Cast Away (2000)
Directed by Robert Zemeckis
Written by William Broyles Jr. 
MARCH 13, 1998

Tom Hanks ................................Chuck Noland
Helen Hunt ...............................Kelly Frears
Nick Searcy ......................................Stan
Chris Noth ...............................Jerry Lovett
Lari White ...........................Bettina Peterson
Geoffrey Blake .........................Maynard Graham
Jenifer Lewis ..............................Becca Twig       
     FADE IN:

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

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

     MARFA, TEXAS, 1993.


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

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

 2   EXT. QUONSET HUT - DAY                                         2   

     The door is opened by a WOMAN in her late twenties.  Hair 
     pulled back, casual, an artist.  She hands the DRIVER a FedEx 
     BOX which is decorated with a drawing of two ANGEL WINGS.

     The Driver has a hand-held computer; a portable printer 
     dangles from his belt.

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

     But something on the box catches her eye.  She wants it back.

     He glances at his watch.  She draws RINGS around the Wings, 
     uniting them.  She gives the box to the Driver, then hands 
     him a cup of coffee.  They've done this before.

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


     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.

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


     Screenplay-Cast_Away                                    p. 2

 4   EXT. MEMPHIS AIRPORT SUPERHUB - NIGHT                          4   

     The 737 lands.

 5   EXT. SUPERHUB - NIGHT - MINUTES LATER                          5   

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

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

     Loaders quickly roll the container onto a FORKLIFT.

 6   INT. MEMPHIS SUPERHUB - NIGHT                                  6   

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

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

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

 7   EXT. MEMPHIS SUPERHUB - NIGHT                                  7   

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

 8   INT. GLOBAL OPERATIONS CENTER - NIGHT                          8   

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

 9   EXT. CHARLES DE GAULLE AIRPORT - DAY                           9   


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


     Screenplay-Cast_Away                                    p. 3

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

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

11   INT. ST. PETERSBURG FEDEX OFFICE, RUSSIA                      11   

12   SERIES OF SHOTS                                               12   

     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.

13   EXT. ST. PETERSBURG FEDEX OFFICE - DAY                        13   

     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.

14   EXT. ST. PETERSBURG - DAY                                     14   

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


     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.

16   EXT. ST. PETERSBURG OFFICE - MOMENTS LATER                    16   

     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.


     Screenplay-Cast_Away                                    p. 4

17   EXT. FEDEX OFFICES - MANILA - DAY                             17   

     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.

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

               That could lose us half an hour.

               Easy.  Each way.

     His beeper goes off.

18   INT. FEDEX OFFICES - MANILA - DAY - MOMENTS LATER             18   

     Chuck is on the phone.

               So it finally turned up...

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

                           CHUCK (CONT'D)
               I'll catch the sweep tonight.

19   INT. FEDEX PLANE - NIGHT                                      19   

     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.

20   EXT. ST. PETERSBURG FEDEX OFFICES - DAY                       20   

     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.

21   INT. FEDEX OFFICES - DAY                                      21   

     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.


     Screenplay-Cast_Away                                    p. 5

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

               Six kilometers.  Four miles.

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

     There's a muttered chorus of answers.

                           CHUCK (CONT'D)
               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 (CONT'D)
               Here, this table is too far from the 
               wall.  Packages can slip 
                    (pulls out a package 
                    from behind a table)

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

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


     Screenplay-Cast_Away                                    p. 6

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

               Phone call.  Malaysia.

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

               Kamal?  Right.  I'm getting them.

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

                           CHUCK (CONT'D)
               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 (CONT'D)
                    (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.  Do 
               the sort by hand tonight, then put 
               in a new feeder belt, say a twenty-
               four incher.  Yes, overtime is 

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

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


     Screenplay-Cast_Away                                    p. 7

     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.

               It's bad.

               Worse than Warsaw.

               Nobody remembers that.

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

22   EXT. ST. PETERSBURG - DAY - MOMENTS LATER                     22   

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

23   INT. TRUCK - MOMENTS LATER                                    23   

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

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

     The Translator and Lev exchange a few words.

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

     Chuck looks at Lev with respect.  Right answer.

               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.

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

               Tell me exactly what he said.


     Screenplay-Cast_Away                                    p. 8

               He says why don't his farts smell 

     Chuck grins.  Lev shrugs and says something else.

                           TRANSLATOR (CONT'D)
               He says that's just the way it is.

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

24   EXT. HOTEL - ST. PETERSBURG                                   24   

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

25   INT. HOTEL ROOM - NIGHT - LATER                               25   

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

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

     He hangs up.

                           CHUCK (CONT'D)
                    (to himself)
               Those damn Northern Lights.

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

     He gets up, heads into the bathroom.  We stay in the bedroom.

     After only a moment, the light reemerges.  It heads over to 
     his bag.  We go with it.

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

     The lights come back on just as the phone rings.

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

     Chuck charges out, holding up his pants.

     Grabs the phone.


     Screenplay-Cast_Away                                    p. 9

                           CHUCK (CONT'D)
               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 

     This is not what Chuck wanted to hear.

               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 (CONT'D)
               I miss you.

     He gently hangs up the phone.


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

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

     Chuck and the loaders clean off the graffiti.

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

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


     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.


     Screenplay-Cast_Away                                   p. 10

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

     Chucks looks at the clock.

               Only one still left?

               Route six.

     Aleksei points at the big semi.

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

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

                    (to Aleksei)
               Give it five minutes.


     The last truck rolls in.

29   INT. FEDEX OFFICES - ST. PETERSBURG                           29   

     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.

               Let's go.

     He heads toward the truck and begins pulling off packages.

     All the other executives follow him.


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

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

     He gestures at a closed container.


     Screenplay-Cast_Away                                   p. 11

                           CHUCK (CONT'D)
               The Paris container.  Africa too.  
               Japan goes to Memphis.

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


     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.

               We did it.  All of them.

               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.

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

     This makes Chuck smile.

               You got it.

32   EXT. CHARLES DE GAULLE AIRPORT - DAY                          32   

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

33   INT. MD-11 - MOMENTS LATER                                    33   

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

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

               Can't help you.  Try UPS.


     Screenplay-Cast_Away                                   p. 12

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


               We're on time, right?

               On time, Chuck.

     Chuck hands Jack and Gwen small packages.

               Little present from the emerging 

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

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

               You are such a lifer.

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

               Borrowed.  I borrowed it.

     The two of them strap in.

               How'd it go?

               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.


     Screenplay-Cast_Away                                   p. 13

               I had to bumyp your plane last night.

     Chuck can't believe it.

               You what?

               It was fifteen minutes late.

     The plane begins to taxi.

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

               But I might not have.

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

               I'm touched.

               You fucked us over.

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

               I was making a point.

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

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

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


     Screenplay-Cast_Away                                   p. 14

               Baloney.  I do see the damn "big 

34   EXT. CHARLES DE GAULLE AIRPORT - NIGHT                        34   

     The MD-11 takes off.

35   INT. MD-11 - NIGHT                                            35   

     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 

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

               I didn't know we had sailboats.

               It's a ketch Kelly and I had 

               For all those vacation days you got 

     Chuck doesn't look up.

               And never take.

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

               Forget it.

               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.


     Screenplay-Cast_Away                                   p. 15

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

               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.

               That's why you're a gambling man.

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

               For the third time.

               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.

               You are one sick fucker.

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

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

     But apparently it is.

               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.


     Screenplay-Cast_Away                                   p. 16

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

               Ninety five percent?  Just give me 
               the money now.

               Talk is cheap.  Are we on or not?

               We're on.

     Chuck closes the PowerBook.

               Let's go off-line.

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

                           CHUCK (CONT'D)
               Two Valium...

     Stan puts on his Walkman.

               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.

36   EXT. MEMPHIS AIRPORT - NIGHT - WIDE                           36   

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

     Forklifts and a gangway roll up to the side.

37   INT. MD-11 - NIGHT                                            37   

     Stan stands smiling over Chuck.

               Chuck.  Wake up Chuck.

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

                           STAN (CONT'D)
               You gotta do your own delivery from 


     Screenplay-Cast_Away                                   p. 17

38   INT. SUPERHUB - NIGHT                                         38   

     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.

39   EXT. CHICKASAW GARDENS - MEMPHIS - NIGHT                      39   

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

40   INT. CHUCK'S HOUSE - MOMENTS LATER                            40   

     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.

               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 (CONT'D)
               Sorry, I'm really sorry.

41   EXT. CHUCK'S HOUSE - BACK YARD                                41   

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

     Drops the dead fish in.

     Fills the hole.

42   INT. CHUCK'S HOUSE - LATER                                    42   

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


     Screenplay-Cast_Away                                   p. 18

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

43   EXT. MEMPHIS - NIGHT - LATER                                  43   

     Chuck drives in his car through the streets of Memphis.

44   EXT. UNIVERSITY - NIGHT                                       44   

     Chuck pulls up to a lab building at Memphis State.

45   INT. LAB - NIGHT                                              45   

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

               You seen Kelly Frears?

     One of them gestures toward a door.

               Xerox machine.

46   INT. HALLWAY - NIGHT                                          46   

     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 

47   INT. XEROX ROOM                                               47   

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


               Hey, be nice to it, it'll be nice to 

     Surprised, Kelly turns to greet Chuck.

               Chuck!  You're back!

     She leaps into his arms.


     Screenplay-Cast_Away                                   p. 19

                           KELLY (CONT'D)
               Your eyes are puffy.  Did you take 
               Valium again?

               You smell like formaldehyde.

     Kelly looks over at the Xerox.

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

               Let's take a look.

     He lifts up the cover.

               How was Russia?


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

               I thought I did.

     He pries up one feeder, then another.

                           CHUCK (CONT'D)
               Got to follow the paper path here.

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

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

               Used to you could fix these yourself.

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



     Screenplay-Cast_Away                                   p. 20

               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?

               Yeah, tell me.  Tell me all of it.

     He suddenly looks really tired.

