bed of palm fronds. The fire burns.

    Around it is a large stack of crab shells. He stares into
    the fire.
                                                               61.


156 EXT. PALM GROVE - MORNING                                        156

    Chuck makes another mark on the tree. He has circled the
    tree with marks several times now.


157 EXT. BEACH - DAY                                                 157

    Using a safety pin and some suturing thread, Chuck fishes
    carefully. Suddenly he jerks his hand back. On the end is a
    flopping fish.


158 EXT. PALM GROVE - DAY                                            158

    Chuck takes a cooked fish off the fire and mixes it with
    some breadfruit. He eats the soft mixture, chewing
    carefully, but his tooth hurts even worse. There are only a
    few Tylenol tablets left. He carefully cuts one in half and
    swallows it.


159 EXT. SUMMIT - AFTERNOON                                          159

    Chuck arrives with the wood for the night. He stares out to
    sea as usual, but this time he sees something different.

    WHALES. He sees whales. Leaping. Broaching. Spouting.

    Water pouring off fins and flukes. Moving. Going somewhere.

                       CHUCK
             Beautiful. So beautiful.

    Chuck stares at them, stares until the ocean darkens and he
    can see them no more. It's late now.

    Leaving, he takes one last look, as he always does. And
    another remarkable sight greets his eyes. There, on the
    horizon, just below the evening star, is a...LIGHT. He
    stares at it, fixed.

                       CHUCK
             A star. It's a star.

    But then he stares at it really hard.

                       CHUCK
             It's a ship.


160 EXT. WOODS - TREE - NEXT DAY                                     160
                                                               62.


    A tree shakes and moves, quivers...

                         CHUCK
             Timberrr!

    ...then slowly falls with a CRASH!

                       CHUCK
             I heard that...

    Chuck holds his surgeon's saw over the stump. He walks to
    another tree and begins to saw his way into the trunk.


161 EXT. BEACH - SERIES OF SHOTS                                     161

    Up above the high tide line, Chuck lashes a log to a row of
    five logs already joined with vines.

                       CHUCK
             No more waiting. Take action.

    Chuck sews several designer dresses together with needle
    and suturing thread for a sail.

                       CHUCK
             That's right. Take action.

    He cuts bamboo for the mast. He carves driftwood for an
    oar.

    He fills gourds with water, stores breadfruit and coconut
    as he sings "Fly Me to the Moon" to himself.

    He ties the sail to the mast and extends it with a bamboo
    boom lashed on with palm fiber and video tape. He ties on
    the doctor's kit and the FedEx box with the angel wings.

    He examines his handiwork: a finished raft.

    He brings out his old life preserver and puts it on, then
    grabs hold of one corner of the raft to pull it down to the
    beach. It doesn't budge. He tries to pull it again.

    Nothing. He leans his back into it and pushes with his
    legs. Nothing. He collapses on the beach, his breath coming
    in heaves.

                       CHUCK
             How could I be so stupid?

    He bangs himself on the head, over and over.
                                                               63.


                       CHUCK
             Stupid, stupid, stupid.


162 EXT. PALM GROVE - NIGHT                                          162

    Chuck throws new firewood on the dwindling fire. It comes
    back to life. Meteors streak again across the sky. He
    stares at the indifferent stars. The moon is almost full.

    Shadows of palm trees sway on the sand.


163 EXT. BEACH - NIGHT                                               163

    Chuck stands by the edge of the water, which shimmers in
    the reflected light of the fire. A wave come in, licks at
    his toes. Lifts up a coconut husk, sweeps it gently out.
    Chuck watches, gets an idea.


164 EXT. BEACH - NIGHT                                               164

    He begins to dig in the sand by the raft. He grabs the oar
    and digs faster, making a trench up to where the raft is.


165 EXT. BEACH - MORNING                                             165

    The rising tide floods water into the trench. Chuck rocks
    the raft back and forth. It floats! As the wave recedes, it
    takes the raft with it. Chuck has to run beside it.

    CHUCK TRYING TO ESCAPE - MONTAGE

    Over and over, we see Chuck capsize at the reef. The first
    time he has a bandage on his leg. He tries everything --

    different rafts, different approaches, but each time the
    ocean spits him back.


166 EXT. LAGOON - DAY                                                166

    Defeated and utterly exhausted, Chuck swims back from his
    latest failure. He wades back ashore with the FedEx box and
    throws it on the ground by the palm tree. He has tried so
    hard to escape, so incredibly hard, done everything humanly
    possible and beyond. He rips off his life preserver, throws
    it into the underbrush, then collapses on the beach.

                         CHUCK
                                                          64.


        You're too low in the water. Too
        damn low.

Chuck's shoulders begin to shake, as he is racked with deep
sobs of despair.

And then he throws his head back and lets forth, from deep
inside himself, a SCREAM of rage and anger and pain. The
Scream pierces the indifferent natural sounds of the
island, the rustling of the breeze, the lulling rhythm of
the waves.

It is powerful, disturbing, primal.

The breeze picks up. Behind Chuck, the palm trees begin to
sway. The tide is reaching up toward the beach. The waves
crash louder. The palm trees sway even more.

Chuck picks up some wet sand and rubs it on his body.

                  CHUCK
        Dust thou art -- that's for damned
        sure -- and unto dust shalt thou
        return.

A few DROPS OF RAIN begin to fall, splashing on Chuck and
sizzling in the fire.

Chuck looks up: clouds have obscured the sun. The wind
blows harder. The rain falls harder, streaking the sand
Chuck had rubbed on his body. STEAM sizzles out of the
fire.

Chuck looks up, disbelieving. The bottom falls out of the
heavens -- monsoon rain, more rain than you have ever seen
before. A long wave rolls up, its frothy fingers reaching
for the fire.

Forget the raft! Forget despair! The fire could go out!

This is disaster!

                    CHUCK
        Shit!

He springs into action. Chuck grabs an empty FedEx box.

With his wooden shovel he frantically SCOOPS SOME COALS out
of the fire as the rain HISSES and POUNDS at them. He
slides the coals into the FedEx box, grabs some sticks of
driftwood and sets off on a run.
                                                               65.


167 EXT. WOODS - DAY                                                 167

    Chuck runs through the woods, slipping and stumbling. Vines
    grab at him. The rain is so thick he can hardly see.


168 EXT. WOODS - MINUTES LATER                                       168

    Chuck bursts out of the woods into the lava field. Smoke
    pours out of the FedEx box. The coals are about to burn
    through!


169 EXT. LAVA FIELD - MOMENTS LATER                                  169

    Chuck stumbles up the slippery rocks, dragging the smoking
    box. His face is drenched, desperate.


170 EXT. CAVE - DAY - MINUTES LATER                                  170

    Chuck tumbles into the cave just as the coals burn through
    the FedEx box.

    Using the remains of the box, he desperately tries to scoot
    the coals into a dry spot.

    One by one, THE PRECIOUS COALS GO OUT.

    Dripping water off his hands and face, he pushes a few
    together with his fingers, ignoring the burns.

                       CHUCK
             Please...please...please...

    He stomps on the driftwood and saws at it with his knife.

    He places this kindling on the coals. They sputter and
    sizzle. Barely catch. He fans them with the box. A tiny
    flicker catches, then starts to grow.

                       CHUCK
             Firewood. I need firewood.

    SERIES OF SHOTS

    On the beach, Chuck desperately gathers more firewood in
    the driving monsoon. He can barely see. Driven by the
    storm, the waves are licking at the palm grove.

    He runs through the woods. Branches whip at his face.
                                                               66.


    Roots tear at his feet, tripping him.

    He stumbles up the lava field. Sliding. Struggling.

    Barely able to breathe, the rain is so strong.


171 INT. CAVE - DAY                                                  171

    He dumps the firewood on the floor of the cave. But where
    the fire had flickered, there is only a pile of wet black
    ashes.

    THE FIRE IS OUT.


172 INT. CAVE - NIGHT                                                172

    Chuck lies on the floor of the cave, shivering in the
    darkness as the rain falls. His fire is out, his tooth is
    killing him, he can't escape.


173 EXT. CAVE - NEXT DAY                                             173

    Chuck emerges from the cave. The rain has stopped. This is
    the absolute lowest. His face reflects his pain and
    despair. He's trapped. It's hopeless. Everything he tried
    to build is gone.


174 EXT. LEDGE - DAY                                                 174

    Chuck slowly walks out on the ledge. He stares down at the
    waves breaking on the jagged rocks far below.

    He lets go one hand. Then lets go the other. He is barely
    balanced. It looks like a wisp of breeze would blow him
    right off. He slides one foot to the very lip of the
    precipice.

    Suddenly his foot slips!

    Instinctively he turns into the cliff, grabs for a hold!

    One hand reaches for a nubbing of rock, slips off! The
    other closes, his fingers straining to hold him.

    He breathes in deep gasps. He had wanted to end it, come so
    close.

                        CHUCK
                                                            67.


             What the fuck are you doing?

    His deepest instinct was to survive. And that is what he is
    going to do.

                       CHUCK
             Hang on. Just hang on.

    Slowly he pulls himself back from the edge.


175 EXT. BEACH - LATER                                            175

    Chuck walks aimlessly down the beach, feeling the burden of
    starting over. The beach is littered with seaweed and
    flotsam, bits of rope, plastic bottles. He picks up a
    plastic bottle. That will come in handy.

    The Chuck sees a SOCCER BALL with "Wilson" stamped on it in
    big black letters.

    He picks it up, holds it, tosses it up in the air. Then he
    kicks it, then kicks it again, then runs down the beach,
    trying to kick it and keep it out of the water. Feeling joy
    again, even here.


176 INT. CAVE - THAT DAY                                          176

    The sun is setting on his darkened cave. The soccer ball
    sits in the corner by the black cold ashes of what was once
    his fire.

    Chuck carves a bit of coconut meat, takes a bite and winces
    as the meat hits his sore tooth. He tosses the shell on a
    small new pile of shells.

    Chuck shakes out the last half Tylenol tablet. He puts the
    tablet in his mouth, then takes a sip out of his coconut
    canteen. When the water hits his tooth that hurts too.


177 INT. CAVE - MORNING                                           177

    Chuck mixes a mash of breadfruit and coconut. He tries to
    pack the tooth with the mash, but it's so sensitive that
    even this hurts. He pounds the floor of the cave in
    frustration.


178 INT. CAVE - LATER                                             178
                                                               68.


    Chuck holds a stone chisel and his hammer stone. He
    positions the chisel against his inflamed tooth. But the
    thought of what he is about to do is too frightening. He
    lowers the chisel.

                         CHUCK
               Shit. Shit. Shit.


179 EXT. BEACH - DAY                                                 179

    Chuck tries to fill his mouth with sea water. The pain is
    so great his eyes water.

                         CHUCK
               Whoo, pig. Sooey!

    He falls back in the water and floats there, looking up at
    the sky.


180 INT. CAVE - LATER                                                180

    Determined, Chuck hold the stone chisel again. He raises it
    slowly to his mouth and picks up the hammer stone.

                         CHUCK
               No pain, no gain.

    He brings the hammer down hard on the chisel! The screen
    goes BLACK as Chuck's SCREAM continues UNDER.

                                                       FADE IN:


181 EXT. OCEAN - SUNRISE - THREE YEARS LATER                         181

    The sky takes on the first colors of the day. The ocean is
    still dark, but a few waves catch the first light. The
    sunrise touches the summit, moves down the cliff, then
    lights the cove. On the screen superimpose:

    "1000 DAYS LATER"

    REFLECTION - WATER

    A spear shimmers in the calm morning water. Attached to the
    spear is a man, standing completely still.

    ON CHUCK
                                                               69.


    We move up out of the reflection to the real man. His legs
    are scarred. The remnants of a dress wrap around his
    middle. A stone knife on a neatly mounted haft is stuck in
    a belt made of videotape and woven fiber. Necklaces of
    shark's teeth and shells hang from his neck. His hair is
    long. A coconut frond hat is on his head.

