LOST - Hearing Voices - Script
ACT TWO
EXT. ISOLATED BEACH - DAY
Sayid emerges and quickly takes in the scene, spotting the
dropped WALKIE-TALKIE instantly. He picks up the walkie
talkie.
SAYID
Shannon!
Looking around. No tracks.
SAYID (CONT'D)
Shannon!
Nothing. Shit. Nothing.
From close by in the jungle, MONSTER NOISES.
He whips around, faces the jungle, and very slowly backs
away.
It's quiet again, but for the first time we see Sayid
terrified.
INT. CLAIRE'S CAVE - DAY
Hurley is still asleep.
Claire sits against the cave wall, hugging herself. She
looks ill and scared and vulnerable.
From here, we can see Charlie's cave. Charlie steps out of
his cave -- scared shitless -- takes a tentative step towards
Claire, and then another, and then runs to her.
He stumbles to his knees, and is about to clutch her in his
arms, and Claire's response -- kind of spooked -- stops him.
He pats her on the shoulder. Friendly. Platonic. Awkward.
CHARLIE
Are you hurt?
CLAIRE
Is it gone?
CHARLIE
Think so. Don't hear it --
CLAIRE
Oh god.
CHARLIE
You're fine.
Claire takes deep breaths -- she's trying to avoid puking.
CLAIRE
Oh man.
CHARLIE
What? What -- the baby?
CLAIRE
I'm just pukey.
(admitting it)
I left my Zaconol on the beach.
CHARLIE
Za-what?
CLAIRE
For nausea --
-- and she ALMOST PUKES.
CLAIRE (CONT'D)
The stress just --
CHARLIE
I'll get it --
CLAIRE
It's not safe!
And there it is: an opportunity. Charlie gets up --
CHARLIE
If it takes an act of incredible
bravery to make you feel better,
I'm up for it.
Claire smiles, and it hits Charlie like sunlight.
CLAIRE
Don't be silly.
CHARLIE
Too late! Already going!
-- and he's off to --
EXT. THE VALLEY - DAY
It's still a mess, but Jack and a couple of the extras pick
debris out of the waterfall basin.
Jack notices Charlie emerge from the cave.
JACK
Everybody okay in there?
CHARLIE
Claire's a bit nauseous.
JACK
Well, she is eight months pregnant.
Charlie notices his guitar.
CHARLIE
And my guitar is okay!
JACK
That's great, Charlie.
Jack notices Hurley emerge from the cave, yawning and
confused by the destruction.
Jack walks over to --
THE ENTRANCE TO CLAIRE'S CAVE
-- to talk to him.
JACK (CONT'D)
Hurley -- you kind of know
everybody, right?
HURLEY
I guess --
JACK
I need you to go to the beach.
Make sure everyone's accounted for.
HURLEY
(not digging this)
Okay. Um, what happened here?
But Jack's already walking away.
Hurley looks around.
HURLEY (CONT'D)
Anybody?
(no reply)
Oh-kay...
EXT. ISOLATED ROCK FORMATION/NICHE - DAY
Shannon sits curled up in a niche in the rocks on the
isolated beach. It's quiet -- no sounds but the surf.
She nervously, quietly, and gracefully drops down to the
ground and steps back the way she came.
ERIC (O.S.)
You're just sneaking off? Alone?
You?
INT. FRONT DESK AT SABRINA'S COMPANY - DAY - FLASHBACK
A desk marked 'Reception'. A row of chairs. A few doors.
Clean, expensive, modern -- with many feminine touches that
make it warm and inviting.
Signage identifies this as "Harmony Weddings".
ERIC sits behind the desk, dressed impeccably, probably eye
candy for their female clients. Against all reasonable
expectation, he appears to be straight... at least judging
from how he looks at Shannon, who sits on the edge of his
desk, dressed a little provocatively.
ERIC
I shouldn't be doing this.
Shannon pats Eric's bicep playfully.
SHANNON
Eric --
(feeling)
Ooh! It'll be okay.
ERIC
I should at least tell --
SHANNON
It's a surprise.
She's giddy, child-like, and conspiratorial.
He's putty.
ERIC
Okay.
He hands over a FLIGHT ITINERARY. She giggles.
ERIC (CONT'D)
You still have to purchase the
ticket. I can't --
She's already exiting.
SHANNON
Thanks Eric!
INT. BOONE'S OFFICE - DAY - FLASHBACK
Boone has a spacious office. A BIG WINDOW with a SPECTACULAR
VIEW. INSPIRATIONAL POSTERS on the walls. A desk mostly
covered with EXECUTIVE TIME-WASTERS. He also has a BIG
CHECKBOOK and a FANCY PEN.