                           KELLY (CONT'D)
               You don't even know what time it is.  
               What day it is.

     He turns to the Xerox in frustration.

               And I can't fix this damn machine.

     She looks at him.

               Come on.

48   INT. KELLY'S OFFICE - MOMENTS LATER                           48   

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

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

     She licks the last bit of toner off his fingers.

               That's carcinogenic.

     She ignores that, stays with the fantasy.

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

     And she comes closer to him.

                           KELLY (CONT'D)
               We could take a swim.


     Screenplay-Cast_Away                                   p. 21

     She's really close now.

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

     They squiggle themselves onto the desk.

49   INT. LAB - NIGHT                                              49   

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

     And then the light goes out.

50   EXT. FEDEX OFFICES - NEXT MORNING                             50   

     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.


     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.

               So why was Milan late, 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.


     Screenplay-Cast_Away                                   p. 22

     Next to Stan is MAYNARD GRAHAM, an MBA systems man.  Becca 
     addresses a question over to Stan.

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

               We're already on it.

               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 (CONT'D)
               Stand by, Benson, we're still wrapping 
               up foreign.

     She turns pointedly to Chuck.

                           BECCA (CONT'D)
               Chuck, thanks for joining us.  Status?

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

               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.

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

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

               James Pottinger is available.


     Screenplay-Cast_Away                                   p. 23

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

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

     Stan is doing his best to back up 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.

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

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

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

               I don't call missing the plane a 

     Everyone looks at Chuck.

52   EXT. KELLY'S HOUSE - DAY - LATE THAT AFTERNOON                52   

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

               Merry Christmas eve.

               Not if you work for FedEx.

53   INT. KELLY'S HOUSE - DAY                                      53   

     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.


     Screenplay-Cast_Away                                   p. 24

     A Christmas tree with packages under it.

               You break four million packages last 

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

               Four four.  A record.

               You don't seem too happy about it.

               Ah, the staff meeting could have 
               gone better.

               Let me guess, Russia came up?

     Chuck's attention goes to the tree.

               One of those packages just moved.

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

               Merry Christmas.

     Chuck bends down to see the puppy.

               Hey, look at you.

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

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

               He is a cute thing.

               He's your cute thing.


     Screenplay-Cast_Away                                   p. 25

               I can't even keep fish alive.

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

               And for you --

     Chuck hands over his present.

               So do good things come in large 

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

     It's a piece of luggage.

               You know, for when you travel.

               For when I travel?

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

                           KELLY (CONT'D)
               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.

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

     Chuck's beeper goes off.

               You should have got me a ring.

     He checks the number.

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

               A ring.  I wanted a ring.


     Screenplay-Cast_Away                                   p. 26

               You did?

     She nods.  What to do?

                           CHUCK (CONT'D)
               Look, I love the puppy.  I love you.  
               But I have to go.

               You can't go now.

               I have to.

               You want to.

     Chuck picks up the puppy.

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

     Kelly is having one of those moments when everything comes 

               This isn't working out.

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

               "We're" not over-reacting.

               Could you watch Jango?


               I can't take him to work.

     He hands her the puppy.

                           CHUCK (CONT'D)
               We'll talk about it when I come back.

     It'll all be fine.  Really.


     Screenplay-Cast_Away                                   p. 27

     This is not a happy woman he is leaving behind.

54   EXT. KELLY'S HOUSE - HOUSE LATER                              54   

     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.

55   INT. KELLY'S HOUSE - MINUTES LATER                            55   

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

               Kelly?  Kelly?

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

56   INT. KELLY'S HOUSE - KITCHEN - MOMENTS LATER                  56   

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

               There.  There.  Easy now.


     Holding Jango, Chuck walks out into the back yard.


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

     Chuck stares at it.

58   EXT. CHUCK'S HOUSE - NEXT MORNING                             58   

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

59   EXT. ARKANSAS HIGHWAY - DAY                                   59   

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

60   EXT. FARM HOUSE - DAY                                         60   

     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.


     Screenplay-Cast_Away                                   p. 28

               What happened to your pants?

               Mom, meet Jango.

     Chuck displays the puppy.

61   EXT. FARM HOUSE - SHED - DAY                                  61   

     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.

               Dinner's ready.

62   INT. FARM HOUSE - KITCHEN - DAY                               62   

     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.


     Chuck hesitates just a moment.

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

               Let's eat.

63   EXT. FARM HOUSE - LATER THAT DAY                              63   

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

64   INT. FARM HOUSE - DAY                                         64   

     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 

               How's Kelly?


     Screenplay-Cast_Away                                   p. 29


               Thought you were going to bring her.

               So did I.

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

               It's nothing you did, Mom, believe 

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

               And she's still got those --


               You should have stuck around.

     This is an old, sore subject.

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

               That new roof, that's your doing.

               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 

     He drops the turkey giblets into the trash.

               Roger's going to put chickens in 


     Screenplay-Cast_Away                                   p. 30

     Chuck can't believe this.

               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 

               It wasn't that bad, dear.

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

               But chickens?

               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.

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

               Roger's working at Tyson's now.

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


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

               Just don't count 'em before they 


     Screenplay-Cast_Away                                   p. 31

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

               I'll try to remember that.


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

                           MOM (CONT'D)
               Speaking of hatching, I could sure 
               use some more grandchildren.

     Not a timely topic with Chuck.

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

               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.

65   EXT. MOM'S HOUSE - LATER THAT DAY                             65   

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

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

               Don't you even think about it.

               The place is falling apart.

               I'm doing fine.

     She looks pointedly at Chuck.


     Screenplay-Cast_Away                                   p. 32

               Doing great, Mom, don't worry about 

               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 

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

66   INT. FARM HOUSE - BEDROOM - NIGHT                             66   

     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.

67   EXT. FARM HOUSE - DAY                                         67   

     His mom waves to him as Chuck drives away.

68   INT. FEDEX OFFICE - LATER THAT DAY                            68   

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

               I need the latest PDRs on St. 

               And how was your Christmas?

               Terrific.  Yours?

     She nods, used to this.

                           CHUCK (CONT'D)
               And get me in to the dentist.  My 
               tooth's acting up.

     Stan enters.


     Screenplay-Cast_Away                                   p. 33

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

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

69   INT. OPERATIONS ROOM - MINUTES LATER                          69   

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

               Kamal?  Kamal?  Can you hear us?

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

               Can't we get this working?

     A Technician is fiddling with the TV set.


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

                           VOICE (SQUAWK BOX)
               Kamal is not here.

               Who is this?  Where is Kamal?

               It is Ibrim, I, I am a sorter.

               What's going on down there?

               Kamal is not here.  We are very 

               Who's in charge then, where is Chinn?


     Screenplay-Cast_Away                                   p. 34

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

               We got Telex, e-mail?

               Sure.  Just not getting any answers.

     Chuck turns to Leslie.

               When's the next Jumbo?

               The regular flight is scheduled for 
               oh three hundred tomorrow.

               Anything else?

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

               Maybe you should get your ducks lined 
               up first.

     Chuck looks over at Stan.

               Call Operations.  Get me on it.

     And Stan is impressed.

70   EXT. CHUCK'S HOUSE - DAY                                      70   

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

71   EXT. KELLY'S HOUSE - DAY - MINUTES LATER                      71   

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

               That's your dog.

               It's our dog.  It belongs to us.

               There isn't any us.


     Screenplay-Cast_Away                                   p. 35

               Yes there is.

     Kelly can't stay mad.

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

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

               I burned the Christmas tree.

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

                           KELLY (CONT'D)
               Why didn't you come over, get mad at 
               me, tell me what a stupid bitch I 

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

               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.

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

               Don't even start.

     And then it hits her.

                           KELLY (CONT'D)
               Get back?  From where?

               Malaysia.  They're holding the sweep.

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

               Give him to me.


     Screenplay-Cast_Away                                   p. 36

     He hands her the dog.

                           KELLY (CONT'D)
               Chuck, you're breaking my heart.

               A week, max.  Okay?  Okay?

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

     She kisses the puppy.

72   INT. FEDEX PLANE - NIGHT                                      72   

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

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

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

     Chuck settles into his seat.

               You're on your way home, Al?

     Al has an Australian accent.

               Right.  Down home, down under.

               We're on time, right?

               On time, Chuck.

73   INT. FEDEX PLANE - NIGHT - HOURS LATER                        73   

     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.


     Screenplay-Cast_Away                                   p. 37

     Then he turns on his Walkman to the Rolling Stones, puts the 
     mask over his eyes, and, as usual, goes to sleep.

                                                     DISSOLVE TO:

74   INT. FEDEX PLANE - NIGHT                                      74   

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

75   INT. FEDEX PLANE - CHUCK'S POV                                75   

     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?

76   INT. FEDEX PLANE - CHUCK'S POV - COCKPIT                      76   

     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.

77   INT. FEDEX PLANE - MOMENTS LATER                              77   

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

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

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

     Chuck fumbles for them.

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


     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 

               Jumbo 14 is overdue in Sector K.


     Screenplay-Cast_Away                                   p. 38

               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.

79   EXT. FEDEX PLANE - NIGHT                                      79   

     The giant plane PLUMMETS down from the sky.

80   INT. FEDEX PLANE - NIGHT                                      80   

     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, 

81   EXT. PACIFIC - NIGHT - MOMENTS LATER                          81   

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


     The Controller is speaking mechanically into the microphone.

               Guam, I need a fix on Jumbo 14.

83   EXT. PACIFIC - NIGHT                                          83   

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

84   EXT. PACIFIC - DAY                                            84   

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

85   EXT. PACIFIC - NIGHT                                          85   

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


     Screenplay-Cast_Away                                   p. 39

86   EXT. BEACH - EARLY MORNING                                    86   

     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.


     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.


     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.


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

     He picks up another package.

87   EXT. BEACH - WIDE                                             87   

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

88   EXT. BEACH - LATER THAT MORNING                               88   

     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.


