CAST AWAY
by
William Broyles Jr.
FOR EDUCATIONAL PURPOSES ONLY
Third Draft
March 13, 1998
Converted to PDF by SCREENTALK
http://www.screentalk.org
FADE IN:
EXT. MARFA, TEXAS - 1993 - WIDE - DAY
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.
EXT. QUONSET HUT - DAY
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.
EXT. FEDEX OFFICE - MIDLAND/ODESSA - NIGHT - HOURS LATER
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.
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A forklift hoists the container to the cargo doors of a
737.
EXT. MEMPHIS AIRPORT SUPERHUB - NIGHT
The 737 lands.
EXT. SUPERHUB - NIGHT - MINUTES LATER
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.
INT. MEMPHIS SUPERHUB - NIGHT
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.
EXT. MEMPHIS SUPERHUB - NIGHT
A forklift lifts the Container to a door on a giant MD
11.
INT. GLOBAL OPERATIONS CENTER - NIGHT
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.
EXT. CHARLES DE GAULLE AIRPORT - DAY
SERIES OF SHOTS
The giant place touches down in Paris. The Angel Wing
Box moves quickly on another belt and disappears into
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another CONTAINER, which is loaded onto still another
AIRPLANE.
EXT. ST. PETERSBURG AIRPORT, RUSSIA - NIGHT
The plane lands. The container is unloaded down a belt.
We see our Angel Box. Directly in front of it is a DENTED
BOX.
INT. ST. PETERSBURG FEDEX OFFICE, RUSSIA
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.
EXT. ST. PETERSBURG FEDEX OFFICE - DAY
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.
EXT. ST. PETERSBURG - DAY
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.
EXT. ST. PETERSBURG APARTMENT HOUSE - MOMENTS LATER
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)
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.
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EXT. ST. PETERSBURG OFFICE - MOMENTS LATER
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.
EXT. FEDEX OFFICES - MANILA - DAY
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.
INT. FEDEX OFFICES - MANILA - DAY - MOMENTS LATER
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.
INT. FEDEX PLANE - NIGHT
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.
EXT. ST. PETERSBURG FEDEX OFFICES - DAY
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.
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INT. FEDEX OFFICES - DAY
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 thirtytwo
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...
(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?
(MORE)
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CHUCK (CONT'D)
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)
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.
(MORE)
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CHUCK (CONT'D)
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.
EXT. ST. PETERSBURG - DAY - MOMENTS LATER
A FedEx truck pulls out of the FedEx office. Chuck is
inside. He notices the graffiti on the walls.
INT. TRUCK - MOMENTS LATER
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.
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.
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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.
EXT. HOTEL - ST. PETERSBURG
A weary Chuck enters the hotel. In the sky above him we
see the Northern Lights. He doesn't even look up.
INT. HOTEL ROOM - NIGHT - LATER
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.
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.
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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.
INT. FEDEX OFFICES - ST. PETERSBURG - SERIES OF SHOTS
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.
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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.
INT. FEDEX WAREHOUSE - ST. PETERSBURG - WEEK LATER
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.
EXT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
The last truck rolls in.
INT. FEDEX OFFICES - ST. PETERSBURG
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.
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INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
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.
INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
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.
LEV
One finger, weak. All fingers
working together, strong.
This makes Chuck smile.
CHUCK
You got it.
EXT. CHARLES DE GAULLE AIRPORT - DAY
A FedEx MD-11 is being loaded with huge containers of
freight. Chuck goes up the gangway next to the forklifts.
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INT. MD-11 - MOMENTS LATER
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
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.
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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
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?
(MORE)
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STAN (CONT'D)
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."
EXT. CHARLES DE GAULLE AIRPORT - NIGHT
The MD-11 takes off.
INT. MD-11 - NIGHT
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
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.
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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.
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 -
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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.
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.
EXT. MEMPHIS AIRPORT - NIGHT - WIDE
The MD-11 arrives at its gate. The cargo doors open.
Forklifts and a gangway roll up to the side.
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INT. MD-11 - NIGHT
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.
INT. SUPERHUB - NIGHT
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.
EXT. CHICKASAW GARDENS - MEMPHIS - NIGHT
Chuck's car pulls into the driveway of a small cottage in
an older Memphis neighborhood. The radio is playing the
news.
INT. CHUCK'S HOUSE - MOMENTS LATER
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.
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EXT. CHUCK'S HOUSE - BACK YARD
Chuck digs a small hole in the back yard with a large
kitchen spoon.
Drops the dead fish in.
Fills the hole.
INT. CHUCK'S HOUSE - LATER
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.
EXT. MEMPHIS - NIGHT - LATER
Chuck drives in his car through the streets of Memphis.
EXT. UNIVERSITY - NIGHT
Chuck pulls up to a lab building at Memphis State.
INT. LAB - NIGHT
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.
INT. HALLWAY - NIGHT
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.
INT. XEROX ROOM
The light goes off. KELLY leans over the machine, bangs
on it.
KELLY
Sonofabitch!
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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
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.
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CHUCK
Used to you could fix these
yourself.
She pulls him out of the machine. He has toner on his
fingers.
KELLY
Chuck.
CHUCK
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.
INT. KELLY'S OFFICE - MOMENTS LATER
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.
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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.
She's really close now.
CHUCK
On the other hand we could not
take a swim...
They squiggle themselves onto the desk.
INT. LAB - NIGHT
Someone kicks the door shut. Now the figures are in
silhouette, lit by the light in the office.
And then the light goes out.
EXT. FEDEX OFFICES - NEXT MORNING
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.
INT. EXECUTIVE CONFERENCE ROOM - MOMENTS LATER
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?
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COLIN
One of the race horses coming from
Ireland got colic and had to be
off- loaded in Brussels. That put
the Jumbo 15, 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.
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MAYNARD
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 ontime,
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.
EXT. KELLY'S HOUSE - DAY - LATE THAT AFTERNOON
Chuck lugs a big package up to the door, knocks on it.
Kelly opens the door.
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KELLY
Merry Christmas eve.
CHUCK
Not if you work for FedEx.
INT. KELLY'S HOUSE - DAY
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.
KELLY
I figure, if we could take care of
a puppy, we could, you know, take
care of -
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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.
Chuck's beeper goes off.
KELLY
You should have got me a ring.
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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 overreacting.
KELLY
"We're" not over-reacting.
CHUCK
Could you watch Jango?
KELLY
No.
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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.
EXT. KELLY'S HOUSE - HOUSE LATER
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.
INT. KELLY'S HOUSE - MINUTES LATER
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.
INT. KELLY'S HOUSE - KITCHEN - MOMENTS LATER
Chuck picks up Jango, who is barricaded in the kitchen
with some food, some water, and some wet newspapers.
CHUCK
There. There. Easy now.
EXT. KELLY'S HOUSE - BACK YARD - NIGHT - MINUTES LATER
Holding Jango, Chuck walks out into the back yard.
CHUCK
Kelly?
A fire still smolders. The packages have burned. The
tree is a blackened mess.
Chuck stares at it.
EXT. CHUCK'S HOUSE - NEXT MORNING
Chuck gets into his car, puts Jango on the front seat
next to him. Pulls out of the driveway.
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EXT. ARKANSAS HIGHWAY - DAY
Chuck is in his car, with the dog on his lap.
EXT. FARM HOUSE - DAY
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.
EXT. FARM HOUSE - SHED - DAY
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.
INT. FARM HOUSE - KITCHEN - DAY
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
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.
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EXT. FARM HOUSE - LATER THAT DAY
The children burst out the door, shrieking, chased by
Jango.
INT. FARM HOUSE - DAY
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.
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?
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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?
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.
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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
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.
EXT. MOM'S HOUSE - LATER THAT DAY
Chuck fixes the drain pipe while Mom prunes the rose bushes
around the porch.
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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.
INT. FARM HOUSE - BEDROOM - NIGHT
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.
EXT. FARM HOUSE - DAY
His mom waves to him as Chuck drives away.
INT. FEDEX OFFICE - LATER THAT DAY
Chuck enters his office, on the go. His assistant LESLIE
is waiting for him.
CHUCK
I need the latest PDRs on St.
Petersburg.
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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.
INT. OPERATIONS ROOM - MINUTES LATER
Chuck, Leslie, Stan and another executive from the meeting
named DICK are gathered around the TV screen. A squawk
box is on the table.
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?
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VOICE
It is Ibrim, I, I am a sorter.
CHUCK
What's going on down there?
VOICE
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
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.
EXT. CHUCK'S HOUSE - DAY
Chuck leaves with his bag over his shoulder and the puppy
under his arm.
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EXT. KELLY'S HOUSE - DAY - MINUTES LATER
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
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.
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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?
KELLY
Go on. We'll be fine. I'll feed
Jango to the frogs.
She kisses the puppy.
INT. FEDEX PLANE - NIGHT
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.
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CHUCK
We're on time, right?
AL
On time, Chuck.
INT. FEDEX PLANE - NIGHT - HOURS LATER
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:
INT. FEDEX PLANE - NIGHT
The plane is SHAKING badly. HEAR frantic, garbled radio
talk. Chuck stirs, struggles to his feet, drowsy and
drugged.
INT. FEDEX PLANE - CHUCK'S POV
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?
INT. FEDEX PLANE - CHUCK'S POV - COCKPIT
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.
INT. FEDEX PLANE - MOMENTS LATER
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.
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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!
INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER
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.
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.
EXT. FEDEX PLANE - NIGHT
The giant plane PLUMMETS down from the sky.
INT. FEDEX PLANE - NIGHT
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.
EXT. PACIFIC - NIGHT - MOMENTS LATER
The plane hits the ocean with a CRASH and a WAVE of water.
INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER
The Controller is speaking mechanically into the
microphone.
CONTROLLER
Guam, I need a fix on Jumbo 14.
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EXT. PACIFIC - NIGHT
Shrouded with fog and surrounded by debris, the tail of
the big plane slowly SINKS beneath the angry, storm-driven
waves.
EXT. PACIFIC - DAY
A life raft is tossed on dark, storm-driven seas. Inside
it, semi-conscious, Chuck hangs on.
EXT. PACIFIC - NIGHT
We catch glimpses of the yellow lift raft in the dark as
the storm continues.
EXT. BEACH - EARLY MORNING
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.
CHUCK'S POV - BEACH
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.
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EXT. BEACH - WIDE
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.
EXT. BEACH - LATER THAT MORNING
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.
EXT. BEACH - SUNSET
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - MORNING
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?
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But now he is really thirsty. We WALK with Chuck up the
beach.
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!
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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.
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.
EXT. BEACH - SUNRISE
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.
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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.
EXT. BEACH - NIGHT
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?
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MORNING
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.
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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.
EXT. BEACH - LATER
With a rock Chuck hammers a crude driftwood marker into
the sand.
EXT. BEACH - LATER THAT DAY
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.
EXT. BEACH - DAY - MOMENTS LATER
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...
EXT. ISLAND - DAY - MOMENTS LATER
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.
EXT. JUNGLE - MINUTES LATER
Chuck struggles through a dense thicket beneath a jungle
canopy. Vines and creepers reach out toward him.
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There is no path, nothing to show him where to go.
EXT. JUNGLE - HALF HOUR LATER
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.
EXT. ISLAND - MOMENTS LATER
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.
EXT. ISLAND - CLIFF - MOMENTS LATER
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.
EXT. ISLAND - CLIFF
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!
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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.
EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER
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.
EXT. CLIFF - MOMENTS LATER
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.
EXT. ROCKY SLOPE - MOMENTS LATER
Chuck stumbles over the rocks. The caves look ominous
and primal.
EXT. EDGE OF JUNGLE - NIGHT
It's getting dark now. The jungle seems impenetrable,
the dark wood of fable. Chuck hesitates, then plunges
into it.
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EXT. JUNGLE - NIGHT MINUTES LATER
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.
EXT. BEACH - NIGHT - LATER
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.
EXT. BEACH - MORNING
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.
EXT. BEACH - LATER
Chuck finishes the P on H E L P, which he has spelled out
with the FedEx boxes on the beach.
EXT. JUNGLE - DAY - LATER
Chuck scrambles down a ravine. He kneels down and feels
the ground. It is dry, completely dry.
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EXT. LAVA SLOPE - DAY
Chuck traverses the slope, determined to find water.
FLAT ROCK - LATER
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.
EXT. BEACH - NIGHT
Chuck lies in darkness, his eyes reflecting the moon.
EXT. JUNGLE - DAY
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.
EXT. BEACH - DAY
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...
He is desperately thirsty. Hunger gnaws at him.
EXT. BEACH - DAY - LATER
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.
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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.
EXT. BEACH - DAY
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.
EXT. BEACH - MINUTES LATER
Chuck wades in the water, stops by a rock covered with
limpets. He uses a CREDIT CARD to scrape off a limpet.
CHUCK
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.
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EXT. BEACH - SUNSET
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.
EXT. JUNGLE - LATER
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.
EXT. JUNGLE - DAY - LATER
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.
EXT. JUNGLE - DAY - LATER
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.
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EXT. BEACH - SUNSET
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.
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.
EXT. CLIFF - DAY
Very carefully, but standing this time, Chuck makes his
way across the ledge.
EXT. SUMMIT - DAY
He emerges on the top, takes a drink from a hand-made
canteen, and looks in all directions. Again, he sees
nothing but ocean.
EXT. BEACH - DAY
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!
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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.
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.
EXT. PALM GROVE SERIES OF SHOTS - TRYING TO MAKE FIRE
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.
EXT. BEACH - DAY
Chuck emerges from the jungle and walks to the edge of
the ocean.
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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.
EXT. PALM GROVE - DAY
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.
EXT. BEACH - LATER
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.
EXT. PALM GROVE
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.
EXT. PALM GROVE - LATER
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.
EXT. OTHER SIDE OF ISLAND - DAY
Chuck picks some berries and gingerly tries them. They're
not bad. He eats more. Then more. What a relief.
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EXT. BEACH - NIGHT
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.
EXT. BEACH - DAY
Still looking a little green, Chuck marks another day on
his tree calendar.
EXT. SUMMIT
He stares out to sea. Nothing.
EXT. WELL - DAY
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.
EXT. BEACH - LATER THAT DAY
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.
EXT. BEACH - LATER
Chuck carefully shaves some tinder. Puts it under a piece
of bamboo split lengthwise with a notch cut across it.
EXT. BEACH - LATER
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.
EXT. BEACH - LATER
Chuck gives one last saw with his bamboo and stops, utterly
defeated. It's all too much.
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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.
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - DAY
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.
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CHUCK
Careful now, careful...
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.
EXT. BEACH - WIDE - NIGHT
The fire burns on the beach. Chuck rushes about, piling
on driftwood.
EXT. BEACH - CLOSER
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-papapapa-
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.
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EXT. PALM GROVE - MORNING
Chuck makes a mark on the tree. Around it he carves a
flame -- the day he mastered fire.
EXT. PALM GROVE - LATER THAT MORNING
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.
EXT. BEACH - DAY
Chuck wades in the water with his spear. Suddenly he
stabs it down. A crab is on the end.
EXT. BEACH - HALF HOUR LATER
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.
EXT. SUMMIT - SUNSET
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.
EXT. BEACH - NIGHT - LATER
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.
EXT. PALM GROVE - MORNING
Chuck makes another mark on the tree. He has circled the
tree with marks several times now.
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EXT. BEACH - DAY
Using a safety pin and some suturing thread, Chuck fishes
carefully. Suddenly he jerks his hand back. On the end
is a flopping fish.
EXT. PALM GROVE - DAY
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.
EXT. SUMMIT - AFTERNOON
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.
EXT. WOODS - TREE - NEXT DAY
A tree shakes and moves, quivers...
CHUCK
Timberrr!
...then slowly falls with a CRASH!
CHUCK
I heard that...
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Chuck holds his surgeon's saw over the stump. He walks
to another tree and begins to saw his way into the trunk.
EXT. BEACH - SERIES OF SHOTS
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.
legs.
He leans his back into it and pushes with his
Nothing.
heaves.
He collapses on the beach, his breath coming in
CHUCK
How could I be so stupid?
He bangs himself on the head, over and over.
CHUCK
Stupid, stupid, stupid.
EXT. PALM GROVE - NIGHT
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.
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EXT. BEACH - NIGHT
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - MORNING
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.
EXT. LAGOON - DAY
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
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.
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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.
EXT. WOODS - DAY
Chuck runs through the woods, slipping and stumbling.
Vines grab at him. The rain is so thick he can hardly
see.
EXT. WOODS - MINUTES LATER
Chuck bursts out of the woods into the lava field. Smoke
pours out of the FedEx box. The coals are about to burn
through!
EXT. LAVA FIELD - MOMENTS LATER
Chuck stumbles up the slippery rocks, dragging the smoking
box. His face is drenched, desperate.
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EXT. CAVE - DAY - MINUTES LATER
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.
Roots tear at his feet, tripping him.
He stumbles up the lava field. Sliding. Struggling.
Barely able to breathe, the rain is so strong.
INT. CAVE - DAY
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.
INT. CAVE - NIGHT
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.
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EXT. CAVE - NEXT DAY
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.
EXT. LEDGE - DAY
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
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.
EXT. BEACH - LATER
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.
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INT. CAVE - THAT DAY
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.
INT. CAVE - MORNING
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.
INT. CAVE - LATER
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.
EXT. BEACH - DAY
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.
INT. CAVE - LATER
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.
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FADE IN:
EXT. OCEAN - SUNRISE - THREE YEARS LATER
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
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.
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EXT. BEACH - LATER THAT DAY
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.
EXT. JUNGLE - LATER
Chuck carries the fish back from the beach. Now there is
a well-worn trail.
INT. CAVE - THAT AFTERNOON
Chuck enters with the fish. We are greeted with the wellordered
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.
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.
INT. CAVE - FIRE - NIGHT
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.
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INT. CAVE - NIGHT - LATER
Chuck eats some fish and some mashed breadfruit. He chews
each bite, his eyes in distant focus. The firelight
flickers on his face.
EXT. CLIFF - SUNRISE
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.
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.
EXT. CLIFF - MOMENTS LATER
He heads across the rock bridge that once had so terrified
him, without losing stride. It's second nature now.
INT. CAVE - MOMENTS LATER
Chuck enters the cave, picks up the ball and heads out.
EXT. SUMMIT - EVENING
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.
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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.
EXT. ROCKY LEDGE - NIGHT - LATER
Torch in one hand, Wilson in the other, Chuck walks across
the rocky ledge. He passes the flume without even
noticing.
Suddenly his shoe breaks! It's sandal made of woven yucca
leaves.
He bends down and fixes it, then heads on down the ledge.
EXT. LEDGE - MOMENTS LATER
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.
INT. CAVE - LATER
Chuck wraps his foot in bandages.
INT. CAVE - LATER
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.
INT. CAVE - NIGHT
Chuck stirs, takes a drink, weakly tosses on another log,
and collapses back on the floor.
INT. CAVE - DAY
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.
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CHUCK
Help me, Wilson...
He collapses again.
INT. CAVE - NIGHT
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.
EXT. BEACH - LATER
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.
EXT. SUMMIT - LATER
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.
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Furious, he kicks his signal fire, scattering the burntout
coals.
