Serenity (Episode)
EXT. SERENITY VALLEY - NIGHT
We come into the middle of a battle. Soldiers are yelling and running, gunfire everywhere, stuff blowing up but good.
Camera focuses on a soldier in the silhouette of an explosion, running and dodging fire. He hits the dirt for cover. We PUSH IN and see that it's Mal. His face is dirty and he's breathing hard.
Mal's up again and running to rejoin his company in a makeshift foxhole.
RADIO OPERATOR
Sergeant, Command says air support is holding
till they can assess our status.
MAL
Our status is that we need some gorram air support.
Now get back on line and tell 'em to get in here.
ZOE
That skiff is shredding us, sir.
RADIO OPERATOR
They won't move without a lieutenant's
authorization code, sir.
Angry, Mal walks over and rips off the badge from a dead Lieutenant's uniform and gives it to the Radio Operator.
MAL
Here, here's your code. You're Lieutenant Baker.
Congratulations on your promotion. Now get me
some air support!
(to Zoe)
Pull back, just enough to wedge 'em in here. Get your
squad to high ground, start picking 'em off.
ZOE
High ground is death with that skiff in the air.
MAL
That's our problem. Thanks for volunteering.
(to Bendis)
Bendis, give us some cover fire. We're going
duck hunting.
The foxhole is rocked by a huge explosion. Mal's group of soldiers are looking pretty young and scared. Time for a morale boost:
MAL
Just focus!
(beat)
The Alliance said they were gonna waltz through
Serenity Valley and we choked 'em with those words.
We've done the impossible and that makes us mighty.
Just a little while longer, our angels are gonna be
soaring overhead raining fire on those arrogant cod,
so you hold!
(yelling)
You hold! Go!
His soldiers take up their positions to lay down cover fire while Mal and Zoe prepare to take down the skiff.
ZOE
Really think we can bring her down, sir?
MAL
Do you even need to ask?
Mal pulls a necklace out from under his shirt and kisses the cross.
MAL
Ready?
ZOE
Always.
Mal takes off. Zoe prepares to follow, sees that no one's covering Mal.
ZOE
Bendis? Bendis!
She sees Bendis huddled across from her, scared stiff.
ZOE (cont'd)
(angrily)
Rut it.
Zoe grunts and stands up, laying cover fire for Mal as he moves down the hill. After a moment, she follows Mal down the hill, taking cover with him behind some boulders. Mal fires into the bushes, causing the soldier guarding a bigass gun to move out of his cover and return fire. Mal shoots him dead.
Mal activates the bigass gun's targeting system while Zoe covers him. Mal locks a target on the skiff that's been killing them in the battle and fires. He makes a direct hit and stands back from the bigass gun.
MAL
Yeah!
(manly grunt)
Then Mal realizes that the skiff is outta control... and headed right for him. Oh, shit. Mal starts running.
MAL
Zoe!
Mal and Zoe run as the skiff hits the ground and plows past them, exploding. Mal and Zoe hit the ground flat on their backs. Mal starts laughing. Zoe looks long-suffering.
ZOE
(entering foxhole,
to Bendis)
Nice cover fire.
MAL
Did you see that? Green, what's our
status on...
Mal trails off as he realizes Green is pretty damn wounded, possibly deader than a dead thing.
MAL
Zoe.
She looks up. Mal points. Zoe moves to check Green. Mal moves to sit near Bendis.
MAL (cont'd)
Hey, listen to me. Bendis, look at me! Listen,
we're holding this valley no matter what.
BENDIS
We're gonna die.
MAL
We're not gonna die. We can't die, Bendis.
You know why?
(beat)
Because we are so very pretty. We are just too pretty
for God to let us die. Huh? Look at that chiseled jaw.
Huh? C'mon.
There's a roaring sound overhead. Zoe is listening on the radio.
MAL (cont'd)
If you won't listen to me, listen to that. Those are
our angels coming to blow the Alliance to the hot place.
(to Zoe)
Zoe, tell the 82nd --
ZOE
(stunned)
They're not coming.
(beat)
Command says it's too hot. They're pulling out. We're to
lay down arms.
Mal's stunned, in denial. He looks at Bendis.
MAL
But what's...
Slowly, Mal stands and peeks over the top of the foxhole. His face is lit from their air support rising and retreating. Bendis stands next to him. Mal's in shock, watching his last hope pull out of the fight.
Beside him, Bendis is hit by enemy fire and falls. Mal doesn't notice.
PUSH IN on Mal's bloody face. On the disbelief.
INT. BLOWN-OUT SHIP - NIGHT
We are in some kind of burnt out wreck - all we see is twisted black metal, a few stars visible through breaches in the hull.
From top of frame, Mal floats upside-down into a close up. He is in a space suit. The title reads
SIX YEARS LATER
MAL
The vault's sealed.
(beat)
Okay. I'm gonna boil it. Jayne, give
me the sticky.
WIDEN to see Zoe and Jayne also suited up. They are in zero gravity, floating by a big iron door.
Jayne hands Mal an object that looks like a glue gun. Mal squeezes the trigger and clear gel comes out with a line running through it. He paints a line around the outside of the door.
ANGLE: THE GEL
as it eats through the door.
MAL
Okay. We get the goods, we're off this wreck and
back on the ship. No worries.
PULL BACK rapidly through the burnt out ship to REVEAL Serenity.
INT. SERENITY - BRIDGE - CONTINUOUS
Wash sits in the pilot's seat. He's concentrating intensely.
WASH
Everything looks good from here...
(beat)
Yes. Yes, this is a fertile land,
and we will thrive.
He's playing with little plastic dinosaurs. He holds a Stegosaurus and a T-Rex.
The dinosaurs look out over his dash/console, toward the window.
WASH (cont'd)
(as Stegosaurus)
We will rule over all this land, and
we will call it... "This Land."
(as T-Rex)
I think we should call it "your
grave!"
(Stegosaurus)
Ah, curse your sudden but inevitable
betrayal!
(T-Rex)
Ha ha HA! Mine is an evil laugh! Now
die!
(Stegosaurus)
Oh, no, God! Oh, dear God in heaven!
He makes them fight. As he does, a light near him flashes red.
He stops fighting, looks, then looks at a sort of radar screen.
ANGLE: THE RADAR SCREEN
has got three other dinosaurs on it. He sweeps them off as a blip appears in the upper right quadrant, closing fast.
WASH (cont'd)
Oh, motherless son of a b--
INT. BLOWN-OUT SHIP - CONTINUING
A piece of metal goes flying past Jayne.
ZOE
Full pressure. The goods must be intact.
ANGLE: INSIDE THE CHAMBER
Three crates, roughly the size of hay bales, sit in the dark.
MAL (cont'd)
Okay. Looking good.
A voice sounds simultaneously in all three headsets: Wash.
WASH (O.S.)
Captain, we got incoming! Alliance cruiser,
bearing right down on us!
MAL
(in Chinese)
[Ta ma de. -- "Oh shit!"]
(in English)
Have they spotted us?
WASH
I can't tell if --
MAL
Have they hailed us?
JAYNE
If they're here for the salvage,
we're humped.
ZOE
If they find us at all, we're humped.
Thievin' ain't exactly --
JAYNE
I don't like this.
MAL
(in Chinese)
[Shut up.]
(in English)
Wash, shut it down, Wash. Everything but
the air.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH
Shutting down.
He is flipping switches, we hear engines running down, lights go off - he hits the com:
WASH (cont'd)
Kaylee! KAYLEE!
INT. ENGINE ROOM - CONTINUOUS
KAYLEE's running into frame toward the engine room. She gets inside and hits the com:
WASH
Go to black out! We're being buzzed!
She hits the com --
KAYLEE
(in Chinese)
[Shi. -- "Affirmative."]
(in English)
Going dark --
and keeps moving, hitting switches. She climbs up on the engine to flip the last switch. Everything goes pretty damn black.
KAYLEE (cont'd)
Okay. Now I can't get down.
EXT. SPACE - CONTINUING
An Alliance Cruiser. Sleek and huge. The I.A.V. DORTMUNDER.
CAPTAIN (O.S.)
So what am I looking at?
INT. DORTMUNDER BRIDGE - CONTINUING
ENSIGN
It's a carrier, blew out a few months
back. Lost all hands, but it was only
run by a skeleton crew anyway.
CAPTAIN
Damn shame. No point in checking for
survivors...?
INT. BLOWN-OUT SHIP - CONTINUING
MAL
Wash, they slowing down?
INTERCUT WITH:
INT. BRIDGE - CONTINUING
WASH
That's a neg. Don't think they're
interested in us. We should be
eating wake in a minute or two.
INT. BLOWN-OUT SHIP - CONTINUING
Mal waits as through a piece of ripped out wall behind him, the ship, impossibly huge and dangerously close, passes by.
ANGLE: MAL'S FACE
As the reflection of the passing ship plays across his faceplate.
He is silent. So are the others.
EXT. BLOWN-OUT SHIP - CONTINUING
As the cruiser passes by, leaving the ship behind, all clear...
INT. DORTMUNDER BRIDGE - CONTINUING
A MAN seated at a screen suddenly looks concerned.
MAN
Sir, there is a reading on that
thing. Some residual heat...
CAPTAIN
Do a sweep.
INT. SERENITY - BRIDGE - CONTINUOUS
An alarm sounds, lights blink.
WASH
(in Chinese)
[ Aiya! Hwaile! -- "Shit on my head!"]
(in English)
Captain! We're humped!
INT. BLOWN-OUT SHIP - CONTINUING
MAL
Prep the ship now.
(to the others)
We move these in, double-time.
They float to the crates, start dragging them.
INT. SERENITY - BRIDGE - CONTINUOUS
Hitting buttons.
WASH
Kaylee, fire it up.
INT. DORTMUNDER BRIDGE - CONTINUING
The captain is watching the screen.
MAN
It's a transport ship. Firefly class.
ENSIGN
They still make those?
CAPTAIN
Illegal salvage.
INT. BLOWN-OUT SHIP
Continue conversation over Mal, Zoe, and Jayne retrieving the cargo:
CAPTAIN
Lowlife vultures picking the flesh off the dead.
ENSIGN
Should we deploy gunships and bring her in?
CAPTAIN
Do it.
INT. BLOWN-OUT SHIP
Mal, Zoe and Jayne all float their crates past the twisted wreckage.
MAL
Cry, Baby, Cry.
WASH
Make your mother sigh. Engaging the
crybaby.
EXT. SPACE - CONTINUING
Behind some little moon, we see a tiny jet-propelled satellite thingy, beeping out its distress signal. It's small and rough, and has written on a piece of tape: "Crybaby #6".
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
Captain, I am picking up a distress
signal thirteen clicks ahead from
a... it sounds like a personnel
carrier...
INT. BLOWN-OUT SHIP/AIRLOCK OF SERENITY - CONTINUING
Mal, Zoe and Jayne all float their crates past the twisted wreckage and into the airlock.
EXT. SPACE - CONTINUING
The crybaby beeps.
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
Definitely a big ship, sir, and she
is without power.
INT. AIRLOCK OF SERENITY - CONTINUINGS
Mal hits the button and the airlock door shuts. Hits another and gravity hits, the three of them landing on their feet, crates dropping, as air rushes in.
Mal hits the com.
MAL
Wash! We're on. Go!
EXT. BLOWN-OUT SHIP - CONTINUING
Serenity begins to disengage from the wreck, rear end flaring.
INT. SERENITY - BRIDGE - CONTINUING
Wash is seated, all business now.
WASH
Hang on, travelers...
INT. AIRLOCK - CONTINUING
Everyone grabs something, as Jayne pulls off his helmet.
JAYNE
Let's moon 'em.
EXT. SERENITY - CONTINUING
As the ship turns away from us, the back lights up -- the entire bulbous back end glowing beneath a metal grid.
The ship fires away from us.
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
They're rabbiting, sir. Should we
continue deployment?
CAPTAIN
(considering)
Our gunships'd never get back to us in
time. All right, let's go help
these people.
(to the ensign)
But put out a bulletin on the Cortex, and
flag Interpol: a Firefly with
possibly stolen goods onboard.
Maybe somebody'll step on those
roaches.
INT. SERENITY - CARGO HOLD - CONTINUING
WASH (O.S.)
We look shiny, Captain. They are not
repeat not coming about.
ZOE
Close one.
JAYNE
Any one you walk away from, right?
Long as we got the goods, I call
this a win.
MAL
Right.
He looks away.
MAL (cont'd)
We win.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO HOLD - LATER
A crate is jimmied open. It is Jayne with the crowbar, Mal who pulls the top off, looking in. Zoe, Wash and Kaylee are also about.
MAL
Well that sure enough don't hurt to
see.
ANGLE: IN THE CRATE are bars that looks a lot like gold.
KAYLEE
(excited)
They're awfully pretty...
WASH
I'd say worth a little risk.
JAYNE
Yeah, that was some pretty risky
sittin' you did there.
WASH
That's right, of course, 'cause they
wouldn't arrest me if we got boarded,
I'm just the pilot. I can always say
I was flying the ship by accident.
You know, that pretty --
MAL
(harshly, in Chinese)
["Bizui." -- Shut up.]
He has a bar in his hand, is looking at it up close.
ZOE
Problem, sir?
Clearly, yep, there is. But Mal tries to cover.
MAL
(after a moment)
Couldn't say.
(tosses the bar back)
But we'd best be gettin' rid of these before
we run into another Alliance patrol.
JAYNE
What the hell they doin' out this
far, anyhow?
KAYLEE
Shining the light of civilization.
JAYNE
Doesn't do us any good...
KAYLEE
Well, we're uncivilized.
As they talk, Mal approaches Wash, talking over them.
MAL
How long 'til we reach Persephone?
WASH
Three or four hours.
MAL
Can we shave that?
WASH
(shakes his head)
We're down to the wire on fuel cells.
We run hot, we might not even make it.
MAL
'kay. Play it as close as you can. This
catch is burning a hole in my hull.
ZOE
Think that cruiser could've I.D.'d us?
MAL
Let's hope not. Contact Badger, tell
him the job's done. Don't go to
mentioning the cruiser, though. Keep
it simple.
ZOE
Sir, we're sure there's nothing wrong
with the carg --
MAL
It's fine. I just wanna get paid.
They head up the ladder as Mal turns his attention to:
MAL (cont'd)
All right, let's get these crates
stowed. I don't want any tourists
stumbling over them.
KAYLEE
We're taking on passengers at
Persephone?
MAL
Yeah, that's the notion. We could use a
little respectability on the way to
Boros. Not to mention the money.
JAYNE
Pain in the ass...
KAYLEE
No, it's shiny! I like to meet new
people. They've all got stories...
JAYNE
Captain, can you stop her from bein'
cheerful, please?
MAL
I don't believe there is a power in
the 'verse that can stop Kaylee from
being cheerful.
He smiles at her, never stopping working.
MAL (cont'd)
Sometimes you just wanna duct tape
her mouth and dump her in the hold
for a month.
She grins and kisses his cheek.
KAYLEE
I love my captain.
INT. SERENITY - UPPER CORRIDOR/BRIDGE - CONTINUING
As Wash and Zoe crest the ladder and head to their positions, talking.
ZOE
I know something ain't right.
WASH
Sweetie, we're crooks. If everything
were right, we'd be in jail.
ZOE
It's just that the Captain's so tense...
WASH
The man needs a break. In fact, we could
all use a couple days' leave.
ZOE
We still gotta drop the goods.
WASH
And when we do, we fly off to Boros rich and
prosperous. Well, less poor. But with enough
to find some sweet little getaway.
They enter the bridge. He moves closer, wrapping her in his arms.
ZOE
Oh, wouldn't mind a real bath...
WASH
Yeah, and a meal that included some sort of food.
ZOE
Ooh.
WASH
Just a couple of days lying around, you with the
bathing. Me with the watching you bathe.
They're closer now.
ZOE
(definitely interested)
If the captain says it's all right...
Wrong. Wash shuts his eyes a moment, rests his head on hers, quietly pissed. He breaks apart.
WASH
What if we just told Mal we needed a
few days, 'stead of asking him?
ZOE
He's the captain, Wash.
WASH
Right. I'm just the husband.
ZOE
Look, I'll ask him.
WASH
(sitting)
Don't forget to call him 'sir'. He
likes that.
MAL
Who likes what?
Instinctively, Zoe's demeanor changes as Mal enters, her bearing more erect, military.
ZOE
It's nothing, Sir.
MAL
Has the Ambassador checked in yet?
WASH
Naw, I think she had a pretty full docket.
MAL
(to Zoe)
Well, after you talk to Badger, let her
know we may be leaving Persephone in a
hurry.
ZOE
Inara knows our timetable. I'm sure
she'll be checking in soon.
WASH
Well, I can tell her to cut it short,
meet us at the docks.
MAL
No, no. Don't want to get in her way if we
don't have to.
(leaving)
Somebody on this boat has to make an honest
living.
INT. INARA'S CHAMBER - NIGHT
Artful tapestries. The sound of heavy panting.
We pan down to see that Inara is being made love to by an eager young man. She is beneath him, his face buried in her neck.
INARA
Oh... Oh.... oh my god... oh...
He tightens, relaxes, becomes still. She runs her hand through is hair and he pulls from her neck, looks at her with sweaty insecurity. She smiles.
INT. SAME - LATER
They are seated on cushions, close to each other, sipping tea from small cups. She is wearing a robe.
INARA
Sihnon isn't that different from this
planet. More crowded, obviously, and
I guess more complicated. The great
city itself is... pictures can't
capture it. It's like an ocean of
light.
THE YOUNG MAN
Is that where you studied? To be a
Companion?
INARA
I was born there.
THE YOUNG MAN
I can't imagine ever leaving.
FLASH CUT to Inara looking pensive, staring off into the distance.
CUT BACK to the scene in progress.
INARA
Well, I wanted to see the universe.
He looks down at his cup a moment.
THE YOUNG MAN
Do you really have to leave? I
mean... I, my father is very
influential, we could... I could
arrange for you to be...
She smiles sweetly and looks down. He doesn't continue.
INT. INARA'S CHAMBER - LATER
The young man is dressed and on his way out.
THE YOUNG MAN
Experience has been more than -- it
was very good. Thank you.
INARA
The time went too quickly.
THE YOUNG MAN
Your clock's probably rigged to speed
up and cheat us out of our fun.
The smile vanishes from her face. He looks guilty, then ducks out of the chamber.
She takes a moment, then she moves across the room and pulls aside a tapestry that conceals the cockpit. Gets in the pilot's seat and hits a switch and continues hitting them as she talks.
INARA
Serenity, this is Shuttle One, what's
your ETA?
WASH (O.S.)
Inara, hey. We're touching down at
the Eavesdown docks in about ten
minutes.
INARA
I'll join you there, thanks.
WASH (O.S.)
Looking forward to it. We missed you out
here.
INARA
(softly)
Yeah. Me too.
She punches a few buttons, rides the joystick, and the cockpit begins to shake slightly as we CUT TO:
EXT. CITY - DAY
The outside of the shuttle, which rises slowly into the air. The shuttle is exiting from one of the many huge skyscrapers, joining the heavy air traffic. It flies off.