    The hand wrapped around the spear is scarred and brown as a
    berry. It holds the spear perfectly still. The watch is
    gone.

    We come around slowly until we see Chuck's face. The eyes
    say it all. They stare out with a survivor's intensity,
    staring at the water, unblinking. This is the man who used
    to splash futilely about in the water trying to fish.

    This is the FedEx man who was plugged into the tumult of
    activity and energy, surrounded by technology and human
    activity at its most intense, devoted to making seconds
    count. Now he is utterly alone, and utterly still.

    And now he has all the time in the world.

    Suddenly, without an once of wasted motion, he shoots the
    spear forward at a low angle. It quivers, stuck on the
    bottom. He pulls it out with a practiced twist. On the end
    is a struggling fish.

    But this isn't a thrill anymore. It's another day at the
    office.


182 EXT. BEACH - LATER THAT DAY                                      182

    Chuck makes a mark on a palm tree. He has completely
    covered three other trees with marks. It sinks in how long
    he has been here.


183 EXT. JUNGLE - LATER                                              183

    Chuck carries the fish back from the beach. Now there is a
    well-worn trail.


184 INT. CAVE - THAT AFTERNOON                                       184

    Chuck enters with the fish. We are greeted with the well-
    ordered lair of a primitive stone-age man.

    Clam shell spirals weave in and out around the fire hole.

    Strips of eel jerky and fish hang drying from racks.
                                                               70.


    Tools are lined up neatly: digging sticks, stone hammers
    and saws, spears neatly hafted onto shafts, drills, awls.

    Bits and pieces of feathers, skins, bones, rags, leaves --

    are all neatly arranged. Strings and cords hang from hooks.

    Coconut bowls and cooking rocks form a small kitchen. A
    raincoat and rain-hat woven of palm fronds is neatly draped
    over a frame.

    Evocative pieces of driftwood decorate the room. A wind
    chime of obsidian flakes sways gently. The watch hangs on a
    stick.

    The Angel Box has the place of honor on one side. On the
    other side the Wilson soccer ball rests on a throne of
    rocks. Seaweed has been placed on the ball as hair. Clam
    shells have been stuck on for eyes, other shells form a
    mouth. A tube shell and conch form a pipe.


185 INT. CAVE - FIRE - NIGHT                                         185

    The fish are being smoke under a palm frond. Eel skins hang
    from sticks, roasting. Chuck sits by the fire, hafting a
    stone knife onto a wooden haft.

    He ties some fiber to a stick, then braids it into string,
    using both hands and his mouth for the three strands.

    He ties the string tightly around the shaft. He does his
    work automatically.


186 INT. CAVE - NIGHT - LATER                                        186

    Chuck eats some fish and some mashed breadfruit. He chews
    each bite, his eyes in distant focus. The firelight
    flickers on his face.


187 EXT. CLIFF - SUNRISE                                             187

    Chuck carries firewood up to the summit. He mechanically
    adds wood to the fire. As he does so, something out to sea
    catches his eye. He stops and stands up.

    CHUCK'S POV - WHALES

    WHALES broach out past the rocky point. Spouts of water
    shoot into the air.
                                                              71.


                       ON CHUCK
             As he watches them, a light comes
             back into his eyes. He

    grins. There's a big gap where his teeth had been. He turns
    and strides down the hill.


188 EXT. CLIFF - MOMENTS LATER                                      188

    He heads across the rock bridge that once had so terrified
    him, without losing stride. It's second nature now.


189 INT. CAVE - MOMENTS LATER                                       189

    Chuck enters the cave, picks up the ball and heads out.


190 EXT. SUMMIT - EVENING                                           190

    The signal fire burns. A spectacular cloudy sunset lights
    up the sky. Chuck sits with Wilson on the summit, a bowl of
    mashed breadfruit in one hand, a bowl of roasted eel skin
    in another.

    As Chuck watches the sunset unfold, watches the whales
    going by in the darkened water, he takes some roasted eel
    chips, dips them into the breadfruit paste, and offers one
    to Wilson. His voice is flat, monotonal.

                       CHUCK
             Chips? Dip?

    But Wilson declines.

                       CHUCK
             No?

    He takes a big crunchy bite.

                       CHUCK
             Another fucking day in paradise.

    PULL BACK as the sun goes down and Chuck reaches into the
    bowl again and dips an eel skin chip in the dip.


191 EXT. ROCKY LEDGE - NIGHT - LATER                                191

    Torch in one hand, Wilson in the other, Chuck walks across
    the rocky ledge. He passes the flume without even noticing.
                                                               72.


    Suddenly his shoe breaks! It's sandal made of woven yucca
    leaves.

    He bends down and fixes it, then heads on down the ledge.


192 EXT. LEDGE - MOMENTS LATER                                       192

    Chuck makes a casual leap, a leap he has made hundreds of
    times, but this time the sandal comes loose. It catches on
    a rock, and CHUCK FALLS!

    His hands are cut and bruised. He tries to get up, can't.

    Chuck sits back and examines his foot. His fingers come
    back covered with blood. He reaches out to steady himself,
    and leaves a HANDPRINT OF BLOOD on the rock.


193 INT. CAVE - LATER                                                193

    Chuck wraps his foot in bandages.


194 INT. CAVE - LATER                                                194

    Chuck's face is sweaty. He looks down at his foot. It is
    red, swollen, infected. He stands up, tries to put some
    weight on it. The pain is intense.

    Chuck sticks the scalpel onto some coals to sterilize it.

    He holds it over his foot, takes a breath, then jabs in
    into the wound. The pain is intense. Chuck passes out.


195 INT. CAVE - NIGHT                                                195

    Chuck stirs, takes a drink, weakly tosses on another log,
    and collapses back on the floor.


196 INT. CAVE - DAY                                                  196

    Chuck wakes up, trembling, shaking, wet with sweat. He
    staggers up. His shadow sways on the wall of the cave. He
    struggles to get another log on the fire. He squints at his
    only companion, the soccer ball.

                       CHUCK
             Help me, Wilson...
                                                              73.


    He collapses again.


197 INT. CAVE - NIGHT                                               197

    Chuck stirs and squints his eyes. He takes a drink of
    water. He is feeling better. He puts another log on the
    fire and slowly begins to chew on some breadfruit and dried
    fish.


198 EXT. BEACH - LATER                                              198

    Chuck slowly wades into the water, favoring his injured
    foot. But something feels different. He glances around.

    What is it? And then he sees something, perhaps the worst
    possible sight.

    CHUCK'S POV - SAIL

    A SAIL is moving steadily away from the island.

                       CHUCK
             Throws down the spear and waves his
             arms.

                       CHUCK
             No! Wait! Come back!

    He runs into the water and starts to swim. He is so weak,
    however, he can only make a few strokes. He tries to yell
    as he swims...

                       CHUCK
             Wait! Wait!

    Choking and weak, he turns back and drags himself up on the
    beach. In the b.g., the sail dwindles into the distance.


199 EXT. SUMMIT - LATER                                             199

    Chuck struggles to the top of the hill. His fire has been
    extinguished by the rain. In the distance, far against the
    horizon, he sees a sail -- or is it a cloud? The whiteness
    shimmers against the horizon. Chuck squints.

    Whatever it was, it is gone. Above him some contrails from
    jets mark the sky.

    Furious, he kicks his signal fire, scattering the burnt-out
    coals.
                                                               74.


200 EXT. BEACH - LATER THAT DAY                                      200

    Chuck makes a new mark on his calendar tree. Then he stops.

    He CUTS an angry big line under the last mark, then hacks
    away at the palm tree, slashing it with the stone knife,
    ripping and marking through all his dates. Finally the
    stone knife breaks in two. Chuck drops the broken half and
    catches his breath.


201 EXT. CAVE - NIGHT                                                201

    Chuck enters the cave. No signal fires burn. The island is
    dark.


202 EXT. SUMMIT - DAY                                                202

    Chuck stands on the summit, staring out to sea. Nothing,
    not even a contrail, not even a whale spout.


203 EXT. CLIFF - MOMENTS LATER                                       203

    He is on his way down, suddenly he sees something and
    stops.

    It's the HANDPRINT, the bloody handprint, his own
    handprint.

    He slowly extends his hand and covers it, then pulls it
    away. Traces it with his fingers.


204 INT. CAVE - DAYS LATER                                           204

    Chuck has the beginnings of an artist's studio. Several
    large clam shells hold paint. A few egg shells are lined
    up. Brushes have been made from roots and feathers.

    Chuck covers his hand with paint and makes a handprint on
    the wall of the cave. He stands back and looks at it.


205 INT. CAVE - DAY                                                  205

    He chews some berries, then holds his hand against the wall
    of the cave and spits a dark blue mist around it. When he
    takes his hand away, the silhouette of his handprint
    remains.
                                                               75.


206 INT. CAVE - DAY                                                  206

    With the Angel Wing Box as a model, Chuck dips one of his
    feather brushes in paint, and make a tentative line on the
    wall of the cave. He works hesitantly, rubs off a line,
    tries again.


207 INT. CAVE - NIGHT                                                207

    Chuck is finishing his first figure, a crude portrait of a
    man -- himself? Hard to tell. He examines his work. He
    takes some shells and sticks them on as eyes.

    Chuck picks up Wilson, thinks.

                       CHUCK
             You old airhead, you need a
             makeover.

    He takes some charcoal out of his fire and draws eyebrows
    on the ball. Then, he mashes some berries, dips his fingers
    in the juice, and makes lips. He sticks shells on with clay
    for eyes. Then he looks at the face.

                       CHUCK
             Wilson, you bad!

    He sits back and regards his companion. He gestures around
    the cave at the new paintings.

                       CHUCK
             What do you think?

    But Wilson doesn't have an opinion.

                       CHUCK
             You don't share much, do you?

    Idly Chuck takes down the Angel Box.

                       CHUCK
             I guess I know how Kelly felt.

    For a long time he studies the wings on it. With a stick,
    he tries to draw a similar wing on the dusty floor of the
    cave. Dissatisfied, he wipes it away. He looks at the Angel
    Box.

    Casually he reaches over and cuts it open with a stone
    knife. Inside he finds two bottles of green salsa. And a
    letter.
                                                             76.


    He reads over it.

                       CHUCK
             You said our life was a prison.
             Dull. Boring. Empty. I can't begin
             to tell you how much that hurt. I
             don't want to lose you. I'm
             enclosing some salsa, the verde you
             like. Use it on your sticky rice
             and think of home. Then come home -
             - to me. We'll find the spice in
             our lives again. Together. I love
             you. Always. Bettina.

    Visibly moved, Chuck puts down the letter.

                       CHUCK
             He never got it.


208 EXT. ISLAND - DAY                                              208

    The monsoon pours down. Wind whips the palm trees. The
    waves are gray and angry, tearing at the beach.


209 INT. CAVE - DAY                                                209

    As the rain pours down outside, Chuck studies the sodden,
    ruined photograph of Kelly, which is really only a gray
    mess.

                       CHUCK
             She's probably found someone else.
             I would have.

    Chuck dips his finger into one of the bowls of colors and
    streaks it slowly across his face. To exorcise his
    loneliness, he will paint on the most expressive canvas
    there is: his own body.

    CHUCK PAINTING HIMSELF - MONTAGE

    Close-up on scarred fingers, as they paint on Chuck's face
    and body. Color on skin. Tight dramatic shots of Chuck
    being transformed.

    Chuck takes white paint and covers his hand. Then he
    presses it into his chest and makes a handprint. He draws a
    yellow spiral on his leg, then takes red and makes jagged
    lightning bolts on his chest on either side of the hand.

                        WATER
                                                               77.


             Shimmers in a gourd. Chuck's face
             swims into focus. It has

    been painted white. Looking at himself in the reflection,
    he dots on blue stars with dark blue from squid ink.


210 EXT. CAVE - LATER                                                210

    The rains have stopped. The island is washed bright and
    green.