     Screenplay-Cast_Away                                   p. 40

89   EXT. BEACH - SUNSET                                           89   

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

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

90   EXT. BEACH - NIGHT                                            90   

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

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

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

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

91   EXT. BEACH - MORNING                                          91   

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

               Where the fuck are you?

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

     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 


     Screenplay-Cast_Away                                   p. 41

                           CHUCK (CONT'D)

     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.


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

     Chuck clumsily sharpens a stick with the sharp rock.

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

     Chuck positions the stick, pointed end up, in a hole, then 
     SLAMS the coconut down hard on it.  Success!  The green nut 
     of the coconut splits.  The brown inner nut is free!  He 
     smashes the nut with a rock, but -- OW!  -- he hits his hand!

     Chuck licks his fingers, but he is so thirsty there's no 
     more saliva.  He smashes again.  The shell breaks to 

     Coconut milk splashes everywhere.

                           CHUCK (CONT'D)
               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 (CONT'D)

92   EXT. BEACH - SUNRISE                                          92   

     Chuck squints at the ocean.  His sunburn is bad -- his lips 
     are cracked.  A stack of broken coconut shells is beside 


     Screenplay-Cast_Away                                   p. 42

     No one's there -- again.

               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 

                           CHUCK (CONT'D)
               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 (CONT'D)
               They could use a satellite.

     But even that doesn't give him much hope.

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

     That sinks in.

                           CHUCK (CONT'D)
               Aw, someone will come.

93   EXT. BEACH - NIGHT                                            93   

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

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

               What the hell?

94   EXT. BEACH - MOMENTS LATER                                    94   

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


     Screenplay-Cast_Away                                   p. 43

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

               Oh Jesus.

95   EXT. BEACH - MOMENTS LATER                                    95   

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

               I'm so sorry, Al.  So sorry.

96   EXT. BEACH - MORNING                                          96   

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

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

               Got to cover Al up.

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

                           CHUCK (CONT'D)
               Got to cover Al up.

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

97   EXT. BEACH - LATER                                            97   

     With a rock Chuck hammers a crude driftwood marker into the 

98   EXT. BEACH - LATER THAT DAY                                   98   

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

               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.


     Screenplay-Cast_Away                                   p. 44

     He's ready to go.

99   EXT. BEACH - DAY - MOMENTS LATER                              99   

     Chuck climbs over the rocks and disappears out of sight.

     He's still half-singing to himself.

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

100   EXT. ISLAND - DAY - MOMENTS LATER                           100   

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

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

101   EXT. JUNGLE - MINUTES LATER                                 101   

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

102   EXT. JUNGLE - HALF HOUR LATER                               102   

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

               Bad idea.  Should have saved some.

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

103   EXT. ISLAND - MOMENTS LATER                                 103   

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

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

104   EXT. ISLAND - CLIFF - MOMENTS LATER                         104   

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


     Screenplay-Cast_Away                                   p. 45

     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.

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

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

105   EXT. ISLAND - CLIFF                                         105   

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


     He looks back, but that seems even scarier.

                           CHUCK (CONT'D)
               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 

106   EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER                 106   

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

               No way on.  No way off.

     Chuck stares out to sea in every direction.  Nothing.

                           CHUCK (CONT'D)
               This is bad.  Really, really bad.

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


     Screenplay-Cast_Away                                   p. 46

107   EXT. CLIFF - MOMENTS LATER                                  107   

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

               Come on.  Crawl if you have to.

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

108   EXT. ROCKY SLOPE - MOMENTS LATER                            108   

     Chuck stumbles over the rocks.  The caves look ominous and 

109   EXT. EDGE OF JUNGLE - NIGHT                                 109   

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

110   EXT. JUNGLE - NIGHT MINUTES LATER                           110   

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

111   EXT. BEACH - NIGHT - LATER                                  111   

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

               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 (CONT'D)
               They don't belong to you.

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

112   EXT. BEACH - MORNING                                        112   

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


     Screenplay-Cast_Away                                   p. 47

               Got to have shade.  Got to have a 

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

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

113   EXT. BEACH - LATER                                          113   

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

114   EXT. JUNGLE - DAY - LATER                                   114   

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

115   EXT. LAVA SLOPE - DAY                                       115   

     Chuck traverses the slope, determined to find water.

116   FLAT ROCK - LATER                                           116   

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

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

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

               Oh, God.  Thank you.

117   EXT. BEACH - NIGHT                                          117   

     Chuck lies in darkness, his eyes reflecting the moon.

118   EXT. JUNGLE - DAY                                           118   

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

119   EXT. BEACH - DAY                                            119   

     Chuck breaks open another coconut and gulps down the milky 


     Screenplay-Cast_Away                                   p. 48

     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.

               You deserve a break today...

     He is desperately thirsty.  Hunger gnaws at him.

120   EXT. BEACH - DAY - LATER                                    120   

     Holding a sharpened stick, Chuck wades in the shallows at 
     low tide, looking for fish.  It's difficult to keep his 

     Suddenly a shadow flashes by, glinting in the morning 
     sunlight.  Chuck hurls the spear, which ricochets off the 
     water and floats away.

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

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

               Damn fish!

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

121   EXT. BEACH - DAY                                            121   

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

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

     He tries to smooth it out.  For a moment he is overcome.  
     His face tightens, his eyes get moist.  He stares out to 

               Wait a minute.  Wait just a minute.

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


     Screenplay-Cast_Away                                   p. 49

122   EXT. BEACH - MINUTES LATER                                  122   

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

               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 (CONT'D)

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

                           CHUCK (CONT'D)

     And he swallow it.

123   EXT. BEACH - SUNSET                                         123   

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

               Got to get this fixed.

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

124   EXT. JUNGLE - LATER                                         124   

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

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

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

                           CHUCK (CONT'D)
               Where's the water on this fucking 

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


     Screenplay-Cast_Away                                   p. 50

                           CHUCK (CONT'D)
               Just rest a minute.

125   EXT. JUNGLE - DAY - LATER                                   125   

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

126   EXT. JUNGLE - DAY - LATER                                   126   

     Chuck's eyes snap awake.  He looks down at his feet.  There's 
     a pool of muddy water there.  He dips his hand in it, touches 
     a finger to his lips to be sure he's not dreaming.

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

               Oh yeah, oh yeah, oh yeah.

127   EXT. BEACH - SUNSET                                         127   

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

               Let's see, I waited two days.
                    (makes marks)
               Then I buried Al.
                    (slowly makes another 
               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 

     Time is under control.


     Screenplay-Cast_Away                                   p. 51

128   EXT. CLIFF - DAY                                            128   

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

129   EXT. SUMMIT - DAY                                           129   

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

130   EXT. BEACH - DAY                                            130   

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

               A crab, it's a crab.

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

                           CHUCK (CONT'D)

     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 (CONT'D)
               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 (CONT'D)

     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.


     Chuck rubs two sticks together.  Nothing.


     Screenplay-Cast_Away                                   p. 52

     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.

               Stupid fucking thing!

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

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

132   EXT. BEACH - DAY                                            132   

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

               Don't have a choice, do I?

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

133   EXT. PALM GROVE - DAY                                       133   

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

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

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

134   EXT. BEACH - LATER                                          134   

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

135   EXT. PALM GROVE                                             135   

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

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


     Screenplay-Cast_Away                                   p. 53

               Okay.  Okay now.

136   EXT. PALM GROVE - LATER                                     136   

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

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

137   EXT. OTHER SIDE OF ISLAND - DAY                             137   

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

138   EXT. BEACH - NIGHT                                          138   

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

139   EXT. BEACH - DAY                                            139   

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

140   EXT. SUMMIT                                                 140   

     He stares out to sea.  Nothing.

141   EXT. WELL - DAY                                             141   

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

     Very carefully Chuck shaves with the surgeon's scalpel.

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

142   EXT. BEACH - LATER THAT DAY                                 142   

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

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


     Screenplay-Cast_Away                                   p. 54

143   EXT. BEACH - LATER                                          143   

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

144   EXT. BEACH - LATER                                          144   

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

145   EXT. BEACH - LATER                                          145   

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


     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 (CONT'D)
               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 (CONT'D)
               No.  No.  No.

146   EXT. BEACH - NIGHT                                          146   

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

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

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

147   EXT. BEACH - DAY                                            147   

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


     Screenplay-Cast_Away                                   p. 55


     He replaces the log and starts wearily to saw again.


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

     He blows some more.  A fragile crimson spark appears.

                           CHUCK (CONT'D)
               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 (CONT'D)
               Yes!  Yes!  Yes!

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

                           CHUCK (CONT'D)
               If I ever forgot to thank you God, 
               and I am sure I did, thank you now.


     Screenplay-Cast_Away                                   p. 56

148   EXT. BEACH - WIDE - NIGHT                                   148   

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

149   EXT. BEACH - CLOSER                                         149   

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

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

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

150   EXT. PALM GROVE - MORNING                                   150   

     Chuck makes a mark on the tree.  Around it he carves a flame

     -- the day he mastered fire.

151   EXT. PALM GROVE - LATER THAT MORNING                        151   

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

152   EXT. BEACH - DAY                                            152   

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

153   EXT. BEACH - HALF HOUR LATER                                153   

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

               Damn tooth!

     He fumbles for his Tylenol and takes two pills.

154   EXT. SUMMIT - SUNSET                                        154   

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


     Screenplay-Cast_Away                                   p. 57

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

     He kneels down and begins to build a signal fire.

155   EXT. BEACH - NIGHT - LATER                                  155   

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

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

156   EXT. PALM GROVE - MORNING                                   156   

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

157   EXT. BEACH - DAY                                            157   

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

158   EXT. PALM GROVE - DAY                                       158   

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

159   EXT. SUMMIT - AFTERNOON                                     159   

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

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

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

               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 (CONT'D)
               A star.  It's a star.


     Screenplay-Cast_Away                                   p. 58

     But then he stares at it really hard.

                           CHUCK (CONT'D)
               It's a ship.

160   EXT. WOODS - TREE - NEXT DAY                                160   

     A tree shakes and moves, quivers...