EXT. EAVESDOWN DOCKS - DAY
We see Serenity as she touches down at the Eavesdown docks. It's a bustling bazaar, ships lined up next to each other, each one advertising passage or selling goods.
This district is much poorer than the gleaming city where we just saw Inara.
The airlock opens, the ramp coming down and our gang piling out.
MAL
(to Kaylee)
This shouldn't take long. Put us
down for departure in about three
hours.
(to Wash)
Grab any supplies we're low on.
Fuel her up.
Kaylee moves to a computerized placard in front of their 'parking space', starts entering data.
KAYLEE
I'd sure love to find a brand new
compression coil for the steamer.
MAL
And I'd like to be king of all
Londinum and wear a shiny hat. Just
get us some passengers. Them as can
pay, all right?
KAYLEE
Compression coil busts, we're
drifting...
MAL
Best not bust, then.
Wash comes down the ramp driving the mule. Zoe, Jayne and Mal start off. Wash stops the mule and calls out:
WASH
Zoe.
(in Chinese)
["Zhu tamin ya min. Zhu yi."
-- Watch your back.]
ZOE
We will.
EXT. EAVESDOWN DOCKS - DAY
We're in the middle of the bazaar. We see a sign that advertises: Good DOGS! We see a griddle, with some suspicious looking cuts of meat sizzling on it. A man works the griddle.
We see, passing through the frame, Shepherd BOOK. He drags a few boxes and suitcases on a sort of wheeled papoose, carries another suitcase in his hand. As he moves on, looking about him, he is approached by MAN, who's in his face a bit.
MAN #2
You going on a trip, grandpa? Need
safe passage? We're cheap. We're
cheap. We're clean.
(pointing)
The BRUTUS, the best ship in the 'verse.
What's your des, grandpa? We're hitting
the outer rings.
BOOK
I never married.
MAN #2
What?
BOOK
I'm not a grandpa.
EXT. ALLEY - DAY
Mal, Jayne, and Zoe walk down a dim alley and enter:
INT. BADGER'S OFFICE - DAY
Mal, Jayne and Zoe come down the alley, halted by a thug.
The office is dim and dingy. The ceiling has grates over it -- we can hear the traffic above, and every now and then the bright white of a vehicle spills through the grate. On one side are stairs leading up to ground level and a door beside, at the other end an oversized, beat up desk and a way into the back through a curtain.
Badger's busy inspecting a young woman.
BADGER
Let me see your teeth.
She gives him a big smile. He pulls her lip up.
BADGER (cont'd)
Yes.
She is shoved behind the curtain. As she is, yet another thug leads Mal, Zoe and Jayne down the stairs. Badger doesn't look at them, heading for his desk and sitting down.
BADGER (cont'd)
You're late.
MAL
You're lying.
BADGER
What did you just say to me?
MAL
You're well aware we landed two hours
'fore we planned to, with all the
goods you sent us after intact, ready
to roll. So your decision to get
tetchy, say we're late, means you're
looking to put us on the defensive
right up front. Which means something's
gone wrong. It didn't go wrong on our
end, so why don't we start again with
you tellin' us what's up?
A beat. A mean little smile from Badger.
BADGER
You're later than I'd like.
MAL
Well I am sorry to hear that.
Badger briefly holds up what appears to be digital paper: a clear, pliable piece of plastic with words and images running across it, constantly changing.
BADGER
If you'd gotten here sooner, you
might've beaten the bulletin that
came up sayin' a rogue vessel,
classification 'Firefly', was spotted
pulling illegal salvage on a derelict
transport.
MAL
Didn't ID us. Doesn't lead to you.
BADGER
No, it doesn't. But a government
stamp on every molecule of the cargo
just maybe might.
Zoe looks at Mal -- that's what he didn't say when he examined the bars.
BADGER (cont'd)
Oh, you noticed that. You were gonna
hand over imprinted goods and just
let me twist, is that the case?
MAL
We didn't pick the cargo.
BADGER
And I didn't flash my ass at the
gorram law. There's no deal.
ZOE
That ain't fair.
BADGER
Crime and politics, little girl: the
situation is always... fluid.
JAYNE
Only fluid I see here is the puddle
of piss refusing to pay us our wage.
Badger stands up angrily and all his thugs draw their weapons.
Mal glares at Jayne until he puts his gun back in his holster, then Mal steps forward, smiling.
MAL
It doesn't have to go this way. You
know you can still unload those
goods. So I can't help thinking
there's something else at work here.
BADGER
What were you in the war, that big war
you failed to win? You were a Sergeant,
yeah? Sergeant Malcolm Reynolds, Balls and
Bayonets Brigade. Big tough veteran.
Now you got yourself a ship and
you're a captain. Only I think
you're still a Sergeant, see. Still
a soldier, man of honor in a den of
thieves.
(in his face)
Well this is my gorram den, and I don't
like the way you look down on me.
I'm above you. Better than. I'm a
businessman, see? Roots in the
community. You're just a scavenger.
MAL
Well, maybe I'm not a fancy gentleman like
you with your... very fine hat... but
I do business. We're here for business.
BADGER
Try one of the border planets --
they're a lot more desperate there.
Of course, they might kill you, but
you stay here and I just know the
Alliance'll track you down. I have
that feeling.
Beat. Mal's pissed. Jayne's itching for a fight.
But Mal turns to go. As he's leaving, he says:
MAL
Wheel never stops turning, Badger.
BADGER
That only matter to the people on
the rim.
EXT. EAVESDOWN DOCKS - LATER
Book moves on to Serenity, Kaylee sits outside it in a lawn chair, holding a rainbow-striped parasol. He looks at the ship, never stopping, 'til Kaylee says, smiling:
KAYLEE
You're gonna come with us.
BOOK
Excuse me?
KAYLEE
You like ships. You don't seem to be
looking at the destinations. What
you care about is the ships, and mine's
the nicest.
He does stop, gives the ship a look-over.
BOOK
She don't look like much.
KAYLEE
Well, she'll fool ya'. You ever sail in a
Firefly?
BOOK
Long before you were crawling. Not
an aught three, though. Didn't have
the extenders, tended to shake.
Kaylee gets up from her lawn chair, walks over to Book, twirling her parasol.
KAYLEE
So, uh, how come you don't care where
you're going?
BOOK
'Cause how you get there is the
worthier part.
KAYLEE
Are you a missionary?
BOOK
I guess... I'm a Shepherd, from the
Southdown Abbey. Book, I'm called
Book. Been out of the world for a
spell. Like to walk it a while, maybe
bring the word to them as need it
told.
KAYLEE
Well, I'm Kaylee. This is Serenity, and
she's the smoothest ride from here to
Boros for anyone who can pay.
(beat, worried)
Can you pay, or... ?
BOOK
Well, I've got a little cash,
and, uh...
He picks up a small wooden box from his luggage. Shows her the contents. She goes a little bit wide-eyed, eyeing the contents lustfully.
KAYLEE
Ooh, grampa...
BOOK
I never married.
EXT. EAVESDOWN DOCKS - LATER
We are now following Mal, Zoe and Jayne back to the ship.
JAYNE
I don't understand why we didn't
leave that sumbitch in a pool of his
own blood.
MAL
We'd be dead. Can't get paid if
you're dead.
JAYNE
Can't get paid if you crawl away like
a bitty little bug, neither. We gotta
share this job. Ten percent of nothing
is -- let me do the math here -- nothing
into nothing, carry the --
ZOE
So we'll find a buyer on Boros. There's
gotta be a --
MAL
Boros is too big. It's crawling with
Alliance, they could just be waiting
for us.
ZOE
You really think Badger'll sell us out
to the Feds?
MAL
If he hasn't already.
PAN LEFT to reveal a couple of Alliance soldiers standing in the street, watching our group as they walk past.
ZOE
Alliance catches us with government goods,
we'll lose the ship.
MAL
That's never gonna happen.
ZOE
Sir, we could just dump the cargo.
JAYNE
No ruttin' way. We ain't had a job in
weeks. I didn't sign on with this
crew to take in the sights. We need
coin.
MAL
Jayne, your mouth is talking. You
might wanna look to that.
JAYNE
Oh, I'm ready to stop talkin' --
MAL
You're right, though. The last two
jobs we had were weak tea. We got
nothing saved, takin' on passengers
won't help near enough.
(beat)
We don't get paid for this cargo, we
don't have enough money to fuel the
ship, let alone keep her in repair.
She'll be dead in the water.
ZOE
So we do like Badger said? The border
planets?
MAL
I'm thinkin' Whitefall, maybe talk
to Patience...
ZOE
Sir, we don't want to deal with
Patience again.
MAL
Why?
ZOE
She shot you.
MAL
Well, yeah, she did a bit... still --
ZOE
So we find somebody else. Horowitz.
MAL
He can't afford it.
ZOE
Holden boys.
MAL
They wouldn't touch it. Do you want
me to go through the list? Capshaw's
are brain-blown. Gruvick's dead --
ZOE
He's dead?
MAL
Town got hit by Reavers. Burned it
right down.
JAYNE
I ain't goin' nowhere near Reaver
territory. Them people ain't
human.
MAL
Whitefall is the safest and the closest.
Been a long time since Patience shot me
and that was due to a perfectly legitimate
conflict of interest. I got no grudge.
She owns half that damn moon now.
She can afford what we got and she just
might need it.
ZOE
I still don't think the old lady's the way.
ANGLE: Wash on the mule, about to pull a big blue box up the ramp into Serenity's cargo hold.
MAL (O.S.)
I'm not sayin' it won't be tricky, but
we got no kind of choice.
MAL'S POV: still looking Serenity, he sees Kaylee welcoming another passenger, introducing himself as:
KAYLEE
Welcome aboard, Mr...
DOBSON
Dobson.
KAYLEE
Dobson!
DOBSON
Thank you.
ANGLE: Back to Mal, Zoe, and Jayne approaching the ship.
MAL
We just gotta keep our heads down, do the
job, pray there ain't no more surprises.
ANGLE: A BOX. Being loaded on by Wash on the mule.
The box clears frame to reveal SIMON, a young, clearly affluent man. He wears a dark suit and round glasses. He seems to be looking directly at Mal, then glances over to the box.
SIMON
(to Wash)
Please be careful with that.
KAYLEE
Mal, this is Simon. Simon, this is our
captain.
Both men size each other up.
SIMON
Captain Reynolds.
MAL
Welcome aboard.
(to Kaylee)
This all we got?
ANGLE: IN THE CARGO BAY
We see Zoe talking to Mal, the rest of the passengers milling around and loading up their luggage.
ZOE
Now we have a boatful of citizens
right on top of our... stolen cargo.
(beat)
That's a fun mix.
MAL
Ain't no way in the 'verse they
could find that compartment, even--
(stops talking as Dobson walks
past)
Even if they were lookin' for it.
ZOE
Why not?
Mal is thrown by the question.
MAL
'Cause... ?
ZOE
Oh yeah, this is gonna go great.
MAL
If anyone gets nosy, just, you know...
shoot 'em.
ZOE
Shoot 'em?
MAL
Politely.
EXT. EAVESDOWN DOCKS - CONTINUING
Inara's shuttle is nearing Serenity.
WASH (O.S.)
Inara. You're just in time.
INARA (O.S.)
Let me guess.
INT. INARA'S SHUTTLE - CONTINUING
INARA
We're in a hurry.
INT. SERENITY - BRIDGE - CONTINUING
Wash is prepping her for take off, sees a signal, flips a switch.
WASH
Looks like. Port hatch green for
docking.
INT. INARA'S SHUTTLE - CONTINUING
INARA
Locked in five. Four.
EXT. SERENITY - CONTINUOUS
As Inara's flying shuttle locks onto a side of the still-parked ship.
INT. INARA'S SHUTTLE - CONTINUOUS
As she feels the lurch of lock. She doesn't leave the pilot's seat.
INT. SERENITY - BRIDGE - CONTINUING
Wash turns, calls back:
WASH
The Ambassador has returned!
He is talking to Zoe, who moves to the
INT. SERENITY - CARGO BAY/AIRLOCK - CONTINUING
And calls down to Mal, who is stowing cargo with Jayne:
ZOE
We got a full house, Captain.
He turns to the airlock:
MAL
Kaylee, I'm locking it up!
EXT. AIRLOCK - CONTINUING
Kaylee looks around once.
KAYLEE
(softly)
All aboard...
Kaylee hits the automatic door lock, grabs her lawn chair, and slips in as the door closes on the hold.
ANGLE: SIMON
Looking around the cargo hold.
BLACK OUT.
END OF ACT ONE
ACT TWO
EXT. SPACE - LATER
Serenity moves silently through.
INT. SERENITY - PASSENGER'S SECTION/DINING ROOM - LATER
Crew and passengers are gathered in the dining area. Mal's giving 'em the welcome speech.
MAL
Meals are taken up here in the dining
area, the kitchen is pretty much self
explanatory, you're welcome to eat
what there is any time, what there is
is pretty standard fare, I guess,
protein in all the colors of the
rainbow. We do have sit-down meals,
the next one being at about 1800.
KAYLEE
I think Shepherd Book has offered to
help me prepare something.
MAL
(to Book)
You're a Shepherd?
BOOK
Thought the outfit gave it away. Is
it a problem?
KAYLEE
Of course not!
(to Mal)
It's no problem, 'cause it's not.
MAL
No.
(to the group)
As I said, you're welcome to visit
the dining area any time.
Apart from that, I have to ask you to
stay in the passenger dorm while
we're in the air. The bridge, the
engine room, cargo bay -- they're
all off limits without an escort.
SIMON
Some of my personal effects are in
the cargo bay.
MAL
I figure you all got luggage you're gonna
need to get into. Soon as we're done
here we'll be happy to fetch 'em with
you. Now I have to tell you all one
other thing and I apologize in
advance for the inconvenience.
Unfortunately, we've been ordered by
the Alliance to drop some medical
supplies off on Whitefall. It's the
fourth moon on Athens, a little out of
our way, but we should have you on
Boros no more than a day off schedule.
SIMON
What medical supplies?
MAL
I honestly didn't ask.
ZOE
Probably plasma, insulin, whatever
they ain't got enough of on the
border moons.
MAL
Alliance says jump...
SIMON
All right.
MAL
Zoe, you wanna take 'em to the
cargo bay?
ZOE
Yes, Sir.
MAL
Anything else you need, just...
ask. We, uh, we're here to serve.
Crew and passengers exit the dining error through one door, while Mal and Wash turn around and walk toward the other door leading to the bridge.
MAL
Did you send word to Patience?
WASH
Ain't heard back yet. Didn't she
shoot you one time?
MAL
(baffled)
Everybody's makin' a fuss.
INT. SERENITY - CARGO BAY - LATER
People are getting the luggage they need. Simon is placing things into an elegant little valise -- all while eyeing his special blue box. Dobson walks up behind Simon and stumbles into him.
DOBSON
Oops! I'm sorry.
Zoe walks down the steps and nods at Book, who walks past her with a bag and a small box. Book climbs up the stairs to where Mal and Kaylee are standing on the catwalk. Book hands his bag and box to Kaylee, who beams at him.
ANGLE: THE SECOND SHUTTLE HATCH
opens, showing Inara's shuttle. She steps out of it, in a simple but elegant dress. She descends stairs as the group notices her.
MAL
Ah, the Ambassador graces us with her
presence.
Book looks up.
MAL
Hello, Mal. I see we have some new
faces.
KAYLEE
Hey you.
INARA
Hey you.
MAL
Ambassador, this is Shepherd Book.
INARA
I'd have to say this is the first
time we've had a preacher on board.
BOOK
Well, I wasn't expecting to see a
state official, either.
(takes her hand, bows
slightly)
Ambassador.
Mal laughs. Inara glowers at him.
BOOK (cont'd)
I'm missing something funny.
KAYLEE
(glaring at Mal)
Not so funny.
INARA
"Ambassador" is Mal's way of --
MAL
She's a whore, Shepherd.
Book's clearly a little thrown.
KAYLEE
(annoyed)
The term is "Companion".
MAL
Yeah, I always get those mixed up.
(to Inara)
How's business?
INARA
None of yours.
MAL
(to Book)
She is pretty much our ambassador.
There's plenty of planets won't even
let you dock without a decent
Companion on board. This... this
isn't a problem for you, is it,
Shepherd?
BOOK
Well, I... I certainly...
INARA
(turns to go)
It's all right. I mostly keep to
myself.
(passing Mal)
When I'm not whoring.
MAL
Don't you wanna meet the rest of the
bunch?
INARA
Why don't you make sure they want to
meet me first?
Inara and Kaylee head out together.
KAYLEE
So how many fell madly in love with
you and wanted to take you away from
all this?
INARA
Just the one. I think I'm slipping.
INT. SERENITY - DINING ROOM - CONTINUING
Kaylee has made her way up with the box, lays it on the counter. Quietly excited, she opens it, looks in. A beat, then she pulls out a strawberry. She smells it, slowly puts it in her mouth, eyes closing.
Kaylee's having herself an Herbal Essences shampoo moment with this strawberry.
INT. SERENITY - DINING ROOM - LATER
Book and Kaylee have made dinner. People are gathering, sitting, helping themselves to things -- everybody's moving and talking over each other and everyone's there save Wash and Inara.
ZOE
Oh, this is incredible.
BOOK
It's not much -- I had a garden at
the Abbey, thought I should bring
what I could.
SIMON
It's very kind of you to share with
all of us.
ZOE
I'm gonna make a plate for Wash...
BOOK
(to Simon)
Well, it won't last, and they're
never the same when they're frozen.
The important thing is the spices.
A man can live on packaged food from
here 'til Judgment Day if he's got
enough rosemary.
DOBSON
(over this, to Jayne)
Can you pass me the tomatoes?
He does, after taking several slices. People settle.
BOOK
Captain, you mind if I say grace?
MAL
Only if you say it out loud.
A beat -- Mal has broken the mood. He starts eating, others follow. Book lowers his head a moment, as do Kaylee, Dobson, and Jayne, then they eat as well.
SIMON
So, does it happen a lot? Government
commandeering your ship, telling you
where to go?
MAL
That's what governments are for --
get in a man's way.
DOBSON
Well, it's good, if the supplies are
needed.
JAYNE
We're just happy to be doing good works.
DOBSON
I hear a lot of the border moons are
in bad shape. Plagues, and famine...
ZOE
Well, some of that's exaggerated, and
some of it ain't. All those moons --
just like the central planets,
they're as close to Earth-That-Was as
we could make 'em: gravity, atmosphere,
and such, but...
MAL
Once they're terraformed, they'll
dump settlers on there with nothing
but blankets, hatchets, maybe a herd.
Some of them make it, some of them...
SIMON
Then I guess it's good we're helping.
KAYLEE
(to Simon)
You're a Doctor, right?
SIMON
Oh. Uh, yes. Yes, I was a trauma
surgeon on Osiris, in Capital City.
MAL
Long way from here.
KAYLEE
(to Simon)
You seem so young. To be a doctor.
SIMON
(changing the subject)
Yeah. You're pretty young to be a ship's
mechanic.
KAYLEE
No how. Machines just got workings,
and they talk to me.
BOOK
That's a rare gift.