EXT. BEACH - LATER THAT DAY
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.
EXT. CAVE - NIGHT
Chuck enters the cave. No signal fires burn. The island
is dark.
EXT. SUMMIT - DAY
Chuck stands on the summit, staring out to sea. Nothing,
not even a contrail, not even a whale spout.
EXT. CLIFF - MOMENTS LATER
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.
INT. CAVE - DAYS LATER
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.
INT. CAVE - DAY
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.
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INT. CAVE - DAY
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.
INT. CAVE - NIGHT
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.
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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.
EXT. ISLAND - DAY
The monsoon pours down. Wind whips the palm trees. The
waves are gray and angry, tearing at the beach.
INT. CAVE - DAY
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
Shimmers in a gourd. Chuck's face swims into focus. It
has been painted white.
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Looking at himself in the reflection, he dots on blue
stars with dark blue from squid ink.
EXT. CAVE - LATER
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.
EXT. JUNGLE - DAY
Chuck goes from tree to tree, making handprints along his
path. Chuck was here. This is his mark.
EXT. PALM GROVE - DAY
He covers the calendar trees with handprints. Then stops.
Sees something. Eyes fixed on the beach, he walks toward
the shoreline.
EXT. BEACH - DAY
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.
EXT. BEACH - LATER
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?
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EXT. BEACH - LATER
Filled with determination, Chuck rolls a barrel up the
beach.
EXT. BEACH - LATER
Using a palm tree as a fulcrum, Chuck hauls hard on a
rope made of vines, pulling the barrel up off the beach.
EXT. JUNGLE - DAY
Chuck throws aside palm leaves, revealing...the remains
of his raft.
INT. CAVE - NIGHT
Chuck is drawing with a purpose now. And we see what he
is working on. The plans for a raft.
INT. CAVE - NIGHT
Chuck is making a list of what he needs. He works
intently.
CHUCK
Canteens. Sea anchor. Got to
weave rope. Spears. A sail.
EXT. JUNGLE - DAY
Chuck lashes the barrels onto the raft. Checks the knots.
Lashes more rope.
INT. CAVE - NIGHT
He sews dresses together with handmade fiber string.
INT. CAVE - NIGHT
He weaves videotape together to form a sea anchor.
EXT. BEACH - DAY
Chuck digs a channel toward the raft.
INT. CAVE - DAY
Chuck constructs a water collection device with some FedEx
boxes, some plastic weighted with a stone. Explains it
to Wilson.
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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.
INT. CAVE - NIGHT
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.
EXT. BEACH - DAY
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.
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.
EXT. LAGOON - DAY
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!
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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.
EXT. OCEAN - WIDE - MINUTES LATER
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.
And we pull back until the ocean swallows the tiny raft
and then we TILT DOWN AND...
DISSOLVE TO:
EXT. OCEAN - DAY - FOUR WEEKS LATER
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.
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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.
EXT. RAFT - MOMENTS LATER
Chuck sucks the juice out of the head. He chews meat off
the tiny rib bones.
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.
GOOD CHUCK
Save some for tomorrow.
BAD CHUCK
Catch another fish tomorrow.
Bad Chuck wins. Chuck keeps eating. He stares up at the
sun, which beats down unmercifully.
EXT. RAFT - DAY - LATER
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.
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BAD CHUCK
Shit! Shit! Shit!
GOOD CHUCK
Stay calm, identify the problem.
Problem, rope fraying. Solution,
fix rope.
BAD CHUCK
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.
BAD CHUCK
Too tired.
GOOD CHUCK
Get up.
BAD CHUCK
Feels so good to lie here.
GOOD CHUCK
Get up, damn you.
Chuck comes to his knees. Then sinks back down.
BAD CHUCK
Can't. Need water.
GOOD CHUCK
You've had today's water.
BAD CHUCK
Thirsty.
GOOD CHUCK
Come on, shape up, get going, you
can do it.
BAD CHUCK
No water, no work.
Chuck tries another tack. Sweet reason.
GOOD CHUCK
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.
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BAD CHUCK
Do too much, I'll die.
GOOD CHUCK
Do too little you'll die.
BAD CHUCK
Going to die anyway.
That stops GoodChuck for a moment.
GOOD CHUCK
Okay, look have an extra swallow.
He holds up the pathetic little jar with its few teaspoons
of murky water.
BAD CHUCK
No more water, you said.
GOOD CHUCK
Take it.
BAD CHUCK
No.
GOOD CHUCK
Take it, damn it.
BAD CHUCK
No.
GOOD CHUCK
Wilson, do you believe this? Take
the damn water.
Slowly Chuck gets up, lifts up the water jar, and takes a
swallow. Then another.
GOOD CHUCK
Stop. Enough.
Then another.
EXT. RAFT - DAY - LATER
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.
GOOD CHUCK
Think. Got to use something else.
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He gets an idea, starts to pull the signal kite in.
BAD CHUCK
If they can't see you, what's the
point?
GOOD CHUCK
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.
EXT. RAFT - NIGHT
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.
GOOD CHUCK
Polaris, where are you? Maybe I'm
too far south.
BAD CHUCK
You don't know where you are. You
missed the shipping lanes.
GOOD CHUCK
Moon's too bright.
We hear the fraying sound again.
EXT. RAFT - DAY
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.
BAD CHUCK
You're putting off the inevitable.
GOOD CHUCK
I'm putting it off.
He looks at the deteriorating rope, at the rotting sail.
BAD CHUCK
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.
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BAD CHUCK
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.
BAD CHUCK
Get water!
GOOD CHUCK
Fix raft first.
BAD CHUCK
Water water water --
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.
EXT. OCEAN - DAY
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.
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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.
GOOD CHUCK
You like that?
Very slowly it drifts along with the raft.
GOOD CHUCK
Lost your mate?
We look right into the whale's eye. Beneath the surface
we can see the huge jaws open and close.
GOOD CHUCK
You're beautiful. Marry me.
BAD CHUCK
You idiot, if he dives, he'll
capsize the raft.
Very slowly the whale moves ahead of the raft, its vast
body passing Chuck.
GOOD CHUCK
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.
GOOD CHUCK
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.
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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.
EXT. OCEAN - DAY
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.
BAD CHUCK
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.
EXT. OCEAN - DAY
The fish return. Chuck gets up with his spear, then puts
it down.
BAD CHUCK
What are you doing?
GOOD CHUCK
Can't kill another one. Can't.
Can't kill my friends anymore.
BAD CHUCK
You fucking bleeding heart, you
kill or you die.
GOOD CHUCK
Why do they have to die for me?
BAD CHUCK
They'd eat you if they could.
They're laughing at you. Listen.
Chuck listens. Doesn't hear anything.
GOOD CHUCK
Got to eat.
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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.
GOOD CHUCK
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.
EXT. OCEAN - NIGHT
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...
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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.
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.
EXT. OCEAN - DAY
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.
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All Chuck can do is hold on.
EXT. OCEAN - DAY
The storm has passed. The raft floats on big dark rollers.
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.
BAD CHUCK
Listen to this, Wilson.
(deep voice: God)
Because you piss me off.
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EXT. OCEAN - DAY
Chuck tries to stretch with some simple yoga. Each
movement takes forever.
He rolls over onto his stomach and tries to do a pushup.
He can't. Collapses onto the raft.
BAD CHUCK
You're falling apart.
Tries to do another pushup. Can't.
BAD CHUCK
First you eat your fat, then you
eat your muscle.
He rolls over.
BAD CHUCK
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.
GOOD CHUCK
Roll on you deep and dark blue
ocean roll.
He closes his eyes. After a minute they come open.
GOOD CHUCK
I'm late, I'm late, for a very
important date.
They slowly close again.
BAD CHUCK
I'm lost. Goodbye.
GOOD CHUCK
No!
His eyes come open again.
BAD CHUCK
Look, just slip off the raft. The
ocean would feel so good, the
water's so soft and warm. Take a
little swim. Sleep.
GOOD CHUCK
You quitter you quitter you quitter.
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BAD CHUCK
The sea is lovely, dark and deep.
GOOD CHUCK
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)
Got to fix the sea anchor. Use
the sail.
BAD CHUCK
Use the sail for a sea anchor and
you won't move.
GOOD CHUCK
If I don't have a sea anchor I'll
capsize.
BAD CHUCK
Die tomorrow or die today.
He hums Beethoven's fifth. BA BA BA BUM.
BAD CHUCK
That's death knocking, knocking on
your door. Crazy little woman
come knocking, knocking at my front
door...
GOOD CHUCK
Grow up, stop being such a baby.
Other people get through a lot
worse.
BAD CHUCK
Yeah, sure, what?
He hums to himself, begins to sing, Beatles.
BAD CHUCK
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.
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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.
GOOD CHUCK
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.
EXT. RAFT - NIGHT - MOMENTS LATER
He cuts it open. The other Dorados ram the raft in fury,
like a lynch mob.
GOOD CHUCK
Damn it! I had to do it!
The banging continues.
GOOD CHUCK
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.
GOOD CHUCK
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.
GOOD CHUCK
Forgot to say grace. Sorry Mom.
He struggles to remember.
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GOOD CHUCK
Bless us O Lord, and these thy
gifts and Christ and the bounty
about to receive, or
something...amen.
He eats them.
EXT. RAFT - NEXT MORNING
Chuck splashes sea water on his face. Adjusts the water
still.
GOOD CHUCK
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.
GOOD CHUCK
Don't look at me. It was that
Dorado.
He cuts the small fish and hangs it on the stays.
GOOD CHUCK
You know, Wilson, every now and
then we should say thank you.
Thank you God.
BAD CHUCK
Thank you for fucking up my life.
Suddenly something bumps the raft. Hard. Then again.