     ...then slowly falls with a CRASH!

                           CHUCK (CONT'D)
               I heard that...

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

161   EXT. BEACH - SERIES OF SHOTS                                161   

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

               No more waiting.  Take action.

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

                           CHUCK (CONT'D)
               That's right.  Take action.

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

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

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

     He examines his handiwork:  a finished raft.

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

     Nothing.  He leans his back into it and pushes with his legs.


     Screenplay-Cast_Away                                   p. 59

     Nothing.  He collapses on the beach, his breath coming in 

                           CHUCK (CONT'D)
               How could I be so stupid?

     He bangs himself on the head, over and over.

                           CHUCK (CONT'D)
               Stupid, stupid, stupid.

162   EXT. PALM GROVE - NIGHT                                     162   

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

     Shadows of palm trees sway on the sand.

163   EXT. BEACH - NIGHT                                          163   

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

164   EXT. BEACH - NIGHT                                          164   

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

165   EXT. BEACH - MORNING                                        165   

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


     Over and over, we see Chuck capsize at the reef.  The first 
     time he has a bandage on his leg.  He tries everything -- 
     different rafts, different approaches, but each time the 
     ocean spits him back.

166   EXT. LAGOON - DAY                                           166   

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


     Screenplay-Cast_Away                                   p. 60

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

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

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

     It is powerful, disturbing, primal.

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

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

                           CHUCK (CONT'D)
               Dust thou art -- that's for damned 
               sure -- and unto dust shalt thou 

     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 (CONT'D)

     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.


     Screenplay-Cast_Away                                   p. 61

167   EXT. WOODS - DAY                                            167   

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

168   EXT. WOODS - MINUTES LATER                                  168   

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

169   EXT. LAVA FIELD - MOMENTS LATER                             169   

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

170   EXT. CAVE - DAY - MINUTES LATER                             170   

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

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


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


     He stomps on the driftwood and saws at it with his knife.  
     He places this kindling on the coals.  They sputter and 

     Barely catch.  He fans them with the box.  A tiny flicker 
     catches, then starts to grow.

                           CHUCK (CONT'D)
               Firewood.  I need firewood.


     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.


     Screenplay-Cast_Away                                   p. 62

171   INT. CAVE - DAY                                             171   

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


172   INT. CAVE - NIGHT                                           172   

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

173   EXT. CAVE - NEXT DAY                                        173   

     Chuck emerges from the cave.  The rain has stopped.  This is 
     the absolute lowest.  His face reflects his pain and despair.

     He's trapped.  It's hopeless.  Everything he tried to build 
     is gone.

174   EXT. LEDGE - DAY                                            174   

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

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

     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 

               What the fuck are you doing?

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

                           CHUCK (CONT'D)
               Hang on.  Just hang on.

     Slowly he pulls himself back from the edge.


     Screenplay-Cast_Away                                   p. 63

175   EXT. BEACH - LATER                                          175   

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

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

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

176   INT. CAVE - THAT DAY                                        176   

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

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

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

177   INT. CAVE - MORNING                                         177   

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

178   INT. CAVE - LATER                                           178   

     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 

               Shit.  Shit.  Shit.

179   EXT. BEACH - DAY                                            179   

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

               Whoo, pig.  Sooey!


     Screenplay-Cast_Away                                   p. 64

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

180   INT. CAVE - LATER                                           180   

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

               No pain, no gain.

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

     FADE IN:

181   EXT. OCEAN - SUNRISE - THREE YEARS LATER                    181   

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

                          "1000 DAYS LATER"


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


     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 

     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.


     Screenplay-Cast_Away                                   p. 65

     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 

182   EXT. BEACH - LATER THAT DAY                                 182   

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

183   EXT. JUNGLE - LATER                                         183   

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

184   INT. CAVE - THAT AFTERNOON                                  184   

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

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

     Strips of eel jerky and fish hang drying from racks.

     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 

     The Angel Box has the place of honor on one side.  On the 
     other side the Wilson soccer ball rests on a throne of rocks.

     Seaweed has been placed on the ball as hair.  Clam shells 
     have been stuck on for eyes, other shells form a mouth.  A 
     tube shell and conch form a pipe.

185   INT. CAVE - FIRE - NIGHT                                    185   

     The fish are being smoke under a palm frond.  Eel skins hang 
     from sticks, roasting.


     Screenplay-Cast_Away                                   p. 66

     Chuck sits by the fire, hafting a stone knife onto a wooden 

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

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

186   INT. CAVE - NIGHT - LATER                                   186   

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

187   EXT. CLIFF - SUNRISE                                        187   

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


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


     As he watches them, a light comes back into his eyes.  He 
     grins.  There's a big gap where his teeth had been.  He turns 
     and strides down the hill.

188   EXT. CLIFF - MOMENTS LATER                                  188   

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

189   INT. CAVE - MOMENTS LATER                                   189   

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

190   EXT. SUMMIT - EVENING                                       190   

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

     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.


     Screenplay-Cast_Away                                   p. 67

               Chips?  Dip?

     But Wilson declines.

                           CHUCK (CONT'D)

     He takes a big crunchy bite.

                           CHUCK (CONT'D)
               Another fucking day in paradise.

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

191   EXT. ROCKY LEDGE - NIGHT - LATER                            191   

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

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

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

192   EXT. LEDGE - MOMENTS LATER                                  192   

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

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

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

193   INT. CAVE - LATER                                           193   

     Chuck wraps his foot in bandages.

194   INT. CAVE - LATER                                           194   

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

     Chuck sticks the scalpel onto some coals to sterilize it.  
     He holds it over his foot, takes a breath, then jabs in into 
     the wound.  The pain is intense.  Chuck passes out.


     Screenplay-Cast_Away                                   p. 68

195   INT. CAVE - NIGHT                                           195   

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

196   INT. CAVE - DAY                                             196   

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

               Help me, Wilson...

     He collapses again.

197   INT. CAVE - NIGHT                                           197   

     Chuck stirs and squints his eyes.  He takes a drink of water.

     He is feeling better.  He puts another log on the fire and 
     slowly begins to chew on some breadfruit and dried fish.

198   EXT. BEACH - LATER                                          198   

     Chuck slowly wades into the water, favoring his injured foot.

     But something feels different.  He glances around.  What is 
     it?  And then he sees something, perhaps the worst possible 


     A SAIL is moving steadily away from the island.


     Throws down the spear and waves his arms.

               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 (CONT'D)
               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.


     Screenplay-Cast_Away                                   p. 69

199   EXT. SUMMIT - LATER                                         199   

     Chuck struggles to the top of the hill.  His fire has been 
     extinguished by the rain.  In the distance, far against the 
     horizon, he sees a sail -- or is it a cloud?  The whiteness 
     shimmers against the horizon.  Chuck squints.  Whatever it 
     was, it is gone.  Above him some contrails from jets mark 
     the sky.

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

200   EXT. BEACH - LATER THAT DAY                                 200   

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

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

201   EXT. CAVE - NIGHT                                           201   

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

202   EXT. SUMMIT - DAY                                           202   

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

203   EXT. CLIFF - MOMENTS LATER                                  203   

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

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

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

     Traces it with his fingers.

204   INT. CAVE - DAYS LATER                                      204   

     Chuck has the beginnings of an artist's studio.  Several 
     large clam shells hold paint.  A few egg shells are lined 

     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.


     Screenplay-Cast_Away                                   p. 70

205   INT. CAVE - DAY                                             205   

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

206   INT. CAVE - DAY                                             206   

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

207   INT. CAVE - NIGHT                                           207   

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

     Chuck picks up Wilson, thinks.

               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 (CONT'D)
               Wilson, you bad!

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

                           CHUCK (CONT'D)
               What do you think?

     But Wilson doesn't have an opinion.

                           CHUCK (CONT'D)
               You don't share much, do you?

     Idly Chuck takes down the Angel Box.

                           CHUCK (CONT'D)
               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 

     Dissatisfied, he wipes it away.  He looks at the Angel Box.


     Screenplay-Cast_Away                                   p. 71

     Casually he reaches over and cuts it open with a stone knife.

     Inside he finds two bottles of green salsa.  And a letter.

     He reads over it.

                           CHUCK (CONT'D)
               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 (CONT'D)
               He never got it.

208   EXT. ISLAND - DAY                                           208   

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

209   INT. CAVE - DAY                                             209   

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

               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.


     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.


     Screenplay-Cast_Away                                   p. 72


     Shimmers in a gourd.  Chuck's face swims into focus.  It has 
     been painted white.  Looking at himself in the reflection, 
     he dots on blue stars with dark blue from squid ink.

210   EXT. CAVE - LATER                                           210   

     The rains have stopped.  The island is washed bright and 


     As he stands up in the cove.  His face is white with blue 
     stars.  Handprints circle his torso, flanked by red lightning 
     bolts.  Braided cords circle his biceps.  Bone necklaces 
     hang from his neck.  Feathers jut out from his hair.

211   EXT. JUNGLE - DAY                                           211   

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

212   EXT. PALM GROVE - DAY                                       212   

     He covers the calendar trees with handprints.  Then stops.

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

213   EXT. BEACH - DAY                                            213   

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


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


214   EXT. BEACH - LATER                                          214   

     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.

               What the hell are you waiting for?


     Screenplay-Cast_Away                                   p. 73

215   EXT. BEACH - LATER                                          215   

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

216   EXT. BEACH - LATER                                          216   

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

217   EXT. JUNGLE - DAY                                           217   

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

218   INT. CAVE - NIGHT                                           218   

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

219   INT. CAVE - NIGHT                                           219   

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

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

220   EXT. JUNGLE - DAY                                           220   

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

     Lashes more rope.

221   INT. CAVE - NIGHT                                           221   

     He sews dresses together with handmade fiber string.

222   INT. CAVE - NIGHT                                           222   

     He weaves videotape together to form a sea anchor.

223   EXT. BEACH - DAY                                            223   

     Chuck digs a channel toward the raft.