                       ON CHUCK
             As he stands up in the cove. His
             face is white with blue

    stars. Handprints circle his torso, flanked by red
    lightning bolts. Braided cords circle his biceps. Bone
    necklaces hang from his neck. Feathers jut out from his
    hair.


211 EXT. JUNGLE - DAY                                                211

    Chuck goes from tree to tree, making handprints along his
    path. Chuck was here. This is his mark.


212 EXT. PALM GROVE - DAY                                            212

    He covers the calendar trees with handprints. Then stops.

    Sees something. Eyes fixed on the beach, he walks toward
    the shoreline.


213 EXT. BEACH - DAY                                                 213

    Chuck emerges from the palm trees, and now we see what he
    had seen.

    A FIFTY-FIVE GALLON OIL DRUM.

    And another one. TWO. Chuck stares at the barrels.

                         CHUCK
             Hello.


214 EXT. BEACH - LATER                                               214
                                                             78.


    Chuck sits staring at the oil drums. It's almost as if he
    is hesitating to take advantage of them. That he may not
    want, really, to leave now.

    Then his inner struggle ends.

                       CHUCK
             What the hell are you waiting for?


215 EXT. BEACH - LATER                                             215

    Filled with determination, Chuck rolls a barrel up the
    beach.


216 EXT. BEACH - LATER                                             216

    Using a palm tree as a fulcrum, Chuck hauls hard on a rope
    made of vines, pulling the barrel up off the beach.


217 EXT. JUNGLE - DAY                                              217

    Chuck throws aside palm leaves, revealing...the remains of
    his raft.


218 INT. CAVE - NIGHT                                              218

    Chuck is drawing with a purpose now. And we see what he is
    working on. The plans for a raft.


219 INT. CAVE - NIGHT                                              219

    Chuck is making a list of what he needs. He works intently.

                       CHUCK
             Canteens. Sea anchor. Got to weave
             rope. Spears. A sail.


220 EXT. JUNGLE - DAY                                              220

    Chuck lashes the barrels onto the raft. Checks the knots.

    Lashes more rope.


221 INT. CAVE - NIGHT                                              221
                                                            79.


    He sews dresses together with handmade fiber string.


222 INT. CAVE - NIGHT                                             222

    He weaves videotape together to form a sea anchor.


223 EXT. BEACH - DAY                                              223

    Chuck digs a channel toward the raft.


224 INT. CAVE - DAY                                               224

    Chuck constructs a water collection device with some FedEx
    boxes, some plastic weighted with a stone. Explains it to
    Wilson.

                       CHUCK
             Now I'm hoping that if this is
             airtight I'll get condensation down
             here, a cup or so a day. If I'm
             careful it should be enough.


225 INT. CAVE - NIGHT                                             225

    Chuck writes on the wall.

                       CHUCK
             If I never return, know that here
             lived Chuck Noland for four years.
             I drew these paintings. I made
             these marks. And then I took my
             fate in my own hands and set forth
             to save myself, God willing.


226 EXT. BEACH - DAY                                              226

    Chuck loads the raft, which rocks gently in the cove. He
    has a sail made of designer dresses sewn together with
    fiber thread. A sea anchor secured by videotape woven
    together into a rope. Plastic bottles filled with water. A
    signal kite made of FedEx paper.

    Then comes the FedEx box with the angel wings. Then Wilson.

                       CHUCK
             Wilson, my main man. Time to go.

    And he gently leads the raft into the lagoon.
                                                               80.


                       CHUCK
             Wonder what odds Stan would give me
             on this. I'd say 90-10. Against.

    He jumps onto the raft, begins to paddle out toward where
    the surf crashes onto the reef.


227 EXT. LAGOON - DAY                                                227

    Waves break against the reef. With his paddles Chuck
    maneuvers the raft toward the cut in the reef. Boom! The
    wave crashes, the water surges through the cut, then
    recedes with a whoosh.

    Chuck watches, times the waves, paddles like mad. He's
    committed. SCRAPE goes the first barrel, then the second,
    riding the receding wave. He's out!

    But the next wave is already surging forward. It smashes
    the raft against the reef! Coconuts and foodstuffs hurtle
    off the raft!

    The barrels cushion the impact. The raft tilts, spins, but
    stays outside the reef! The ropes holding the jugs of water
    break! The water sweeps overboard!

    The wave recedes again. Chuck recovers, paddles with all
    his strength, and then he's clear of the breakers!

    For a long moment he floats on the rollers, getting his
    breath.

    The water jugs float away, carried by the waves back into
    the lagoon. Chuck could go back and get them. If he were
    being prudent, he definitely would.

    But he's out. He might never get back out again.

    He stares at the lagoon and the receding water jugs. Then
    he stares at the island. Goodbye to all that.

                       CHUCK
             Wilson, we're out of here.

    He turns and begins raising the sail.


228 EXT. OCEAN - WIDE - MINUTES LATER                                228

    Powered by its multicolored makeshift sail, trailing its
    gently flapping signal kite of FedEx paper, the raft slowly
    moves away from the island, out toward the open ocean.
                                                               81.


    And we pull back until the ocean swallows the tiny raft and
    then we TILT DOWN AND...

                                                   DISSOLVE TO:


229 EXT. OCEAN - DAY - FOUR WEEKS LATER                              229

    The ocean again, low. The raft floats into frame. A trace
    of a breeze flaps the signal kite, which barely stays
    aloft, its rope frayed and tattered. The still is set up in
    the middle, plastic with a rock weighting down the center.

    Chuck is gaunt, his clothes rotted.

    He lies looking over the side of the raft, spear in one
    hand, staring intently at the water.

    Dorados swim like specters, flashing and darting. Chuck
    stabs with his spear. Stabs again.

                       CHUCK
             Slow down, damn you!

    Exhausted, he sinks back to the raft. Two Dorados leap into
    the air ahead of him.

    Chuck tries to stare again into the water. He spots another
    fish, a flash of silver under the surface.

    Chuck struggles to his feet, raises his spear. SPLAT!

    Something strikes him in the chest, almost knocking him
    into the water.

    On the raft we see flashes of silver and green and blue. A
    FLYING FISH. Chuck dives at it, catches it, loses it.

                       CHUCK
             Catch it catch it catch it --

    He catches it again just as it almost flops over the side.


230 EXT. RAFT - MOMENTS LATER                                        230

    Chuck sucks the juice out of the head. He chews meat off
    the tiny rib bones.
                                                            82.


    Chuck is in the stage of malnutrition, vitamin deprivation,
    salt insufficiency, and exposure where the personality
    splits and becomes external. Like all castaways, he has
    conversations with the two sides of himself.

                       GOODCHUCK
             Save some for tomorrow.

                       BADCHUCK
             Catch another fish tomorrow.

    BadChuck wins. Chuck keeps eating. He stares up at the sun,
    which beats down unmercifully.


231 EXT. RAFT - DAY - LATER                                       231

    The raft drifts. Chuck has taken down the sail and rigged
    it as a canopy. Drenched with sweat, Chuck lies on the
    raft, trying to sleep. He dabs at some sores that are
    ulcerating his body and won't let him get comfortable.

    Plus, there's a chaffing, squeaking sound. He looks around
    for the source.

    We see it with him. One of the ropes is frayed and about to
    break. If it does, the logs will come apart from the
    floats.

                       BADCHUCK
             Shit! Shit! Shit!

                       GOODCHUCK
             Stay calm, identify the problem.
             Problem, rope fraying. Solution,
             fix rope.

                       BADCHUCK
             With what? There's nothing to fix
             it with. This rope comes undone,
             you're going to drown.

                       GOOD CHUCK
             Just get up and fix it.

                       BADCHUCK
             Too tired.

                       GOODCHUCK
             Get up.

                       BADCHUCK
             Feels so good to lie here.
                                                        83.


                  GOODCHUCK
        Get up, damn you.

Chuck comes to his knees. Then sinks back down.

                  BADCHUCK
        Can't. Need water.

                  GOODCHUCK
        You've had today's water.

                   BADCHUCK
        Thirsty.

                  GOODCHUCK
        Come on, shape up, get going, you
        can do it.

                  BADCHUCK
        No water, no work.

Chuck tries another tack. Sweet reason.

                  GOODCHUCK
        Okay look, I know you're tired, I
        know you're thirsty, but give it
        one more shot, you've just got to
        do a little more.

                  BADCHUCK
        Do too much, I'll die.

                  GOODCHUCK
        Do too little you'll die.

                  BADCHUCK
        Going to die anyway.

That stops GoodChuck for a moment.

                  GOODCHUCK
        Okay, look have an extra swallow.

He holds up the pathetic little jar with its few teaspoons
of murky water.

                  BADCHUCK
        No more water, you said.

                   GOODCHUCK
        Take it.
                                                              84.


                        BADCHUCK
             No.

                       GOODCHUCK
             Take it, damn it.

                        BADCHUCK
             No.

                       GOODCHUCK
             Wilson, do you believe this? Take
             the damn water.

    Slowly Chuck gets up, lifts up the water jar, and takes a
    swallow. Then another.

                       GOODCHUCK
             Stop. Enough.

    Then another.


232 EXT. RAFT - DAY - LATER                                         232

    Chuck works to braid a new rope. He is focused,
    concentrating as hard as he can, but everything is slow and
    hard and he's weak and clumsy. He tests the rope, but it
    doesn't hold.

                       GOODCHUCK
             Think. Got to use something else.

    He gets an idea, starts to pull the signal kite in.

                       BADCHUCK
             If they can't see you, what's the
             point?

                       GOODCHUCK
             Survive today, that's the point.

    The kite rope is much thinner than the rope he had used to
    tie the logs, but it's all he has. He ties the log with the
    kite rope. Exhausted, he lies back down.


233 EXT. RAFT - NIGHT                                               233

    The moon is full. The waves cast off shadows on the ocean.

    Chuck is staring into the sky, trying to find a star to
    navigate by.
                                                               85.


                       GOODCHUCK
             Polaris, where are you? Maybe I'm
             too far south.

                       BADCHUCK
             You don't know where you are. You
             missed the shipping lanes.

                       GOODCHUCK
             Moon's too bright.

    We hear the fraying sound again.


234 EXT. RAFT - DAY                                                  234

    Chuck saws at the outer log with his stone knife. Across
    the water comes a storm. We can see it like a waterfall
    moving toward us.

                       BADCHUCK
             You're putting off the inevitable.

                       GOODCHUCK
             I'm putting it off.

    He looks at the deteriorating rope, at the rotting sail.

                       BADCHUCK
             That's what's happening to you.

    Chuck pushes the outer log away, then takes the loose rope
    and begins to lash it around the center logs.

                       BADCHUCK
             You're rotting away.

    The raft is rocking. The waves are stronger. It's hard to
    tie the logs together.

    Rain falls like a sheet on Chuck.

                       BADCHUCK
             Get water!

                       GOODCHUCK
             Fix raft first.

                       BADCHUCK
             Water water water --
                                                               86.


    Chuck works frantically in the rain, trying to tie the
    rope.

    Finally he does.

    Then he scrambles for his water collecting funnel,
    struggles to pull it up. One corner is stuck and collapses.

    Desperately he rights it, pulls the funnel up.

    Drops begin to run down the sides and collect in the jar.

    Soaked, Chuck stares at the water as it rises.

    Then the rain stops.

    We see the line of rain recede away from Chuck, spattering
    the ocean. But all around him the ocean is calm again.

    And out comes the sun.


235 EXT. OCEAN - DAY                                                 235

    The raft floats on quiet seas. The sky is blue, with few
    high cirrus clouds so motionless they seem pasted on.

    Chuck lies on the raft, sick and weak.

    Suddenly, from the depths beside him, silently rises a huge
    shape.

    A SPERM WHALE, still mainly submerged. The blow hole is
    near Chuck, wet and pulsing like giant lips. The eye of the
    whale is only a few feet away. It looks upon Chuck out of
    an intelligence deep and alien.

    He slowly comes to his knees and stares at it.

    The blow hole opens and WHOOSH, out shoots a geyser of fine
    spray which settles on Chuck in a mist.