KAYLEE
Oh, not like being a doctor. Helping fix
people, that's important.
JAYNE
Little Kaylee here just wishes you was a
gynecologist.
Jayne cackles. Kaylee, visibly humiliated, looks down.
MAL
(hard)
Jayne. You'll keep a civil tongue in
that mouth or I will sew it shut, is
there an understanding between us?
JAYNE
You don't pay me to talk pretty. Just
because Kaylee gets lubed-up over some
big city dandy --
MAL
Walk away from this table. Right now.
A beat. Jayne doesn't believe it, but Mal's expression is stony. Jayne goes, grabbing a bunch of food as he does. Everyone is silent a moment.
SIMON
What do you pay him for?
MAL
What?
SIMON
I was just wondering what his job is.
On the ship.
Mal stares a moment.
MAL
Public relations.
INT. INARA'S CHAMBER - LATER
Inara is kneeling, robe pooled at her waist. She is giving herself a sponge bath. And so the camera holds on her bathing for a good, long while. Someone KNOCKS on the door.
INARA
(in Chinese)
["Ging jin." -- Come in.]
Book enters. She is facing mostly away from him, but she sees it's him. She continues to bathe herself.
BOOK
If I'm intruding...
INARA
Not at all. I expected you.
She pulls her robe up, in no great hurry, as she turns to him.
BOOK
Couldn't really say the same.
INARA
So. Would you like to lecture me
the wickedness of my ways?
BOOK
I brought you some supper, but if
you'd prefer a lecture, I've a
few very catchy ones prepped. Sin and
hellfire... one has lepers.
INARA
I think I'll pass.
(taking the tray
of food)
I thank you for this.
BOOK
The Captain said you might like it.
I was surprised at his concern.
INARA
For a lowly whore?
BOOK
It was unjust of him to say that.
INARA
Believe me, I've called him worse.
Anyway, I suspect he has more
interest in making you
uncomfortable than me.
BOOK
He's not wildly interested in
ingratiating himself with anyone,
yet he seems very protective of
his crew.
(beat)
It's odd.
INARA
Why are you so fascinated by him?
BOOK
Because he's something of a mystery.
(beat)
Why are you?
Beat. Inara smiles softly.
INARA
Because so few men are.
INT. SERENITY - MAL'S ROOM - CONTINUING
Mal the Mystery is in the act of doing up his trousers as we find him. There's a kind of metal drawer that hinges open to knee level. It's the toilet, and Mal kicks it shut, causing a flushing sound not unlike an airplane toilet. Above it is another metal drawer. He pulls it open and it's a small sink. He runs a little water on his hands, splashes his face, when the com sounds.
WASH (O.S.)
Mal, you might wanna get up here...
Mal's up the ladder in a flash.
INT. SERENITY - FOREDECK HALL - CONTINUING
Mal climbs up. He moves through the hall to:
INT. SERENITY - BRIDGE - CONTINUING
Where Wash is studying a screen.
MAL
What is it?
WASH
Signal. Somebody went on the Cortex,
hailed the nearest Alliance Cruiser.
MAL
Tell me you scrambled it.
WASH
All to hell, but I don't know how
much got through. Alliance got a pin
in us for sure.
MAL
(Chinese)
[Ni ta ma de. Tianxia suoyoude ren. Dou
gaisi. -- "Fuck everyone in the universe
to death."]
WASH
We got a mole on board.
Mal's face hardens as he works it out...
INT. SERENITY - CARGO BAY - MOMENTS LATER
Simon is checking on his box.
He turns and Mal is standing before him.
MAL
Forget your toothpaste?
Mal SLUGS him, sends him sprawling.
SIMON
Are you out of your mind?
MAL
Yeah, just about. What'd you tell them?
SIMON
(standing)
Tell who?
Mal draws his gun, puts it in Simon's face.
MAL
I have exactly no time for games.
What do they know?
SIMON
You're a lunatic.
MAL
And you're a gorram fed.
BOOK
Hate to say it, Captain, but you've
got the wrong man.
Both men turn to him. A beat, and both Mal and Simon realize Book is looking behind them. Slowly, they turn the other way, and understand Book's meaning.
Dobson holds a gun on Mal.
MAL
(defeated)
Son of a bitch.
DOBSON
Drop that firearm, Captain Reynolds.
A beat, and Mal does.
MAL
This is not my best day ever.
Dobson moves the gun to point it at Simon.
DOBSON
Simon Tam, you are bound by law to
stand down.
Mal takes a moment to realize the man is after Simon.
MAL
What -- the doctor? Oh.
(indignant at Simon)
Hey!
(hopeful, to Dobson)
Is there-is there a reward?
Dobson is ignoring Mal, focusing on Simon. This bumbling businessman is now a very intense, tightly wound cop.
DOBSON
(to Simon)
Get on the ground. Get on the ground!
SIMON
Lawman, you are making a mistake.
MAL
I think you best get on the ground, son.
The man seems a mite twitchy.
BOOK
I think everybody could stand to calm
down a bit.
He is moving slowly towards Dobson.
DOBSON
This isn't your business, Shepherd.
BOOK
The boy's not going anywhere, lawman.
As I understand it, it's pretty cold
outside.
Mal moves casually for his gun.
MAL
Not to worry. Put Lord Fauntleroy
here in a passenger cell -- won't
make a peep 'til you hand him over to --
DOBSON
(pointing the gun at
Mal again)
Get the hell away from that weapon!
You think I'm a complete backbirth?
You're carrying a fugitive across
interplanetary borders, and you
think I actually believe you're
bringing medical supplies to
Whitefall? As far as I care,
everyone on this ship is culpable.
MAL
Well now. That has an effect on the
landscape.
BOOK
Please, we're very close to true
stupidity here --
DOBSON
I got a cruiser en route for
intercept, so talk all you want. You
got about twenty minutes.
MAL
Might have less than that.
DOBSON
Yeah, threaten me..
BOOK
(still moving)
For God's sake --
DOBSON
You think I wouldn't shoot a
Shepherd? Back off!
Mal grabs Simon -- and everybody's shouting --
MAL
Just take the kid!
SIMON
Get your hands off me --
DOBSON
Stand the hell down --
BOOK
Everybody just stop it! Stop it!
KAYLEE
(entering)
Why's everybody --
Dobson spins and FIRES.
Kaylee stumbles backwards, slamming into the wall --
KAYLEE (cont'd)
What...
She puts her hands to her belly. Blood runs over it.
A lot of things happen. Kaylee slumps to the ground as Simon rushes to her, Mal dives for his weapon, Jayne draws his, Dobson swings to fire at Mal --
-- and Book is in Dobson's face, a brutal jab in the throat as he grabs his gun-hand whip-quick, twists and pulls the gun out, cracking Dobson across the face with it in the same motion and Dobson is down. In seconds.
INARA
Kaylee!
She is on the upper level, having come out of her shuttle at the sound of the shot. She races to Kaylee, as does Mal, seeing that Dobson is no longer a threat.
ANGLE: KAYLEE AND THE OTHERS
Simon lays Kaylee back as Mal scrambles to her other side.
SIMON
How do you feel?
KAYLEE
A little odd...
ANGLE: JAYNE AND BOOK
Jayne comes toward Dobson with a purpose, gun in hand, and Book turns to face him.
JAYNE
Outta the way.
BOOK
You're not killing this man.
JAYNE
Not right away...
BOOK
He's no threat.
ANGLE: KAYLEE AND OTHERS
Kaylee is whimpering.
KAYLEE
Why did he...?
Simon opens Kaylee's jumpsuit, examines the wound. It's not pretty.
MAL
(to Kaylee)
Oh, well, that ain't hardly a mosquito
bite.
KAYLEE
Big mosquito...
Inara rushes over, joining them. Inara pulls off her robe (she is dressed beneath) and bunches it under Kaylee's head, as,
ANGLE: JAYNE AND BOOK
JAYNE
Move.
BOOK
Not gonna happen.
JAYNE
(raising his gun)
I ain't joking with you, Preacher.
ZOE
Jayne!
She's got her gun out, pointed at Jayne.
ZOE (cont'd)
Just tie him up. Do it.
A moment, and Jayne holsters his piece, moves to get some duct tape.
ANGLE: KAYLEE AND OTHERS, OVER THIS
SIMON
Can you move your feet? Kaylee. Stay
with me. Can you move your feet?
KAYLEE
Are you asking me to dance...?
Her eyes start to roll back --
SIMON
She's going into shock.
INARA
Kaylee, [mei-mei -- "little sister"],
you have to focus.
ANGLE: BOOK STANDING OVER DOBSON
Zoe approaches him.
ZOE
The gun, Shepherd. Please.
Book hands her Dobson's gun.
ANGLE: KAYLEE AND THE OTHERS
Simon pushes Kaylee's stomach and she screams.
SIMON
(to Mal)
The infirmary working?
MAL
Yeah, we got it stocked.
They move to pick her up --
WASH (O.S.)
(on the com)
Captain, we've been hailed by a
Cruiser. Ordered to stay on course
and dock for prisoner transfer.
Mal and Simon look at each other.
Simon rises, steps away from Kaylee. He is tense, but surprisingly calm.
SIMON
Change course. Run.
MAL
Hell with you. You brought this down
on us, I'm dumping you with the law.
INARA
Mal...
SIMON
She's dying.
MAL
You're not gonna let her.
SIMON
Yes, I am.
MAL
No, you can't.
ZOE
No way the Feds'll let us walk.
MAL
Then we dump him in the shuttle and
leave him for them.
KAYLEE
(delirious)
Everybody's so mad...
INARA
It's okay, baby.
SIMON
Do you know what a stomach wound does to
a person?
MAL
I surely do.
SIMON
Then you know how crucial the next
few minutes are.
ZOE
(to Simon)
You let her die, you'll never make it
to the Feds.
SIMON
She'll still be dead.
MAL
You rich kids, you think your lives
are the only thing that matters.
What'd you do? Kill your folks for
the family fortune?
SIMON
I don't kill people!
MAL
Then do your job!
SIMON
Turn the ship around!
INARA
Enough! Mal, do it.
MAL
Don't ever tell me what to do on my --
Kaylee screams again.
Mal and Simon stare at each other.
MAL (cont'd)
(eyes on Simon)
Zoe. Change course.
SIMON
Help me get her up.
Mal and Inara hoist with Simon.
ZOE
(hits the com)
Wash, change course and go for hard
burn. We're runnin'.
EXT. SPACE - CONTINUING
As the ship turns and the back lights up all shiny bright -- and she shoots off.
INT. INFIRMARY - MOMENTS LATER
The three of them burst in, lay Kaylee on the table. It's small and not wildly sterile here, but it is clearly functional.
SIMON
You have an extractor?
MAL
Got a laser law.
SIMON
That's not good enough.
(to Inara)
Uh, my room, red bag.
Inara goes. Simon raids the cupboards, finds a hypo-gun and vials.
MAL
This is over, you and me are gonna
have a personal chat.
SIMON
Won't that be fun.
(tosses Mal the hypo)
Dope her.
FADE TO BLACK
INT. INFIRMARY - CONTINUING
We see, over time, VARIOUS ANGLES of Simon operating. Simon is confident and good at his job. Mal and Inara assist -- mostly Mal, who has the most field experience. Among the images are:
-- Simon using the extractor to find and pull out the bullet shards.
-- Inara looking at Mal while he helps Simon
-- Inara holding a breathing mask over Kaylee's face, looking at instruments indicating her vitals.
-- Jayne crouched outside the infirmary, peering in through a window, worried, almost hugging himself.
INT. INFIRMARY - LATER
Simon washes off his hands. He turns to Mal, pulling off his apron.
SIMON
I can't do anything more until she
stabilizes.
MAL
Will she?
SIMON
I can't say yet.
INARA
I want know what's going on here.
MAL
Well then why don't we find out?
He moves quickly from the room.
SIMON
What are you... no! No!
Simon follows, as do we, back into
INT. CARGO BAY - CONTINUING
SIMON
Stay away from that! Aah!
He moves toward Mal -- but is grabbed and easily held by Jayne.
MAL
(calmly, to Jayne)
Where's the Fed?
JAYNE
Secure. Shepherd's with him. Seems
to think he's not safe alone with me.
SIMON
Don't!
Mal turns some dials on Simon's blue box and pulls a release lever. There is much flashing of lights and four latches twist automatically at the corners. The top comes slightly up with a hydraulic whoosh, dry ice pouring out the sides. Wash and Zoe enter; Inara's there, too.
MAL
Well, let's see what a man like you would kill for.
SIMON
No, don't!
Mal kicks off the top of the box. It flies off, clattering to the floor as the smoke clears from over what's inside.
Mal steps forward, looks.
ANGLE: ABOVE THE BOX
Curled inside is a naked, unconscious teenage girl.
The box is clearly a cryo-chamber of some sort, perfectly conformed to her body, a sleep metallic womb.
Mal looks at the girl. At Simon. At the girl.
MAL
Huh.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. CARGO BAY - CONTINUOUS
Simon tries to wrest himself free of Jayne, who's just holding his arms now.
SIMON
I need to check her vitals.
MAL
Oh, is that what they call it?
SIMON
She's not supposed to wake up for
another week! The shock --
MAL
The shock of what? Waking up?
Finding out she's been sold to some
borderworld baron? Or, I'm sorry --
was this one for you? Is it true
love? Because you do seem a little--
She SCREAMS as she lurches out of the box behind Mal. He actually gives a little yelp himself as he turns, startled.
She keeps screaming, and for a moment no one does anything.
She spills out of the box, crawling backwards, breathing hard and looking around her, wild-eyed.
Simon finally pulls himself free of Jayne -- who's now more interested in the naked girl than him -- and comes to her. Inara pulls off her robe again, ready to cover her with it.
SIMON
River?
She screams at his touch -- Inara instinctively moves forward -- but he holds onto her, tries to get her to look in his eyes.
SIMON (cont'd)
River. It's okay. It's okay. It's
okay. It's okay, I'm here.
Finally she looks at him, trying to focus, still breathing hard.
She looks about, at everyone, then back at him.
SIMON (cont'd)
River...
RIVER
(whispering)
Simon...?
And she realizes, begins to cry.
RIVER (cont'd)
Simon... They-they talk to me, they want
me-they want me to talk...
SIMON
They're gone... they're gone. We're safe
now. We're safe. we're safe, I'm here.
Everyone in the room can tell this is not what Mal thought. There is a kind of respect in their silence. Well, until:
MAL
What the hell is this?
Simon, River clinging to him and crying, looks over at Mal defiantly.
SIMON
This is my sister.
INT. DINING ROOM - LATER
Everyone is gathered, save Kaylee and River herself, to hear Simon speak. As he does, the camera will periodically INTERCUT to him taking care of River in the infirmary.
For a moment, they all just wait.
INT. INFIRMARY - EARLIER
River is brought -- wrapped in the robe Inara used for Kaylee's pillow -- into the infirmary. She sees the unconscious Kaylee, the operating room, and she freaks. Starts screaming again, struggling to get out of Simon's grip.
SIMON (O.S.)
I am very smart. I went to the
best Medacad in Osiris, top
three percent of my class,
finished my internship in eight
months.
INT. DINING ROOM - CONTINUING
SIMON
"Gifted" is the term. So when I
tell you that my little sister
makes me look like an idiot child,
I want you to understand my full
meaning.
INT. INFIRMARY - EARLIER
Simon has calmed her down, she's sitting on the table now, looking at him with fresh tears. He prepares a hypo with a sedative. Her look of distrust at the hypo is comically grumpy -- a little child's. Her eyes wander as he injects her, she mutters something to no one -- this girl is gone.
INT. DINING ROOM - CONTINUING
SIMON
River was more than gifted. She...
she was a gift. Everything she did,
music, math, theoretical physics --
even-even dance -- there was nothing
that didn't come as naturally to her
as breathing does to us.
(smiles, remembering)
She could be a real... brat about it,
too. I mean, she used to --
Simon trails off for a moment. Jayne stands, going to refill his mug. At his movement, Simon collects himself.
SIMON (cont'd)
There was a... a school... a, uh, a
government-sponsored academy, we had
never even heard of it but it had the
most exciting program, the most
challenging. We could have sent her
anywhere, we had the money, but she
wanted to go. She wanted to learn.
She was fourteen.
(long beat)
I...
A moment of bitter emotion, then he pulls it together.
SIMON (cont'd)
I got a few letters at first, and then I
didn't hear for months. Finally I
got a letter that made no sense. She-she
talked about things that never
happened, jokes we never... it was
code. It just said...
(beat)
"They're hurting us. Get me out."
INT. INFIRMARY - EARLIER
River drifts off to sleep. Simon's holding her hand.
INT. DINING ROOM - CONTINUING
ZOE
How did you do it?
SIMON
Money. And, and luck. For two years,
I couldn't get near her. Then I was
contacted by some men, some underground
movement. They-they said she was
in danger, that-that the government was...
playing with her brain. If I funded
them they could sneak her out in cryo.
Get her to Persephone, and from there,
I could take her... wherever.
INARA
Will she be all right?
SIMON
I don't know if she'll be all right.
I don't know what they did to her, or
why. I-I just have to keep her safe.
INT. INFIRMARY - EARLIER
River is asleep.
INT. DINING ROOM - CONTINUING
There is a moment.
BOOK
That's... quite a story, son.
MAL
Yeah, it's a tale of woe. Very
stirring, but in the meantime, you've
heaped a world of trouble on me and
mine.
SIMON
I never thought --
MAL
No, I don't imagine you thought.
In consequence of which we got a
kidnapped federal officer on board,
we got the Alliance hard on our trail,
and Kaylee...
He doesn't say it.
ZOE
(to Wash)
How much does the Alliance know?
WASH
I can't say. I killed the message
pretty quick, so they might just have
had our position.
MAL
Or they might have personal profiles
on each and every one of us. 'Til
that fed wakes up, we won't know.
JAYNE
So what do we do?
A moment as he thinks, looking at his crew. Looks at Inara.
MAL
The job. We finish the job. I got
word from Patience, she's waiting for
us. We circle 'round to Whitefall,
make the deal, get out. Keep flying.
SIMON
What about us?
Mal looks at him a moment.
MAL
Kaylee comes through, you and your
sister'll get off at Whitefall.
SIMON
If she doesn't come through?
MAL
Then you're gettin' off a mite sooner.
BOOK
That'd be murder.
MAL
Boy made a decision.
INARA
He didn't shoot her.
JAYNE
No, but somebody on this boat did and I'm
scratching my head as to why we ain't
dealt with him.
And now the room gets louder, people start talking over each other...
ZOE
Kill a Fed? Can you think of a
stupider thing to do?
JAYNE
He can I.D. us all.
SIMON
You wanna throw me out the airlock,
fine, but River's not a part of this.
WASH
Can we maybe vote on the whole
murdering people issue?
MAL
We don't vote on my ship because my
ship is not the rutting town hall!
INARA
This is insanity. Mal...
WASH
I happen to think we're a ways beyond
that now, sir.
(to Zoe)
Come on, we're gonna talk this
through, yeah?
Zoe doesn't answer. Wash is truly pissed.
BOOK
I'll not sit by while there's killing
here.