224   INT. CAVE - DAY                                             224   

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


     Screenplay-Cast_Away                                   p. 74

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

225   INT. CAVE - NIGHT                                           225   

     Chuck writes on the wall.

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

226   EXT. BEACH - DAY                                            226   

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

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

               Wilson, my main man.  Time to go.

     And he gently leads the raft into the lagoon.

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

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

227   EXT. LAGOON - DAY                                           227   

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

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

     But the next wave is already surging forward.  It smashes 
     the raft against the reef!


     Screenplay-Cast_Away                                   p. 75

     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 

     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.

               Wilson, we're out of here.

     He turns and begins raising the sail.

228   EXT. OCEAN - WIDE - MINUTES LATER                           228   

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

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

                                                     DISSOLVE TO:

229   EXT. OCEAN - DAY - FOUR WEEKS LATER                         229   

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

     Chuck is gaunt, his clothes rotted.

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

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


     Screenplay-Cast_Away                                   p. 76

               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 (CONT'D)
               Catch it catch it catch it --

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

230   EXT. RAFT - MOMENTS LATER                                   230   

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

     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.

               Save some for tomorrow.

               Catch another fish tomorrow.

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

231   EXT. RAFT - DAY - LATER                                     231   

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

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


     Screenplay-Cast_Away                                   p. 77

               Shit!  Shit!  Shit!

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

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

               Just get up and fix it.

               Too tired.

               Get up.

               Feels so good to lie here.

               Get up, damn you.

     Chuck comes to his knees.  Then sinks back down.

               Can't.  Need water.

               You've had today's water.


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

               No water, no work.

     Chuck tries another tack.  Sweet reason.

               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.


     Screenplay-Cast_Away                                   p. 78

               Do too much, I'll die.

               Do too little you'll die.

               Going to die anyway.

     That stops GoodChuck for a moment.

               Okay, look-- have an extra swallow.

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

               No more water, you said.

               Take it.


               Take it, damn it.


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

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

                           GOODCHUCK (CONT'D)
               Stop.  Enough.

     Then another.

232   EXT. RAFT - DAY - LATER                                     232   

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

               Think.  Got to use something else.


     Screenplay-Cast_Away                                   p. 79

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

               If they can't see you, what's the 

               Survive today, that's the point.

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

233   EXT. RAFT - NIGHT                                           233   

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

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

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

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

               Moon's too bright.

     We hear the fraying sound again.

234   EXT. RAFT - DAY                                             234   

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

               You're putting off the inevitable.

               I'm putting it off.

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

               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.


     Screenplay-Cast_Away                                   p. 80

                           BADCHUCK (CONT'D)
               You're rotting away.

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

     Rain falls like a sheet on Chuck.

                           BADCHUCK (CONT'D)
               Get water!

               Fix raft first.

               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.

235   EXT. OCEAN - DAY                                            235   

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

     Chuck lies on the raft, sick and weak.

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

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

     He slowly comes to his knees and stares at it.


     Screenplay-Cast_Away                                   p. 81

     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.

               You like that?

     Very slowly it drifts along with the raft.

                           GOODCHUCK (CONT'D)
               Lost your mate?

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

                           GOODCHUCK (CONT'D)
               You're beautiful.  Marry me.

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

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

                           GOODCHUCK (CONT'D)
               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.


     Screenplay-Cast_Away                                   p. 82

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

236   EXT. OCEAN - DAY                                            236   

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

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

               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 

     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 

     Picks it up.  Takes a long drink.

237   EXT. OCEAN - DAY                                            237   

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

               What are you doing?

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

               You fucking bleeding heart, you kill 
               or you die.

               Why do they have to die for me?

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

     Chuck listens.  Doesn't hear anything.


     Screenplay-Cast_Away                                   p. 83

               Got to eat.

     Chuck picks up the spear, stabs it, misses.

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

     Chuck looks at the dead fish and begins to sob.

                           GOODCHUCK (CONT'D)
               I am so sorry.

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

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

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

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

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

238   EXT. OCEAN - NIGHT                                          238   

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

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

               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 (CONT'D)
               Here!  Here!

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

     The lights move on.

                           CHUCK (CONT'D)


     Screenplay-Cast_Away                                   p. 84

     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.

239   EXT. OCEAN - DAY                                            239   

     Clouds are building up.  In the distance lightning flashes.

     The clouds come closer.

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

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

     Suddenly lightning shoots from the sky and strikes the ocean!

     A huge spout of water explodes like a depth charge.  The 
     CRACK is intense, then rolls away.

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

     Lightning flashes bursts through the rain.

               Sea anchor!  Let out the sea anchor!

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

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

     All Chuck can do is hold on.


     Screenplay-Cast_Away                                   p. 85

240   EXT. OCEAN - DAY                                            240   

     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.


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

                           CHUCK (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
                    (very softly)
               Take me with you.

     They're gone.

                           CHUCK (CONT'D)
               Why me?  Why me, God?

     He begins to laugh.

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

241   EXT. OCEAN - DAY                                            241   

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


     Screenplay-Cast_Away                                   p. 86

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

               You're falling apart.

     Tries to do another pushup.  Can't.

                           BADCHUCK (CONT'D)
               First you eat your fat, then you eat 
               your muscle.

     He rolls over.

                           BADCHUCK (CONT'D)
               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.

               Roll on you deep and dark blue ocean 

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

                           GOODCHUCK (CONT'D)
               I'm late, I'm late, for a very 
               important date.

     They slowly close again.

               I'm lost.  Goodbye.


     His eyes come open again.

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

               You quitter you quitter you quitter.

               The sea is lovely, dark and deep.


     Screenplay-Cast_Away                                   p. 87

               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 

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

               If I don't have a sea anchor I'll 

               Die tomorrow or die today.

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

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

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

               Yeah, sure, what?

     He hums to himself, begins to sing, Beatles.

                           BADCHUCK (CONT'D)
               I'm so tired, my mind is on the 

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

     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.

     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.


     Screenplay-Cast_Away                                   p. 88

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

               What?  Are you sacrificing yourself 
               for me?

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

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

242   EXT. RAFT - NIGHT - MOMENTS LATER                           242   

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

               Damn it!  I had to do it!

     The banging continues.

                           GOODCHUCK (CONT'D)
               I'm sorry!

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

     There's a smaller fish inside it.

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

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

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

                           GOODCHUCK (CONT'D)
               Forgot to say grace.  Sorry Mom.

     He struggles to remember.

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

     He eats them.


     Screenplay-Cast_Away                                   p. 89

243   EXT. RAFT - NEXT MORNING                                    243   

     Chuck splashes sea water on his face.  Adjusts the water 

               Please don't leak.  Please.

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

                           GOODCHUCK (CONT'D)
               Don't look at me.  It was that Dorado.

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

                           GOODCHUCK (CONT'D)
               You know, Wilson, every now and then 
               we should say thank you.  Thank you 

               Thank you for fucking up my life.

     Suddenly something bumps the raft.  Hard.  Then again.

               Not again.

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

               He's going to get you, going to get 

     Another one circles in, bumps the raft.

               Get away from me!

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

                           GOODCHUCK (CONT'D)
               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.


     Screenplay-Cast_Away                                   p. 90

                           GOODCHUCK (CONT'D)
               Where are you?  Where are you?

     Stabs again and again at the empty ocean.

                           GOODCHUCK (CONT'D)
               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 

     Then the shark is gone.

244   EXT. RAFT - DAY - MOMENTS LATER                             244   

     Chuck lies back on the raft.  He is humming.

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

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

     He smiles at the thought.

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

     Thinks about that, it spoils the picture.


     Screenplay-Cast_Away                                   p. 91

                           GOODCHUCK (CONT'D)
               No shrimp.
               We eat.

     He closes his eyes.  This is the greatest fantasy.

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

     Chuck thinks over the options, thinking of each one.

                           GOODCHUCK (CONT'D)
               Why, bring them all, bring them all.

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

     Chuck jumps to his feet.  Waves.  Screams.

                           GOODCHUCK (CONT'D)
               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.

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

               Oh, shiiiittt!

     Then comes the wake of the ship.  It rocks the raft like a 
     piece of flotsam.


     Screenplay-Cast_Away                                   p. 92

     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 

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

                           CHUCK (CONT'D)
               Permission to come aboard, sir.

               Permission granted.

               May I ask, where are you bound?

               San Francisco.  And you?

               As it happens, I'm headed for Frisco 

               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...

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

     The depression comes back again.

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

               They're on autopilot.

               They're always on autopilot.


     Screenplay-Cast_Away                                   p. 93

                           BADCHUCK (CONT'D)
               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.

               Damn it!  Don't be so negative!

     Chuck picks up Wilson.

                           GOODCHUCK (CONT'D)
               Wilson, what's your story?

     He holds Wilson close to his chest.

               I float.  You sink.  End of story.

               I'm serious.  I'm always going on 
               about me, me, me.  Enough about me.  
               Your turn.

               It's a fucking soccer ball, you idiot.

               Shut up.

     He lies on the raft and holds Wilson close.

     We move up until we see --

245   EXT. OCEAN - AERIAL - EVENING                               245   

     Chuck lying curled up on the raft, Wilson cradled in his 
     arms, and all around the vast empty ocean.

246   EXT. OCEAN - NEXT MORNING                                   246   

     Chuck slowly wakes up.  Sets Wilson aside.

               Don't shirk, don't procrastinate, 
               don't be lazy.  We're okay today.  
               We're okay today.

     And the other Chuck begins to laugh.

                           GOODCHUCK (CONT'D)
               Shut up.

     The laughter goes on.


     Screenplay-Cast_Away                                   p. 94

                           GOODCHUCK (CONT'D)
               Shut the fuck up!  I mean it.

     He stands up and checks the horizon.

                           GOODCHUCK (CONT'D)
               What's so damn funny?

               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.


               Look again, asshole.  It's a mirage.

     Chuck squints.

               It's real.

               Nothing out there but ocean.