    The whale rises farther, dwarfing the raft. From the whale
    comes a deep sound like a foghorn.

    Startled, Chuck jumps back, rocking the raft. He catches
    himself, slowly reaches out and touches the whale.

    The whale blows again, drenching Chuck in more spray.

    Chuck touches the whale again.
                                                              87.


                       GOODCHUCK
             You like that?

    Very slowly it drifts along with the raft.

                       GOODCHUCK
             Lost your mate?

    We look right into the whale's eye. Beneath the surface we
    can see the huge jaws open and close.

                       GOODCHUCK
             You're beautiful. Marry me.

                       BADCHUCK
             You idiot, if he dives, he'll
             capsize the raft.

    Very slowly the whale moves ahead of the raft, its vast
    body passing Chuck.

                       GOODCHUCK
             No, don't go. Look, I've got fish.

    Chuck rips a fillet off the line and throws it in front of
    the whale, which ignores it.

                       GOODCHUCK
             Please don't dive. Please.

    The whale slowly sinks, then suddenly arches its huge back
    and heads straight for the bottom.

    For a moment, all that remains are the flukes, black and
    vertical against the dark blue sky. With one swoop, those
    flukes could destroy Chuck and his raft. But they don't do
    anything except slowly sink.

    Then it is gone.

    We are on Chuck's face as he stares at where the whale had
    been, the surface marked only by a ring of concentric
    ripples that reach out and gently rock the raft.


236 EXT. OCEAN - DAY                                                236

    Chuck checks the water. It is green and full of floaties.

    It looks awful. He takes the jug, puts it to his mouth, and
    drinks. Instantly he throws up back into the jug, barely
    keeps from dropping it.
                                                              88.


                       BADCHUCK
             Look what you've done.

    He dips his hand into the ocean, splashes some sea water on
    his face, splutters it out, then licks his lips. He is so
    thirsty.

    He looks at the water jug, full now with his own vomit,
    turns away, begins to work on the sea anchor again.

    But the work makes him even thirstier. He looks at the jug
    again.

    Picks it up. Takes a long drink.


237 EXT. OCEAN - DAY                                                237

    The fish return. Chuck gets up with his spear, then puts it
    down.

                       BADCHUCK
             What are you doing?

                       GOODCHUCK
             Can't kill another one. Can't.
             Can't kill my friends anymore.

                       BADCHUCK
             You fucking bleeding heart, you
             kill or you die.

                       GOODCHUCK
             Why do they have to die for me?

                       BADCHUCK
             They'd eat you if they could.
             They're laughing at you. Listen.

    Chuck listens. Doesn't hear anything.

                       GOODCHUCK
             Got to eat.

    Chuck picks up the spear, stabs it, misses.

    Suddenly he has a fish on the end of the spear. It
    struggles, he scoops it onto the raft, brutally pounds on
    its head, twists the stone knife into its spine. The
    struggling stops.

    Chuck looks at the dead fish and begins to sob.
                                                               89.


                       GOODCHUCK
             I am so sorry.

    He cries uncontrollably. As he cries he cuts off the head,
    pulls out the eyeballs, and eats each one. Then he sucks
    the marrow out of the head.

    Then takes the heart and eats that. Then eats the liver.

    As he is chewing, he cuts the meat into strips.

    When he is done, he takes the backbone, breaks it, and
    sucks on it.

    Fish scales shine in his hair, blood covers his chest.


238 EXT. OCEAN - NIGHT                                               238

    The raft rocks gently. Chuck looks up. The strips of fish
    are glowing. So is the deck where he killed the fish.

    He reaches out to touch the fish strips. His hand is
    glowing too.

                       CHUCK
             I'm an angel.

    Suddenly he sees other lights. A ship. A ship is out there.
    And he hears it, a humming in deep register.

    He waves his hands. He yells.

                       CHUCK
             Here! Here!

    His voice cracks, we can barely hear it over the ocean.

    The lights move on.

                       CHUCK
             No...no...no...

    His raft is rocked by the wake, rocked hard. Chuck is
    thrown into the water!

    He comes to the surface, sputtering. Where is the raft?

    He looks one way, then another. Darkness.

    This is the worst.
                                                            90.


    He turns again in the water. There, dimly, he can see the
    glow from the fish he killed. The glow saves his life.

    He swims toward it.

    He pulls himself back on the raft.

    He lies there exhausted, the glow from the phosphorescence
    casting a greenish light on his face.


239 EXT. OCEAN - DAY                                              239

    Clouds are building up. In the distance lightning flashes.

    The clouds come closer.

    Little bits of electricity jump off the mast. Saint Elmos
    fire jumps around Chuck's hand.

    Fascinated, he holds out his hand. The fire jumps from his
    hand to the mast.

    Suddenly lightning shoots from the sky and strikes the
    ocean! A huge spout of water explodes like a depth charge.

    The CRACK is intense, then rolls away.

    Chuck stares, then realizes the danger and throws himself
    down on the raft. Suddenly a wall of rain sweeps over him
    and the ocean begins to roll. The thunder is deafening.

    Lightning flashes bursts through the rain.

                       CHUCK
             Sea anchor! Let out the sea anchor!

    Frantic, Chuck lets out the sea anchor as the raft scuds
    down a huge wave. The anchor catches, slowing the raft so
    that it rides the wave down.

    The waves come at him high as houses. The raft rides up one
    side, then plunges down the next.

    All Chuck can do is hold on.


240 EXT. OCEAN - DAY                                              240

    The storm has passed. The raft floats on big dark rollers.
                                                               91.


    We hear the chirping and squeaking of dolphins. They come
    close to the raft. Chuck watches them play. Then realizes
    they are chasing his fish.

    They drive them along, into the path of another dolphin,
    who darts in and rips into the dorado, turning the water
    around the raft into churning, bloody foam.

                       CHUCK
             Stop!

    He takes his oar and begins beating the water. The killing
    continues.

                       CHUCK
             You fucking murderers!

    Suddenly the water is still. One dolphin sticks its head
    out of the water and stares at Chuck, squeaking.

    Another dolphin lifts its head up, then another. They
    squeak to each other, clearly communicating and talking
    about Chuck.

                       CHUCK
             I know you're talking about me!

    He splashes the water with his oar.

    They dive, then jump into the air, squeaking as they go.

                       CHUCK
                  (very softly)
             Take me with you.

    They're gone.

                       CHUCK
             Why me? Why me, God?

    He begins to laugh.

                       BADCHUCK
             Listen to this, Wilson.
                  (deep voice: God)
             Because you piss me off.


241 EXT. OCEAN - DAY                                                 241

    Chuck tries to stretch with some simple yoga. Each movement
    takes forever.
                                                         92.


He rolls over onto his stomach and tries to do a pushup. He
can't. Collapses onto the raft.

                  BADCHUCK
        You're falling apart.

Tries to do another pushup. Can't.

                  BADCHUCK
        First you eat your fat, then you
        eat your muscle.

He rolls over.

                  BADCHUCK
        Then you eat your mind.

He looks at the ocean. They're in a line of garbage, a
thick slick of debris dumped off of ships.

                  GOODCHUCK
        Roll on you deep and dark blue
        ocean roll.

He closes his eyes. After a minute they come open.

                  GOODCHUCK
        I'm late, I'm late, for a very
        important date.

They slowly close again.

                  BADCHUCK
        I'm lost. Goodbye.

                  GOODCHUCK
        No!

His eyes come open again.

                  BADCHUCK
        Look, just slip off the raft. The
        ocean would feel so good, the
        water's so soft and warm. Take a
        little swim. Sleep.

                  GOODCHUCK
        You quitter you quitter you
        quitter.

                  BADCHUCK
        The sea is lovely, dark and deep.
                                                           93.


                  GOODCHUCK
        But I have promises to keep.
             (rolls over)
        And miles to go before I sleep.
             (props himself up)
        And miles to go before I sleep.
             (purpose now)

                  GOODCHUCK
        Got to fix the sea anchor. Use the
        sail.

                  BADCHUCK
        Use the sail for a sea anchor and
        you won't move.

                  GOODCHUCK
        If I don't have a sea anchor I'll
        capsize.

                  BADCHUCK
        Die tomorrow or die today.

He hums Beethoven's fifth. BA BA BA BUM.

                  BADCHUCK
        That's death knocking, knocking on
        your door. Crazy little woman come
        knocking, knocking at my front
        door...

                  GOODCHUCK
        Grow up, stop being such a baby.
        Other people get through a lot
        worse.

                  BADCHUCK
        Yeah, sure, what?

He hums to himself, begins to sing, Beatles.

                  BADCHUCK
        I'm so tired, my mind is on the
        blink...

He pulls in the loose sea anchor rope, which is covered
with barnacles.

He scrapes the barnacle off the rope into the water jug,
then sips it.

The sun is setting, huge rays shoot out across the sky.
                                                               94.


    Out of the empty ocean the Dorados suddenly appear, leaping
    flashes of silver right by the raft.

    One Dorado swims right by the raft, broadside.

    Chuck looks at it, uncomprehending. Then slowly reaches for
    his spear.

                       GOODCHUCK
             What? Are you sacrificing yourself
             for me?

    Carefully he comes to his feet, then shoots the spear into
    the fish.

    Flapping and struggling, it lands on the deck. Chuck
    pounces on it.


242 EXT. RAFT - NIGHT - MOMENTS LATER                                242

    He cuts it open. The other Dorados ram the raft in fury,
    like a lynch mob.

                       GOODCHUCK
             Damn it! I had to do it!

    The banging continues.

                       GOODCHUCK
             I'm sorry!

    He concentrates on his work, then sits back on his heels in
    amazement. There's another fish inside. He holds that fish
    up, stares at it, then cuts it open.

    There's a smaller fish inside it.

                       GOODCHUCK
             I know there's a moral here, God,
             but right now I'm just going to
             eat.

    He pops out an eyeball, then another, and crunches them
    between his teeth.

    He takes the heart and liver, starts to eat, then stops.

                       GOODCHUCK
             Forgot to say grace. Sorry Mom.

    He struggles to remember.
                                                              95.


                       GOODCHUCK
             Bless us O Lord, and these thy
             gifts and Christ and the bounty
             about to receive, or
             something...amen.

    He eats them.


243 EXT. RAFT - NEXT MORNING                                        243

    Chuck splashes sea water on his face. Adjusts the water
    still.

                       GOODCHUCK
             Please don't leak. Please.

    Chuck picks up the smallest fish. It's half digested. He
    washes it in the ocean, trigger fish come up and nibble at
    his fingers.

                       GOODCHUCK
             Don't look at me. It was that
             Dorado.

    He cuts the small fish and hangs it on the stays.

                       GOODCHUCK
             You know, Wilson, every now and
             then we should say thank you. Thank
             you God.

                       BADCHUCK
             Thank you for fucking up my life.

    Suddenly something bumps the raft. Hard. Then again.

                       GOODCHUCK
             Not again.

    Fins cut the water. SHARKS. A big hammerhead bumps the
    raft. BadChuck hums the theme from "Jaws." Chuck takes his
    spear stabs at the shark.

                       BADCHUCK
             He's going to get you, going to get
             you...

    Another one circles in, bumps the raft.

                       GOODCHUCK
             Get away from me!
                                                              96.


    The shark circles again, that big hammerhead like a
    nightmare.

                       GOODCHUCK
             Get him get him get him.

    He stabs at it with his spear. He might as well have
    stabbed concrete. The shark circle, Chuck stabs again.

    But the shark is gone.

                       GOODCHUCK
             Where are you? Where are you?

    Stabs again and again at the empty ocean.

                       GOODCHUCK
             Stop! You're using energy. Move
             slowly. Be patient.

    Chuck kneels, wavering, on the raft. The ocean is calm.

    Suddenly, BUMP. The raft tilts.

    Chuck hangs on.

    Then a shark appears, just out of spear range. Its lifeless
    black eyes seem to stare right through Chuck.

    If the Dorado was a gift from God, this is a message from
    Hell.