JAYNE
(smiling)
Shepherd's got a mean streak. We'd
best walk soft.
MAL
[Nimen de bizui! -- "Everybody shut
the hell up!"]
(they do)
Way it is is the way it is. We got
to deal with what's in front of us.
INARA
Mal, you know those two wouldn't
survive a day in Whitefall anyway.
You throw them out, I'm leaving too.
Mal looks at her, angry at being confronted publicly and upset by the thought of her leaving, but suppressing both.
MAL
It might be best you do. You ain't a
part of this business.
He exits toward the back. She looks startled, then resigned.
INT. AFT HALL - CONTINUING
Simon follows him.
SIMON
What business is that, exactly?
Mal turns and gives him a murderous look, but Simon doesn't back down.
SIMON (cont'd)
I'm a dead man, I can't know? Is it
gold? Drugs? Pirate treasure? What
is it that makes you so afraid of the
Alliance?
MAL
You don't wanna go down this road
with me, boy.
SIMON
Oh, you're not afraid of them? I already
know you'd sell me out to them for a
pat on the head. Hell, you should
probably be working for them. You
certainly fit the profile --
Mal decks him. He goes tumbling. Mal looks down at him, looks back to see:
ANGLE: THE DINING ROOM
The rest are looking at him, Jayne in the foreground.
JAYNE
(smugly)
Saw that comin'.
EXT. SPACE - CONTINUING
Serenity, still flying.
INT. DOBSON'S ROOM - LATER
Jayne and Mal are in the room with the tied and gagged cop. Mal pulls the duct tape off and Dobson grunts in pain.
MAL
I'm in a tricky position, I guess you
know. Got me a boatload of terribly
strange folk making my life a little
more interesting than I generally like,
chief among them an Alliance mole.
Likes to shoot at girls when he's
nervous. Now I got to know how
close the Alliance is, exactly how
much you told them before Wash
scrambled your call. So...
I've given Jayne here the job of
finding out.
Jayne pulls out a big-ass knife.
JAYNE
(to Dobson)
He was non-specific as to how.
Mal says to Jayne, very quietly:
MAL
Now you only gotta scare him.
JAYNE
(grinning at Dobson)
Pain is scary...
MAL
Just do it right.
Mal exits, shutting Jayne in with Dobson.
DOBSON
Do you have any idea how much trouble
you're in?
Jayne sits down on a chair across from Dobson.
JAYNE
Gee, I never been in trouble with the
law before...
DOBSON
Not like this you haven't. You think
this is just a smuggling rap? The
package that boy is carrying --
JAYNE
It's a girl. She's cute, too, but I don't
think she's all there, y'know?
(ugly grin)
'Course, not all of her has to be...
DOBSON
That girl is a precious commodity.
They'll come after her. Long after
you bury me they'll be coming.
JAYNE
Oh, I'm not gonna kill you, Dobson --
what's your first name?
DOBSON
(reluctantly)
Laurence.
JAYNE
Laurence. No, I'm just gonna cut on ya'
'til you tell me how much they know.
DOBSON
They know everything. They know every name,
every record -- they know how many
nosehairs you've got.
JAYNE
(genuinely
disappointed)
Ah, see -- they don't know a damn
thing. It's all over your face,
I ain't even... Was gonna get me
a ear, too. Aren't you an officer of the
law? Well, don't they teach you how to
withstand interrogation? Can't even tell
a damn lie.
DOBSON
Okay. I can see you're not an idiot.
JAYNE
Wish I could say the same, Laurence,
but... this is disappointing as hell.
DOBSON
Let me speak the language you will
understand. Money. This girl is
worth a lot of money. I mean a lot.
You kill me, there's nothing. But if
you help me out, you'll have enough
to buy your own ship. A better one
than this piece of crap.
JAYNE
Does helping you out mean turning on
the Captain?
DOBSON
Yes, it does.
Jayne thinks on it a moment.
INT. BRIDGE - CONTINUING
Mal arrives on the bridge, moving fast. It's dark, chaotic. Wash is watching a screen, very apprehensive.
MAL
How the Hell did they find us? I
thought you said we could get around
'em.
WASH
It's not Alliance.
MAL
You're sure?
WASH
It's a smaller vessel.
MAL
Commercial?
WASH
Uh, yeah, I read it as an older
model Trans-U.
MAL
I didn't think Trans-U still operated.
WASH
They don't.
MAL
Get me a visual.
WASH
They're still too far out to --
MAL
Get me something!
WASH
I'm picking up a lot of radiation...
they're operating without core
containment. Well, that's [ chinese - "nuts"],
that's suicide...
He looks at Mal, getting it.
MAL
Reavers.
Mal looks out toward a tiny speck that approaches them.
EXT. SPACE - CONTINUING
Where we see, for the first time, the ship. Once it was a commercial spaceliner, now it's a war machine. Tricked out, ornament and painted, with giant torpedo-looking tubes jerry-rigged near the front. Everything about this vessel says 'savage'.
INT. BRIDGE - CONTINUING
Where Mal continues to stare ahead, and Wash repeats softly:
WASH
Oh god.
(beat)
Oh god, oh god, oh god...
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. INFIRMARY - CONTINUING
We see the two girls laid out, unconscious. Book is quietly standing at the foot of Kaylee's bed, bible folded in his hands. Mal's voice comes over the com:
MAL (O.S.)
This is the captain.
INT. JAYNE'S ROOM - CONTINUING
Jayne stands in the middle of his room, holding a big gun.
INT. PASSENGER DORM HALL - CONTINUING
Zoe is standing outside Simon's room, she has stopped to listen. Simon steps out of his room, listening as well.
MAL (O.S.)
We're passing another ship. Looks to
be Reavers. From the size, probably
a raiding party.
INT. INARA'S CHAMBER - CONTINUING
She listens, too. Gravely.
MAL (O.S.)
Could be they're headed somewhere
particular, could be they've already
hit someone and they're full up. So
everyone stay calm.
INT. JAYNE'S ROOM - CONTINUING
Jayne pulls down a decorative blanket to reveal an arsenal on his wall. He his silent and serious.
MAL (O.S.)
We try to run, they'll have to chase us.
It's their way. We're holding course.
We should be passing 'em in a minute, so
we'll see what they do.
INT. BRIDGE - CONTINUING
MAL
Zoe, you come on up to the bridge.
INT. PASSENGER DORM HALL - CONTINUING
Zoe is going as Simon stops her with:
SIMON
Wait -- I-I don't understand.
ZOE
You've never heard of Reavers?
SIMON
Well... campfire stories... Men gone savage
on the edge of space, killing, and...
ZOE
They're not stories.
SIMON
What happens if they board us?
ZOE
If they take the ship, they'll rape
us to death, eat our flesh and sew
our skins into their clothing and if
we're very very lucky, they'll do it
in that order.
She exits. Simon moves quickly to:
INT. INFIRMARY - CONTINUING
Where he moves near River. He and Book look at each other.
EXT. SPACE - CONTINUING
We see the ships nearing each other. Slowly and silently.
INT. INARA'S CHAMBER - CONTINUING
Inara digs out a small, hidden box. She opens it. Inside is a modern syringe gun, smaller than the one Simon used on River, and a vial of black liquid. Unmarked.
She stares into the box.
INT. JAYNE'S ROOM - CONTINUING
Jayne is loading bullets the size of D batteries into a big-ass rifle. His hands are shaking slightly.
EXT. SPACE - CONTINUING
The ships are almost upon one another. The reaver ship is nearly twice the size of the Firefly.
INT. BRIDGE - CONTINUING
Zoe enters, says nothing. She stands behind Wash, slips her hand onto his shoulder. He covers it with his own.
Wash looks out the window at the ship, sees the attachments on the front. Also speaks softly.
WASH
There's a magnetic grappler. They get ahold
of us with that...
MAL
Just tell me if they alter course.
They wait.
Everybody waits.
EXT. SPACE - CONTINUING
The ships pass silently. The reaver ship comes close enough to cast a shadow on the smaller ship.
But it passes.
EXT. BRIDGE - CONTINUING
After a few long seconds...
WASH
They're holding course.
Mal lets out a long breath. Looks at the other two.
WASH (cont'd)
I guess they weren't hungry. Didn't
expect to see them here...
ZOE
They're pushing out further every
year, too.
MAL
Gettin' awful crowded in my sky.
INT. INFIRMARY - LATER
Mal is looking at River, silent.
KAYLEE
Hey, Captain.
He turns. She has woken, is woozy and quiet.
MAL
Hey... Hey little Kaylee, what's the
news?
KAYLEE
I'm shiny, Captain. A-okay. And I can't
feel much below my belly, though. It's
gettin' cold.
Mal moves to get her another blanket, lays it on her -- all the whole hiding his feelings at hearing that.
MAL
Well, you just gotta rest. Something's
gonna break down on this boat real
soon. Who else I got to fix it?
KAYLEE
Well, don't you worry none. Doc fixed me
up pretty. He's nice.
MAL
Don't go working too hard on that
crush, [xiao mei-mei - "little sister"]. Doc
won't be with us for long.
KAYLEE
You're nice, too.
MAL
No, I'm not. I'm a mean old man.
KAYLEE
He wasn't gonna let me die. He was
just trying to... It's nobody's fault.
Okay? Just promise me you'll
remember that?
MAL
(takes her hand)
I'll keep it in mind.
KAYLEE
You are a nice man, Captain. You
always looking after us. You just
gotta have faith in people.
He says nothing, just holds her hand.
Her eyes drift to River, still sleeping.
KAYLEE (cont'd)
She is a real beauty, isn't she?
She smiles... and her eyes gently close.
Her hand slips from Mal's.
INT. INARA'S CHAMBER - LATER
Simon is there, as Inara hands him a couple of packets.
SIMON
Thank you.
INARA
This is just standard Companion
immunization package. I'm not sure
it'll help in this --
SIMON
It won't hurt. Supplies down
there are pretty rudimentary.
INARA
Is there anything else I can do?
SIMON
I don't think so. But I appreciate
it.
INARA
Kaylee's very dear. To all of us.
SIMON
I... I'm sorry. For my part in what
happened. See... I've never... I mean,
I don't know how to --
INARA
You're lost in the woods. We all
are. Even the captain. The only
difference is, he likes it that way.
MAL
(entering)
No. No, the difference is, the woods are
the only place I can see a clear path.
(to Simon)
What's your business here?
INARA
It's my business. The usual. I gave
the boy a free thrust, since he's not
long for this world. What are you
doing in my shuttle?
MAL
It's my shuttle. You rent it.
INARA
Then when I'm behind on the rent, you
can enter unasked.
Simon elbows his way out. Mal and Inara look at each other a moment.
MAL
Thought you were leaving, anyhow.
INARA
Well I guess that depends on you.
Mal turns and goes.
INT. CARGO BAY - CONTINUOUS
Simon is walking away, but Mal stops him:
MAL
You'll ruin her, too, you know.
Simon turns.
MAL (cont'd)
This is the thing I see you're
uncomprehending on. Everyone on this
ship, even a 'legitimate businesswoman'
like her, their lives can be snatched
away because of that Fed. You got a
solution for that? You got a way round?
SIMON
I don't.
MAL
Comes time, someone's gonna have to
deal with him. That should be you,
but I don't think you got the guts.
(beat)
And I know you don't have the time.
SIMON
What do you mean?
MAL
Kaylee's dead.
He is steely, contained. Simon is shocked, quietly devastated.
Mal turns and walks toward the bridge. A moment, and Simon starts in a daze for the infirmary, running, unable to accept it as he enters:
INT. INFIRMARY - CONTINUING
To find Kaylee sitting up a bit, talking weakly but happily with Book. Simon turns and looks out where Mal left, true shock in his eyes.
SIMON
(panting)
That man's psychotic.
INT. BRIDGE - MOMENTS LATER
Mal, Wash, Jayne and Zoe are all laughing.
WASH
You are psychotic.
MAL
No, but you should have seen his
face... Oh... I'm a bad man.
ZOE
And Kaylee's really okay?
MAL
Yeah. Tell the truth, I didn't
expect her to heal this quick.
Doctor knows his trade, I'll give
him that.
There is a noise from a console. Wash checks it out.
WASH
We're being hailed.
MAL
That'd be Patience. We're close enough
for vid. Put her up.
We briefly see an image on a screen, a weathered, pioneer-looking woman of about fifty.
PATIENCE
Malcolm Reynolds?
MAL
Hello, Patience.
PATIENCE
I have to say I didn't look to be
hearing from you anytime soon.
MAL
Well, we may not have parted on
the best of terms. I realize
certain words were exchanged.
Also, certain... bullets. But
that's air through the engine.
It's past. We're business people.
Besides, your days of fightin'
over salvage rights are long
behind you, what I hear. What
are you, mayor now?
PATIENCE
Just about. You telling the truth
about that cargo? 'Cause your
asking price is a bit too
reasonable for that much
treasure.
MAL
It's imprinted -- Alliance -- hence
the discount.
PATIENCE
Oh, government goods, huh?
MAL
That doesn't work for ya, no harm.
Just thought you could use --
PATIENCE
Alliance don't scare me. Just
collating data, as they say.
I like that you're up front about
it. We can deal. I'll upload
coordinates for a rendezvous
point outside of town.
MAL
See you in the world.
He hits a button, ending the talk. He stares down at the console for a long beat.
MAL (cont'd)
I believe that woman's planning to
shoot me again.
JAYNE
She meant to pay you, she'd'a haggled
you down some.
WASH
Just a little effort to hide it
would've been --
Mal shuts everybody up by knocking something off the counter. It hits the ground with a loud clang.
Oh, he's mighty pissed.
ZOE
Sir, we don't have to deal with her.
MAL
Yes, we do.
JAYNE
Here's a little concept I been workin'
on. Why don't we shoot her first?
WASH
It is her turn.
MAL
That doesn't get us what we need, either.
ZOE
There's moons on this boat we ain't seen.
We could try our luck --
MAL
(angrily)
Our luck?
(beat)
You notice anything particular about our
luck these past few days? Any kind of
pattern?
(beat)
You depend on luck, you end up on the
drift -- no fuel, no prospects....
beggin' for Alliance make-work.
And towed out to the scrap belt.
That ain't us. Not ever. Patience
has got the money to pay, and she will,
one way or another. There's obstacles
in our path, and we're gonna deal with
them. One by one.
INT. DOBSON'S ROOM - CONTINUING
We see Dobson sawing away at his bonds with a tiny, jagged piece of metal.
MAL (O.S.)
We'll get through this. We will.
BLACK OUT.
END OF ACT FOUR
ACT FIVE
EXT. WHITEFALL
We're on the surface -- rocks and sagebrush jutting out of low hills. Serenity touches down, the airlock door beginning to open.
EXT. SERENITY - CARGO BAY - CONTINUOUS
Zoe and Mal down the ramp. Jayne zooms past them on the mule.
EXT. DESERT - DAY - LATER
We see a small valley, dotted with brush.. Pan slowly to discover Mal and Zoe walking down into it.
ZOE
Nice place for an ambush.
MAL
That it is.
Pan across the valley, then REVERSE camera to REVEAL Mal and Zoe staring at the valley.
Behind them, Jayne arrives at a decent clip. He hands one bar from the crate to Mal.
JAYNE
I buried 'em good. The equipment's back
on the boat.
(into comm)
Testing. Testing, Captain, can you
hear me?
MAL
(deadpan)
I'm standing right here.
JAYNE
(into comm)
You're coming through good and loud.
MAL
'Cause I'm standing right here.
JAYNE
Yeah, well... but the transmitter's...
Mal steps forward as Jayne trails off, looking about him, the wheels in his head turning.
MAL
All right. Patience is gonna figure we
buried the cargo. Which means means
putting us to our ease 'fore there's
any action. She'll come at us from
the east, talk the location out of us.
She'll have the coin to show us first.
We get it, give the location, snipers
hit us from....
(points)
There. And there.
JAYNE
You figure they're in place yet?
MAL
Should be. Feel like taking a walk
around the park?
JAYNE
(grinning)
Sure you don't just wanna piss
yourself and back down like you did
with Badger?
Mal stares at him 'til he stops smiling.
MAL
Walk soft. I want Patience thinking
they're still in place. Don't kill
anyone if you don't have to. We're
here to make a deal.
Jayne takes off. Zoe and Mal look over the meeting place some more.
ZOE
Don't think it's a good spot, sir.
She still has the advantage over us.
MAL
Everyone always does.
(turns back to her,
smiling)
That's what makes us special.
INT. PASSENGER DORM HALL/DOBSON'S ROOM - CONTINUING
Book is there, wrestling with his conscience. He looks toward the infirmary, looks toward Dobson's room. After a moment, he heads toward the latter, stops at the door. Knocks.
BOOK
Lawman, it's Shepherd Book.
He opens the door --
BOOK (cont'd)
I believe you're in more danger
than --
Dobson slams the Shepherd in the face with something, sending him flying back into the hall.
Dobson is on him in a second with a makeshift truncheon, hits him in the head viciously twice more. Now this? This is a bad man.
Book slumps, unconscious. Dobson looks out to make sure no one heard. Starts dragging Book into his room.
EXT. DESERT - DAY
We are high and wide above Mal and Zoe, watching them walk across the valley. Them small, landscape big.
Closer in, we track with them, moving slow. They keep their eyes peeled all ways, hands near their holsters.
A ways more, and they are nearing a rise -- Over which appear:
ANGLE: PATIENCE and her crew of six -- as they crest the hill on horseback -- all but one, who drives a vehicle not unlike the one on Serenity. They're maybe twenty yards from our two.
Patience is in a weatherbeaten duster, grey hair flyblown about her face. Her men are a hodgepodge of old and modern clothes -- not quite Road Warrior, but eclectic and raggedy. One wears a shiny black top hat.
PATIENCE
Ah!
(chuckles)
Mal! How you doin', boy?
MAL
Walkin' and talkin'.
PATIENCE
(squinting)
Is that Zoe? You still sailin' with
this old bum?
ZOE
Awful lot of men to haul three crates.
PATIENCE
Yeah, well, I couldn't be sure my Mal
here wouldn't be lookin' for some kinda
payback. You understand.
MAL
We're just on the job, Patience. Not
interested in surprises.
EXT. RIDGE OVERLOOKING THE MEETING PLACE - CONTINUING
A sniper is set to take a bead on Mal. Jayne gets the drop on him, knocks him unconscious. Grabs his rifle and takes his position. He finds a mark, smiles.
ANGLE: IN HIS SIGHTS:
Is Mal.
Jayne smiles, wicked-like.
INT. ANOTHER DORM ROOM - CONTINUING
As Dobson busts in, moves to his suitcase. He opens it, digs in and grabs his tiny computer, turns it on. The screen has icons on it, including CONNECT TO CENTRAL CORTEX. He hits it, waits. It comes up: INTERFERENCE: UNABLE TO CONNECT. Furious, he hurls the computer against the wall, smashing it. Reaches into the bottom of his suitcase.
He pulls out another gun. And another.
EXT. DESERT - CONTINUING
The exchange continues.
PATIENCE
I don't see my cargo anywhere...
MAL
And you're not gonna, 'til I'm holding
two hundred in platinum.