               Let's get a second opinion.  Wilson?  
               What do you see?

     Chuck picks up the soccer ball, holds it up, and stares out 

247   EXT. RAFT - DAY - LATER                                     247   

     Chuck slowly writes on the sail.

               Chuck Noland.  Born October 8, 1958.
               Died -- pick a date -- July 11, 1998.  
               And now the epitaph.  Met deadlines.  
               Kept appointments.  Lost without a 

     He sits back, looks at the mock headstone.


     Screenplay-Cast_Away                                   p. 95

               What did it matter if FedEx was five 
               minutes late one day?  The next day 
               we just start over again.

               It matters.  We do the best we can, 
               that's all we have.

               Then we've just got shit.

     He goes on writing.

               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 

               Is that it?  Life is a fucking Disney 

     The waves begin to grow, the ocean turns a slate gray.  Far 
     above him, great frigate birds circle.  Suddenly one dives 
     on a booby which has caught a fish.  The great frigate bird 
     swoops all around the booby until, panicked, it drops the 
     fish, which plummets toward the sea.

     With a graceful dive, the huge bird grabs the fish and then 
     soars up on a thermal, high into the sky.

     Lightning flashes back and forth across the horizon, which 
     is turning black and dark.  Thunder rolls.

248   EXT. RAFT - NIGHT                                           248   

     The raft goes up and down huge waves.  Every few seconds 
     lightning flashes, illuminating the raft and Chuck holding 
     desperately to it, his eyes wild with fear.

249   EXT. RAFT - MORNING                                         249   

     The waves continue.  Chuck holds on, his face pale.

               You can't make it.


     Screenplay-Cast_Away                                   p. 96

               Shut up.  I don't feel like dying 

250   EXT. OCEAN - DAY - LATER                                    250   

     The sky clears.  The waves are still big.  The fish are back.

     And then come the sharks, cutting through the water.  Chuck 
     can't get up to get his spear, he just has to watch as blood 
     darkens the water.

     And then the sharks are gone.

     Chuck comes to his knees slowly, then a big wave hits.

     Wilson is swept into the ocean!

     For a moment Chuck is uncomprehending.  He watches as Wilson 
     slowly floats away.

               Please, no sharks.

     Then he dives in to the water!  Swims frantically after 

     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 (CONT'D)
               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 (CONT'D)
               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.


     Screenplay-Cast_Away                                   p. 97

     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 (CONT'D)

     Nothing but waves.

     This is too much.  Chuck starts to cry.

251   EXT. RAFT - DAY - LATER                                     251   

     Chuck takes a swallow of water, washes it around in his mouth, 
     then swallows.  With his wet tongue he licks his cracked 

     The sun breaks through the clouds.

     With what strength he has left, Chuck raises the canopy, 
     fastens it.

     He sits in the meager shade, his head between his knees.

     Closes his eyes.  Just for a minute.

252   EXT. OCEAN - DAY - LATER                                    252   

     A different sort of shadow crosses Chuck's face.  He opens 
     his eyes.

     There, riding right beside his raft, is a ship, a huge rusty 
     tanker.  Someone shouts down in a language we don't 

     Chuck sits up, can't believe it.  Struggles to cover himself.

253   EXT. OCEAN - DAY - LATER                                    253   

     Chuck is lifted up the rusted steel side of the boat in a 
     Jacob's ladder.

254   EXT. SHIP - DAY - LATER                                     254   

     Chuck steps on board, can't support himself.


     Screenplay-Cast_Away                                   p. 98

     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.

               Thank you.  Oh thank you.

     Deliriously happy.  Delirious.

255   INT. U.S. NAVAL HOSPITAL - HAWAII                           255   

     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."

               My favorite doctor.  What's the 

               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 (CONT'D)
               Hemoglobin's 10.8 -- you're anemic, 
               that's why we're giving you iron.  
               Potassium's low -- we're giving you 
               an electrolyte solution with your 
               IV.  Sodium's over 150, way too high.  
               You may experience swelling in your 
               extremities as you rehydrate and 
               discharge the salt.


     Screenplay-Cast_Away                                   p. 99

                           DOCTOR (CONT'D)
               In spite of your dietary deficiencies 
               there's no sign of mental 

     Chuck has been trying not to laugh.  Now he can't stop 

                           DOCTOR (CONT'D)
               What's so funny.

     Chuck can't seem to help laughing at everything.

               Sorry...sorry... Why do my joints 
               still ache?

               Dehydration. Vitamin deficiency.  
               Protein deficiency.  Any or all of 
               the above.

               All I ate was fish.  That's solid 

               Protein digestion is very costly in 
               water usage.

               Which I didn't have.

               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.

               I am one lucky guy.

               Your body chemistry and your exposure 
               to the elements would normally lead 
               to irritability, depression, anxiety, 
               periods of self-reproach.


     Screenplay-Cast_Away                                  p. 100

                           DOCTOR (CONT'D)
               It's almost like schizophrenia.  
               Different sides of your personality 
               might come to life, speak out, act 

               But all that's behind me.  I'm fine 

     He starts to laugh again.

               If you say you are.

               I most definitely say I am.

               Doctor Hegel tells me he discussed 
               the Vietnam POW syndrome with you.

     Chuck stifles his laughter.

               Yes, yes he did.

               You are aware of the potential 
               disruptiveness on your loved ones 
               when you return to your old life?

               Not to mention on me.

     The laughter again.  Unsettling.

               You sure you don't want some 

     Chuck gives his biggest smile.

               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.

               Well, when that IV runs out, you're 
               through with us.  Just the dentist 


     Screenplay-Cast_Away                                  p. 101

256   INT. HOSPITAL - NIGHT - LATER                               256   

     Rolling his IV, Chuck walks very slowly out of the ward.

     Every step is an effort.

257   INT. PHONE CUBICLE - NIGHT - MINUTES LATER                  257   

     A small windowless room with only a desk and a phone, lit by 
     a fluorescent lamp.  Chuck is listening to the phone ring.

     Kelly answers.

                           KELLY (V.O.)

     Chuck is overcome for a moment, can't say a word.

                           KELLY (V.O.) (CONT'D)
               Hello?  Hello?

     For some reason he can't keep himself from laughing.  He 
     covers the mouthpiece and laughs.

     And then we hear a dial tone, harsh, mechanical, final.

258   EXT. PHONE CUBICLE - MINUTES LATER                          258   

     We can see Chuck inside, staring at the phone.

259   INT. PHONE CUBICLE - MINUTES LATER                          259   

     We hear a faint persistent hum.  Chuck looks around, trying 
     to locate the sound.  He looks up, focuses on the fluorescent 
     light, that background sound he can no longer tune out, then 
     picks up the phone again.

260   EXT. PHONE CUBICLE                                          260   

     Stan answers the phone.

                           STAN (V.O.)

               Stan, it's Chuck...Chuck Noland...

     The laughter again.

                           STAN (V.O.)
               Whoever you are, you are one sick 


     Screenplay-Cast_Away                                  p. 102

     And again we hear the dial tone.

261   INT. PHONE CUBICLE - MOMENTS LATER                          261   

     Chuck's on the phone again.

               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 

               It's me.

                           STAN (V.O.)
               You're fucking dead!

               I'm most definitely not dead.  And 
               as I recall, you're the sick fucker.

     Chuck begins to laugh, a little too loud, a little too shrill.  
     He's on a high.

262   EXT. HAWAII - BEACH RESTAURANT                              262   

     A terrace by the ocean.  Tables filled with diners.  Food 
     being delivered by waiters.  So simple, eating.  So taken 
     for granted.

     At one table sits Chuck, dressed in a Hawaiian shirt and 
     shorts, with a half-dozen plates in front of him.  He gestures 
     to the waiter.  Bring me more.  It all tastes so damned good.

     Behind him is the ocean.  Chuck doesn't glance at it.

263   INT. DENTIST - NEXT DAY                                     263   

     An attractive DENTAL TECHNICIAN with an Australian accent 
     cleans Chuck's teeth with an ultrasound device.  She's close, 
     very close.  Chuck looks up at her.  She looks really good.

     She smiles at him, then touches the gap where he knocked out 
     his tooth.


     Screenplay-Cast_Away                                  p. 103

               You sure you don't want to have the 
               implant done here?  We do quite good 

     Chuck shakes his head:  no.  She scrapes behind his front 

                           TECHNICIAN (CONT'D)
               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 (CONT'D)
               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 

     Chuck nods.  I follow you.

                           TECHNICIAN (CONT'D)
               But would he hear of me driving him 
               around?  Not on your bloody life.  
               Rinse please.

     Chuck does.  Stan bursts into the room.

               Chuck!  God damn!

     Chuck struggles out of the chair.

                           STAN (CONT'D)
               God damn.  God damn.  God damn.

     They are both almost overcome.  Stan holds Chuck by the 
     shoulders and looks at him.

                           STAN (CONT'D)
               You're alive, you're fucking alive!

     Chuck laughs, thrilled to see Stan.

               I beat the odds!


     Screenplay-Cast_Away                                  p. 104

               You beat 'em to shit, pal!  Jesus!

               I still need to floss you.

     Stan notices the technician.


               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.



     And he and Chuck make eye contact and we see a glimpse of 
     their shared unspoken irony.

                           STAN (CONT'D)
               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 (CONT'D)
               She thought you were dead.  We all 

     That's not all Stan wants to say.  But Chuck is limping out 
     the door.

264   INT. DENTIST - WAITING ROOM                                 264   

     Typical dentist waiting room.  Chairs, tropical fish tanks, 
     magazines, a few waiting patients...and Kelly, looking 

     Slowly and painfully Chuck enters.  He's quite a sight.  She 
     stands up.  There's a long moment where they look at each 


     Screenplay-Cast_Away                                  p. 105

     Then she comes into his arms.  Holds him tight.  She's part 
     laughing, part crying.

               I'm sorry... I'm sorry...

     's okay!

     Chuck is happy, he's still riding the high.

               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.


     She disengages, looks at him with that old smile.