    Then the shark is gone.


244 EXT. RAFT - DAY - MOMENTS LATER                                 244

    Chuck lies back on the raft. He is humming.

                       BADCHUCK
             What are you smiling about? They'll
             be back.

                       GOODCHUCK
             I'm dancing on the roof of the
             Peabody Hotel. With Kelly.

    He smiles at the thought.

                       GOODCHUCK
                                                           97.


        The music ends. We go back to the
        table. The waiters have brought
        dinner. New York Strip with
        Bordelaise Sauce. Mushrooms in
        brown gravy. Roasted potatoes with
        garlic and rosemary. Green Beans
        with almonds. Fresh biscuits and
        cornbread, dripping with butter. A
        nice salad with ranch dressing. A
        jumbo shrimp cocktail.

Thinks about that, it spoils the picture.

                  GOODCHUCK
        No shrimp.
             (then)
        We eat.

He closes his eyes. This is the greatest fantasy.

                  GOODCHUCK
             (as the waiter)
        For dessert, we have pecan pie a la
        mode, we have a double chocolate
        cake with creme anglaise, we have a
        nice pear torte, fresh key lime
        pie, or perhaps if you care to wait
        a few minutes, a grand marnier
        souffle?

Chuck thinks over the options, thinking of each one.

                  GOODCHUCK
        Why, bring them all, bring them
        all.

He rolls over. There, square in his vision, is a ship, its
form coming in and out of a low haze.

Chuck jumps to his feet. Waves. Screams.

                  GOODCHUCK
        Here! Over here!

The ship moves on. We can see the decks the rigging, the
vastness of it.

Chuck realizes he is naked. Struggles to pull on the
remains of his pants finally holds them like a diaper with
one hand as he continues to wave.

On the ship no one is to be seen. It is a spooky sight.
                                                           98.


The big tanker moves on.

We are on Chuck's face. Passed up again.

Then he realizes what is about to happen. He throws out the
sea anchor.

He throws himself onto the raft and grips it as tight as he
can, wiggles his feet into the ropes.

                  CHUCK
        Oh, shiiiittt!

Then comes the wake of the ship. It rocks the raft like a
piece of flotsam. The raft rides high up on the wave, then
shoots down it, but the sea anchor holds, and the raft
slows and rides along with the wave.

And then the sea is calm again.

Slowly Chuck sinks to his knees. His hand lets loose his
pants.

He lies down on the raft and imagines the conversation with
the ship's captain.

                  CHUCK
        Permission to come aboard, sir.

                  CHUCK/CAPTAIN
        Permission granted.

                  CHUCK
        May I ask, where are you bound?

                  CHUCK/CAPTAIN
        San Francisco. And you?

                  CHUCK
        As it happens, I'm headed for
        Frisco myself.

                  CHUCK/CAPTAIN
        Would you do us the honor of
        joining us? We're just sitting down
        at mess. Pork chops and gravy,
        cranberries, baked potatoes with
        all the trimmings, fresh- baked
        bread, apple pie...

                  CHUCK
                                                  99.


             No please, join me. Some sundried
             fish strips, a few eyeballs, some
             gills to munch on.

    The depression comes back again.

                       BADCHUCK
             They're never going to see you.
             You're just another piece of trash
             in the ocean.

                       GOODCHUCK
             They're on autopilot.

                       BADCHUCK
             They're always on autopilot. Or
             else it's night, or you're in the
             sun, or you're in the trough of a
             wave. They'll never see you.

                       GOODCHUCK
             Damn it! Don't be so negative!

    Chuck picks up Wilson.

                       GOODCHUCK
             Wilson, what's your story?

    He holds Wilson close to his chest.

                       BADCHUCK
             I float. You sink. End of story.

                       GOODCHUCK
             I'm serious. I'm always going on
             about me, me, me. Enough about me.
             Your turn.

                       BADCHUCK
             It's a fucking soccer ball, you
             idiot.

                        GOODCHUCK
             Shut up.

    He lies on the raft and holds Wilson close.

    We move up until we see --


245 EXT. OCEAN - AERIAL - EVENING                       245
                                                              100.


    Chuck lying curled up on the raft, Wilson cradled in his
    arms, and all around the vast empty ocean.


246 EXT. OCEAN - NEXT MORNING                                        246

    Chuck slowly wakes up. Sets Wilson aside.

                       GOODCHUCK
             Don't shirk, don't procrastinate,
             don't be lazy. We're okay today.
             We're okay today.

    And the other Chuck begins to laugh.

                        GOODCHUCK
             Shut up.

    The laughter goes on.

                       GOODCHUCK
             Shut the fuck up! I mean it.

    He stands up and checks the horizon.

                       GOODCHUCK
             What's so damn funny?

                        BADCHUCK
             You are.

    Suddenly Chuck sees something on the horizon. A bank of
    clouds. A cone of -- land.

    He squints, stares again. The clouds part. It looks like --

    his island.

    Chuck doesn't know whether to feel joy or despair.

                        GOODCHUCK
             Jesus.

                       BADCHUCK
             Look again, asshole. It's a mirage.

    Chuck squints.

                       GOODCHUCK
             It's real.

                        BADCHUCK
                                                           101.


             Nothing out there but ocean.

                       GOODCHUCK
             Let's get a second opinion. Wilson?
             What do you see?

    Chuck picks up the soccer ball, holds it up, and stares out
    at...ocean.


247 EXT. RAFT - DAY - LATER                                       247

    Chuck slowly writes on the sail.

                       CHUCK
             Chuck Noland. Born October 8, 1958.
             Died -- pick a date -- July 11,
             1998. And now the epitaph. Met
             deadlines. Kept appointments. Lost
             without a trace.

    He sits back, looks at the mock headstone.

                       BADCHUCK
             What did it matter if FedEx was
             five minutes late one day? The next
             day we just start over again.

                       GOODCHUCK
             It matters. We do the best we can,
             that's all we have.

                       BADCHUCK
             Then we've just got shit.

    He goes on writing.

                       CHUCK
             I am writing this to remind myself
             to live a better life. If I am
             lost, perhaps you who find this
             will be instructed to live a better
             live yourself. Live each day. Love
             your children. Don't take anyone
             for granted.

                       BADCHUCK
             Is that it? Life is a fucking
             Disney movie?
                                                             102.


    The waves begin to grow, the ocean turns a slate gray. Far
    above him, great frigate birds circle. Suddenly one dives
    on a booby which has caught a fish. The great frigate bird
    swoops all around the booby until, panicked, it drops the
    fish, which plummets toward the sea.

    With a graceful dive, the huge bird grabs the fish and then
    soars up on a thermal, high into the sky.

    Lightning flashes back and forth across the horizon, which
    is turning black and dark. Thunder rolls.


248 EXT. RAFT - NIGHT                                               248

    The raft goes up and down huge waves. Every few seconds
    lightning flashes, illuminating the raft and Chuck holding
    desperately to it, his eyes wild with fear.


249 EXT. RAFT - MORNING                                             249

    The waves continue. Chuck holds on, his face pale.

                       BADCHUCK
             You can't make it.

                       GOODCHUCK
             Shut up. I don't feel like dying
             today.


250 EXT. OCEAN - DAY - LATER                                        250

    The sky clears. The waves are still big. The fish are back.
    And then come the sharks, cutting through the water.

    Chuck can't get up to get his spear, he just has to watch
    as blood darkens the water.

    And then the sharks are gone.

    Chuck comes to his knees slowly, then a big wave hits.

    Wilson is swept into the ocean!

    For a moment Chuck is uncomprehending. He watches as Wilson
    slowly floats away.

                       CHUCK
             Please, no sharks.
                                                              103.


    Then he dives in to the water! Swims frantically after
    Wilson.

    Wilson floats away from him. He swims, but he's so weak.

    Finally he gets to Wilson. He reaches out, but only pushes
    the ball farther away.

    It bobs on the waves. Chuck treads water, exhausted.

    Where is the raft?

                       CHUCK
             Jesus. Jesus. Jesus.

    Then he turns back the other way. The raft has drifted by
    him. He can go after Wilson, or he can go after the raft.

                       CHUCK
             Shit! Wilson!

    He swims toward the raft, barely moving. No matter how hard
    he swims, the raft seems to recede from him.

    Finally he reaches it, hangs on the side, breathing hard,
    choking, crying.

    He struggles to pull himself on board.

    But he is weak, so weak. He can't do it.

    Summoning some primitive reserve of strength, he tries
    again. This time he slides on.

    He lies on the raft, panting.

    Then with all his strength he pulls himself to his feet,
    holds on to the mast, scans the ocean for Wilson.

                         CHUCK
             Wilson!

    Nothing but waves.

    This is too much. Chuck starts to cry.


251 EXT. RAFT - DAY - LATER                                          251

    Chuck takes a swallow of water, washes it around in his
    mouth, then swallows. With his wet tongue he licks his
    cracked lips.
                                                           104.


    The sun breaks through the clouds.

    With what strength he has left, Chuck raises the canopy,
    fastens it.

    He sits in the meager shade, his head between his knees.

    Closes his eyes. Just for a minute.


252 EXT. OCEAN - DAY - LATER                                      252

    A different sort of shadow crosses Chuck's face. He opens
    his eyes.

    There, riding right beside his raft, is a ship, a huge
    rusty tanker. Someone shouts down in a language we don't
    understand.

    Chuck sits up, can't believe it. Struggles to cover
    himself.


253 EXT. OCEAN - DAY - LATER                                      253

    Chuck is lifted up the rusted steel side of the boat in a
    Jacob's ladder.


254 EXT. SHIP - DAY - LATER                                       254

    Chuck steps on board, can't support himself.

    The crew gathers around. None of them speak English, but
    there is a spontaneous outburst of human connection.

    One man brings some water. Another a blanket. Another some
    warm tea.

    Chuck sits there, shivering now.

                       CHUCK
             Thank you. Oh thank you.

    Deliriously happy. Delirious.


255 INT. U.S. NAVAL HOSPITAL - HAWAII                             255
                                                        105.


A cavernous hanger-sized ward brightly lit and filled with
row upon row of hospital beds, each with its table, side
chair, and lamp, each with a stainless steel bedpan and
neatly folded sheets and blankets stacked ready to use, and
each completely empty.

Except for one.

And on that bed we see Chuck, in a blue hospital gown. An
IV drips into his arm. He plays idly with the remote
control of the bed. He raises the head, then the foot. He
pushes another button and the knee rest bends the bed
again.

A DOCTOR enters, carrying a thick chart. Chuck gives him a
big manic grin. Malcolm MacDowell in "A Clockwork Orange."

                  CHUCK
        My favorite doctor. What's the
        verdict?

                  DOCTOR
        Under the circumstances your
        overall health is good. Those salt
        water boils you picked up on the
        raft are ulcerated, but they're
        healing nicely.

He checks his blood work records.

                  DOCTOR
        Hemoglobin's 10.8 -- you're anemic,
        that's why we're giving you iron.
        Potassium's low -- we're giving you
        an electrolyte solution with your
        IV. Sodium's over 150, way too
        high. You may experience swelling
        in your extremities as you
        rehydrate and discharge the salt.
        In spite of your dietary
        deficiencies there's no sign of
        mental deterioration.

Chuck has been trying not to laugh. Now he can't stop
himself.

                  DOCTOR
        What's so funny.

Chuck can't seem to help laughing at everything.

                  CHUCK
                                              106.


        Sorry...sorry... Why do my joints
        still ache?

                  DOCTOR
        Dehydration. Vitamin deficiency.
        Protein deficiency. Any or all of
        the above.

                  CHUCK
        All I ate was fish. That's solid
        protein.

                  DOCTOR
        Protein digestion is very costly in
        water usage.

                  CHUCK
        Which I didn't have.

                  DOCTOR
        And fish are very low in fat, which
        is energy inefficient. So you're
        going to burn up your own cells no
        matter how much you eat. Luckily
        you ate the eyes and pancreas,
        which contain some Vitamin C, so
        you didn't get scurvy.