GOOD CHUCK
Not again.
Fins cut the water. SHARKS. A big hammerhead bumps the
raft. Bad Chuck hums the theme from "Jaws." Chuck takes
his spear stabs at the shark.
BAD CHUCK
He's going to get you, going to
get you...
Another one circles in, bumps the raft.
GOOD CHUCK
Get away from me!
The shark circles again, that big hammerhead like a
nightmare.
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GOOD CHUCK
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.
GOOD CHUCK
Where are you? Where are you?
Stabs again and again at the empty ocean.
GOOD CHUCK
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.
EXT. RAFT - DAY - MOMENTS LATER
Chuck lies back on the raft. He is humming.
BAD CHUCK
What are you smiling about? They'll
be back.
GOOD CHUCK
I'm dancing on the roof of the
Peabody Hotel. With Kelly.
He smiles at the thought.
GOOD CHUCK
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.
(MORE)
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GOOD CHUCK (CONT'D)
Fresh biscuits and cornbread,
dripping with butter. A nice salad
with ranch dressing. A jumbo shrimp
cocktail.
Thinks about that, it spoils the picture.
GOOD CHUCK
No shrimp.
(then)
We eat.
He closes his eyes. This is the greatest fantasy.
GOOD CHUCK
(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.
GOOD CHUCK
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.
GOOD CHUCK
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.
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.
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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
No please, join me. Some sundried
fish strips, a few eyeballs, some
gills to munch on.
The depression comes back again.
BAD CHUCK
They're never going to see you.
You're just another piece of trash
in the ocean.
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GOOD CHUCK
They're on autopilot.
BAD CHUCK
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.
GOOD CHUCK
Damn it! Don't be so negative!
Chuck picks up Wilson.
GOOD CHUCK
Wilson, what's your story?
He holds Wilson close to his chest.
BAD CHUCK
I float. You sink. End of story.
GOOD CHUCK
I'm serious. I'm always going on
about me, me, me. Enough about
me. Your turn.
BAD CHUCK
It's a fucking soccer ball, you
idiot.
GOOD CHUCK
Shut up.
He lies on the raft and holds Wilson close.
We move up until we see -
EXT. OCEAN - AERIAL - EVENING
Chuck lying curled up on the raft, Wilson cradled in his
arms, and all around the vast empty ocean.
EXT. OCEAN - NEXT MORNING
Chuck slowly wakes up. Sets Wilson aside.
GOOD CHUCK
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.
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GOOD CHUCK
Shut up.
The laughter goes on.
GOOD CHUCK
Shut the fuck up! I mean it.
He stands up and checks the horizon.
GOOD CHUCK
What's so damn funny?
BAD CHUCK
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.
GOOD CHUCK
Jesus.
BAD CHUCK
Look again, asshole. It's a mirage.
Chuck squints.
GOOD CHUCK
It's real.
BAD CHUCK
Nothing out there but ocean.
GOOD CHUCK
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.
EXT. RAFT - DAY - LATER
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.
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He sits back, looks at the mock headstone.
BAD CHUCK
What did it matter if FedEx was
five minutes late one day? The
next day we just start over again.
GOOD CHUCK
It matters. We do the best we
can, that's all we have.
BAD CHUCK
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.
BAD CHUCK
Is that it? Life is a fucking
Disney movie?
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.
EXT. RAFT - NIGHT
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.
EXT. RAFT - MORNING
The waves continue. Chuck holds on, his face pale.
BAD CHUCK
You can't make it.
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GOOD CHUCK
Shut up. I don't feel like dying
today.
EXT. OCEAN - DAY - LATER
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.
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.
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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.
EXT. RAFT - DAY - LATER
Chuck takes a swallow of water, washes it around in his
mouth, then swallows. With his wet tongue he licks his
cracked lips.
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.
EXT. OCEAN - DAY - LATER
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.
EXT. OCEAN - DAY - LATER
Chuck is lifted up the rusted steel side of the boat in a
Jacob's ladder.
EXT. SHIP - DAY - LATER
Chuck steps on board, can't support himself.
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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.
INT. U.S. NAVAL HOSPITAL - HAWAII
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.
(MORE)
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DOCTOR (CONT'D)
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
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,
(MORE)
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DOCTOR (CONT'D)
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
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.
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INT. HOSPITAL - NIGHT - LATER
Rolling his IV, Chuck walks very slowly out of the ward.
Every step is an effort.
INT. PHONE CUBICLE - NIGHT - MINUTES LATER
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.
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.
EXT. PHONE CUBICLE - MINUTES LATER
We can see Chuck inside, staring at the phone.
INT. PHONE CUBICLE - MINUTES LATER
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.
EXT. PHONE CUBICLE
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.
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And again we hear the dial tone.
INT. PHONE CUBICLE - MOMENTS LATER
Chuck's on the phone again.
CHUCK
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.
EXT. HAWAII - BEACH RESTAURANT
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.
INT. DENTIST - NEXT DAY
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.
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Chuck shakes his head: no. She scrapes behind his front
teeth.
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.
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Stan notices the technician.
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.
INT. DENTIST - WAITING ROOM
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!
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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
I didn't want to. It just happened.
One day Gary was there.
(MORE)
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KELLY (CONT'D)
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?
EXT. HAWAII - DAY
Chuck's raft sits up on a dock. Kelly stands staring at
it.
How small and fragile it looks.
STAN
This stinks really bad.
CHUCK
You should have smelled me.
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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?
CHUCK
My epitaph.
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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.
KELLY
Yeah?
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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.
KELLY
This is so unfair.
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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.
Chuck grins.
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CHUCK
You too.
Then she heads for the waiting car. Chuck stands by his
raft, watching her go.
INT. FEDEX PLANE - NIGHT
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.
STAN
You've been over the line and you
came back. You've been saved,
hallelujah!
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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
When I was going crazy, on the
raft, I'd argue with myself about
everything. Because everything
had a price.
(MORE)
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CHUCK (CONT'D)
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.
EXT. MEMPHIS AIRPORT - NIGHT
A FedEx MD-11 lands.
EXT. MEMPHIS SUPERHUB - MOMENTS LATER
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.
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.
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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.
EXT. SUPERHUB - WIDE
Chuck makes his triumphant way through this amazing
collection of cheering people like Moses parting the Red
Sea.
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EXT. SUPERHUB - PLATFORM
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!
EXT. SUPERHUB - SERIES OF SHOTS
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.
EXT. SUPERHUB - PLATFORM
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.
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.
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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
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.
ANOTHER ANGLE - WIDE
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.
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INT. CAR - MEMPHIS FREEWAY
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
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.
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CHUCK
I need to do it.
STAN
Finish what you started.
haven't changed, Chuck.
you.
You
It's still
Right.
CHUCK
You want to help, help me find the
woman who sent this.
INT. OPERATIONS CENTER - DAY
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.
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?
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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.
EXT. CHUCK'S MOTEL - THAT NIGHT
Chuck leaves the motel, the Angel Box under his arm. He
ties it into a pannier on the side of a bicycle.
EXT. MEMPHIS - CHICKASAW GARDENS - NIGHT
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. Then the dog begins to bark.
EXT. CEMETERY - NIGHT
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.
EXT. HIGHWAY - DAY
Chuck rides his bicycle down a road leading into the South.
EXT. FREEWAY - DAY
Chuck negotiates an overpass crossing an Interstate
Highway.
Headed in both directions, cars whoosh by beneath him.
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EXT. HIGHWAY - DUSK - LATER
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.
EXT. ARKANSAS - NIGHT
Chuck gets off his bicycle in the rain and walks toward a
roadside cafe.
INT. CAFE - NIGHT
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.
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.
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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.
INT. TYSON'S CHICKEN - ARKANSAS - DAY
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.
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.
INT. TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY
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.
INT. FRAME HOUSE - ARKANSAS - DAY
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.
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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.
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.
EXT. ARKANSAS - DAY
Chuck rides away from the small neat frame house, down a
country lane with trailers up on blocks.
EXT. GULF COAST - DAY
Chuck leaves a cheap motel as the sun comes up.
EXT. MISSISSIPPI GULF COAST - DAY - LATER
Chuck rides on a ferry, the wind blowing his face. The
sky is gray and drizzly. He smells the salt water.
Watches the waves.
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EXT. GAS STATION - DAY
Chuck asks for directions. A kid in baggy pants and no
shirt points him down the road.
EXT. GAS STATION - MOMENTS LATER
Chuck pulls some clothes out of his saddle bags.
EXT. GAS STATION - MOMENTS LATER
Chuck emerges from the restroom wearing a FedEx shirt and
shorts.
EXT. BEACH HOUSE - HOUR LATER
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.
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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.
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.
INT. HOUSE - DAY
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?
INT. KITCHEN - LATER
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.
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BETTINA
Hmmm. Feels like it might have
gotten wet.
CHUCK
Possible. So you did those wings?
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.
(MORE)
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BETTINA (CONT'D)
(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.
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.
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EXT. BEACH HOUSE - HOUR LATER
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
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.
EXT. BEACH HOUSE - MOMENTS LATER
Chuck rides his bicycle away, along the shore.
EXT. BEACH - MINUTES LATER
Chuck rides along the beach. Up ahead we see a FedEx
truck.
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MOMENTS LATER
Chuck pushes on the truck as the driver gives it gas.
The truck slowly pulls back onto the pavement.
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EXT. BEACH - MOMENTS LATER
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.
INT. FEDEX TRUCK - MOMENTS LATER
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.
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CHUCK
Well -
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.
EXT. BEACH - MOMENTS LATER
We are wide on the beach, watching the truck move along
the water, kicking up wisps of sand.
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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.
THE END
by
William Broyles Jr.