               Right back, you said you'd be right 

               A few things came up.  Or went down.

     He meets her gaze, looks her over with a smile.

                           CHUCK (CONT'D)
               You look...wonderful.  I like your 

     He notices the ring on her hand.

               I got married.

               I thought you might have.

               I would never --

               I know.

               If I'd known you were alive --


     Screenplay-Cast_Away                                  p. 106

               I would have done the same thing.

     His responses come so quick.  Chuck seems blissfully sure of 

               I didn't want to.  It just happened.  
               One day Gary was there.  He took 
               care of everything.  He took care of 
               me.  I was a mess.

               You have any children?

     Kelly nods.

                           CHUCK (CONT'D)
               Got a picture?

     Kelly fishes for a photo, shows it to Chuck.  It's a little 
     girl with a dog.

               Her name's Hannah.

               Is that Jango?

               No, this is Jack.  Jango was hit by 
               a UPS truck.  Can you believe it?

     Chuck laughs.  It is funny, sort of.

               Life's just one big joke after 

     Stan appears, takes in the scene.  The few patients waiting 
     are edged into the corners, trying to look occupied with 
     something else.

               How about we go somewhere else?

               Want to see my raft?

265   EXT. HAWAII - DAY                                           265   

     Chuck's raft sits up on a dock.  Kelly stands staring at it.


     Screenplay-Cast_Away                                  p. 107

     How small and fragile it looks.

               This stinks really bad.

               You should have smelled me.

     Stan examines the ropes around the logs.

               Cool ropes.

               I braided them.

               Must have taken a hell of a long 

               Time I had lots of.

     Kelly points at something on the raft.

               What's that?

               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.

               You were how long on this?

               Forty-three days.

     They look at the tiny raft.  It speaks for itself.

               All that time I waited to go on a 
               cruise, and you went without me.

               Yeah, well...couldn't be helped.


     Screenplay-Cast_Away                                  p. 108

     Kelly notices the sail, sees the writing on it.

               What's that, written on the sail?

               My epitaph.

     Kelly reads it to herself.  Her eyes are moist.

                           CHUCK (CONT'D)
               Bad body chemistry.  Made me a little 
               morbid.  But I'm all over that now.

     And he seems really to believe it.

               I'll be at the car.
                    (to Kelly)
               Take you to the airport.

     And he leaves.

               I buried you, Chuck.  They had to 
               pry my fingers off your coffin.

     This interests Chuck to no end.

               There was a coffin?

               Yeah, coffin, headstone, the whole 

               What was inside?

               Your calendar, your cell phone, your 
               whoo pig sooey hat, some pictures of 
               that ketch you wanted.

               That about sums it up.

               Maybe now's when you tell me about 


     Screenplay-Cast_Away                                  p. 109

               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.


               The tide came in, the tide went out.  
               I survived.  That's the headline.  I 

               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 (CONT'D)
               Come on.  Try.

               Cliches, mainly.  Don't take anyone 
               for granted.  Don't sweat the small 
               stuff.  Live each day like it's your 

               So simple to say, so hard to do.

               Not when you have no choice.

     Kelly looks down at the raft.  It's so small.

               You hated being alone.  Couldn't 
               stand it.  Busy every minute.  Always 
               plugged into something.

               I didn't know what really being alone 
               was.  No one back here does.

     He has something more to say.  She waits.

                           CHUCK (CONT'D)
               We're not meant to be alone.


     Screenplay-Cast_Away                                  p. 110

                           CHUCK (CONT'D)
               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.

               This is so unfair.

               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.

               You okay?

               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?

               What will you do?

               I don't know.  I really don't know.

     We hear a distant beep-beep, discrete as a car horn can be.

               I've got to get back to Memphis.  
               Hannah's babysitter has finals.

               It means a lot...that you came.

               I had to come.  To be sure you were 

     They hold each other.  For a long time.

                           KELLY (CONT'D)
               I love you, Chuck.


     Screenplay-Cast_Away                                  p. 111

               You too.

               I'm so glad you're alive.

     Chuck grins.

               You too.

     Then she heads for the waiting car.  Chuck stands by his 
     raft, watching her go.

266   INT. FEDEX PLANE - NIGHT                                    266   

     Chuck and Stan ride on the plane.  Chuck is coming down off 
     his survival high.  He has the Angel Wing FedEx package with 

               When I first showed up, I thought 
               you'd lost your fucking marbles.

               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.

               You need a drink.

     Stan takes two glasses from his bag, rests them on a FedEx 
     container, and pours the whiskey.

               For years my only drinking buddy was 
               a soccer ball.  Wilson.

     Stan hoists his glass.

               To Wilson.

               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.


     Screenplay-Cast_Away                                  p. 112

               So, what's it all about?

     Chuck stares at him.

                           STAN (CONT'D)
               You've been over the line and you 
               came back.  You've been saved, 


     Stan looks over at him.

               I'm serious.  The burning bush, the 
               big picture, the words in neon...

               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.

               Do what it takes.  That's what I 
               always told you.

     He pours another drink.

                           STAN (CONT'D)
               To life.  Fuck 'em if they can't 
               take a joke.

               To life.

               That's all there is.

               Believe me I know.

     He takes a sip of his drink, just savoring it, thinking.

                           CHUCK (CONT'D)
               But it's not being bold or being in 
               the game or rolling the dice.

     All those things Stan used to tell him.


     Screenplay-Cast_Away                                  p. 113

                           CHUCK (CONT'D)
               When I was going crazy, on the raft, 
               I'd argue with myself about 
               everything.  Because everything had 
               a price.  To get anything -- a sip 
               of water, a little corner of shade, 
               an hour's sleep -- I had to let go 
               of something else.  And then I could 
               never get it back.

     He thinks some more.

                           CHUCK (CONT'D)
               You don't win or lose.  You win and 

     He looks out the window.

                           CHUCK (CONT'D)
               You win and lose.

     And Chuck has.  Big time.

267   EXT. MEMPHIS AIRPORT - NIGHT                                267   

     A FedEx MD-11 lands.

268   EXT. MEMPHIS SUPERHUB - MOMENTS LATER                       268   

     The MD-11 taxis up.  As usual, the SuperHub is a frenzy of 
     activity.  A loading crew stands ready, forklifts poised.

     Even this plane carries packages.

     PHIL STEELE, the chairman of FedEx, Leslie, Becca, Dick, and 
     other executives wait on a special podium near the gangway.

     Everyone looks different -- older, a mustache here, a 
     thickening around the belly there.

     Behind a barrier a cluster of cameras film the scene.

     The plane cuts its engine.  The stairs are rolled out.

     Forklifts and gangways move forward.  Cargo doors open.

     Chuck appears in the door.  He holds the FedEx Package and a 
     small travel bag.

     Chuck blinks against the lights and the glare.  Stan is right 
     by him.  Everyone bursts into APPLAUSE AND CHEERING.


     Screenplay-Cast_Away                                  p. 114

     After four years of total solitude this is completely 


     Chuck smiles.

                           STAN (CONT'D)

     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.

               Oh Chuck --

               Where's Mom?

               Waiting for you.  At the farm.  This 
               was too much --

     He looks around at the crowds.

               Tell me about it.

     Stan nudges Chuck.  Time to go to the podium.

               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.

               Wow.  Thank you.  Great.  Thank you.  
               Hey, Rasheed, how you doing?  Thank 
               you all.


     Screenplay-Cast_Away                                  p. 115

269   EXT. SUPERHUB - WIDE                                        269   

     Chuck makes his triumphant way through this amazing collection 
     of cheering people like Moses parting the Red Sea.

270   EXT. SUPERHUB - PLATFORM                                    270   

     With a big smile Phil Steele holds out his hand to Chuck.

               Welcome home.

     He steps to the microphone and addresses the SuperHub.

                           STEELE (CONT'D)
               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.
               Stop the line!

271   EXT. SUPERHUB - SERIES OF SHOTS                             271   

     All over the SuperHub, belts come to a halt.  Forklifts stop.

     Tracking stations shut down.  The vast flow of packages is 
     suddenly still.  The incredible din of activity is suddenly 
     quiet.  The stillness and the silence are unexpected and 
     palpable.  Thousands of workers stop as well, staring either 
     up at Chuck directly or at his image on video screens.  We 
     hear Phil's voice piped in.

272   EXT. SUPERHUB - PLATFORM                                    272   

     Phil holds a plaque.

               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 (CONT'D)
               Chuck endured years of hardship and 
               loneliness.  Like Lazarus, Chuck has 
               come back from the dead.


     Screenplay-Cast_Away                                  p. 116

                           STEELE (CONT'D)
               Chuck, this is your family, all of 
               us.  So it gives me great 
      take this plaque...and 
               to present it to our long lost son.  
               Welcome home.

     He hands the plaque to Chuck.  Chuck acknowledges the cheers 
     of the crowd.

               Thank you.  Thank you very much...

     Everyone applauds.

                           CHUCK (CONT'D)
               Give me a minute.  I've spent four 
               years looking out at an empty ocean.

     He laughs, a short brittle laugh, composes himself.

                           CHUCK (CONT'D)
               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 (CONT'D)
               You've added some new belts, and 
               what's that?

     He points at some high tech equipment on the edge of the 

               Digital laser readers.

               Digital laser readers.  Wow.  

     He looks around at everyone, doesn't know what else to say.

                           CHUCK (CONT'D)
               I've never heard it this quiet.  
               Shouldn't you all be getting back to 

     The tension is broken.  Everyone laughs.  Phil Steele motions 
     with his hand.  Let it be done.


     Screenplay-Cast_Away                                  p. 117


     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.

273   INT. CAR - MEMPHIS FREEWAY                                  273   

     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.

               Take your time.


               That's what it's about.

               Being patient.  Don't rush things.  
               I get it.

     He swerves into another lane.

               Not just that.  Take your time.  Use 
               it.  Live it.

               Deep, real deep.

     He grins, cuts across to the exit.

                           STAN (CONT'D)
               So where to?  The office?  The hotel?  
               The beach?