Chuck laughs again.

                  CHUCK
        I am one lucky guy.

                  DOCTOR
        Your body chemistry and your
        exposure to the elements would
        normally lead to irritability,
        depression, anxiety, periods of
        self-reproach. It's almost like
        schizophrenia. Different sides of
        your personality might come to
        life, speak out, act out.

                  CHUCK
        But all that's behind me. I'm fine
        now.

He starts to laugh again.

                  DOCTOR
        If you say you are.

                  CHUCK
                                                           107.


             I most definitely say I am.

                       DOCTOR
             Doctor Hegel tells me he discussed
             the Vietnam POW syndrome with you.

    Chuck stifles his laughter.

                       CHUCK
             Yes, yes he did.

                       DOCTOR
             You are aware of the potential
             disruptiveness on your loved ones
             when you return to your old life?

                       CHUCK
             Not to mention on me.

    The laughter again. Unsettling.

                       DOCTOR
             You sure you don't want some
             counseling?

    Chuck gives his biggest smile.

                       CHUCK
             Doc, I'm not on the island. I'm not
             on the raft. I'm alive. I'm so glad
             to be back, I can't tell you. I
             just want out of here.

                       DOCTOR
             Well, when that IV runs out, you're
             through with us. Just the dentist
             tomorrow.


256 INT. HOSPITAL - NIGHT - LATER                                 256

    Rolling his IV, Chuck walks very slowly out of the ward.

    Every step is an effort.


257 INT. PHONE CUBICLE - NIGHT - MINUTES LATER                    257

    A small windowless room with only a desk and a phone, lit
    by a fluorescent lamp. Chuck is listening to the phone
    ring.

    Kelly answers.
                                                              108.


                         KELLY (V.O.)
             Hello.

    Chuck is overcome for a moment, can't say a word.

                       KELLY (V.O.)
             Hello? Hello?

    For some reason he can't keep himself from laughing. He
    covers the mouthpiece and laughs.

    And then we hear a dial tone, harsh, mechanical, final.


258 EXT. PHONE CUBICLE - MINUTES LATER                               258

    We can see Chuck inside, staring at the phone.


259 INT. PHONE CUBICLE - MINUTES LATER                               259

    We hear a faint persistent hum. Chuck looks around, trying
    to locate the sound. He looks up, focuses on the
    fluorescent light, that background sound he can no longer
    tune out, then picks up the phone again.


260 EXT. PHONE CUBICLE                                               260

    Stan answers the phone.

                         STAN (V.O.)
             Hello?

                       CHUCK
             Stan, it's Chuck...Chuck Noland...

    The laughter again.

                       STAN (V.O.)
             Whoever you are, you are one sick
             fucker.

    And again we hear the dial tone.


261 INT. PHONE CUBICLE - MOMENTS LATER                               261

    Chuck's on the phone again.

                         CHUCK
                                                              109.


             Two Valium and the Rolling Stones.
             That ring a bell?

    There's a long silence. Then we hear Stan's voice.

                       STAN (V.O.)
             God damn! God damn! Chuck, it's
             you!

                        CHUCK
             It's me.

                       STAN (V.O.)
             You're fucking dead!

                       CHUCK
             I'm most definitely not dead. And
             as I recall, you're the sick
             fucker.

    Chuck begins to laugh, a little too loud, a little too
    shrill. He's on a high.


262 EXT. HAWAII - BEACH RESTAURANT                                   262

    A terrace by the ocean. Tables filled with diners. Food
    being delivered by waiters. So simple, eating. So taken for
    granted.

    At one table sits Chuck, dressed in a Hawaiian shirt and
    shorts, with a half-dozen plates in front of him. He
    gestures to the waiter. Bring me more. It all tastes so
    damned good.

    Behind him is the ocean. Chuck doesn't glance at it.


263 INT. DENTIST - NEXT DAY                                          263

    An attractive DENTAL TECHNICIAN with an Australian accent
    cleans Chuck's teeth with an ultrasound device. She's
    close, very close. Chuck looks up at her. She looks really
    good. She smiles at him, then touches the gap where he
    knocked out his tooth.

                       TECHNICIAN
             You sure you don't want to have the
             implant done here? We do quite good
             work.

    Chuck shakes his head: no. She scrapes behind his front
    teeth.
                                                         110.


                  TECHNICIAN
        Hmmm, you do have such a lot of
        tarter behind these front incisors.
        A little wider, please.

Chuck opens his mouth even further. The technician talks on
in the self-absorbed way dental technicians sometimes do,
that constant babble of human contact which Chuck has not
heard for four years.

                  TECHNICIAN
        Anyway, so the second prosthetic
        foot worked better, but he still
        couldn't drive his new Cortina, it
        being a standard shift, if you
        follow me.

Chuck nods. I follow you.

                  TECHNICIAN
        But would he hear of me driving him
        around? Not on your bloody life.
        Rinse please.

Chuck does. Stan bursts into the room.

                  STAN
        Chuck! God damn!

Chuck struggles out of the chair.

                  STAN
        God damn. God damn. God damn.

They are both almost overcome. Stan holds Chuck by the
shoulders and looks at him.

                  STAN
        You're alive, you're fucking alive!

Chuck laughs, thrilled to see Stan.

                  CHUCK
        I beat the odds!

                  STAN
        You beat 'em to shit, pal! Jesus!

                  TECHNICIAN
        I still need to floss you.

Stan notices the technician.
                                                           111.


                       STAN
             Hello.

                       CHUCK
             This is Amber. Her boyfriend lost
             his foot in a shark attack.

    He says this with an absolute straight face, holding back
    the laughter with great effort. Instantly there's this
    connection again between him and Stan.

                       TECHNICIAN
             Ex-boyfriend.

                       STAN
             Really.

    And he and Chuck make eye contact and we see a glimpse of
    their shared unspoken irony.

                       STAN
             Uh, there's somebody out here who
             wants to see you.

    Chuck stares sharply at him. Kelly? Stan nods, but there's
    something he wants to say.

                       STAN
             She thought you were dead. We all
             did.

    That's not all Stan wants to say. But Chuck is limping out
    the door.


264 INT. DENTIST - WAITING ROOM                                   264

    Typical dentist waiting room. Chairs, tropical fish tanks,
    magazines, a few waiting patients...and Kelly, looking
    nervous.

    Slowly and painfully Chuck enters. He's quite a sight. She
    stands up. There's a long moment where they look at each
    other.

    Then she comes into his arms. Holds him tight. She's part
    laughing, part crying.

                       KELLY
             I'm sorry... I'm sorry...

                       CHUCK
             Hey...hey...it's okay!
                                                       112.


Chuck is happy, he's still riding the high.

                  KELLY
        You're so thin. Am I hurting you?

Well, maybe a little, but who cares? He hasn't been hugged
or barely touched in so long.

                  CHUCK
        No...no...feels good...

She disengages, looks at him with that old smile.

                  KELLY
        Right back, you said you'd be right
        back.

                  CHUCK
        A few things came up. Or went down.

He meets her gaze, looks her over with a smile.

                  CHUCK
        You look...wonderful. I like your
        hair.

He notices the ring on her hand.

                  KELLY
        I got married.

                  CHUCK
        I thought you might have.

                  KELLY
        I would never --

                  CHUCK
        I know.

                  KELLY
        If I'd known you were alive --

                  CHUCK
        I would have done the same thing.

His responses come so quick. Chuck seems blissfully sure of
himself.

                  KELLY
                                                           113.


             I didn't want to. It just happened.
             One day Gary was there. He took
             care of everything. He took care of
             me. I was a mess.

                       CHUCK
             You have any children?

    Kelly nods.

                       CHUCK
             Got a picture?

    Kelly fishes for a photo, shows it to Chuck. It's a little
    girl with a dog.

                       KELLY
             Her name's Hannah.

                       CHUCK
             Is that Jango?

                       KELLY
             No, this is Jack. Jango was hit by
             a UPS truck. Can you believe it?

    Chuck laughs. It is funny, sort of.

                       CHUCK
             Life's just one big joke after
             another.

    Stan appears, takes in the scene. The few patients waiting
    are edged into the corners, trying to look occupied with
    something else.

                       STAN
             How about we go somewhere else?

                       CHUCK
             Want to see my raft?


265 EXT. HAWAII - DAY                                             265

    Chuck's raft sits up on a dock. Kelly stands staring at it.

    How small and fragile it looks.

                       STAN
             This stinks really bad.
                                                        114.


                  CHUCK
        You should have smelled me.

Stan examines the ropes around the logs.

                  STAN
        Cool ropes.

                  CHUCK
        I braided them.

                  STAN
        Must have taken a hell of a long
        time.

                  CHUCK
        Time I had lots of.

Kelly points at something on the raft.

                  KELLY
        What's that?

                  CHUCK
        That's my sea anchor. My second
        one. Made it out of part of the
        sail. It keeps you from capsizing
        in a storm. In theory.
             (picks up his still)
        And this, this I used to collect
        water. About half a cup a day.

He's not feeling sorry for himself. It's just a fact.

                  STAN
        You were how long on this?

                  CHUCK
        Forty-three days.

They look at the tiny raft. It speaks for itself.

                  KELLY
        All that time I waited to go on a
        cruise, and you went without me.

                  CHUCK
        Yeah, well...couldn't be helped.

Kelly notices the sail, sees the writing on it.

                  KELLY
        What's that, written on the sail?
                                                 115.


                  CHUCK
        My epitaph.

Kelly reads it to herself. Her eyes are moist.

                  CHUCK
        Bad body chemistry. Made me a
        little morbid. But I'm all over
        that now.

And he seems really to believe it.

                  STAN
        I'll be at the car.
             (to Kelly)
        Take you to the airport.

And he leaves.

                  KELLY
        I buried you, Chuck. They had to
        pry my fingers off your coffin.

This interests Chuck to no end.

                  CHUCK
        There was a coffin?

                  KELLY
        Yeah, coffin, headstone, the whole
        thing.

                  CHUCK
        What was inside?

                  KELLY
        Your calendar, your cell phone,
        your whoo pig sooey hat, some
        pictures of that ketch you wanted.

                  CHUCK
        That about sums it up.

                  KELLY
        Maybe now's when you tell me about
        it.

                  CHUCK
        The plane went down. My friends
        died. I washed up on an island.
        Then I found these barrels, built
        the raft, and here I am.
                                                       116.


                  KELLY
        Yeah?

                  CHUCK
        The tide came in, the tide went
        out. I survived. That's the
        headline. I survived.

                  KELLY
        Don't overwhelm me with the
        details.
             (she smiles remembering)
        You know how I hate that.

He tries to put it into words, isn't quite sure how.

                  KELLY
             (gently)
        Come on. Try.

                  CHUCK
        Cliches, mainly. Don't take anyone
        for granted. Don't sweat the small
        stuff. Live each day like it's your
        last.

                  KELLY
        So simple to say, so hard to do.

                  CHUCK
        Not when you have no choice.

Kelly looks down at the raft. It's so small.

                  KELLY
        You hated being alone. Couldn't
        stand it. Busy every minute. Always
        plugged into something.

                  CHUCK
        I didn't know what really being
        alone was. No one back here does.

He has something more to say. She waits.

                  CHUCK
        We're not meant to be alone. Not
        like that. Share life, that's what
        came to me out there. Be with
        someone.

And that's the point, isn't it? We are social animals. No
man is an island.
                                                       117.


                  KELLY
        This is so unfair.

                  CHUCK
        That's what I told the fish I
        caught. But I ate them anyway.

And the laughter comes again. Kelly grins, embarrassed, a
little worried.

                    KELLY
        You okay?

                  CHUCK
        Great. Really.

She stares at his face, reaches out, touches it again, this
time with great tenderness.

He nods, her touch feels so good.

A wave of emotion comes over her: pity? love?

                  KELLY
        What will you do?

                  CHUCK
        I don't know. I really don't know.

We hear a distant beep-beep, discrete as a car horn can be.