FOR EDUCATIONAL PURPOSES ONLY
Third Draft
March 13, 1998
Converted to PDF by SCREENTALK
http://www.screentalk.org
FADE IN:
EXT. MARFA, TEXAS - 1993 - WIDE - DAY
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.
EXT. QUONSET HUT - DAY
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.
EXT. FEDEX OFFICE - MIDLAND/ODESSA - NIGHT - HOURS LATER
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.
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A forklift hoists the container to the cargo doors of a
737.
EXT. MEMPHIS AIRPORT SUPERHUB - NIGHT
The 737 lands.
EXT. SUPERHUB - NIGHT - MINUTES LATER
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.
INT. MEMPHIS SUPERHUB - NIGHT
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.
EXT. MEMPHIS SUPERHUB - NIGHT
A forklift lifts the Container to a door on a giant MD
11.
INT. GLOBAL OPERATIONS CENTER - NIGHT
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.
EXT. CHARLES DE GAULLE AIRPORT - DAY
SERIES OF SHOTS
The giant place touches down in Paris. The Angel Wing
Box moves quickly on another belt and disappears into
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another CONTAINER, which is loaded onto still another
AIRPLANE.
EXT. ST. PETERSBURG AIRPORT, RUSSIA - NIGHT
The plane lands. The container is unloaded down a belt.
We see our Angel Box. Directly in front of it is a DENTED
BOX.
INT. ST. PETERSBURG FEDEX OFFICE, RUSSIA
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.
EXT. ST. PETERSBURG FEDEX OFFICE - DAY
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.
EXT. ST. PETERSBURG - DAY
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.
EXT. ST. PETERSBURG APARTMENT HOUSE - MOMENTS LATER
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)
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.
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EXT. ST. PETERSBURG OFFICE - MOMENTS LATER
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.
EXT. FEDEX OFFICES - MANILA - DAY
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.
INT. FEDEX OFFICES - MANILA - DAY - MOMENTS LATER
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.
INT. FEDEX PLANE - NIGHT
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.
EXT. ST. PETERSBURG FEDEX OFFICES - DAY
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.
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INT. FEDEX OFFICES - DAY
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 thirtytwo
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...
(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?
(MORE)
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CHUCK (CONT'D)
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)
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.
(MORE)
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CHUCK (CONT'D)
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.
EXT. ST. PETERSBURG - DAY - MOMENTS LATER
A FedEx truck pulls out of the FedEx office. Chuck is
inside. He notices the graffiti on the walls.
INT. TRUCK - MOMENTS LATER
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.
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.
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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.
EXT. HOTEL - ST. PETERSBURG
A weary Chuck enters the hotel. In the sky above him we
see the Northern Lights. He doesn't even look up.
INT. HOTEL ROOM - NIGHT - LATER
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.
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.
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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.
INT. FEDEX OFFICES - ST. PETERSBURG - SERIES OF SHOTS
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.
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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.
INT. FEDEX WAREHOUSE - ST. PETERSBURG - WEEK LATER
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.
EXT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
The last truck rolls in.
INT. FEDEX OFFICES - ST. PETERSBURG
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.
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INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
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.
INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER
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.
LEV
One finger, weak. All fingers
working together, strong.
This makes Chuck smile.
CHUCK
You got it.
EXT. CHARLES DE GAULLE AIRPORT - DAY
A FedEx MD-11 is being loaded with huge containers of
freight. Chuck goes up the gangway next to the forklifts.
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INT. MD-11 - MOMENTS LATER
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
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.
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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
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?
(MORE)
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STAN (CONT'D)
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."
EXT. CHARLES DE GAULLE AIRPORT - NIGHT
The MD-11 takes off.
INT. MD-11 - NIGHT
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
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.
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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.
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 -
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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.
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.
EXT. MEMPHIS AIRPORT - NIGHT - WIDE
The MD-11 arrives at its gate. The cargo doors open.
Forklifts and a gangway roll up to the side.
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INT. MD-11 - NIGHT
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.
INT. SUPERHUB - NIGHT
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.
EXT. CHICKASAW GARDENS - MEMPHIS - NIGHT
Chuck's car pulls into the driveway of a small cottage in
an older Memphis neighborhood. The radio is playing the
news.
INT. CHUCK'S HOUSE - MOMENTS LATER
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.
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EXT. CHUCK'S HOUSE - BACK YARD
Chuck digs a small hole in the back yard with a large
kitchen spoon.
Drops the dead fish in.
Fills the hole.
INT. CHUCK'S HOUSE - LATER
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.
EXT. MEMPHIS - NIGHT - LATER
Chuck drives in his car through the streets of Memphis.
EXT. UNIVERSITY - NIGHT
Chuck pulls up to a lab building at Memphis State.
INT. LAB - NIGHT
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.
INT. HALLWAY - NIGHT
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.
INT. XEROX ROOM
The light goes off. KELLY leans over the machine, bangs
on it.
KELLY
Sonofabitch!
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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
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.
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CHUCK
Used to you could fix these
yourself.
She pulls him out of the machine. He has toner on his
fingers.
KELLY
Chuck.
CHUCK
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.
INT. KELLY'S OFFICE - MOMENTS LATER
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.
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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.
She's really close now.
CHUCK
On the other hand we could not
take a swim...
They squiggle themselves onto the desk.
INT. LAB - NIGHT
Someone kicks the door shut. Now the figures are in
silhouette, lit by the light in the office.
And then the light goes out.
EXT. FEDEX OFFICES - NEXT MORNING
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.
INT. EXECUTIVE CONFERENCE ROOM - MOMENTS LATER
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?
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COLIN
One of the race horses coming from
Ireland got colic and had to be
off- loaded in Brussels. That put
the Jumbo 15, 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.
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MAYNARD
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 ontime,
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.
EXT. KELLY'S HOUSE - DAY - LATE THAT AFTERNOON
Chuck lugs a big package up to the door, knocks on it.
Kelly opens the door.
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KELLY
Merry Christmas eve.
CHUCK
Not if you work for FedEx.
INT. KELLY'S HOUSE - DAY
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.
KELLY
I figure, if we could take care of
a puppy, we could, you know, take
care of -
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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.
Chuck's beeper goes off.
KELLY
You should have got me a ring.
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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 overreacting.
KELLY
"We're" not over-reacting.
CHUCK
Could you watch Jango?
KELLY
No.
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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.
EXT. KELLY'S HOUSE - HOUSE LATER
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.
INT. KELLY'S HOUSE - MINUTES LATER
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.
INT. KELLY'S HOUSE - KITCHEN - MOMENTS LATER
Chuck picks up Jango, who is barricaded in the kitchen
with some food, some water, and some wet newspapers.
CHUCK
There. There. Easy now.
EXT. KELLY'S HOUSE - BACK YARD - NIGHT - MINUTES LATER
Holding Jango, Chuck walks out into the back yard.
CHUCK
Kelly?
A fire still smolders. The packages have burned. The
tree is a blackened mess.
Chuck stares at it.
EXT. CHUCK'S HOUSE - NEXT MORNING
Chuck gets into his car, puts Jango on the front seat
next to him. Pulls out of the driveway.
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EXT. ARKANSAS HIGHWAY - DAY
Chuck is in his car, with the dog on his lap.
EXT. FARM HOUSE - DAY
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.
EXT. FARM HOUSE - SHED - DAY
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.
INT. FARM HOUSE - KITCHEN - DAY
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
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.
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EXT. FARM HOUSE - LATER THAT DAY
The children burst out the door, shrieking, chased by
Jango.
INT. FARM HOUSE - DAY
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.
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?
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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?
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.
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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
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.
EXT. MOM'S HOUSE - LATER THAT DAY
Chuck fixes the drain pipe while Mom prunes the rose bushes
around the porch.
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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.
INT. FARM HOUSE - BEDROOM - NIGHT
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.
EXT. FARM HOUSE - DAY
His mom waves to him as Chuck drives away.
INT. FEDEX OFFICE - LATER THAT DAY
Chuck enters his office, on the go. His assistant LESLIE
is waiting for him.
CHUCK
I need the latest PDRs on St.
Petersburg.
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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.
INT. OPERATIONS ROOM - MINUTES LATER
Chuck, Leslie, Stan and another executive from the meeting
named DICK are gathered around the TV screen. A squawk
box is on the table.
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?
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VOICE
It is Ibrim, I, I am a sorter.
CHUCK
What's going on down there?
VOICE
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
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.
EXT. CHUCK'S HOUSE - DAY
Chuck leaves with his bag over his shoulder and the puppy
under his arm.
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EXT. KELLY'S HOUSE - DAY - MINUTES LATER
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
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.
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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?
KELLY
Go on. We'll be fine. I'll feed
Jango to the frogs.
She kisses the puppy.
INT. FEDEX PLANE - NIGHT
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.
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CHUCK
We're on time, right?
AL
On time, Chuck.
INT. FEDEX PLANE - NIGHT - HOURS LATER
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:
INT. FEDEX PLANE - NIGHT
The plane is SHAKING badly. HEAR frantic, garbled radio
talk. Chuck stirs, struggles to his feet, drowsy and
drugged.
INT. FEDEX PLANE - CHUCK'S POV
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?
INT. FEDEX PLANE - CHUCK'S POV - COCKPIT
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.
INT. FEDEX PLANE - MOMENTS LATER
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.
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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!
INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER
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.
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.
EXT. FEDEX PLANE - NIGHT
The giant plane PLUMMETS down from the sky.
INT. FEDEX PLANE - NIGHT
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.
EXT. PACIFIC - NIGHT - MOMENTS LATER
The plane hits the ocean with a CRASH and a WAVE of water.
INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER
The Controller is speaking mechanically into the
microphone.
CONTROLLER
Guam, I need a fix on Jumbo 14.
