diff --git "a/scripts/Cast Away.txt" "b/scripts/Cast Away.txt" new file mode 100644--- /dev/null +++ "b/scripts/Cast Away.txt" @@ -0,0 +1,7511 @@ + 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. + \ No newline at end of file