     Chuck stares at him.  Are you kidding?

                           STAN (CONT'D)
               What, then?

               Deliver this package.  Then, I dunno.


     Screenplay-Cast_Away                                  p. 118

                    (re: the package)
               You want that delivered, we'll deliver 
               it.  That's what we do.

               I need to do it.

               Finish what you started.  You haven't 
               changed, Chuck.  It's still you.  

               You want to help, help me find the 
               woman who sent this.

274   INT. OPERATIONS CENTER - DAY                                274   

     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.

               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 
               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.

               What about the sender?

               Sure.  Bettina Peterson.  Marfa, 
               Texas.  Let's run a current check.

     He works some keys, waits.

                           TECHNICIAN (CONT'D)
               Hmmm.  Durango, Colorado; Asheville, 
               North Carolina, then...canceled her 

               Can you find her?


     Screenplay-Cast_Away                                  p. 119

               You're looking at a Level III search.  
               For your Level III, you gotta have E-
               4 authorization.  I don't have it.

               I do.

     He holds out a badge.

               Okay, let's let it rip.

     He starts to pull up the data.

               Thanks.  For everything.

               No sweat.

275   EXT. CHUCK'S MOTEL - THAT NIGHT                             275   

     Chuck leaves the motel, the Angel Box under his arm.  He 
     ties it into a pannier on the side of a bicycle.

276   EXT. MEMPHIS - CHICKASAW GARDENS - NIGHT                    276   

     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.

277   EXT. CEMETERY - NIGHT                                       277   

     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 

     He gets back on his bicycle and rides away.

278   EXT. HIGHWAY - DAY                                          278   

     Chuck rides his bicycle down a road leading into the South.

279   EXT. FREEWAY - DAY                                          279   

     Chuck negotiates an overpass crossing an Interstate Highway.

     Headed in both directions, cars whoosh by beneath him.


     Screenplay-Cast_Away                                  p. 120

280   EXT. HIGHWAY - DUSK - LATER                                 280   

     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.

281   EXT. ARKANSAS - NIGHT                                       281   

     Chuck gets off his bicycle in the rain and walks toward a 
     roadside cafe.

282   INT. CAFE - NIGHT                                           282   

     Chuck draws on a paper place mat as he waits for his meal at 
     a counter.  Above the counter the television plays.

               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 

     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 

     Chuck is staring at the screen, seeing his cave, seeing all 
     those years.

                           DINGO DODD (CONT'D)
               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.


     Screenplay-Cast_Away                                  p. 121

     The waitress looks over at Chuck.  The other clients look at 
     him too.

               Check, please.

     The waitress comes over.

               No charge, honey.  But could you 
               just sign that place mat for me?

     Chuck looks down at his doodling.  Hesitates.  Then signs 
     his name.

283   INT. TYSON'S CHICKEN - ARKANSAS - DAY                       283   

     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.

284   INT. TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY              284   

     We are in the office now.  Chuck's Mom's eyes are moist.

               When'd you start working here?

               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 --

               I wanted to come here.

285   INT. FRAME HOUSE - ARKANSAS - DAY                           285   

     Chuck eats a Southern fried drumstick.  The table is full of 
     home-cooked food.

               Have some more potato salad.

     Chuck gestures, no, I'm full.  She puts down the spoon.

               That was great, Mom, just great.


     Screenplay-Cast_Away                                  p. 122

     He looks around the house, everything in its place.  His 
     mother has been here for forty years.  There's a big crack 
     running down from the ceiling.

                           CHUCK (CONT'D)
               I've got all this back pay coming.  
               Why don't you let me get you a place 
               in town?

               This is my home.  I'm part of the 

     She studies him for a moment.

                           MOM (CONT'D)
               You miss it, don't you?  You miss 
               that island.

     He does, but that's not it entirely.

               Miss that island?  Mom, come on.

     She looks at him.  She knows her boy.

               What a journey you've had.  It seems 
               more than a person should have to 

               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.

               Remember the family motto.  In time.  
               It will come to you, in time.

286   EXT. ARKANSAS - DAY                                         286   

     Chuck rides away from the small neat frame house, down a 
     country lane with trailers up on blocks.

287   EXT. GULF COAST - DAY                                       287   

     Chuck leaves a cheap motel as the sun comes up.


     Screenplay-Cast_Away                                  p. 123

288   EXT. MISSISSIPPI GULF COAST - DAY - LATER                   288   

     Chuck rides on a ferry, the wind blowing his face.  The sky 
     is gray and drizzly.  He smells the salt water.  Watches the 

289   EXT. GAS STATION - DAY                                      289   

     Chuck asks for directions.  A kid in baggy pants and no shirt 
     points him down the road.

290   EXT. GAS STATION - MOMENTS LATER                            290   

     Chuck pulls some clothes out of his saddle bags.

291   EXT. GAS STATION - MOMENTS LATER                            291   

     Chuck emerges from the restroom wearing a FedEx shirt and 

292   EXT. BEACH HOUSE - HOUR LATER                               292   

     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.

               FedEx for Bettina Peterson.

     The woman stares in disbelief at the package she hasn't seen 
     in years and never expected to see again.

               Where did you get that?

     Chuck displays a FedEx badge.

               Charles Noland.  FedEx Special 

     Bettina notices Chuck's bicycle.

               You came on a bicycle?  No wonder 
               it's so late.


     Screenplay-Cast_Away                                  p. 124

               There was an unavoidable delay.

     Bettina stares at the package, her own memories coming back.

               Well, I have to say, I'm impressed.  
               You never gave up.


     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.

               You know what happened to this?

               As much as anybody.

               Want to come in?  Get dry for a 

               Okay.  Sure.

     She lets Chuck in the door.

293   INT. HOUSE - DAY                                            293   

     Ladders.  Scaffolds.  Huge paintings are everywhere.

     Paintings of wings and angels -- like the package.  Chuck 
     stares at them.  Bettina watches Chuck stare.

               I've got some coffee on.  Would you 
               like some?

294   INT. KITCHEN - LATER                                        294   

     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.

                    (takes a sip)
               It's good.


     Screenplay-Cast_Away                                  p. 125

     They smile awkwardly at each other.  She starts to open it.

               Hmmm.  Feels like it might have gotten 

               Possible.  So you did those wings?

               Yeah.  A long time ago.

               They're harder to do than they look.

               Oh?  You've tried?

               Well, I do a little drawing --

     She's opened the package.  She pulls out the bottles of salsa 
     and the letter.

                           CHUCK (CONT'D)
               Our apologies that it never made it 
               to the recipient.

               He was a sorry sonofabitch, and I'm 
               sorry I ever married him.

     There is a moment where neither knows what to say.

                           BETTINA (CONT'D)
               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 (CONT'D)
               I can't believe this.  I -- I -- 
               They are... You're a gifted artist.  
               You're into something very powerful.  
               Primal.  Truly.

               Well, not really, I --

               You are.  Yes you are.


     Screenplay-Cast_Away                                  p. 126

                           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.

               To tell you the truth -- you did.

               Do you...have any more packages to 

               No.  that was the last one.

               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 



                           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 


     Screenplay-Cast_Away                                  p. 127

295   EXT. BEACH HOUSE - HOUR LATER                               295   

     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.

               Come back anytime.  Coffee's always 

     Don't even have to bring us a package.

               That was my last one.

     Bettina hands Chuck a sheet of paper.

               The list of paints and brushes I did 
               for you.

     He takes it, not exactly sure he wants it.

                           BETTINA (CONT'D)
               Keep painting.  Promise me.


296   EXT. BEACH HOUSE - MOMENTS LATER                            296   

     Chuck rides his bicycle away, along the shore.

297   EXT. BEACH - MINUTES LATER                                  297   

     Chuck rides along the beach.  Up ahead we see a FedEx truck.

298   EXT. BEACH - MOMENTS LATER                                  298   

     Chuck gets off his bike as a female FEDEX DRIVER puts chocks 
     under the wheels, which have stuck in the sand.

               Need some help?

               You bet I do.  High tide comes right 
               up to this road.

299   EXT. BEACH - MOMENTS LATER                                  299   

     Chuck pushes on the truck as the driver gives it gas.  The 
     truck slowly pulls back onto the pavement.


     Screenplay-Cast_Away                                  p. 128

300   EXT. BEACH - MOMENTS LATER                                  300   

     The Driver gets out of the truck with a grin.  She has an 
     open, friendly face.  There's an instant connection between 

               Hey, thanks.  I'd never have got 
               that out by myself.

     Looks at his uniform.  At the bike.

                           DRIVER (CONT'D)
               You're not out of Pascagoula, are 


     Where is he from, anyway?

                           CHUCK (CONT'D)
               I used to drive one of those.  A 
               long time ago.

               Hey, once a driver, always a driver.  
               You want a lift?  I've just got one 
               more pickup.


     He picks up his bike.

301   INT. FEDEX TRUCK - MOMENTS LATER                            301   

     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.

               You're Chuck Noland.


               I knew it!  You're a legend!  Mr. 
               Robinson Crusoe.


     Screenplay-Cast_Away                                  p. 129

               Well --

               I knew I recognized you.  My name's 

     They smile at each other.  Then she smiles a little more.

                           ERICA (CONT'D)
               Did you really steal a crippled kid's 
               bicycle to make your deliveries, or 
               is that just some bullshit story?

               I didn't steal it, and he wasn't 

     Erica laughs.

               Otherwise it's completely true.

     And that makes Chuck laugh, really laugh, for the first time.

               Yeah, completely.

     She looks over at him with a grin.

               What brings you out to the sticks?

               Had a package to deliver.

               You?  Personally?

               I had it on the island with me.

               Must be a story there.

     There's a connection building here, effortlessly.

302   EXT. BEACH - MOMENTS LATER                                  302   

     We are wide on the beach, watching the truck move along the 
     water, kicking up wisps of sand.


     Screenplay-Cast_Away                                  p. 130

                           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.) (CONT'D)
               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