PATIENCE
Oh, come on, Reynolds. I'm supposed
to take it on faith you've got the
goods?
Mal pulls out the bar from the crate. He tosses it to Patience. She rips the foil off to reveal what looks like one of those awful energy bars, which, by the by, is what it is. She sniffs it.
MAL
It's pure, Patience. Genuine A-grade
foodstuffs. Protein, vitamins,
immunization supplements. One of
those'll feed a family for a month.
Longer, if they don't like their kids
too well.
She takes a tiny nibble.
PATIENCE
Yeah, that's the stuff.
She pulls a small bag from her pocket, tosses it to Mal.
PATIENCE (cont'd)
So where's the rest?
INT. INFIRMARY - CONTINUING
River wakes, sits up abruptly. True fear is on her face.
RIVER
Simon...
KAYLEE
What's wrong, sweetie?
River doesn't answer -- she moves to the door -- where Dobson GRABS her, sticks a gun to her head.
DOBSON
Look at you, all woke up.
Kaylee starts to move -- he pulls out the other gun, points it at her.
DOBSON (cont'd)
(to Kaylee)
Oh, I'm sorry about what happened before.
But make so much as a sound, the next
one goes through your throat.
She looks at him with genuine horror. He pulls River back toward the dorm.
EXT. DESERT - CONTINUING
MAL
Then east half a mile, bottom of the
first hill. You'll see where it's
been dug.
PATIENCE
I reckon I will.
MAL
Well then.
PATIENCE
Yep.
Nobody moves.
MAL
I'd appreciate it y'all turn around
and ride out first.
PATIENCE
Well, you see, there's a kind of hitch.
MAL
Both made out on this deal. Don't
complicate things.
PATIENCE
I got a rule. I never let go of money I
don't have to. Which is maybe why I'm
running this little world and you're still on
that dinky old boat, sniffing for scraps.
ANGLE: JAYNE'S POV, through the sights of the gun. Still on Mal, they now swing over to Patience and her gang as Mal tosses the money to her.
MAL
Got the money back. There's no need
for killin'.
ZOE
We're just gonna walk away, sir?
MAL
Guess that's up to Patience here.
(to Patience)
Could be messy.
PATIENCE
Not terribly.
(chuckles)
Mal, you just ain't very bright, are you?
Mal steps forward, nodding at one of her men.
MAL
That's quite a rifle. Boy must be your
best shot to carry that.
PATIENCE
He's called Two-Fry. Always makes it
quick and clean.
Two-Fry smiles. He is scruffy and mean, and wears the shiny top hat.
MAL
Two-Fry. Nice hat.
Two-Fry is BLOWN off his horse by a shot from the unseen Jayne.
And then a lot of things happen at once, people shootin' and yellin'.
Mal draws and nails a second man, Zoe a third (the one on the mule) -- as the gang opens up, a forth man blasts his shotgun, nailing Zoe right in the chest.
She goes flying back -- as Mal hits shotgun man, moving, diving behind some brush cover as Patience and the remaining two fire at him, their horses rearing in panic, one of them drops off his, comes up firing, Mal and he can't really find each other through the dust at this point --
INT. BRIDGE - CONTINUING
Simon and Wash are there, talking.
WASH
You should think about asking the
captain to drop you somewhere else.
Whitefall ain't exactly civilization
in the strictest sense.
SIMON
You don't have to worry about me.
WASH
Zoe's out on a deal, I always worry.
So... it's not out of my way --
Kaylee's voice comes over the com, weak and whispered...
KAYLEE
He took her... He took River...
Simon bolts out of the room. Wash is about to as well, but there is a beeping -- a proximity warning.
He stops, looks at his screen.
WASH
Oh, don't. Don't you dare.
EXT. DESERT - CONTINUING
Mal's up and firing. Jayne's picking people off from the hill. Patience's men know by now they've got a sniper on 'em but they can't see where he's at.
INT. CARGO BAY - CONTINUING
Simon runs out, sees Dobson with River below, his grip on her loose right now as he looks around him, heading for the closed airlock. He hits the release button and the cargo bay doors start opening --
Simon JUMPS right down on top of him -- two men go tumbling, two guns go flying -- and both men lie there in extreme ouchiness, unable to get up and get the guns.
River backs into a corner, wild with terror.
EXT. DESERT - CONTINUING
ANGLE: JAYNE
Still picking off Patience's men. He takes a shot and misses, looking up for a second to say,
JAYNE
[Hwin dan! - "Asshole!"]
The last man on his horse starts to ride away in panic --
ANGLE: ZOE
Still flat on her back. Raises her gun and shoots him in the back. He falls off the still moving horse.
Now it's just Patience and the one other. He fires and clips Mal in the arm -- Mal returns in kind, blasting his hip. The other guy goes down, screaming in pain.
Patience has her shotgun propped on the saddle, using her horse for cover.
Mal stands, no longer moving or hiding.
MAL
(grunting in pain)
Zoe?
ZOE
(grunting, also
in pain)
Armor's dented.
She pulls at her shirt -- there is a beat up kind of thin Kevlar underneath.
MAL
Well, you were right about this
being a bad idea.
ZOE
Thanks for sayin', sir.
PATIENCE
Mal, don't you take another step --
Mal fires. Her horse rears, falls half on top of her. Mal stalks forward, shoves his gun right up in Patience's face.
MAL
Now I did a job. I got nothing but
trouble since I did it, not to
mention more than a few unkind words
as regard to my character so let me
make this abundantly clear. I do the
job.
He takes the money back.
MAL (cont'd)
And then I get paid.
He moves his gun from her face.
MAL (cont'd)
Go run your little world.
Jayne runs up to him and Zoe, panicky and out of breath.
JAYNE
Mal! It's Wash! We got a ship
coming in. They followed us. The
gorram Reavers followed us!
Everyone still alive looks scared.
EXT. SPACE - CONTINUING
As the Reaver ship whips past camera, heading towards Whitefall.
END OF ACT FIVE
ACT SIX
INT. CARGO BAY - MOMENTS LATER
Dobson lunges for his gun -- and Simon throws himself on top of him. They can both barely stand from their crash before. They struggle in ugly fashion, until Dobson gets an elbow free and jerks it into Simon's face.
He gets free enough to crawl for the weapon, but Simon rolls around and grabs the other one, points it:
SIMON
No, don't! Don't move!
WASH (O.S.)
(on the com)
Reavers! Reavers incoming and headed
straight for us. We are in the air
in one minute.
INT. BRIDGE - CONTINUING
WASH
(to himself)
I guess they got hungry again.
He starts warming the ship up.
INT. CARGO BAY - CONTINUING
Simon holds the gun on Dobson. His hand shakes.
DOBSON
You gonna do that? You gonna kill a
lawman in cold blood. I know what
you did for your sister. I understand.
It doesn't make you a killer.
A barely conscious Book comes to the entrance, holding onto it to stay up.
DOBSON (cont'd)
I don't wanna hurt anybody. I have
a job to do. To uphold the law --
that's what we're talking about here.
EXT. SPACE - CONTINUING
The Reaver ship breaks into atmo, headed down to the planet.
INT. BRIDGE - CONTINUING
Wash is getting more and more freaked --
WASH
Come on, come on....
(into walkie)
Where the hell are you guys?!?
EXT. DESERT - CONTINUING
As we see Mal, Zoe and Jayne RIDE into frame on horseback, moving just as fast as they can.
INT. CARGO BAY - CONTINUING
Dobson, still on the floor with Simon holding a gun on him.
DOBSON
There's nowhere you can take her the
law won't find. Nobody is going to
hurt her. Unless you hurt me.
He tries to stand. Simon panics.
SIMON
No, I said -- I said don't-don't move!
DOBSON
It's your call.
Simon doesn't know what to do. He looks over at River.
EXT. DESERT - CONTINUING
Mal, Zoe, and Jayne ride up to the ship.
INT. CARGO BAY/AIRLOCK - CONTINUING
The airlock starts to open, the noise and motion distracting Simon long enough for Dobson to grab his gun and fire --
-- missing but sending Simon diving for cover. Inara comes out of her shuttle, seeing the trouble below --
-- as Dobson grabs River and puts himself behind her, gun to her head.
DOBSON
I'm not playing anymore.
EXT. SERENITY - CONTINUING
The three pull up on their horses, jump off, Mal striding in as the others shoo the horses off.
INT. CARGO BAY/AIRLOCK - CONTINUING
Mal walks in behind Simon --
DOBSON
Anybody makes so much as a --
-- and shoots Dobson without a word. He flies back, letting go of River and dead before he lands. Tilt up from him to see Book, unable to move. Mal stalks toward the body, crouching over him to make sure he's dead.
Zoe and Jayne appear behind him, walking up the ramp.
MAL
Jayne!
Grinning, Jayne jogs up beside Mal.
Simon finally lowers his gun and moves to River, shocked and silent. River makes panicky, frightened noises.
ZOE
(into comm)
Wash! We're on!
Zoe hits the button and the cargo bay starts to close.
Mal and Jayne pick up Dobson like a rag doll, running him across the cargo bay and tossing him off the closing ramp. Jayne and Mal run back in, narrowly missing the closing airlock doors.
EXT. SERENITY - CONTINUING
The hatch is still closing as the ship takes off.
INT. BRIDGE - MOMENTS LATER
Mal and Zoe come up to Wash, Jayne close behind.
MAL
How close are they?
WASH
About twenty seconds from spitting
distance.
JAYNE
Well, lose 'em!
MAL
(to Zoe)
Give me rear vid.
She punches it up. ON THE SCREEN, we see the ship approaching from behind.
ZOE
[Ai ya, women wanle. - "We're in big
trouble."]
MAL
(to Wash)
How close do they need to be to fire
those grapples?
JAYNE
C'mon, Wash, you dumbass, dodge 'em!
WASH
If everybody could just be quiet a
moment...
He's incredibly calm. He veers hard.
EXT. DESERT - CONTINUING
-- the hills, where we see the ship moving fast -- but the reavers right on them.
INT. BRIDGE/FOREDECK HALL - CONTINUING
Wash continues to pilot with serene expertise.
WASH
I need Kaylee in the engine room
please.
ZOE
Can she even --
MAL
(to Jayne)
Get her in there. Now.
Jayne goes, passing Inara in the hall.
INT. FOREDECK HALL - CONTINUING
ANGLE: MAL AND INARA
MAL
I want you to get in your shuttle.
Get the civilians, be ready to go.
INARA
We can't just leave you here.
MAL
Thought that was the plan.
INARA
Mal, don't do this --
MAL
We get boarded, you take off, head
for town. We might be able to stop
them from following.
INARA
They'll kill you.
MAL
Inara.
Just saying her name says more than he probably ever meant to. He puts his hand on her shoulder.
And pushes her gently away.
MAL (cont'd)
Go.
He turns back to the bridge. She is going as well, throws a look back.
INT. BRIDGE - CONTINUING
Mal moves back to Wash's side, puts a hand on his shoulder.
MAL
How we doing?
WASH
(droll)
I don't mean to alarm anybody... but
I think... we're being followed.
EXT. DESERT - CONTINUING
The reaver ship is hard on Serenity's heels.
INT. INFIRMARY - CONTINUING
Jayne is carrying Kaylee out as Inara enters. She speaks to Simon, River and Book:
INARA
You three. Come with me.
BOOK
I think I can help Kaylee out.
SIMON
Should I --
BOOK
(re: River)
Take her. Keep her safe.
Book and Inara share a glance before they go their separate ways.
INT. BRIDGE - MOMENTS LATER
Wash flies.
MAL
Can't keep this up, they get a bead,
they're gonna lock us down.
WASH
(into com)
Kaylee, how we doing?
INT. ENGINE ROOM - CONTINUING
Kaylee is propped up in a corner, Jayne and Book at the ready.
WASH (O.S.)
Gonna need a little push here.
KAYLEE
You want me to go for full burn?
WASH (O.S.)
Not just yet, but set it up.
KAYLEE
(to Book)
You know where the press regulator is?
He looks about, heads to a part of the engine, points at a panel. Kaylee smiles.
KAYLEE (cont'd)
Head of the class.
She coughs, wincing in pain.
INT. INARA'S SHUTTLE - CONTINUING
Inara is settling into the pilot's seat, Simon and River behind her.
KAYLEE (O.S.)
We're ready for full burn on your mark.
INT. BRIDGE - CONTINUING
ZOE
Full burn in atmo? That won't cause
a blowback? Burn us out?
MAL
Even if it doesn't, they can push
just as hard, keep right on us.
(beat)
Wash, you gotta give me an Ivan.
WASH
I'll see what I can do.
(into com)
Kaylee, how would you feel about
pulling a Crazy Ivan?
INT. ENGINE ROOM - CONTINUING
KAYLEE
Always wanted to try one. Jayne.
Open the port jet control. Cut the
hydraulics.
JAYNE
Where the hell is --
KAYLEE
Look. Look! Look where I'm pointing.
He does, opens a panel near the floor.
KAYLEE (cont'd)
Okay. Now it's real simple.
ANGLE: JAYNE'S POV: A tangle mess of cables.
Yeah. Real simple.
EXT. DESERT - CONTINUING
The reaver ship has Serenity locked in. The magnetic grappler warms up, latches flying off.
INT. BRIDGE - CONTINUING
Zoe watches the Reaver ship out of a porthole.
ZOE
They're on us.
WASH
(into com)
Kaylee...?
EXT. DESERT - CONTINUING
The reaver ship has black smoke billowing out the back, closing in on Serenity.
INT. BRIDGE - CONTINUING
Mal and Zoe are real tense, Wash still preternaturally calm.
MAL
(muttering)
C'mon, c'mon, c'mon, c'mon...
No answer from Kaylee. Then:
KAYLEE (O.S.)
Okay.
WASH
Everybody hold on to something.
(softly, to the
reavers)
Here's something you can't do...
He SLAMS down a lever and
EXT. DESERT - CONTINUING
Serenity's port jet flips the other way and the ship LURCHES into a perfect one-eighty, spinning on a dime, the jet flips back and it's headed straight for the reaver ship, which dodges at the last second --
INT. BRIDGE - CONTINUING
WASH
(into com)
NOW!
INT. ENGINE ROOM - CONTINUING
Book hits a button, Jayne pulls on a lever, and suddenly the engine turns faster, glows real bright.
EXT. DESERT - CONTINUING
As the ass-end of serenity lights up, sending ripples of fire bursting into the atmosphere as the ship blasts out of there fast, gradually arcing up toward space...
INT. BRIDGE - CONTINUING
Wash is pulling up at the controls with all his might. Finally he eases off, quietly pleased.
Mal and Zoe are kind of amazed.
MAL
Knew I hired you for somethin'.
INT. ENGINE ROOM - CONTINUING
Jayne looks around, pumps his fist in the air.
JAYNE
Whoo! Woo-hoo!
INT. BRIDGE - CONTINUING
Zoe leans over the back of Wash's chair.
ZOE
Ain't no way we they can come around
in time to follow us now.
Mal hits the com:
MAL
We're good, people.
INT. INARA'S SHUTTLE - CONTINUING
Extreme, solemn relief.
MAL (O.S.)
We're out of the woods.
INT. ENGINE ROOM - CONTINUING
Jayne whoops with delight. Even Book smiles.
Kaylee runs her hand along the hull.
JAYNE
Woo-hoo-hoo! Yeah!
KAYLEE
That's my girl... That's my good
girl.
She looks at the boys and beams.
INT. BRIDGE - CONTINUING
WASH
(to Mal)
We should have just enough left in us
to hit a fuel station. We'll need to
do some patching up. I hope we got
paid today.
MAL
We did.
Zoe exchanges a look with Wash.
ZOE
Sir? I'd like you to take the helm,
please.
(re: Wash)
I need this man to tear all my
clothes off.
Mal says nothing, just smiles and indicates the way out. Wash climbs out of the chair and exits with Zoe...
WASH
Work, work, work...
And Mal throws himself down into the pilot's seat. Lets out a breath he's been holding for, oh, about two days. And starts flying.
EXT. SPACE - LATER
As Serenity breaks out of atmosphere into the deep silence of space.
INT. INARA'S CHAMBER - LATER
Book sits as Inara takes a cloth from a bowl and dabs his head. He is sitting, she stands before him.
INARA
You should really have the young
doctor look at this.
BOOK
It's not so bad.
INARA
Well, I'm sure you'll be fine.
BOOK
I didn't say that.
He looks up at her and she sees how upset he is, how lost.
BOOK (cont'd)
Is this what life is, out here?
INARA
Sometimes.
BOOK
I've been out of the abbey two days,
I've beaten a lawman senseless, I've
fallen in with criminals. I watched
the captain shoot the man I swore to
protect.
(beat)
And I'm not even sure if I think he
was wrong.
INARA
Shepherd...
He is shaking a bit, tearing up.
BOOK
I believe I just...
(a pained smile)
I think I'm on the wrong ship.
INARA
Maybe. Or maybe you're exactly where
you ought to be.
He lowers his head. She puts her hand on it, a kind of benediction. We hold on them a second.
INT. SIMON'S ROOM - LATER
He is tucking River into bed.
SIMON
The shot I gave you will help you sleep.
RIVER
I slept for so long...
SIMON
Just a little while. Then we'll find
a place. We'll find a safe place.
He's not convinced, but he smiles at her anyway. She looks suddenly terribly sad.
RIVER
I didn't think you'd come for me.
SIMON
(welling up)
Well, you're a dummy.
He takes her in his arms, holds her tight.
JAYNE (PRE-LAP)
The girl's a problem.
INT. BRIDGE - LATER
Mal is still at the helm as Jayne speaks to him.
JAYNE
The lawman said they'd keep looking
for her. Something about her brain
being all special. Important to the
Alliance brass. Sooner we dump them
two, the better.
MAL
Suppose so.
Jayne gets up to leave.
MAL (cont'd)
Funny how the lawman got out of his
room. You having tied him up so well
and all.
JAYNE
I didn't have nothing to do with that.
Anyway it all turned out just fine.
Buzzards're the only ones gonna find
him...
MAL
But he did try to make a deal with
you, right?
He looks at Jayne, who says nothing.
MAL (cont'd)
How come you didn't turn on me, Jayne?
JAYNE
Money wasn't good enough.
MAL
What happens when it is?
JAYNE
(smiling)
Well... that'll be an interesting day.
MAL
Imagine it will.
Jayne leaves, rudely bumping into Simon, who is on his way in. Simon comes up next to Mal. He sees Mal's arm is a bit bloody.
SIMON
You need me to look at that?
MAL
Just a graze.
SIMON
(a beat, then)
So, where do you plan on dumping us?
MAL
There's places you might be safe.
You want the truth, though, you're
probably safer on the move.
(turns to him)
And we never stop moving.
SIMON
I'm confused. No wait, I -- I think
maybe you're confused.
MAL
It may have become apparent to you
that the ship could use a medic. You
ain't weak. I don't know how bright
you are, top three percent, but you
ain't weak and that's not nothing.
You live by my rule, you keep your
sister from doing anything crazy,
you could maybe find a place here.
'Til you find a better.
SIMON
I'm trying to put this as delicately
as I can... How do I know you won't
kill me in my sleep?