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EXT. PACIFIC - NIGHT
Shrouded with fog and surrounded by debris, the tail of
the big plane slowly SINKS beneath the angry, storm-driven
waves.
EXT. PACIFIC - DAY
A life raft is tossed on dark, storm-driven seas. Inside
it, semi-conscious, Chuck hangs on.
EXT. PACIFIC - NIGHT
We catch glimpses of the yellow lift raft in the dark as
the storm continues.
EXT. BEACH - EARLY MORNING
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.
CHUCK'S POV - BEACH
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.
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EXT. BEACH - WIDE
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.
EXT. BEACH - LATER THAT MORNING
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.
EXT. BEACH - SUNSET
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - MORNING
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?
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But now he is really thirsty. We WALK with Chuck up the
beach.
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!
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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.
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.
EXT. BEACH - SUNRISE
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.
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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.
EXT. BEACH - NIGHT
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?
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MORNING
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.
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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.
EXT. BEACH - LATER
With a rock Chuck hammers a crude driftwood marker into
the sand.
EXT. BEACH - LATER THAT DAY
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.
EXT. BEACH - DAY - MOMENTS LATER
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...
EXT. ISLAND - DAY - MOMENTS LATER
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.
EXT. JUNGLE - MINUTES LATER
Chuck struggles through a dense thicket beneath a jungle
canopy. Vines and creepers reach out toward him.
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There is no path, nothing to show him where to go.
EXT. JUNGLE - HALF HOUR LATER
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.
EXT. ISLAND - MOMENTS LATER
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.
EXT. ISLAND - CLIFF - MOMENTS LATER
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.
EXT. ISLAND - CLIFF
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!
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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.
EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER
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.
EXT. CLIFF - MOMENTS LATER
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.
EXT. ROCKY SLOPE - MOMENTS LATER
Chuck stumbles over the rocks. The caves look ominous
and primal.
EXT. EDGE OF JUNGLE - NIGHT
It's getting dark now. The jungle seems impenetrable,
the dark wood of fable. Chuck hesitates, then plunges
into it.
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EXT. JUNGLE - NIGHT MINUTES LATER
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.
EXT. BEACH - NIGHT - LATER
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.
EXT. BEACH - MORNING
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.
EXT. BEACH - LATER
Chuck finishes the P on H E L P, which he has spelled out
with the FedEx boxes on the beach.
EXT. JUNGLE - DAY - LATER
Chuck scrambles down a ravine. He kneels down and feels
the ground. It is dry, completely dry.
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EXT. LAVA SLOPE - DAY
Chuck traverses the slope, determined to find water.
FLAT ROCK - LATER
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.
EXT. BEACH - NIGHT
Chuck lies in darkness, his eyes reflecting the moon.
EXT. JUNGLE - DAY
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.
EXT. BEACH - DAY
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...
He is desperately thirsty. Hunger gnaws at him.
EXT. BEACH - DAY - LATER
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.
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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.
EXT. BEACH - DAY
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.
EXT. BEACH - MINUTES LATER
Chuck wades in the water, stops by a rock covered with
limpets. He uses a CREDIT CARD to scrape off a limpet.
CHUCK
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.
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EXT. BEACH - SUNSET
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.
EXT. JUNGLE - LATER
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.
EXT. JUNGLE - DAY - LATER
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.
EXT. JUNGLE - DAY - LATER
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.
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EXT. BEACH - SUNSET
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.
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.
EXT. CLIFF - DAY
Very carefully, but standing this time, Chuck makes his
way across the ledge.
EXT. SUMMIT - DAY
He emerges on the top, takes a drink from a hand-made
canteen, and looks in all directions. Again, he sees
nothing but ocean.
EXT. BEACH - DAY
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!
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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.
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.
EXT. PALM GROVE SERIES OF SHOTS - TRYING TO MAKE FIRE
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.
EXT. BEACH - DAY
Chuck emerges from the jungle and walks to the edge of
the ocean.
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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.
EXT. PALM GROVE - DAY
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.
EXT. BEACH - LATER
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.
EXT. PALM GROVE
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.
EXT. PALM GROVE - LATER
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.
EXT. OTHER SIDE OF ISLAND - DAY
Chuck picks some berries and gingerly tries them. They're
not bad. He eats more. Then more. What a relief.
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EXT. BEACH - NIGHT
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.
EXT. BEACH - DAY
Still looking a little green, Chuck marks another day on
his tree calendar.
EXT. SUMMIT
He stares out to sea. Nothing.
EXT. WELL - DAY
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.
EXT. BEACH - LATER THAT DAY
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.
EXT. BEACH - LATER
Chuck carefully shaves some tinder. Puts it under a piece
of bamboo split lengthwise with a notch cut across it.
EXT. BEACH - LATER
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.
EXT. BEACH - LATER
Chuck gives one last saw with his bamboo and stops, utterly
defeated. It's all too much.
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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.
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - DAY
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.
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CHUCK
Careful now, careful...
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.
EXT. BEACH - WIDE - NIGHT
The fire burns on the beach. Chuck rushes about, piling
on driftwood.
EXT. BEACH - CLOSER
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-papapapa-
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.
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EXT. PALM GROVE - MORNING
Chuck makes a mark on the tree. Around it he carves a
flame -- the day he mastered fire.
EXT. PALM GROVE - LATER THAT MORNING
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.
EXT. BEACH - DAY
Chuck wades in the water with his spear. Suddenly he
stabs it down. A crab is on the end.
EXT. BEACH - HALF HOUR LATER
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.
EXT. SUMMIT - SUNSET
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.
EXT. BEACH - NIGHT - LATER
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.
EXT. PALM GROVE - MORNING
Chuck makes another mark on the tree. He has circled the
tree with marks several times now.
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EXT. BEACH - DAY
Using a safety pin and some suturing thread, Chuck fishes
carefully. Suddenly he jerks his hand back. On the end
is a flopping fish.
EXT. PALM GROVE - DAY
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.
EXT. SUMMIT - AFTERNOON
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.
EXT. WOODS - TREE - NEXT DAY
A tree shakes and moves, quivers...
CHUCK
Timberrr!
...then slowly falls with a CRASH!
CHUCK
I heard that...
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Chuck holds his surgeon's saw over the stump. He walks
to another tree and begins to saw his way into the trunk.
EXT. BEACH - SERIES OF SHOTS
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.
legs.
He leans his back into it and pushes with his
Nothing.
heaves.
He collapses on the beach, his breath coming in
CHUCK
How could I be so stupid?
He bangs himself on the head, over and over.
CHUCK
Stupid, stupid, stupid.
EXT. PALM GROVE - NIGHT
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.
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EXT. BEACH - NIGHT
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.
EXT. BEACH - NIGHT
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.
EXT. BEACH - MORNING
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.
EXT. LAGOON - DAY
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
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.
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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.
EXT. WOODS - DAY
Chuck runs through the woods, slipping and stumbling.
Vines grab at him. The rain is so thick he can hardly
see.
EXT. WOODS - MINUTES LATER
Chuck bursts out of the woods into the lava field. Smoke
pours out of the FedEx box. The coals are about to burn
through!
EXT. LAVA FIELD - MOMENTS LATER
Chuck stumbles up the slippery rocks, dragging the smoking
box. His face is drenched, desperate.
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EXT. CAVE - DAY - MINUTES LATER
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.
Roots tear at his feet, tripping him.
He stumbles up the lava field. Sliding. Struggling.
Barely able to breathe, the rain is so strong.
INT. CAVE - DAY
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.
INT. CAVE - NIGHT
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.
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EXT. CAVE - NEXT DAY
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.
EXT. LEDGE - DAY
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
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.
EXT. BEACH - LATER
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.
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INT. CAVE - THAT DAY
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.
INT. CAVE - MORNING
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.
INT. CAVE - LATER
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.
EXT. BEACH - DAY
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.
INT. CAVE - LATER
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.
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FADE IN:
EXT. OCEAN - SUNRISE - THREE YEARS LATER
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
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.
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EXT. BEACH - LATER THAT DAY
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.
EXT. JUNGLE - LATER
Chuck carries the fish back from the beach. Now there is
a well-worn trail.
INT. CAVE - THAT AFTERNOON
Chuck enters with the fish. We are greeted with the wellordered
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.
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.
INT. CAVE - FIRE - NIGHT
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.
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INT. CAVE - NIGHT - LATER
Chuck eats some fish and some mashed breadfruit. He chews
each bite, his eyes in distant focus. The firelight
flickers on his face.
EXT. CLIFF - SUNRISE
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.
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.
EXT. CLIFF - MOMENTS LATER
He heads across the rock bridge that once had so terrified
him, without losing stride. It's second nature now.
INT. CAVE - MOMENTS LATER
Chuck enters the cave, picks up the ball and heads out.
EXT. SUMMIT - EVENING
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.
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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.
EXT. ROCKY LEDGE - NIGHT - LATER
Torch in one hand, Wilson in the other, Chuck walks across
the rocky ledge. He passes the flume without even
noticing.
Suddenly his shoe breaks! It's sandal made of woven yucca
leaves.
He bends down and fixes it, then heads on down the ledge.
EXT. LEDGE - MOMENTS LATER
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.
INT. CAVE - LATER
Chuck wraps his foot in bandages.
INT. CAVE - LATER
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.
INT. CAVE - NIGHT
Chuck stirs, takes a drink, weakly tosses on another log,
and collapses back on the floor.
INT. CAVE - DAY
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.
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CHUCK
Help me, Wilson...
He collapses again.
INT. CAVE - NIGHT
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.
EXT. BEACH - LATER
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.
EXT. SUMMIT - LATER
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.
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Furious, he kicks his signal fire, scattering the burntout
coals.