                  KELLY
        I've got to get back to Memphis.
        Hannah's babysitter has finals.

                  CHUCK
        It means a lot...that you came.

                  KELLY
        I had to come. To be sure you were
        okay.

They hold each other. For a long time.

                  KELLY
        I love you, Chuck.

                    CHUCK
        You too.

                  KELLY
        I'm so glad you're alive.
                                                              118.


    Chuck grins.

                        CHUCK
             You too.

    Then she heads for the waiting car. Chuck stands by his
    raft, watching her go.


266 INT. FEDEX PLANE - NIGHT                                         266

    Chuck and Stan ride on the plane. Chuck is coming down off
    his survival high. He has the Angel Wing FedEx package with
    him.

                       STAN
             When I first showed up, I thought
             you'd lost your fucking marbles.

                       CHUCK
             I never thought it would end. Then
             it did. It was so great to be
             saved, I couldn't stop laughing.

    Stan pulls a flask out of his bag.

                       STAN
             You need a drink.

    Stan takes two glasses from his bag, rests them on a FedEx
    container, and pours the whiskey.

                       CHUCK
             For years my only drinking buddy
             was a soccer ball. Wilson.

    Stan hoists his glass.

                       STAN
             To Wilson.

                       CHUCK
             To Wilson.

    Now's when Stan gets to the question he's been wanting to
    ask, that Kelly wanted to know, that we all want to know.

                       STAN
             So, what's it all about?

    Chuck stares at him.
                                                       119.


                  STAN
        You've been over the line and you
        came back. You've been saved,
        hallelujah!

                  CHUCK
        Hallelujah.

Stan looks over at him.

                  STAN
        I'm serious. The burning bush, the
        big picture, the words in neon...

                  CHUCK
        What's it all about? It's about
        being so thirsty you'd crush a
        fish's backbone to suck out the
        spinal fluid -- that's what it's
        about.

Stan sits back, repulsed but relieved.

                  STAN
        Do what it takes. That's what I
        always told you.

He pours another drink.

                  STAN
        To life. Fuck 'em if they can't
        take a joke.

                   CHUCK
        To life.

                  STAN
        That's all there is.

                  CHUCK
        Believe me I know.

He takes a sip of his drink, just savoring it, thinking.

                  CHUCK
        But it's not being bold or being in
        the game or rolling the dice.

All those things Stan used to tell him.

                   CHUCK
                                                             120.


             When I was going crazy, on the
             raft, I'd argue with myself about
             everything. Because everything had
             a price. To get anything -- a sip
             of water, a little corner of shade,
             an hour's sleep -- I had to let go
             of something else. And then I could
             never get it back.

    He thinks some more.

                       CHUCK
             You don't win or lose. You win and
             lose.

    He looks out the window.

                       CHUCK
             You win and lose.

    And Chuck has. Big time.


267 EXT. MEMPHIS AIRPORT - NIGHT                                    267

    A FedEx MD-11 lands.


268 EXT. MEMPHIS SUPERHUB - MOMENTS LATER                           268

    The MD-11 taxis up. As usual, the SuperHub is a frenzy of
    activity. A loading crew stands ready, forklifts poised.

    Even this plane carries packages.

    PHIL STEELE, the chairman of FedEx, Leslie, Becca, Dick,
    and other executives wait on a special podium near the
    gangway.

    Everyone looks different -- older, a mustache here, a
    thickening around the belly there.

    Behind a barrier a cluster of cameras film the scene.

    The plane cuts its engine. The stairs are rolled out.

    Forklifts and gangways move forward. Cargo doors open.

    Chuck appears in the door. He holds the FedEx Package and a
    small travel bag.
                                                          121.


Chuck blinks against the lights and the glare. Stan is
right by him. Everyone bursts into APPLAUSE AND CHEERING.

After four years of total solitude this is completely
overwhelming.

                  STAN
        Smile.

Chuck smiles.

                  STAN
        Wave.

And Chuck waves. He's overwhelmed by all the input. Stan
steers Chuck down the steps as the cheers continue.

At the bottom of the steps Roger steps forward. The two
brothers embrace each other. After a moment Roger
disengages. Mary gives Chuck a hug.

                  MARY
        Oh Chuck --

                  CHUCK
        Where's Mom?

                  ROGER
        Waiting for you. At the farm. This
        was too much --

He looks around at the crowds.

                  CHUCK
        Tell me about it.

Stan nudges Chuck. Time to go to the podium.

                  ROGER
        Glad you made it, big brother.

Stan and Chuck head for the podium. All the loaders and
operators and package scanners begin to applaud. Chuck
smiles, then laughs, getting into the emotion. He keeps up
an almost indecipherable babble underneath the cheering.

Occasionally he sees someone he knows.

                  CHUCK
        Wow. Thank you. Great. Thank you.
        Hey, Rasheed, how you doing? Thank
        you all.
                                                             122.


269 EXT. SUPERHUB - WIDE                                            269

    Chuck makes his triumphant way through this amazing
    collection of cheering people like Moses parting the Red
    Sea.


270 EXT. SUPERHUB - PLATFORM                                        270

    With a big smile Phil Steele holds out his hand to Chuck.

                       STEELE
             Welcome home.

    He steps to the microphone and addresses the SuperHub.

                       STEELE
             This is an extraordinary moment.
             And it should be marked in an
             extraordinary way. With something
             we have never done since this
             company was founded.
                  (pause)
             Stop the line!


271 EXT. SUPERHUB - SERIES OF SHOTS                                 271

    All over the SuperHub, belts come to a halt. Forklifts
    stop. Tracking stations shut down. The vast flow of
    packages is suddenly still.

    The incredible din of activity is suddenly quiet. The
    stillness and the silence are unexpected and palpable.

    Thousands of workers stop as well, staring either up at
    Chuck directly or at his image on video screens. We hear
    Phil's voice piped in.


272 EXT. SUPERHUB - PLATFORM                                        272

    Phil holds a plaque.

                       STEELE
             Four years ago we placed this
             plaque in honor of Charles Noland,
             and two just like it in honor of Al
             Morris and John Durham, the two
             brave pilots who went down with
             him.
                                                       123.


As he talks, we stay on Chuck, who is taking in this
amazing scene, not really listening.

                  STEELE
        Chuck endured years of hardship and
        loneliness. Like Lazarus, Chuck has
        come back from the dead. Chuck,
        this is your family, all of us. So
        it gives me great pleasure...to
        take this plaque...and to present
        it to our long lost son. Welcome
        home.

He hands the plaque to Chuck. Chuck acknowledges the cheers
of the crowd.

                  CHUCK
        Thank you. Thank you very much...

Everyone applauds.

                  CHUCK
        Give me a minute. I've spent four
        years looking out at an empty
        ocean.

He laughs, a short brittle laugh, composes himself.

                  CHUCK
        It's all so -- big. You never think
        you'll miss -- all this. But I did.
        I really, really did. And I missed
        all of you.

He looks over at the hub.

                  CHUCK
        You've added some new belts, and
        what's that?

He points at some high tech equipment on the edge of the
shed.

                  STAN
        Digital laser readers.

                  CHUCK
        Digital laser readers. Wow.
        Terrific.

He looks around at everyone, doesn't know what else to say.

                     CHUCK
                                                              124.


             I've never heard it this quiet.
             Shouldn't you all be getting back
             to work?

    The tension is broken. Everyone laughs. Phil Steele motions
    with his hand. Let it be done.


273 ANOTHER ANGLE - WIDE                                             273

    The vast, incredible machinery creaks to a start. Everyone
    shakes Chuck's hand as he leaves the podium.

    As he heads for the car, REPORTERS shout questions.


274 INT. CAR - MEMPHIS FREEWAY                                       274

    We are assaulted by a surge of light, motion, activity.

    Snaking lines of traffic in both directions, big
    overpasses, the city rising beyond.

    Stan drives with a certain aggressiveness. Chuck looks out
    at the traffic, at all the activity, at the vast intricate
    anthill of humanity going everywhere and nowhere.

                       CHUCK
             Take your time.

                       STAN
             What?

                       CHUCK
             That's what it's about.

                       STAN
             Being patient. Don't rush things. I
             get it.

    He swerves into another lane.

                       CHUCK
             Not just that. Take your time. Use
             it. Live it.

                       STAN
             Deep, real deep.

    He grins, cuts across to the exit.

                       STAN
                                                           125.


             So where to? The office? The hotel?
             The beach?

    Chuck stares at him. Are you kidding?

                       STAN
             What, then?

                       CHUCK
             Deliver this package. Then, I
             dunno.

                       STAN
                  (re: the package)
             You want that delivered, we'll
             deliver it. That's what we do.

                       CHUCK
             I need to do it.

                       STAN
             Finish what you started. You
             haven't changed, Chuck. It's still
             you.

    Right.

                       CHUCK
             You want to help, help me find the
             woman who sent this.


275 INT. OPERATIONS CENTER - DAY                                  275

    Stan and Chuck are in the office of a TECHNICIAN who is
    working away at his computer. The Technician pulls the bar
    code from the Angel Wing FedEx box up on his computer
    screen.

                       TECHNICIAN
             Okay. After three years the PTR
             reverts to tape storage, which is
             okay because we access it through
             the CPC. Here it is.
                  (gestures at computer
                  map)
             Ten packages from the same sender.
             Baku. Delhi. St. Petersburg. The
             guy was a real road warrior. This
             package was Kuala Lampur. No
             activity in his account after this
             package. No forwarding addresses
             after K.L.
                                                              126.


                       CHUCK
             What about the sender?

                       TECHNICIAN
             Sure. Bettina Peterson. Marfa,
             Texas. Let's run a current check.

    He works some keys, waits.

                       TECHNICIAN
             Hmmm. Durango, Colorado; Asheville,
             North Carolina, then...canceled her
             account.

                       CHUCK
             Can you find her?

                       TECHNICIAN
             You're looking at a Level III
             search. For your Level III, you
             gotta have E-4 authorization. I
             don't have it.

                         STAN
             I do.

    He holds out a badge.

                       TECHNICIAN
             Okay, let's let it rip.

    He starts to pull up the data.

                       CHUCK
             Thanks. For everything.

                         STAN
             No sweat.


276 EXT. CHUCK'S MOTEL - THAT NIGHT                                  276

    Chuck leaves the motel, the Angel Box under his arm. He
    ties it into a pannier on the side of a bicycle.


277 EXT. MEMPHIS - CHICKASAW GARDENS - NIGHT                         277

    Chuck sneaks up to a craftsman cottage and stands by a tree
    with a swing on it. Inside we see Kelly making dinner for
    her husband, who plays with their daughter. For a moment
    Chuck watches through the window, and we watch with him.
                                                             127.


    Then the dog begins to bark.


278 EXT. CEMETERY - NIGHT                                           278

    Chuck walks through the cemetery late at night. He comes to
    his gravestone, stares for a long moment at the
    inscription, then takes out a spray can of paint and puts a
    HANDPRINT on it.

    He gets back on his bicycle and rides away.


279 EXT. HIGHWAY - DAY                                              279

    Chuck rides his bicycle down a road leading into the South.


280 EXT. FREEWAY - DAY                                              280

    Chuck negotiates an overpass crossing an Interstate
    Highway.

    Headed in both directions, cars whoosh by beneath him.


281 EXT. HIGHWAY - DUSK - LATER                                     281

    Chuck rides down a narrow road, shrouded in mist. Moss
    drips from the trees reaching over the road. A car goes by.

    Then another, their lights like halos in the fog. It's a
    mystical scene, a passage.


282 EXT. ARKANSAS - NIGHT                                           282

    Chuck gets off his bicycle in the rain and walks toward a
    roadside cafe.


283 INT. CAFE - NIGHT                                               283

    Chuck draws on a paper place mat as he waits for his meal
    at a counter. Above the counter the television plays.

                       ANNOUNCER
             And here's more from Dingo Dodd,
             our Australian correspondent, on
             the extraordinary story of Chuck
             Noland, the modern Robinson Crusoe.
                                                           128.