MAL
You don't know me, son. So let me
explain this to you once: If I ever
kill you, you'll be awake, you'll be
facing me, and you'll be armed.
SIMON
(smiles)
Are you always this sentimental?
MAL
Had a good day.
SIMON
You had the Alliance on you, criminals
and savages... half the people on the
ship have been shot or wounded
including yourself, and you're
harboring known fugitives.
Mal looks out at the black sky.
MAL
We're still flying.
SIMON
That's not much.
Mal answers, almost to himself:
MAL
It's enough.
A beat, then Simon goes. Mal just keeps looking ahead.
BLACK OUT
We come into the middle of a battle. Soldiers are yelling and running, gunfire everywhere, stuff blowing up but good.
Camera focuses on a soldier in the silhouette of an explosion, running and dodging fire. He hits the dirt for cover. We PUSH IN and see that it's Mal. His face is dirty and he's breathing hard.
Mal's up again and running to rejoin his company in a makeshift foxhole.
RADIO OPERATOR
Sergeant, Command says air support is holding
till they can assess our status.
MAL
Our status is that we need some gorram air support.
Now get back on line and tell 'em to get in here.
ZOE
That skiff is shredding us, sir.
RADIO OPERATOR
They won't move without a lieutenant's
authorization code, sir.
Angry, Mal walks over and rips off the badge from a dead Lieutenant's uniform and gives it to the Radio Operator.
MAL
Here, here's your code. You're Lieutenant Baker.
Congratulations on your promotion. Now get me
some air support!
(to Zoe)
Pull back, just enough to wedge 'em in here. Get your
squad to high ground, start picking 'em off.
ZOE
High ground is death with that skiff in the air.
MAL
That's our problem. Thanks for volunteering.
(to Bendis)
Bendis, give us some cover fire. We're going
duck hunting.
The foxhole is rocked by a huge explosion. Mal's group of soldiers are looking pretty young and scared. Time for a morale boost:
MAL
Just focus!
(beat)
The Alliance said they were gonna waltz through
Serenity Valley and we choked 'em with those words.
We've done the impossible and that makes us mighty.
Just a little while longer, our angels are gonna be
soaring overhead raining fire on those arrogant cod,
so you hold!
(yelling)
You hold! Go!
His soldiers take up their positions to lay down cover fire while Mal and Zoe prepare to take down the skiff.
ZOE
Really think we can bring her down, sir?
MAL
Do you even need to ask?
Mal pulls a necklace out from under his shirt and kisses the cross.
MAL
Ready?
ZOE
Always.
Mal takes off. Zoe prepares to follow, sees that no one's covering Mal.
ZOE
Bendis? Bendis!
She sees Bendis huddled across from her, scared stiff.
ZOE (cont'd)
(angrily)
Rut it.
Zoe grunts and stands up, laying cover fire for Mal as he moves down the hill. After a moment, she follows Mal down the hill, taking cover with him behind some boulders. Mal fires into the bushes, causing the soldier guarding a bigass gun to move out of his cover and return fire. Mal shoots him dead.
Mal activates the bigass gun's targeting system while Zoe covers him. Mal locks a target on the skiff that's been killing them in the battle and fires. He makes a direct hit and stands back from the bigass gun.
MAL
Yeah!
(manly grunt)
Then Mal realizes that the skiff is outta control... and headed right for him. Oh, shit. Mal starts running.
MAL
Zoe!
Mal and Zoe run as the skiff hits the ground and plows past them, exploding. Mal and Zoe hit the ground flat on their backs. Mal starts laughing. Zoe looks long-suffering.
ZOE
(entering foxhole,
to Bendis)
Nice cover fire.
MAL
Did you see that? Green, what's our
status on...
Mal trails off as he realizes Green is pretty damn wounded, possibly deader than a dead thing.
MAL
Zoe.
She looks up. Mal points. Zoe moves to check Green. Mal moves to sit near Bendis.
MAL (cont'd)
Hey, listen to me. Bendis, look at me! Listen,
we're holding this valley no matter what.
BENDIS
We're gonna die.
MAL
We're not gonna die. We can't die, Bendis.
You know why?
(beat)
Because we are so very pretty. We are just too pretty
for God to let us die. Huh? Look at that chiseled jaw.
Huh? C'mon.
There's a roaring sound overhead. Zoe is listening on the radio.
MAL (cont'd)
If you won't listen to me, listen to that. Those are
our angels coming to blow the Alliance to the hot place.
(to Zoe)
Zoe, tell the 82nd --
ZOE
(stunned)
They're not coming.
(beat)
Command says it's too hot. They're pulling out. We're to
lay down arms.
Mal's stunned, in denial. He looks at Bendis.
MAL
But what's...
Slowly, Mal stands and peeks over the top of the foxhole. His face is lit from their air support rising and retreating. Bendis stands next to him. Mal's in shock, watching his last hope pull out of the fight.
Beside him, Bendis is hit by enemy fire and falls. Mal doesn't notice.
PUSH IN on Mal's bloody face. On the disbelief.
INT. BLOWN-OUT SHIP - NIGHT
We are in some kind of burnt out wreck - all we see is twisted black metal, a few stars visible through breaches in the hull.
From top of frame, Mal floats upside-down into a close up. He is in a space suit. The title reads
SIX YEARS LATER
MAL
The vault's sealed.
(beat)
Okay. I'm gonna boil it. Jayne, give
me the sticky.
WIDEN to see Zoe and Jayne also suited up. They are in zero gravity, floating by a big iron door.
Jayne hands Mal an object that looks like a glue gun. Mal squeezes the trigger and clear gel comes out with a line running through it. He paints a line around the outside of the door.
ANGLE: THE GEL
as it eats through the door.
MAL
Okay. We get the goods, we're off this wreck and
back on the ship. No worries.
PULL BACK rapidly through the burnt out ship to REVEAL Serenity.
INT. SERENITY - BRIDGE - CONTINUOUS
Wash sits in the pilot's seat. He's concentrating intensely.
WASH
Everything looks good from here...
(beat)
Yes. Yes, this is a fertile land,
and we will thrive.
He's playing with little plastic dinosaurs. He holds a Stegosaurus and a T-Rex.
The dinosaurs look out over his dash/console, toward the window.
WASH (cont'd)
(as Stegosaurus)
We will rule over all this land, and
we will call it... "This Land."
(as T-Rex)
I think we should call it "your
grave!"
(Stegosaurus)
Ah, curse your sudden but inevitable
betrayal!
(T-Rex)
Ha ha HA! Mine is an evil laugh! Now
die!
(Stegosaurus)
Oh, no, God! Oh, dear God in heaven!
He makes them fight. As he does, a light near him flashes red.
He stops fighting, looks, then looks at a sort of radar screen.
ANGLE: THE RADAR SCREEN
has got three other dinosaurs on it. He sweeps them off as a blip appears in the upper right quadrant, closing fast.
WASH (cont'd)
Oh, motherless son of a b--
INT. BLOWN-OUT SHIP - CONTINUING
A piece of metal goes flying past Jayne.
ZOE
Full pressure. The goods must be intact.
ANGLE: INSIDE THE CHAMBER
Three crates, roughly the size of hay bales, sit in the dark.
MAL (cont'd)
Okay. Looking good.
A voice sounds simultaneously in all three headsets: Wash.
WASH (O.S.)
Captain, we got incoming! Alliance cruiser,
bearing right down on us!
MAL
(in Chinese)
[Ta ma de. -- "Oh shit!"]
(in English)
Have they spotted us?
WASH
I can't tell if --
MAL
Have they hailed us?
JAYNE
If they're here for the salvage,
we're humped.
ZOE
If they find us at all, we're humped.
Thievin' ain't exactly --
JAYNE
I don't like this.
MAL
(in Chinese)
[Shut up.]
(in English)
Wash, shut it down, Wash. Everything but
the air.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH
Shutting down.
He is flipping switches, we hear engines running down, lights go off - he hits the com:
WASH (cont'd)
Kaylee! KAYLEE!
INT. ENGINE ROOM - CONTINUOUS
KAYLEE's running into frame toward the engine room. She gets inside and hits the com:
WASH
Go to black out! We're being buzzed!
She hits the com --
KAYLEE
(in Chinese)
[Shi. -- "Affirmative."]
(in English)
Going dark --
and keeps moving, hitting switches. She climbs up on the engine to flip the last switch. Everything goes pretty damn black.
KAYLEE (cont'd)
Okay. Now I can't get down.
EXT. SPACE - CONTINUING
An Alliance Cruiser. Sleek and huge. The I.A.V. DORTMUNDER.
CAPTAIN (O.S.)
So what am I looking at?
INT. DORTMUNDER BRIDGE - CONTINUING
ENSIGN
It's a carrier, blew out a few months
back. Lost all hands, but it was only
run by a skeleton crew anyway.
CAPTAIN
Damn shame. No point in checking for
survivors...?
INT. BLOWN-OUT SHIP - CONTINUING
MAL
Wash, they slowing down?
INTERCUT WITH:
INT. BRIDGE - CONTINUING
WASH
That's a neg. Don't think they're
interested in us. We should be
eating wake in a minute or two.
INT. BLOWN-OUT SHIP - CONTINUING
Mal waits as through a piece of ripped out wall behind him, the ship, impossibly huge and dangerously close, passes by.
ANGLE: MAL'S FACE
As the reflection of the passing ship plays across his faceplate.
He is silent. So are the others.
EXT. BLOWN-OUT SHIP - CONTINUING
As the cruiser passes by, leaving the ship behind, all clear...
INT. DORTMUNDER BRIDGE - CONTINUING
A MAN seated at a screen suddenly looks concerned.
MAN
Sir, there is a reading on that
thing. Some residual heat...
CAPTAIN
Do a sweep.
INT. SERENITY - BRIDGE - CONTINUOUS
An alarm sounds, lights blink.
WASH
(in Chinese)
[ Aiya! Hwaile! -- "Shit on my head!"]
(in English)
Captain! We're humped!
INT. BLOWN-OUT SHIP - CONTINUING
MAL
Prep the ship now.
(to the others)
We move these in, double-time.
They float to the crates, start dragging them.
INT. SERENITY - BRIDGE - CONTINUOUS
Hitting buttons.
WASH
Kaylee, fire it up.
INT. DORTMUNDER BRIDGE - CONTINUING
The captain is watching the screen.
MAN
It's a transport ship. Firefly class.
ENSIGN
They still make those?
CAPTAIN
Illegal salvage.
INT. BLOWN-OUT SHIP
Continue conversation over Mal, Zoe, and Jayne retrieving the cargo:
CAPTAIN
Lowlife vultures picking the flesh off the dead.
ENSIGN
Should we deploy gunships and bring her in?
CAPTAIN
Do it.
INT. BLOWN-OUT SHIP
Mal, Zoe and Jayne all float their crates past the twisted wreckage.
MAL
Cry, Baby, Cry.
WASH
Make your mother sigh. Engaging the
crybaby.
EXT. SPACE - CONTINUING
Behind some little moon, we see a tiny jet-propelled satellite thingy, beeping out its distress signal. It's small and rough, and has written on a piece of tape: "Crybaby #6".
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
Captain, I am picking up a distress
signal thirteen clicks ahead from
a... it sounds like a personnel
carrier...
INT. BLOWN-OUT SHIP/AIRLOCK OF SERENITY - CONTINUING
Mal, Zoe and Jayne all float their crates past the twisted wreckage and into the airlock.
EXT. SPACE - CONTINUING
The crybaby beeps.
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
Definitely a big ship, sir, and she
is without power.
INT. AIRLOCK OF SERENITY - CONTINUINGS
Mal hits the button and the airlock door shuts. Hits another and gravity hits, the three of them landing on their feet, crates dropping, as air rushes in.
Mal hits the com.
MAL
Wash! We're on. Go!
EXT. BLOWN-OUT SHIP - CONTINUING
Serenity begins to disengage from the wreck, rear end flaring.
INT. SERENITY - BRIDGE - CONTINUING
Wash is seated, all business now.
WASH
Hang on, travelers...
INT. AIRLOCK - CONTINUING
Everyone grabs something, as Jayne pulls off his helmet.
JAYNE
Let's moon 'em.
EXT. SERENITY - CONTINUING
As the ship turns away from us, the back lights up -- the entire bulbous back end glowing beneath a metal grid.
The ship fires away from us.
INT. DORTMUNDER BRIDGE - CONTINUING
MAN
They're rabbiting, sir. Should we
continue deployment?
CAPTAIN
(considering)
Our gunships'd never get back to us in
time. All right, let's go help
these people.
(to the ensign)
But put out a bulletin on the Cortex, and
flag Interpol: a Firefly with
possibly stolen goods onboard.
Maybe somebody'll step on those
roaches.
INT. SERENITY - CARGO HOLD - CONTINUING
WASH (O.S.)
We look shiny, Captain. They are not
repeat not coming about.
ZOE
Close one.
JAYNE
Any one you walk away from, right?
Long as we got the goods, I call
this a win.
MAL
Right.
He looks away.
MAL (cont'd)
We win.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO HOLD - LATER
A crate is jimmied open. It is Jayne with the crowbar, Mal who pulls the top off, looking in. Zoe, Wash and Kaylee are also about.
MAL
Well that sure enough don't hurt to
see.
ANGLE: IN THE CRATE are bars that looks a lot like gold.
KAYLEE
(excited)
They're awfully pretty...
WASH
I'd say worth a little risk.
JAYNE
Yeah, that was some pretty risky
sittin' you did there.
WASH
That's right, of course, 'cause they
wouldn't arrest me if we got boarded,
I'm just the pilot. I can always say
I was flying the ship by accident.
You know, that pretty --
MAL
(harshly, in Chinese)
["Bizui." -- Shut up.]
He has a bar in his hand, is looking at it up close.
ZOE
Problem, sir?
Clearly, yep, there is. But Mal tries to cover.
MAL
(after a moment)
Couldn't say.
(tosses the bar back)
But we'd best be gettin' rid of these before
we run into another Alliance patrol.
JAYNE
What the hell they doin' out this
far, anyhow?
KAYLEE
Shining the light of civilization.
JAYNE
Doesn't do us any good...
KAYLEE
Well, we're uncivilized.
As they talk, Mal approaches Wash, talking over them.
MAL
How long 'til we reach Persephone?
WASH
Three or four hours.
MAL
Can we shave that?
WASH
(shakes his head)
We're down to the wire on fuel cells.
We run hot, we might not even make it.
MAL
'kay. Play it as close as you can. This
catch is burning a hole in my hull.
ZOE
Think that cruiser could've I.D.'d us?
MAL
Let's hope not. Contact Badger, tell
him the job's done. Don't go to
mentioning the cruiser, though. Keep
it simple.
ZOE
Sir, we're sure there's nothing wrong
with the carg --
MAL
It's fine. I just wanna get paid.
They head up the ladder as Mal turns his attention to:
MAL (cont'd)
All right, let's get these crates
stowed. I don't want any tourists
stumbling over them.
KAYLEE
We're taking on passengers at
Persephone?
MAL
Yeah, that's the notion. We could use a
little respectability on the way to
Boros. Not to mention the money.
JAYNE
Pain in the ass...
KAYLEE
No, it's shiny! I like to meet new
people. They've all got stories...
JAYNE
Captain, can you stop her from bein'
cheerful, please?
MAL
I don't believe there is a power in
the 'verse that can stop Kaylee from
being cheerful.
He smiles at her, never stopping working.
MAL (cont'd)
Sometimes you just wanna duct tape
her mouth and dump her in the hold
for a month.
She grins and kisses his cheek.
KAYLEE
I love my captain.
INT. SERENITY - UPPER CORRIDOR/BRIDGE - CONTINUING
As Wash and Zoe crest the ladder and head to their positions, talking.
ZOE
I know something ain't right.
WASH
Sweetie, we're crooks. If everything
were right, we'd be in jail.
ZOE
It's just that the Captain's so tense...
WASH
The man needs a break. In fact, we could
all use a couple days' leave.
ZOE
We still gotta drop the goods.
WASH
And when we do, we fly off to Boros rich and
prosperous. Well, less poor. But with enough
to find some sweet little getaway.
They enter the bridge. He moves closer, wrapping her in his arms.
ZOE
Oh, wouldn't mind a real bath...
WASH
Yeah, and a meal that included some sort of food.
ZOE
Ooh.
WASH
Just a couple of days lying around, you with the
bathing. Me with the watching you bathe.
They're closer now.
ZOE
(definitely interested)
If the captain says it's all right...
Wrong. Wash shuts his eyes a moment, rests his head on hers, quietly pissed. He breaks apart.
WASH
What if we just told Mal we needed a
few days, 'stead of asking him?
ZOE
He's the captain, Wash.
WASH
Right. I'm just the husband.
ZOE
Look, I'll ask him.
WASH
(sitting)
Don't forget to call him 'sir'. He
likes that.
MAL
Who likes what?
Instinctively, Zoe's demeanor changes as Mal enters, her bearing more erect, military.
ZOE
It's nothing, Sir.
MAL
Has the Ambassador checked in yet?
WASH
Naw, I think she had a pretty full docket.
MAL
(to Zoe)
Well, after you talk to Badger, let her
know we may be leaving Persephone in a
hurry.
ZOE
Inara knows our timetable. I'm sure
she'll be checking in soon.
WASH
Well, I can tell her to cut it short,
meet us at the docks.
MAL
No, no. Don't want to get in her way if we
don't have to.
(leaving)
Somebody on this boat has to make an honest
living.
INT. INARA'S CHAMBER - NIGHT
Artful tapestries. The sound of heavy panting.
We pan down to see that Inara is being made love to by an eager young man. She is beneath him, his face buried in her neck.
INARA
Oh... Oh.... oh my god... oh...
He tightens, relaxes, becomes still. She runs her hand through is hair and he pulls from her neck, looks at her with sweaty insecurity. She smiles.
INT. SAME - LATER
They are seated on cushions, close to each other, sipping tea from small cups. She is wearing a robe.
INARA
Sihnon isn't that different from this
planet. More crowded, obviously, and
I guess more complicated. The great
city itself is... pictures can't
capture it. It's like an ocean of
light.
THE YOUNG MAN
Is that where you studied? To be a
Companion?
INARA
I was born there.
THE YOUNG MAN
I can't imagine ever leaving.
FLASH CUT to Inara looking pensive, staring off into the distance.
CUT BACK to the scene in progress.
INARA
Well, I wanted to see the universe.
He looks down at his cup a moment.
THE YOUNG MAN
Do you really have to leave? I
mean... I, my father is very
influential, we could... I could
arrange for you to be...
She smiles sweetly and looks down. He doesn't continue.
INT. INARA'S CHAMBER - LATER
The young man is dressed and on his way out.
THE YOUNG MAN
Experience has been more than -- it
was very good. Thank you.
INARA
The time went too quickly.
THE YOUNG MAN
Your clock's probably rigged to speed
up and cheat us out of our fun.
The smile vanishes from her face. He looks guilty, then ducks out of the chamber.
She takes a moment, then she moves across the room and pulls aside a tapestry that conceals the cockpit. Gets in the pilot's seat and hits a switch and continues hitting them as she talks.