EXT. BEACH - LATER THAT DAY
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.
EXT. CAVE - NIGHT
Chuck enters the cave. No signal fires burn. The island
is dark.
EXT. SUMMIT - DAY
Chuck stands on the summit, staring out to sea. Nothing,
not even a contrail, not even a whale spout.
EXT. CLIFF - MOMENTS LATER
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.
INT. CAVE - DAYS LATER
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.
INT. CAVE - DAY
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.
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INT. CAVE - DAY
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.
INT. CAVE - NIGHT
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.
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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.
EXT. ISLAND - DAY
The monsoon pours down. Wind whips the palm trees. The
waves are gray and angry, tearing at the beach.
INT. CAVE - DAY
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
Shimmers in a gourd. Chuck's face swims into focus. It
has been painted white.
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Looking at himself in the reflection, he dots on blue
stars with dark blue from squid ink.
EXT. CAVE - LATER
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.
EXT. JUNGLE - DAY
Chuck goes from tree to tree, making handprints along his
path. Chuck was here. This is his mark.
EXT. PALM GROVE - DAY
He covers the calendar trees with handprints. Then stops.
Sees something. Eyes fixed on the beach, he walks toward
the shoreline.
EXT. BEACH - DAY
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.
EXT. BEACH - LATER
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?
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EXT. BEACH - LATER
Filled with determination, Chuck rolls a barrel up the
beach.
EXT. BEACH - LATER
Using a palm tree as a fulcrum, Chuck hauls hard on a
rope made of vines, pulling the barrel up off the beach.
EXT. JUNGLE - DAY
Chuck throws aside palm leaves, revealing...the remains
of his raft.
INT. CAVE - NIGHT
Chuck is drawing with a purpose now. And we see what he
is working on. The plans for a raft.
INT. CAVE - NIGHT
Chuck is making a list of what he needs. He works
intently.
CHUCK
Canteens. Sea anchor. Got to
weave rope. Spears. A sail.
EXT. JUNGLE - DAY
Chuck lashes the barrels onto the raft. Checks the knots.
Lashes more rope.
INT. CAVE - NIGHT
He sews dresses together with handmade fiber string.
INT. CAVE - NIGHT
He weaves videotape together to form a sea anchor.
EXT. BEACH - DAY
Chuck digs a channel toward the raft.
INT. CAVE - DAY
Chuck constructs a water collection device with some FedEx
boxes, some plastic weighted with a stone. Explains it
to Wilson.
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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.
INT. CAVE - NIGHT
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.
EXT. BEACH - DAY
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.
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.
EXT. LAGOON - DAY
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!
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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.
EXT. OCEAN - WIDE - MINUTES LATER
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.
And we pull back until the ocean swallows the tiny raft
and then we TILT DOWN AND...
DISSOLVE TO:
EXT. OCEAN - DAY - FOUR WEEKS LATER
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.
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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.
EXT. RAFT - MOMENTS LATER
Chuck sucks the juice out of the head. He chews meat off
the tiny rib bones.
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.
GOOD CHUCK
Save some for tomorrow.
BAD CHUCK
Catch another fish tomorrow.
Bad Chuck wins. Chuck keeps eating. He stares up at the
sun, which beats down unmercifully.
EXT. RAFT - DAY - LATER
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.
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BAD CHUCK
Shit! Shit! Shit!
GOOD CHUCK
Stay calm, identify the problem.
Problem, rope fraying. Solution,
fix rope.
BAD CHUCK
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.
BAD CHUCK
Too tired.
GOOD CHUCK
Get up.
BAD CHUCK
Feels so good to lie here.
GOOD CHUCK
Get up, damn you.
Chuck comes to his knees. Then sinks back down.
BAD CHUCK
Can't. Need water.
GOOD CHUCK
You've had today's water.
BAD CHUCK
Thirsty.
GOOD CHUCK
Come on, shape up, get going, you
can do it.
BAD CHUCK
No water, no work.
Chuck tries another tack. Sweet reason.
GOOD CHUCK
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.
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BAD CHUCK
Do too much, I'll die.
GOOD CHUCK
Do too little you'll die.
BAD CHUCK
Going to die anyway.
That stops GoodChuck for a moment.
GOOD CHUCK
Okay, look have an extra swallow.
He holds up the pathetic little jar with its few teaspoons
of murky water.
BAD CHUCK
No more water, you said.
GOOD CHUCK
Take it.
BAD CHUCK
No.
GOOD CHUCK
Take it, damn it.
BAD CHUCK
No.
GOOD CHUCK
Wilson, do you believe this? Take
the damn water.
Slowly Chuck gets up, lifts up the water jar, and takes a
swallow. Then another.
GOOD CHUCK
Stop. Enough.
Then another.
EXT. RAFT - DAY - LATER
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.
GOOD CHUCK
Think. Got to use something else.
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He gets an idea, starts to pull the signal kite in.
BAD CHUCK
If they can't see you, what's the
point?
GOOD CHUCK
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.
EXT. RAFT - NIGHT
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.
GOOD CHUCK
Polaris, where are you? Maybe I'm
too far south.
BAD CHUCK
You don't know where you are. You
missed the shipping lanes.
GOOD CHUCK
Moon's too bright.
We hear the fraying sound again.
EXT. RAFT - DAY
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.
BAD CHUCK
You're putting off the inevitable.
GOOD CHUCK
I'm putting it off.
He looks at the deteriorating rope, at the rotting sail.
BAD CHUCK
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.
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BAD CHUCK
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.
BAD CHUCK
Get water!
GOOD CHUCK
Fix raft first.
BAD CHUCK
Water water water --
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.
EXT. OCEAN - DAY
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.
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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.
GOOD CHUCK
You like that?
Very slowly it drifts along with the raft.
GOOD CHUCK
Lost your mate?
We look right into the whale's eye. Beneath the surface
we can see the huge jaws open and close.
GOOD CHUCK
You're beautiful. Marry me.
BAD CHUCK
You idiot, if he dives, he'll
capsize the raft.
Very slowly the whale moves ahead of the raft, its vast
body passing Chuck.
GOOD CHUCK
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.
GOOD CHUCK
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.
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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.
EXT. OCEAN - DAY
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.
BAD CHUCK
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.
EXT. OCEAN - DAY
The fish return. Chuck gets up with his spear, then puts
it down.
BAD CHUCK
What are you doing?
GOOD CHUCK
Can't kill another one. Can't.
Can't kill my friends anymore.
BAD CHUCK
You fucking bleeding heart, you
kill or you die.
GOOD CHUCK
Why do they have to die for me?
BAD CHUCK
They'd eat you if they could.
They're laughing at you. Listen.
Chuck listens. Doesn't hear anything.
GOOD CHUCK
Got to eat.
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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.
GOOD CHUCK
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.
EXT. OCEAN - NIGHT
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...
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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.
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.
EXT. OCEAN - DAY
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.
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All Chuck can do is hold on.
EXT. OCEAN - DAY
The storm has passed. The raft floats on big dark rollers.
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.
BAD CHUCK
Listen to this, Wilson.
(deep voice: God)
Because you piss me off.
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EXT. OCEAN - DAY
Chuck tries to stretch with some simple yoga. Each
movement takes forever.
He rolls over onto his stomach and tries to do a pushup.
He can't. Collapses onto the raft.
BAD CHUCK
You're falling apart.
Tries to do another pushup. Can't.
BAD CHUCK
First you eat your fat, then you
eat your muscle.
He rolls over.
BAD CHUCK
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.
GOOD CHUCK
Roll on you deep and dark blue
ocean roll.
He closes his eyes. After a minute they come open.
GOOD CHUCK
I'm late, I'm late, for a very
important date.
They slowly close again.
BAD CHUCK
I'm lost. Goodbye.
GOOD CHUCK
No!
His eyes come open again.
BAD CHUCK
Look, just slip off the raft. The
ocean would feel so good, the
water's so soft and warm. Take a
little swim. Sleep.
GOOD CHUCK
You quitter you quitter you quitter.
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BAD CHUCK
The sea is lovely, dark and deep.
GOOD CHUCK
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)
Got to fix the sea anchor. Use
the sail.
BAD CHUCK
Use the sail for a sea anchor and
you won't move.
GOOD CHUCK
If I don't have a sea anchor I'll
capsize.
BAD CHUCK
Die tomorrow or die today.
He hums Beethoven's fifth. BA BA BA BUM.
BAD CHUCK
That's death knocking, knocking on
your door. Crazy little woman
come knocking, knocking at my front
door...
GOOD CHUCK
Grow up, stop being such a baby.
Other people get through a lot
worse.
BAD CHUCK
Yeah, sure, what?
He hums to himself, begins to sing, Beatles.
BAD CHUCK
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.
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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.
GOOD CHUCK
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.
EXT. RAFT - NIGHT - MOMENTS LATER
He cuts it open. The other Dorados ram the raft in fury,
like a lynch mob.
GOOD CHUCK
Damn it! I had to do it!
The banging continues.
GOOD CHUCK
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.
GOOD CHUCK
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.
GOOD CHUCK
Forgot to say grace. Sorry Mom.
He struggles to remember.
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GOOD CHUCK
Bless us O Lord, and these thy
gifts and Christ and the bounty
about to receive, or
something...amen.
He eats them.
EXT. RAFT - NEXT MORNING
Chuck splashes sea water on his face. Adjusts the water
still.
GOOD CHUCK
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.
GOOD CHUCK
Don't look at me. It was that
Dorado.
He cuts the small fish and hangs it on the stays.
GOOD CHUCK
You know, Wilson, every now and
then we should say thank you.
Thank you God.
BAD CHUCK
Thank you for fucking up my life.
Suddenly something bumps the raft. Hard. Then again.