    The waitress sets a plate down in front of Chuck, turns to
    watch.

    On the TV we see an Australian correspondent standing on
    Chuck's beach.

                       DINGO DODD
             Shark infested waters! A deserted
             island! Surrounded by reefs!
             Accessible only by helicopter! For
             four years Chuck Noland survived
             here alone, eating fish, coconuts
             and clams, his only companion a
             soccer ball.

    Chuck is staring at the screen, seeing his cave, seeing all
    those years.

                       DINGO DODD
             I'm now in Chuck's cave where he
             passed the lonely nights, painting
             on the walls like some prehistoric
             caveman. What did Chuck feel? These
             paintings tell the story, but only
             Chuck knows what they mean. And
             he's not talking.

    On the screen we see a photograph of Chuck.

    The waitress looks over at Chuck. The other clients look at
    him too.

                       CHUCK
             Check, please.

    The waitress comes over.

                       WAITRESS
             No charge, honey. But could you
             just sign that place mat for me?

    Chuck looks down at his doodling. Hesitates. Then signs his
    name.


284 INT. TYSON'S CHICKEN - ARKANSAS - DAY                         284

    Thousands of chicken carcasses hanging on hooks circle
    through the huge processing plant, a vast structure on the
    scale of the SuperHub or the Hospital.
                                                              129.


    Chuck's Mom, dressed in white with a hairnet, enters a
    windowed office in the b.g. Through the window we see her
    hug Chuck.


285 INT. TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY                   285

    We are in the office now. Chuck's Mom's eyes are moist.

                       CHUCK
             When'd you start working here?

                       MOM
             Roger got me on. I wasn't doing
             anything, and -- but you're back,
             you're really back. I would have
             come to Memphis, but --

                       CHUCK
             I wanted to come here.


286 INT. FRAME HOUSE - ARKANSAS - DAY                                286

    Chuck eats a Southern fried drumstick. The table is full of
    home-cooked food.

                       MOM
             Have some more potato salad.

    Chuck gestures, no, I'm full. She puts down the spoon.

                       CHUCK
             That was great, Mom, just great.

    He looks around the house, everything in its place. His
    mother has been here for forty years. There's a big crack
    running down from the ceiling.

                       CHUCK
             I've got all this back pay coming.
             Why don't you let me get you a
             place in town?

                       MOM
             This is my home. I'm part of the
             wallpaper.

    She studies him for a moment.

                       MOM
             You miss it, don't you? You miss
             that island.
                                                             130.


    He does, but that's not it entirely.

                       CHUCK
             Miss that island? Mom, come on.

    She looks at him. She knows her boy.

                       MOM
             What a journey you've had. It seems
             more than a person should have to
             bear.

                       CHUCK
             The tide saved me, Mom. I lived by
             it. I'm just wondering where it
             will take me next.

    She looks at him, thinks about this.

                       MOM
             Remember the family motto. In time.
             It will come to you, in time.


287 EXT. ARKANSAS - DAY                                             287

    Chuck rides away from the small neat frame house, down a
    country lane with trailers up on blocks.


288 EXT. GULF COAST - DAY                                           288

    Chuck leaves a cheap motel as the sun comes up.


289 EXT. MISSISSIPPI GULF COAST - DAY - LATER                       289

    Chuck rides on a ferry, the wind blowing his face. The sky
    is gray and drizzly. He smells the salt water. Watches the
    waves.


290 EXT. GAS STATION - DAY                                          290

    Chuck asks for directions. A kid in baggy pants and no
    shirt points him down the road.


291 EXT. GAS STATION - MOMENTS LATER                                291

    Chuck pulls some clothes out of his saddle bags.
                                                              131.


292 EXT. GAS STATION - MOMENTS LATER                                 292

    Chuck emerges from the restroom wearing a FedEx shirt and
    shorts.


293 EXT. BEACH HOUSE - HOUR LATER                                    293

    A classic beach house. Sand dunes, stilts. Carrying the
    Angel Wing Box under his arm, Chuck checks the address in
    his hand. Mounts the steps. A light mist falls. You can see
    the Gulf behind the house, gray and moody.

    A WOMAN, BETTINA, answers the door -- THE woman from the
    beginning. She wears cut-off jeans and a blue work shirt
    covered with paint. There's a tattoo on her ankle.

                       CHUCK
             FedEx for Bettina Peterson.

    The woman stares in disbelief at the package she hasn't
    seen in years and never expected to see again.

                       BETTINA
             Where did you get that?

    Chuck displays a FedEx badge.

                       CHUCK
             Charles Noland. FedEx Special
             Projects.

    Bettina notices Chuck's bicycle.

                       BETTINA
             You came on a bicycle? No wonder
             it's so late.

                       CHUCK
             There was an unavoidable delay.

    Bettina stares at the package, her own memories coming
    back.

                       BETTINA
             Well, I have to say, I'm impressed.
             You never gave up.

                       CHUCK
             No.

    She holds the box and studies him for a long moment.
                                                           132.


    Something -- the look on his face, the extraordinary
    reappearance of this long-lost package -- makes her
    curious.

                       BETTINA
             You know what happened to this?

                       CHUCK
             As much as anybody.

                       BETTINA
             Want to come in? Get dry for a
             minute.

                       CHUCK
             Okay. Sure.

    She lets Chuck in the door.


294 INT. HOUSE - DAY                                              294

    Ladders. Scaffolds. Huge paintings are everywhere.

    Paintings of wings and angels -- like the package. Chuck
    stares at them. Bettina watches Chuck stare.

                       BETTINA
             I've got some coffee on. Would you
             like some?


295 INT. KITCHEN - LATER                                          295

    Bettina pours some coffee. The package sits in the counter.

    Some magazines are spread around, including a People
    Magazine with Chuck's photograph on the cover.

                       CHUCK
                  (takes a sip)
             It's good.

    They smile awkwardly at each other. She starts to open it.

                       BETTINA
             Hmmm. Feels like it might have
             gotten wet.

                       CHUCK
             Possible. So you did those wings?
                                                         133.


                  BETTINA
        Yeah. A long time ago.

                  CHUCK
        They're harder to do than they
        look.

                  BETTINA
        Oh? You've tried?

                  CHUCK
        Well, I do a little drawing --

She's opened the package. She pulls out the bottles of
salsa and the letter.

                  CHUCK
        Our apologies that it never made it
        to the recipient.

                  BETTINA
        He was a sorry sonofabitch, and I'm
        sorry I ever married him.

There is a moment where neither knows what to say.

                  BETTINA
        You look familiar.

Her eyes start to register recognition. She glances at the
magazine with Chuck's picture on it. She picks it up.

                  BETTINA
        I can't believe this. I -- I --
        They are... You're a gifted artist.
        You're into something very
        powerful. Primal. Truly.

                  CHUCK
        Well, not really, I --

                  BETTINA
        You are. Yes you are.
             (so many things she wants
             to say)
        What gave you the idea to paint on
        that cave?

Chuck thinks about that. After a moment, he grins.

                  CHUCK
        To tell you the truth -- you did.
                                                              134.


                       BETTINA
             Do you...have any more packages to
             deliver?

                       CHUCK
             No. that was the last one.

                       BETTINA
             Just sit here, I'll get us some
             lunch.

    Chuck sits back on the couch, taking in the sight of the
    ocean in the light rain. He looks over at all the canvases,
    the easel, the palettes. The wind rustles the palm trees
    around the house. The surf crashes and rustles. Familiar
    sounds. Island sounds.

    He relaxes a little. Maybe the package with the wings was a
    sign, he kept it all these years precisely for this. Then
    there's a sound of a truck in the driveway.

    The engine cuts off. There are steps on the porch. The door
    opens. A tanned muscular MAN in neatly kept work clothes
    comes in, hangs a tool belt on a hook by the door.

    He looks at Chuck with a relaxed, even stare, as if seeing
    a man in a FedEx uniform sitting on his couch is not an
    unusual occurrence.

                        MAN
             Hey.

                        CHUCK
             Hey.

                        BETTINA (O.S.)
             In here!

    The Man nods at Chuck, goes into the kitchen. We are on
    Chuck's face. Who's this? We hear muffled laughter from
    inside.


296 EXT. BEACH HOUSE - HOUR LATER                                    296

    Arms around each other, the Man and the Woman say goodbye
    to Chuck. In the front yard is a panel truck painted with
    two angel wings. The Man grins at Chuck, an easy, friendly
    grin.

                        MAN
                                                             135.


             Come back anytime. Coffee's always
             on. Don't even have to bring us a
             package.

                       CHUCK
             That was my last one.

    Bettina hands Chuck a sheet of paper.

                       BETTINA
             The list of paints and brushes I
             did for you.

    He takes it, not exactly sure he wants it.

                       BETTINA
             Keep painting. Promise me.

                       CHUCK
             Sure.


297 EXT. BEACH HOUSE - MOMENTS LATER                                297

    Chuck rides his bicycle away, along the shore.


298 EXT. BEACH - MINUTES LATER                                      298

    Chuck rides along the beach. Up ahead we see a FedEx truck.


299 EXT. BEACH - MOMENTS LATER                                      299

    Chuck gets off his bike as a female FEDEX DRIVER puts
    chocks under the wheels, which have stuck in the sand.

                       CHUCK
             Need some help?

                       DRIVER
             You bet I do. High tide comes right
             up to this road.


300 EXT. BEACH - MOMENTS LATER                                      300

    Chuck pushes on the truck as the driver gives it gas. The
    truck slowly pulls back onto the pavement.


301 EXT. BEACH - MOMENTS LATER                                      301
                                                           136.


    The Driver gets out of the truck with a grin. She has an
    open, friendly face. There's an instant connection between
    them.

                       DRIVER
             Hey, thanks. I'd never have got
             that out by myself.

    Looks at his uniform. At the bike.

                       DRIVER
             You're not out of Pascagoula, are
             you?

                       CHUCK
             No.

    Where is he from, anyway?

                       CHUCK
             I used to drive one of those. A
             long time ago.

                       DRIVER
             Hey, once a driver, always a
             driver. You want a lift? I've just
             got one more pickup.

                       CHUCK
             Sure.

    He picks up his bike.


302 INT. FEDEX TRUCK - MOMENTS LATER                              302

    The FedEx truck makes its way down the beach, Chuck in his
    uniform, the Driver in hers. Two FedEx people in a truck.

    The Driver looks over at Chuck.

                       DRIVER
             You're Chuck Noland.

                       CHUCK
             Yeah.

                       DRIVER/ERICA
             I knew it! You're a legend! Mr.
             Robinson Crusoe.

                       CHUCK
             Well --
                                                              137.


                       ERICA
             I knew I recognized you. My name's
             Erica.

    They smile at each other. Then she smiles a little more.

                       ERICA
             Did you really steal a crippled
             kid's bicycle to make your
             deliveries, or is that just some
             bullshit story?

                       CHUCK
             I didn't steal it, and he wasn't
             crippled.

    Erica laughs.

                       ERICA
             Otherwise it's completely true.

    And that makes Chuck laugh, really laugh, for the first
    time.

                       CHUCK
             Yeah, completely.

    She looks over at him with a grin.

                       ERICA
             What brings you out to the sticks?

                       CHUCK
             Had a package to deliver.

                       ERICA
             You? Personally?

                       CHUCK
             I had it on the island with me.

                       ERICA
             Must be a story there.

    There's a connection building here, effortlessly.


303 EXT. BEACH - MOMENTS LATER                                       303

    We are wide on the beach, watching the truck move along the
    water, kicking up wisps of sand.
                                                          138.


                  CHUCK (V.O.)
        Yeah, a long one.

                  ERICA (V.O.)
        I've got lots of time.

                   CHUCK (V.O.)
        So do I.

The truck goes down the beach and then turns inland, away
from the ocean. Away from all that.

                   CHUCK (V.O.)
        So do I.

And we pull back, taking in the sweep of the beach, the
estuaries, and the green forest stretching back into
America.

The end is the beginning.

                                                  FADE OUT.