INARA
Serenity, this is Shuttle One, what's
your ETA?
WASH (O.S.)
Inara, hey. We're touching down at
the Eavesdown docks in about ten
minutes.
INARA
I'll join you there, thanks.
WASH (O.S.)
Looking forward to it. We missed you out
here.
INARA
(softly)
Yeah. Me too.
She punches a few buttons, rides the joystick, and the cockpit begins to shake slightly as we CUT TO:
EXT. CITY - DAY
The outside of the shuttle, which rises slowly into the air. The shuttle is exiting from one of the many huge skyscrapers, joining the heavy air traffic. It flies off.
EXT. EAVESDOWN DOCKS - DAY
We see Serenity as she touches down at the Eavesdown docks. It's a bustling bazaar, ships lined up next to each other, each one advertising passage or selling goods.
This district is much poorer than the gleaming city where we just saw Inara.
The airlock opens, the ramp coming down and our gang piling out.
MAL
(to Kaylee)
This shouldn't take long. Put us
down for departure in about three
hours.
(to Wash)
Grab any supplies we're low on.
Fuel her up.
Kaylee moves to a computerized placard in front of their 'parking space', starts entering data.
KAYLEE
I'd sure love to find a brand new
compression coil for the steamer.
MAL
And I'd like to be king of all
Londinum and wear a shiny hat. Just
get us some passengers. Them as can
pay, all right?
KAYLEE
Compression coil busts, we're
drifting...
MAL
Best not bust, then.
Wash comes down the ramp driving the mule. Zoe, Jayne and Mal start off. Wash stops the mule and calls out:
WASH
Zoe.
(in Chinese)
["Zhu tamin ya min. Zhu yi."
-- Watch your back.]
ZOE
We will.
EXT. EAVESDOWN DOCKS - DAY
We're in the middle of the bazaar. We see a sign that advertises: Good DOGS! We see a griddle, with some suspicious looking cuts of meat sizzling on it. A man works the griddle.
We see, passing through the frame, Shepherd BOOK. He drags a few boxes and suitcases on a sort of wheeled papoose, carries another suitcase in his hand. As he moves on, looking about him, he is approached by MAN, who's in his face a bit.
MAN #2
You going on a trip, grandpa? Need
safe passage? We're cheap. We're
cheap. We're clean.
(pointing)
The BRUTUS, the best ship in the 'verse.
What's your des, grandpa? We're hitting
the outer rings.
BOOK
I never married.
MAN #2
What?
BOOK
I'm not a grandpa.
EXT. ALLEY - DAY
Mal, Jayne, and Zoe walk down a dim alley and enter:
INT. BADGER'S OFFICE - DAY
Mal, Jayne and Zoe come down the alley, halted by a thug.
The office is dim and dingy. The ceiling has grates over it -- we can hear the traffic above, and every now and then the bright white of a vehicle spills through the grate. On one side are stairs leading up to ground level and a door beside, at the other end an oversized, beat up desk and a way into the back through a curtain.
Badger's busy inspecting a young woman.
BADGER
Let me see your teeth.
She gives him a big smile. He pulls her lip up.
BADGER (cont'd)
Yes.
She is shoved behind the curtain. As she is, yet another thug leads Mal, Zoe and Jayne down the stairs. Badger doesn't look at them, heading for his desk and sitting down.
BADGER (cont'd)
You're late.
MAL
You're lying.
BADGER
What did you just say to me?
MAL
You're well aware we landed two hours
'fore we planned to, with all the
goods you sent us after intact, ready
to roll. So your decision to get
tetchy, say we're late, means you're
looking to put us on the defensive
right up front. Which means something's
gone wrong. It didn't go wrong on our
end, so why don't we start again with
you tellin' us what's up?
A beat. A mean little smile from Badger.
BADGER
You're later than I'd like.
MAL
Well I am sorry to hear that.
Badger briefly holds up what appears to be digital paper: a clear, pliable piece of plastic with words and images running across it, constantly changing.
BADGER
If you'd gotten here sooner, you
might've beaten the bulletin that
came up sayin' a rogue vessel,
classification 'Firefly', was spotted
pulling illegal salvage on a derelict
transport.
MAL
Didn't ID us. Doesn't lead to you.
BADGER
No, it doesn't. But a government
stamp on every molecule of the cargo
just maybe might.
Zoe looks at Mal -- that's what he didn't say when he examined the bars.
BADGER (cont'd)
Oh, you noticed that. You were gonna
hand over imprinted goods and just
let me twist, is that the case?
MAL
We didn't pick the cargo.
BADGER
And I didn't flash my ass at the
gorram law. There's no deal.
ZOE
That ain't fair.
BADGER
Crime and politics, little girl: the
situation is always... fluid.
JAYNE
Only fluid I see here is the puddle
of piss refusing to pay us our wage.
Badger stands up angrily and all his thugs draw their weapons.
Mal glares at Jayne until he puts his gun back in his holster, then Mal steps forward, smiling.
MAL
It doesn't have to go this way. You
know you can still unload those
goods. So I can't help thinking
there's something else at work here.
BADGER
What were you in the war, that big war
you failed to win? You were a Sergeant,
yeah? Sergeant Malcolm Reynolds, Balls and
Bayonets Brigade. Big tough veteran.
Now you got yourself a ship and
you're a captain. Only I think
you're still a Sergeant, see. Still
a soldier, man of honor in a den of
thieves.
(in his face)
Well this is my gorram den, and I don't
like the way you look down on me.
I'm above you. Better than. I'm a
businessman, see? Roots in the
community. You're just a scavenger.
MAL
Well, maybe I'm not a fancy gentleman like
you with your... very fine hat... but
I do business. We're here for business.
BADGER
Try one of the border planets --
they're a lot more desperate there.
Of course, they might kill you, but
you stay here and I just know the
Alliance'll track you down. I have
that feeling.
Beat. Mal's pissed. Jayne's itching for a fight.
But Mal turns to go. As he's leaving, he says:
MAL
Wheel never stops turning, Badger.
BADGER
That only matter to the people on
the rim.
EXT. EAVESDOWN DOCKS - LATER
Book moves on to Serenity, Kaylee sits outside it in a lawn chair, holding a rainbow-striped parasol. He looks at the ship, never stopping, 'til Kaylee says, smiling:
KAYLEE
You're gonna come with us.
BOOK
Excuse me?
KAYLEE
You like ships. You don't seem to be
looking at the destinations. What
you care about is the ships, and mine's
the nicest.
He does stop, gives the ship a look-over.
BOOK
She don't look like much.
KAYLEE
Well, she'll fool ya'. You ever sail in a
Firefly?
BOOK
Long before you were crawling. Not
an aught three, though. Didn't have
the extenders, tended to shake.
Kaylee gets up from her lawn chair, walks over to Book, twirling her parasol.
KAYLEE
So, uh, how come you don't care where
you're going?
BOOK
'Cause how you get there is the
worthier part.
KAYLEE
Are you a missionary?
BOOK
I guess... I'm a Shepherd, from the
Southdown Abbey. Book, I'm called
Book. Been out of the world for a
spell. Like to walk it a while, maybe
bring the word to them as need it
told.
KAYLEE
Well, I'm Kaylee. This is Serenity, and
she's the smoothest ride from here to
Boros for anyone who can pay.
(beat, worried)
Can you pay, or... ?
BOOK
Well, I've got a little cash,
and, uh...
He picks up a small wooden box from his luggage. Shows her the contents. She goes a little bit wide-eyed, eyeing the contents lustfully.
KAYLEE
Ooh, grampa...
BOOK
I never married.
EXT. EAVESDOWN DOCKS - LATER
We are now following Mal, Zoe and Jayne back to the ship.
JAYNE
I don't understand why we didn't
leave that sumbitch in a pool of his
own blood.
MAL
We'd be dead. Can't get paid if
you're dead.
JAYNE
Can't get paid if you crawl away like
a bitty little bug, neither. We gotta
share this job. Ten percent of nothing
is -- let me do the math here -- nothing
into nothing, carry the --
ZOE
So we'll find a buyer on Boros. There's
gotta be a --
MAL
Boros is too big. It's crawling with
Alliance, they could just be waiting
for us.
ZOE
You really think Badger'll sell us out
to the Feds?
MAL
If he hasn't already.
PAN LEFT to reveal a couple of Alliance soldiers standing in the street, watching our group as they walk past.
ZOE
Alliance catches us with government goods,
we'll lose the ship.
MAL
That's never gonna happen.
ZOE
Sir, we could just dump the cargo.
JAYNE
No ruttin' way. We ain't had a job in
weeks. I didn't sign on with this
crew to take in the sights. We need
coin.
MAL
Jayne, your mouth is talking. You
might wanna look to that.
JAYNE
Oh, I'm ready to stop talkin' --
MAL
You're right, though. The last two
jobs we had were weak tea. We got
nothing saved, takin' on passengers
won't help near enough.
(beat)
We don't get paid for this cargo, we
don't have enough money to fuel the
ship, let alone keep her in repair.
She'll be dead in the water.
ZOE
So we do like Badger said? The border
planets?
MAL
I'm thinkin' Whitefall, maybe talk
to Patience...
ZOE
Sir, we don't want to deal with
Patience again.
MAL
Why?
ZOE
She shot you.
MAL
Well, yeah, she did a bit... still --
ZOE
So we find somebody else. Horowitz.
MAL
He can't afford it.
ZOE
Holden boys.
MAL
They wouldn't touch it. Do you want
me to go through the list? Capshaw's
are brain-blown. Gruvick's dead --
ZOE
He's dead?
MAL
Town got hit by Reavers. Burned it
right down.
JAYNE
I ain't goin' nowhere near Reaver
territory. Them people ain't
human.
MAL
Whitefall is the safest and the closest.
Been a long time since Patience shot me
and that was due to a perfectly legitimate
conflict of interest. I got no grudge.
She owns half that damn moon now.
She can afford what we got and she just
might need it.
ZOE
I still don't think the old lady's the way.
ANGLE: Wash on the mule, about to pull a big blue box up the ramp into Serenity's cargo hold.
MAL (O.S.)
I'm not sayin' it won't be tricky, but
we got no kind of choice.
MAL'S POV: still looking Serenity, he sees Kaylee welcoming another passenger, introducing himself as:
KAYLEE
Welcome aboard, Mr...
DOBSON
Dobson.
KAYLEE
Dobson!
DOBSON
Thank you.
ANGLE: Back to Mal, Zoe, and Jayne approaching the ship.
MAL
We just gotta keep our heads down, do the
job, pray there ain't no more surprises.
ANGLE: A BOX. Being loaded on by Wash on the mule.
The box clears frame to reveal SIMON, a young, clearly affluent man. He wears a dark suit and round glasses. He seems to be looking directly at Mal, then glances over to the box.
SIMON
(to Wash)
Please be careful with that.
KAYLEE
Mal, this is Simon. Simon, this is our
captain.
Both men size each other up.
SIMON
Captain Reynolds.
MAL
Welcome aboard.
(to Kaylee)
This all we got?
ANGLE: IN THE CARGO BAY
We see Zoe talking to Mal, the rest of the passengers milling around and loading up their luggage.
ZOE
Now we have a boatful of citizens
right on top of our... stolen cargo.
(beat)
That's a fun mix.
MAL
Ain't no way in the 'verse they
could find that compartment, even--
(stops talking as Dobson walks
past)
Even if they were lookin' for it.
ZOE
Why not?
Mal is thrown by the question.
MAL
'Cause... ?
ZOE
Oh yeah, this is gonna go great.
MAL
If anyone gets nosy, just, you know...
shoot 'em.
ZOE
Shoot 'em?
MAL
Politely.
EXT. EAVESDOWN DOCKS - CONTINUING
Inara's shuttle is nearing Serenity.
WASH (O.S.)
Inara. You're just in time.
INARA (O.S.)
Let me guess.
INT. INARA'S SHUTTLE - CONTINUING
INARA
We're in a hurry.
INT. SERENITY - BRIDGE - CONTINUING
Wash is prepping her for take off, sees a signal, flips a switch.
WASH
Looks like. Port hatch green for
docking.
INT. INARA'S SHUTTLE - CONTINUING
INARA
Locked in five. Four.
EXT. SERENITY - CONTINUOUS
As Inara's flying shuttle locks onto a side of the still-parked ship.
INT. INARA'S SHUTTLE - CONTINUOUS
As she feels the lurch of lock. She doesn't leave the pilot's seat.
INT. SERENITY - BRIDGE - CONTINUING
Wash turns, calls back:
WASH
The Ambassador has returned!
He is talking to Zoe, who moves to the
INT. SERENITY - CARGO BAY/AIRLOCK - CONTINUING
And calls down to Mal, who is stowing cargo with Jayne:
ZOE
We got a full house, Captain.
He turns to the airlock:
MAL
Kaylee, I'm locking it up!
EXT. AIRLOCK - CONTINUING
Kaylee looks around once.
KAYLEE
(softly)
All aboard...
Kaylee hits the automatic door lock, grabs her lawn chair, and slips in as the door closes on the hold.
ANGLE: SIMON
Looking around the cargo hold.
BLACK OUT.
END OF ACT ONE
ACT TWO
EXT. SPACE - LATER
Serenity moves silently through.
INT. SERENITY - PASSENGER'S SECTION/DINING ROOM - LATER
Crew and passengers are gathered in the dining area. Mal's giving 'em the welcome speech.
MAL
Meals are taken up here in the dining
area, the kitchen is pretty much self
explanatory, you're welcome to eat
what there is any time, what there is
is pretty standard fare, I guess,
protein in all the colors of the
rainbow. We do have sit-down meals,
the next one being at about 1800.
KAYLEE
I think Shepherd Book has offered to
help me prepare something.
MAL
(to Book)
You're a Shepherd?
BOOK
Thought the outfit gave it away. Is
it a problem?
KAYLEE
Of course not!
(to Mal)
It's no problem, 'cause it's not.
MAL
No.
(to the group)
As I said, you're welcome to visit
the dining area any time.
Apart from that, I have to ask you to
stay in the passenger dorm while
we're in the air. The bridge, the
engine room, cargo bay -- they're
all off limits without an escort.
SIMON
Some of my personal effects are in
the cargo bay.
MAL
I figure you all got luggage you're gonna
need to get into. Soon as we're done
here we'll be happy to fetch 'em with
you. Now I have to tell you all one
other thing and I apologize in
advance for the inconvenience.
Unfortunately, we've been ordered by
the Alliance to drop some medical
supplies off on Whitefall. It's the
fourth moon on Athens, a little out of
our way, but we should have you on
Boros no more than a day off schedule.
SIMON
What medical supplies?
MAL
I honestly didn't ask.
ZOE
Probably plasma, insulin, whatever
they ain't got enough of on the
border moons.
MAL
Alliance says jump...
SIMON
All right.
MAL
Zoe, you wanna take 'em to the
cargo bay?
ZOE
Yes, Sir.
MAL
Anything else you need, just...
ask. We, uh, we're here to serve.
Crew and passengers exit the dining error through one door, while Mal and Wash turn around and walk toward the other door leading to the bridge.
MAL
Did you send word to Patience?
WASH
Ain't heard back yet. Didn't she
shoot you one time?
MAL
(baffled)
Everybody's makin' a fuss.
INT. SERENITY - CARGO BAY - LATER
People are getting the luggage they need. Simon is placing things into an elegant little valise -- all while eyeing his special blue box. Dobson walks up behind Simon and stumbles into him.
DOBSON
Oops! I'm sorry.
Zoe walks down the steps and nods at Book, who walks past her with a bag and a small box. Book climbs up the stairs to where Mal and Kaylee are standing on the catwalk. Book hands his bag and box to Kaylee, who beams at him.
ANGLE: THE SECOND SHUTTLE HATCH
opens, showing Inara's shuttle. She steps out of it, in a simple but elegant dress. She descends stairs as the group notices her.
MAL
Ah, the Ambassador graces us with her
presence.
Book looks up.
MAL
Hello, Mal. I see we have some new
faces.
KAYLEE
Hey you.
INARA
Hey you.
MAL
Ambassador, this is Shepherd Book.
INARA
I'd have to say this is the first
time we've had a preacher on board.
BOOK
Well, I wasn't expecting to see a
state official, either.
(takes her hand, bows
slightly)
Ambassador.
Mal laughs. Inara glowers at him.
BOOK (cont'd)
I'm missing something funny.
KAYLEE
(glaring at Mal)
Not so funny.
INARA
"Ambassador" is Mal's way of --
MAL
She's a whore, Shepherd.
Book's clearly a little thrown.
KAYLEE
(annoyed)
The term is "Companion".
MAL
Yeah, I always get those mixed up.
(to Inara)
How's business?
INARA
None of yours.
MAL
(to Book)
She is pretty much our ambassador.
There's plenty of planets won't even
let you dock without a decent
Companion on board. This... this
isn't a problem for you, is it,
Shepherd?
BOOK
Well, I... I certainly...
INARA
(turns to go)
It's all right. I mostly keep to
myself.
(passing Mal)
When I'm not whoring.
MAL
Don't you wanna meet the rest of the
bunch?
INARA
Why don't you make sure they want to
meet me first?
Inara and Kaylee head out together.
KAYLEE
So how many fell madly in love with
you and wanted to take you away from
all this?
INARA
Just the one. I think I'm slipping.
INT. SERENITY - DINING ROOM - CONTINUING
Kaylee has made her way up with the box, lays it on the counter. Quietly excited, she opens it, looks in. A beat, then she pulls out a strawberry. She smells it, slowly puts it in her mouth, eyes closing.
Kaylee's having herself an Herbal Essences shampoo moment with this strawberry.
INT. SERENITY - DINING ROOM - LATER
Book and Kaylee have made dinner. People are gathering, sitting, helping themselves to things -- everybody's moving and talking over each other and everyone's there save Wash and Inara.
ZOE
Oh, this is incredible.
BOOK
It's not much -- I had a garden at
the Abbey, thought I should bring
what I could.
SIMON
It's very kind of you to share with
all of us.
ZOE
I'm gonna make a plate for Wash...
BOOK
(to Simon)
Well, it won't last, and they're
never the same when they're frozen.
The important thing is the spices.
A man can live on packaged food from
here 'til Judgment Day if he's got
enough rosemary.
DOBSON
(over this, to Jayne)
Can you pass me the tomatoes?
He does, after taking several slices. People settle.
BOOK
Captain, you mind if I say grace?
MAL
Only if you say it out loud.
A beat -- Mal has broken the mood. He starts eating, others follow. Book lowers his head a moment, as do Kaylee, Dobson, and Jayne, then they eat as well.
SIMON
So, does it happen a lot? Government
commandeering your ship, telling you
where to go?
MAL
That's what governments are for --
get in a man's way.
DOBSON
Well, it's good, if the supplies are
needed.
JAYNE
We're just happy to be doing good works.
DOBSON
I hear a lot of the border moons are
in bad shape. Plagues, and famine...
ZOE
Well, some of that's exaggerated, and
some of it ain't. All those moons --
just like the central planets,
they're as close to Earth-That-Was as
we could make 'em: gravity, atmosphere,
and such, but...