GOOD CHUCK
Not again.
Fins cut the water. SHARKS. A big hammerhead bumps the
raft. Bad Chuck hums the theme from "Jaws." Chuck takes
his spear stabs at the shark.
BAD CHUCK
He's going to get you, going to
get you...
Another one circles in, bumps the raft.
GOOD CHUCK
Get away from me!
The shark circles again, that big hammerhead like a
nightmare.
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GOOD CHUCK
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.
GOOD CHUCK
Where are you? Where are you?
Stabs again and again at the empty ocean.
GOOD CHUCK
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.
EXT. RAFT - DAY - MOMENTS LATER
Chuck lies back on the raft. He is humming.
BAD CHUCK
What are you smiling about? They'll
be back.
GOOD CHUCK
I'm dancing on the roof of the
Peabody Hotel. With Kelly.
He smiles at the thought.
GOOD CHUCK
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.
(MORE)
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GOOD CHUCK (CONT'D)
Fresh biscuits and cornbread,
dripping with butter. A nice salad
with ranch dressing. A jumbo shrimp
cocktail.
Thinks about that, it spoils the picture.
GOOD CHUCK
No shrimp.
(then)
We eat.
He closes his eyes. This is the greatest fantasy.
GOOD CHUCK
(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.
GOOD CHUCK
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.
GOOD CHUCK
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.
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.
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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
No please, join me. Some sundried
fish strips, a few eyeballs, some
gills to munch on.
The depression comes back again.
BAD CHUCK
They're never going to see you.
You're just another piece of trash
in the ocean.
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GOOD CHUCK
They're on autopilot.
BAD CHUCK
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.
GOOD CHUCK
Damn it! Don't be so negative!
Chuck picks up Wilson.
GOOD CHUCK
Wilson, what's your story?
He holds Wilson close to his chest.
BAD CHUCK
I float. You sink. End of story.
GOOD CHUCK
I'm serious. I'm always going on
about me, me, me. Enough about
me. Your turn.
BAD CHUCK
It's a fucking soccer ball, you
idiot.
GOOD CHUCK
Shut up.
He lies on the raft and holds Wilson close.
We move up until we see -
EXT. OCEAN - AERIAL - EVENING
Chuck lying curled up on the raft, Wilson cradled in his
arms, and all around the vast empty ocean.
EXT. OCEAN - NEXT MORNING
Chuck slowly wakes up. Sets Wilson aside.
GOOD CHUCK
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.
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GOOD CHUCK
Shut up.
The laughter goes on.
GOOD CHUCK
Shut the fuck up! I mean it.
He stands up and checks the horizon.
GOOD CHUCK
What's so damn funny?
BAD CHUCK
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.
GOOD CHUCK
Jesus.
BAD CHUCK
Look again, asshole. It's a mirage.
Chuck squints.
GOOD CHUCK
It's real.
BAD CHUCK
Nothing out there but ocean.
GOOD CHUCK
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.
EXT. RAFT - DAY - LATER
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.
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He sits back, looks at the mock headstone.
BAD CHUCK
What did it matter if FedEx was
five minutes late one day? The
next day we just start over again.
GOOD CHUCK
It matters. We do the best we
can, that's all we have.
BAD CHUCK
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.
BAD CHUCK
Is that it? Life is a fucking
Disney movie?
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.
EXT. RAFT - NIGHT
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.
EXT. RAFT - MORNING
The waves continue. Chuck holds on, his face pale.
BAD CHUCK
You can't make it.
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GOOD CHUCK
Shut up. I don't feel like dying
today.
EXT. OCEAN - DAY - LATER
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.
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.
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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.
EXT. RAFT - DAY - LATER
Chuck takes a swallow of water, washes it around in his
mouth, then swallows. With his wet tongue he licks his
cracked lips.
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.
EXT. OCEAN - DAY - LATER
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.
EXT. OCEAN - DAY - LATER
Chuck is lifted up the rusted steel side of the boat in a
Jacob's ladder.
EXT. SHIP - DAY - LATER
Chuck steps on board, can't support himself.
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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.
INT. U.S. NAVAL HOSPITAL - HAWAII
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.
(MORE)
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DOCTOR (CONT'D)
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
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,
(MORE)
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DOCTOR (CONT'D)
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
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.
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INT. HOSPITAL - NIGHT - LATER
Rolling his IV, Chuck walks very slowly out of the ward.
Every step is an effort.
INT. PHONE CUBICLE - NIGHT - MINUTES LATER
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.
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.
EXT. PHONE CUBICLE - MINUTES LATER
We can see Chuck inside, staring at the phone.
INT. PHONE CUBICLE - MINUTES LATER
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.
EXT. PHONE CUBICLE
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.
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And again we hear the dial tone.
INT. PHONE CUBICLE - MOMENTS LATER
Chuck's on the phone again.
CHUCK
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.
EXT. HAWAII - BEACH RESTAURANT
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.
INT. DENTIST - NEXT DAY
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.
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Chuck shakes his head: no. She scrapes behind his front
teeth.
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.
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Stan notices the technician.
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.
INT. DENTIST - WAITING ROOM
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!
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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
I didn't want to. It just happened.
One day Gary was there.
(MORE)
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KELLY (CONT'D)
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?
EXT. HAWAII - DAY
Chuck's raft sits up on a dock. Kelly stands staring at
it.
How small and fragile it looks.
STAN
This stinks really bad.
CHUCK
You should have smelled me.
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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?
CHUCK
My epitaph.
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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.
KELLY
Yeah?
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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.
KELLY
This is so unfair.
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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.
Chuck grins.
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CHUCK
You too.
Then she heads for the waiting car. Chuck stands by his
raft, watching her go.
INT. FEDEX PLANE - NIGHT
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.
STAN
You've been over the line and you
came back. You've been saved,
hallelujah!
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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
When I was going crazy, on the
raft, I'd argue with myself about
everything. Because everything
had a price.
(MORE)
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CHUCK (CONT'D)
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.
EXT. MEMPHIS AIRPORT - NIGHT
A FedEx MD-11 lands.
EXT. MEMPHIS SUPERHUB - MOMENTS LATER
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.
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.
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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.
EXT. SUPERHUB - WIDE
Chuck makes his triumphant way through this amazing
collection of cheering people like Moses parting the Red
Sea.
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EXT. SUPERHUB - PLATFORM
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!
EXT. SUPERHUB - SERIES OF SHOTS
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.
EXT. SUPERHUB - PLATFORM
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.
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.
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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
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.
ANOTHER ANGLE - WIDE
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.
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INT. CAR - MEMPHIS FREEWAY
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
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.
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CHUCK
I need to do it.
STAN
Finish what you started.
haven't changed, Chuck.
you.
You
It's still
Right.
CHUCK
You want to help, help me find the
woman who sent this.
INT. OPERATIONS CENTER - DAY
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.
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?
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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.
EXT. CHUCK'S MOTEL - THAT NIGHT
Chuck leaves the motel, the Angel Box under his arm. He
ties it into a pannier on the side of a bicycle.
EXT. MEMPHIS - CHICKASAW GARDENS - NIGHT
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. Then the dog begins to bark.
EXT. CEMETERY - NIGHT
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.
EXT. HIGHWAY - DAY
Chuck rides his bicycle down a road leading into the South.
EXT. FREEWAY - DAY
Chuck negotiates an overpass crossing an Interstate
Highway.
Headed in both directions, cars whoosh by beneath him.
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EXT. HIGHWAY - DUSK - LATER
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.
EXT. ARKANSAS - NIGHT
Chuck gets off his bicycle in the rain and walks toward a
roadside cafe.
INT. CAFE - NIGHT
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.
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.
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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.
INT. TYSON'S CHICKEN - ARKANSAS - DAY
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.
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.
INT. TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY
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.
INT. FRAME HOUSE - ARKANSAS - DAY
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.
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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.
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.
EXT. ARKANSAS - DAY
Chuck rides away from the small neat frame house, down a
country lane with trailers up on blocks.
EXT. GULF COAST - DAY
Chuck leaves a cheap motel as the sun comes up.
EXT. MISSISSIPPI GULF COAST - DAY - LATER
Chuck rides on a ferry, the wind blowing his face. The
sky is gray and drizzly. He smells the salt water.
Watches the waves.
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EXT. GAS STATION - DAY
Chuck asks for directions. A kid in baggy pants and no
shirt points him down the road.
EXT. GAS STATION - MOMENTS LATER
Chuck pulls some clothes out of his saddle bags.
EXT. GAS STATION - MOMENTS LATER
Chuck emerges from the restroom wearing a FedEx shirt and
shorts.
EXT. BEACH HOUSE - HOUR LATER
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.
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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.
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.
INT. HOUSE - DAY
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?
INT. KITCHEN - LATER
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.
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BETTINA
Hmmm. Feels like it might have
gotten wet.
CHUCK
Possible. So you did those wings?
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.
(MORE)
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BETTINA (CONT'D)
(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.
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.
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EXT. BEACH HOUSE - HOUR LATER
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
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.
EXT. BEACH HOUSE - MOMENTS LATER
Chuck rides his bicycle away, along the shore.
EXT. BEACH - MINUTES LATER
Chuck rides along the beach. Up ahead we see a FedEx
truck.
EXT. BEACH - MOMENTS LATER
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.
EXT. BEACH - MOMENTS LATER
Chuck pushes on the truck as the driver gives it gas.
The truck slowly pulls back onto the pavement.
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EXT. BEACH - MOMENTS LATER
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.
INT. FEDEX TRUCK - MOMENTS LATER
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.
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CHUCK
Well -
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.
EXT. BEACH - MOMENTS LATER
We are wide on the beach, watching the truck move along
the water, kicking up wisps of sand.
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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.
THE END
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