Boone sits at the desk -- Shannon has pulled up a chair
beside him.
BOONE
Why is it okay for me to give you
money now?
SHANNON
It's just eight hundred dollars.
But I need it right away.
BOONE
Right now?
And Boone sees something in Shannon's expression -- she's not
fucking around. She needs this money, and it's for something
that really matters to her.
SHANNON
Right now.
Sabrina sweeps through the door, carrying PAPERS. Sees
Shannon.
SABRINA
Oh.
Looks over Shannon's outfit --
SABRINA (CONT'D)
Pays to advertise, I guess.
Shannon does not shout at Sabrina. Nope. Nope. Not
screaming, not shouting, not throwing things at her. She
just gets off the desk and stands by the window.
SABRINA (CONT'D)
(to Boone)
We need a new collection agency.
She hands Boone the papers.
BOONE
We have clients in Hawaii?
SABRINA
Delinquent honeymooners.
Sabrina goes to the window as well.
SABRINA (CONT'D)
Have you picked over your dad's old
trash yet?
With Sabrina distracted, Boone casually writes out a check in
the checkbook.
SHANNON
It's not trash.
SABRINA
That would be "no", then. Come on,
Boone. You need to gladhand some
new clients.
Boone gets up and follows Sabrina out, but not before
catching Shannon's eye and glancing significantly at the
checkbook.
Shannon smiles, mouths 'thanks'.
Boone exits.
Shannon smiles -- not so much about the money, but because
she loves her brother.
EXT. ISOLATED BEACH - DAY - PRESENT DAY
Shannon emerges from the rock formations and spots, some
distance away --
Sayid. Face-down on the beach.
Shannon's shocked. Paralyzed. Afraid to come closer, but
she can't look away.
HE'S INJURED. Some scrapes and bruises on his body. Clothes
torn in places.
BLOOD IN THE WATER AROUND HIS HEAD. Oh, shit.
It's hard to tell just how serious it is, but he's OUT COLD.
As in the opening scene with young Shannon, the waves lap
past his face.
SHANNON
Arab guy?
She reaches towards him, stops.
She backs away a few steps.
Then IT'S LIKE SHE GOES INTO A TRANCE.
SHANNON (CONT'D)
Verona Beach.
She walks forward, in the same trance-ish state. Oblivious
to the whole 'don't move head-injury victims' thing, she
clumsily tugs Sayid out of the surf.
In the distance, something lets out a sustained BEEP.
That SNAPS HER OUT OF IT; she turns towards the noise.
Puzzled.
EXT. THE VALLEY - DAY
Jack picks things out of the pool as Michael follows him,
irritated.
JACK
It's an underground spring.
MICHAEL
Yeah, but it's gotta be uphill.
Jack isn't convinced.
MICHAEL (CONT'D)
Something's blocking it
aboveground.
Jack still isn't convinced.
MICHAEL (CONT'D)
Right now? While we're arguing?
The water is cutting a sluice
downhill. Once that happens, it's
all over.
JACK
How do you know it's uphill?
Not watching where he's going, he nearly runs over Kate.
KATE
I know, Jack.
Jack stops short. They're close. And sweaty. And not-very
clothed.
KATE (CONT'D)
I've tracked it.
JACK
Okay.
Jack heads towards the jungle path.
JACK (CONT'D)
I'll go and clear it up myself.
Kate overtakes him and blocks his way.
KATE
We're going with you, Jack.
JACK
No, you stay here.
Kate gives him a look: You don't tell me what to do.
JACK (CONT'D)
There's a monster out there. I'll
go, I'll fix the blockage, I'll
come back.
KATE
I know where the stream goes.
MICHAEL
I'll know how to redirect the
water --
Jack looks annoyed, but before he can say anything --
MICHAEL (CONT'D)
-- and somebody has to bring back
some water for my boy.
EXT. ISOLATED BEACH - DAY
Sayid is out of the water now, but just as unconscious.
Shannon, a short distance away, has spotted her walkie
talkie.
Unfortunately, it's right next to the cave entrance.
The cave is dark. Ominous.
Her expression: Oh, god. I do not want to do this.
She peers into the cave. Is something moving in there?
She takes a step forward.
MYSTERIOUS NOISES from the cave.
And another step forward. Almost crying.
Finally she RUNS FOR IT, NABS THE WALKIE-TALKIE, and RUNS
BACK to where she was before.
Winded, but relieved. Victorious.
What was I so worried about?
Behind her, a POLAR BEAR emerges from the cave, and ROARS.
END OF ACT TWO