MAL
Once they're terraformed, they'll
dump settlers on there with nothing
but blankets, hatchets, maybe a herd.
Some of them make it, some of them...
SIMON
Then I guess it's good we're helping.
KAYLEE
(to Simon)
You're a Doctor, right?
SIMON
Oh. Uh, yes. Yes, I was a trauma
surgeon on Osiris, in Capital City.
MAL
Long way from here.
KAYLEE
(to Simon)
You seem so young. To be a doctor.
SIMON
(changing the subject)
Yeah. You're pretty young to be a ship's
mechanic.
KAYLEE
No how. Machines just got workings,
and they talk to me.
BOOK
That's a rare gift.
KAYLEE
Oh, not like being a doctor. Helping fix
people, that's important.
JAYNE
Little Kaylee here just wishes you was a
gynecologist.
Jayne cackles. Kaylee, visibly humiliated, looks down.
MAL
(hard)
Jayne. You'll keep a civil tongue in
that mouth or I will sew it shut, is
there an understanding between us?
JAYNE
You don't pay me to talk pretty. Just
because Kaylee gets lubed-up over some
big city dandy --
MAL
Walk away from this table. Right now.
A beat. Jayne doesn't believe it, but Mal's expression is stony. Jayne goes, grabbing a bunch of food as he does. Everyone is silent a moment.
SIMON
What do you pay him for?
MAL
What?
SIMON
I was just wondering what his job is.
On the ship.
Mal stares a moment.
MAL
Public relations.
INT. INARA'S CHAMBER - LATER
Inara is kneeling, robe pooled at her waist. She is giving herself a sponge bath. And so the camera holds on her bathing for a good, long while. Someone KNOCKS on the door.
INARA
(in Chinese)
["Ging jin." -- Come in.]
Book enters. She is facing mostly away from him, but she sees it's him. She continues to bathe herself.
BOOK
If I'm intruding...
INARA
Not at all. I expected you.
She pulls her robe up, in no great hurry, as she turns to him.
BOOK
Couldn't really say the same.
INARA
So. Would you like to lecture me
the wickedness of my ways?
BOOK
I brought you some supper, but if
you'd prefer a lecture, I've a
few very catchy ones prepped. Sin and
hellfire... one has lepers.
INARA
I think I'll pass.
(taking the tray
of food)
I thank you for this.
BOOK
The Captain said you might like it.
I was surprised at his concern.
INARA
For a lowly whore?
BOOK
It was unjust of him to say that.
INARA
Believe me, I've called him worse.
Anyway, I suspect he has more
interest in making you
uncomfortable than me.
BOOK
He's not wildly interested in
ingratiating himself with anyone,
yet he seems very protective of
his crew.
(beat)
It's odd.
INARA
Why are you so fascinated by him?
BOOK
Because he's something of a mystery.
(beat)
Why are you?
Beat. Inara smiles softly.
INARA
Because so few men are.
INT. SERENITY - MAL'S ROOM - CONTINUING
Mal the Mystery is in the act of doing up his trousers as we find him. There's a kind of metal drawer that hinges open to knee level. It's the toilet, and Mal kicks it shut, causing a flushing sound not unlike an airplane toilet. Above it is another metal drawer. He pulls it open and it's a small sink. He runs a little water on his hands, splashes his face, when the com sounds.
WASH (O.S.)
Mal, you might wanna get up here...
Mal's up the ladder in a flash.
INT. SERENITY - FOREDECK HALL - CONTINUING
Mal climbs up. He moves through the hall to:
INT. SERENITY - BRIDGE - CONTINUING
Where Wash is studying a screen.
MAL
What is it?
WASH
Signal. Somebody went on the Cortex,
hailed the nearest Alliance Cruiser.
MAL
Tell me you scrambled it.
WASH
All to hell, but I don't know how
much got through. Alliance got a pin
in us for sure.
MAL
(Chinese)
[Ni ta ma de. Tianxia suoyoude ren. Dou
gaisi. -- "Fuck everyone in the universe
to death."]
WASH
We got a mole on board.
Mal's face hardens as he works it out...
INT. SERENITY - CARGO BAY - MOMENTS LATER
Simon is checking on his box.
He turns and Mal is standing before him.
MAL
Forget your toothpaste?
Mal SLUGS him, sends him sprawling.
SIMON
Are you out of your mind?
MAL
Yeah, just about. What'd you tell them?
SIMON
(standing)
Tell who?
Mal draws his gun, puts it in Simon's face.
MAL
I have exactly no time for games.
What do they know?
SIMON
You're a lunatic.
MAL
And you're a gorram fed.
BOOK
Hate to say it, Captain, but you've
got the wrong man.
Both men turn to him. A beat, and both Mal and Simon realize Book is looking behind them. Slowly, they turn the other way, and understand Book's meaning.
Dobson holds a gun on Mal.
MAL
(defeated)
Son of a bitch.
DOBSON
Drop that firearm, Captain Reynolds.
A beat, and Mal does.
MAL
This is not my best day ever.
Dobson moves the gun to point it at Simon.
DOBSON
Simon Tam, you are bound by law to
stand down.
Mal takes a moment to realize the man is after Simon.
MAL
What -- the doctor? Oh.
(indignant at Simon)
Hey!
(hopeful, to Dobson)
Is there-is there a reward?
Dobson is ignoring Mal, focusing on Simon. This bumbling businessman is now a very intense, tightly wound cop.
DOBSON
(to Simon)
Get on the ground. Get on the ground!
SIMON
Lawman, you are making a mistake.
MAL
I think you best get on the ground, son.
The man seems a mite twitchy.
BOOK
I think everybody could stand to calm
down a bit.
He is moving slowly towards Dobson.
DOBSON
This isn't your business, Shepherd.
BOOK
The boy's not going anywhere, lawman.
As I understand it, it's pretty cold
outside.
Mal moves casually for his gun.
MAL
Not to worry. Put Lord Fauntleroy
here in a passenger cell -- won't
make a peep 'til you hand him over to --
DOBSON
(pointing the gun at
Mal again)
Get the hell away from that weapon!
You think I'm a complete backbirth?
You're carrying a fugitive across
interplanetary borders, and you
think I actually believe you're
bringing medical supplies to
Whitefall? As far as I care,
everyone on this ship is culpable.
MAL
Well now. That has an effect on the
landscape.
BOOK
Please, we're very close to true
stupidity here --
DOBSON
I got a cruiser en route for
intercept, so talk all you want. You
got about twenty minutes.
MAL
Might have less than that.
DOBSON
Yeah, threaten me..
BOOK
(still moving)
For God's sake --
DOBSON
You think I wouldn't shoot a
Shepherd? Back off!
Mal grabs Simon -- and everybody's shouting --
MAL
Just take the kid!
SIMON
Get your hands off me --
DOBSON
Stand the hell down --
BOOK
Everybody just stop it! Stop it!
KAYLEE
(entering)
Why's everybody --
Dobson spins and FIRES.
Kaylee stumbles backwards, slamming into the wall --
KAYLEE (cont'd)
What...
She puts her hands to her belly. Blood runs over it.
A lot of things happen. Kaylee slumps to the ground as Simon rushes to her, Mal dives for his weapon, Jayne draws his, Dobson swings to fire at Mal --
-- and Book is in Dobson's face, a brutal jab in the throat as he grabs his gun-hand whip-quick, twists and pulls the gun out, cracking Dobson across the face with it in the same motion and Dobson is down. In seconds.
INARA
Kaylee!
She is on the upper level, having come out of her shuttle at the sound of the shot. She races to Kaylee, as does Mal, seeing that Dobson is no longer a threat.
ANGLE: KAYLEE AND THE OTHERS
Simon lays Kaylee back as Mal scrambles to her other side.
SIMON
How do you feel?
KAYLEE
A little odd...
ANGLE: JAYNE AND BOOK
Jayne comes toward Dobson with a purpose, gun in hand, and Book turns to face him.
JAYNE
Outta the way.
BOOK
You're not killing this man.
JAYNE
Not right away...
BOOK
He's no threat.
ANGLE: KAYLEE AND OTHERS
Kaylee is whimpering.
KAYLEE
Why did he...?
Simon opens Kaylee's jumpsuit, examines the wound. It's not pretty.
MAL
(to Kaylee)
Oh, well, that ain't hardly a mosquito
bite.
KAYLEE
Big mosquito...
Inara rushes over, joining them. Inara pulls off her robe (she is dressed beneath) and bunches it under Kaylee's head, as,
ANGLE: JAYNE AND BOOK
JAYNE
Move.
BOOK
Not gonna happen.
JAYNE
(raising his gun)
I ain't joking with you, Preacher.
ZOE
Jayne!
She's got her gun out, pointed at Jayne.
ZOE (cont'd)
Just tie him up. Do it.
A moment, and Jayne holsters his piece, moves to get some duct tape.
ANGLE: KAYLEE AND OTHERS, OVER THIS
SIMON
Can you move your feet? Kaylee. Stay
with me. Can you move your feet?
KAYLEE
Are you asking me to dance...?
Her eyes start to roll back --
SIMON
She's going into shock.
INARA
Kaylee, [mei-mei -- "little sister"],
you have to focus.
ANGLE: BOOK STANDING OVER DOBSON
Zoe approaches him.
ZOE
The gun, Shepherd. Please.
Book hands her Dobson's gun.
ANGLE: KAYLEE AND THE OTHERS
Simon pushes Kaylee's stomach and she screams.
SIMON
(to Mal)
The infirmary working?
MAL
Yeah, we got it stocked.
They move to pick her up --
WASH (O.S.)
(on the com)
Captain, we've been hailed by a
Cruiser. Ordered to stay on course
and dock for prisoner transfer.
Mal and Simon look at each other.
Simon rises, steps away from Kaylee. He is tense, but surprisingly calm.
SIMON
Change course. Run.
MAL
Hell with you. You brought this down
on us, I'm dumping you with the law.
INARA
Mal...
SIMON
She's dying.
MAL
You're not gonna let her.
SIMON
Yes, I am.
MAL
No, you can't.
ZOE
No way the Feds'll let us walk.
MAL
Then we dump him in the shuttle and
leave him for them.
KAYLEE
(delirious)
Everybody's so mad...
INARA
It's okay, baby.
SIMON
Do you know what a stomach wound does to
a person?
MAL
I surely do.
SIMON
Then you know how crucial the next
few minutes are.
ZOE
(to Simon)
You let her die, you'll never make it
to the Feds.
SIMON
She'll still be dead.
MAL
You rich kids, you think your lives
are the only thing that matters.
What'd you do? Kill your folks for
the family fortune?
SIMON
I don't kill people!
MAL
Then do your job!
SIMON
Turn the ship around!
INARA
Enough! Mal, do it.
MAL
Don't ever tell me what to do on my --
Kaylee screams again.
Mal and Simon stare at each other.
MAL (cont'd)
(eyes on Simon)
Zoe. Change course.
SIMON
Help me get her up.
Mal and Inara hoist with Simon.
ZOE
(hits the com)
Wash, change course and go for hard
burn. We're runnin'.
EXT. SPACE - CONTINUING
As the ship turns and the back lights up all shiny bright -- and she shoots off.
INT. INFIRMARY - MOMENTS LATER
The three of them burst in, lay Kaylee on the table. It's small and not wildly sterile here, but it is clearly functional.
SIMON
You have an extractor?
MAL
Got a laser law.
SIMON
That's not good enough.
(to Inara)
Uh, my room, red bag.
Inara goes. Simon raids the cupboards, finds a hypo-gun and vials.
MAL
This is over, you and me are gonna
have a personal chat.
SIMON
Won't that be fun.
(tosses Mal the hypo)
Dope her.
FADE TO BLACK
INT. INFIRMARY - CONTINUING
We see, over time, VARIOUS ANGLES of Simon operating. Simon is confident and good at his job. Mal and Inara assist -- mostly Mal, who has the most field experience. Among the images are:
-- Simon using the extractor to find and pull out the bullet shards.
-- Inara looking at Mal while he helps Simon
-- Inara holding a breathing mask over Kaylee's face, looking at instruments indicating her vitals.
-- Jayne crouched outside the infirmary, peering in through a window, worried, almost hugging himself.
INT. INFIRMARY - LATER
Simon washes off his hands. He turns to Mal, pulling off his apron.
SIMON
I can't do anything more until she
stabilizes.
MAL
Will she?
SIMON
I can't say yet.
INARA
I want know what's going on here.
MAL
Well then why don't we find out?
He moves quickly from the room.
SIMON
What are you... no! No!
Simon follows, as do we, back into
INT. CARGO BAY - CONTINUING
SIMON
Stay away from that! Aah!
He moves toward Mal -- but is grabbed and easily held by Jayne.
MAL
(calmly, to Jayne)
Where's the Fed?
JAYNE
Secure. Shepherd's with him. Seems
to think he's not safe alone with me.
SIMON
Don't!
Mal turns some dials on Simon's blue box and pulls a release lever. There is much flashing of lights and four latches twist automatically at the corners. The top comes slightly up with a hydraulic whoosh, dry ice pouring out the sides. Wash and Zoe enter; Inara's there, too.
MAL
Well, let's see what a man like you would kill for.
SIMON
No, don't!
Mal kicks off the top of the box. It flies off, clattering to the floor as the smoke clears from over what's inside.
Mal steps forward, looks.
ANGLE: ABOVE THE BOX
Curled inside is a naked, unconscious teenage girl.
The box is clearly a cryo-chamber of some sort, perfectly conformed to her body, a sleep metallic womb.
Mal looks at the girl. At Simon. At the girl.
MAL
Huh.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. CARGO BAY - CONTINUOUS
Simon tries to wrest himself free of Jayne, who's just holding his arms now.
SIMON
I need to check her vitals.
MAL
Oh, is that what they call it?
SIMON
She's not supposed to wake up for
another week! The shock --
MAL
The shock of what? Waking up?
Finding out she's been sold to some
borderworld baron? Or, I'm sorry --
was this one for you? Is it true
love? Because you do seem a little--
She SCREAMS as she lurches out of the box behind Mal. He actually gives a little yelp himself as he turns, startled.
She keeps screaming, and for a moment no one does anything.
She spills out of the box, crawling backwards, breathing hard and looking around her, wild-eyed.
Simon finally pulls himself free of Jayne -- who's now more interested in the naked girl than him -- and comes to her. Inara pulls off her robe again, ready to cover her with it.
SIMON
River?
She screams at his touch -- Inara instinctively moves forward -- but he holds onto her, tries to get her to look in his eyes.
SIMON (cont'd)
River. It's okay. It's okay. It's
okay. It's okay, I'm here.
Finally she looks at him, trying to focus, still breathing hard.
She looks about, at everyone, then back at him.
SIMON (cont'd)
River...
RIVER
(whispering)
Simon...?
And she realizes, begins to cry.
RIVER (cont'd)
Simon... They-they talk to me, they want
me-they want me to talk...
SIMON
They're gone... they're gone. We're safe
now. We're safe. we're safe, I'm here.
Everyone in the room can tell this is not what Mal thought. There is a kind of respect in their silence. Well, until:
MAL
What the hell is this?
Simon, River clinging to him and crying, looks over at Mal defiantly.
SIMON
This is my sister.
INT. DINING ROOM - LATER
Everyone is gathered, save Kaylee and River herself, to hear Simon speak. As he does, the camera will periodically INTERCUT to him taking care of River in the infirmary.
For a moment, they all just wait.
INT. INFIRMARY - EARLIER
River is brought -- wrapped in the robe Inara used for Kaylee's pillow -- into the infirmary. She sees the unconscious Kaylee, the operating room, and she freaks. Starts screaming again, struggling to get out of Simon's grip.
SIMON (O.S.)
I am very smart. I went to the
best Medacad in Osiris, top
three percent of my class,
finished my internship in eight
months.
INT. DINING ROOM - CONTINUING
SIMON
"Gifted" is the term. So when I
tell you that my little sister
makes me look like an idiot child,
I want you to understand my full
meaning.
INT. INFIRMARY - EARLIER
Simon has calmed her down, she's sitting on the table now, looking at him with fresh tears. He prepares a hypo with a sedative. Her look of distrust at the hypo is comically grumpy -- a little child's. Her eyes wander as he injects her, she mutters something to no one -- this girl is gone.
INT. DINING ROOM - CONTINUING
SIMON
River was more than gifted. She...
she was a gift. Everything she did,
music, math, theoretical physics --
even-even dance -- there was nothing
that didn't come as naturally to her
as breathing does to us.
(smiles, remembering)
She could be a real... brat about it,
too. I mean, she used to --
Simon trails off for a moment. Jayne stands, going to refill his mug. At his movement, Simon collects himself.
SIMON (cont'd)
There was a... a school... a, uh, a
government-sponsored academy, we had
never even heard of it but it had the
most exciting program, the most
challenging. We could have sent her
anywhere, we had the money, but she
wanted to go. She wanted to learn.
She was fourteen.
(long beat)
I...
A moment of bitter emotion, then he pulls it together.
SIMON (cont'd)
I got a few letters at first, and then I
didn't hear for months. Finally I
got a letter that made no sense. She-she
talked about things that never
happened, jokes we never... it was
code. It just said...
(beat)
"They're hurting us. Get me out."
INT. INFIRMARY - EARLIER
River drifts off to sleep. Simon's holding her hand.
INT. DINING ROOM - CONTINUING
ZOE
How did you do it?
SIMON
Money. And, and luck. For two years,
I couldn't get near her. Then I was
contacted by some men, some underground
movement. They-they said she was
in danger, that-that the government was...
playing with her brain. If I funded
them they could sneak her out in cryo.
Get her to Persephone, and from there,
I could take her... wherever.
INARA
Will she be all right?
SIMON
I don't know if she'll be all right.
I don't know what they did to her, or
why. I-I just have to keep her safe.
INT. INFIRMARY - EARLIER
River is asleep.
INT. DINING ROOM - CONTINUING
There is a moment.
BOOK
That's... quite a story, son.
MAL
Yeah, it's a tale of woe. Very
stirring, but in the meantime, you've
heaped a world of trouble on me and
mine.
SIMON
I never thought --
MAL
No, I don't imagine you thought.
In consequence of which we got a
kidnapped federal officer on board,
we got the Alliance hard on our trail,
and Kaylee...
He doesn't say it.
ZOE
(to Wash)
How much does the Alliance know?
WASH
I can't say. I killed the message
pretty quick, so they might just have
had our position.
MAL
Or they might have personal profiles
on each and every one of us. 'Til
that fed wakes up, we won't know.
JAYNE
So what do we do?
A moment as he thinks, looking at his crew. Looks at Inara.
MAL
The job. We finish the job. I got
word from Patience, she's waiting for
us. We circle 'round to Whitefall,
make the deal, get out. Keep flying.
SIMON
What about us?
Mal looks at him a moment.
MAL
Kaylee comes through, you and your
sister'll get off at Whitefall.
SIMON
If she doesn't come through?
MAL
Then you're gettin' off a mite sooner.
BOOK
That'd be murder.
MAL
Boy made a decision.
INARA
He didn't shoot her.
JAYNE
No, but somebody on this boat did and I'm
scratching my head as to why we ain't
dealt with him.
And now the room gets louder, people start talking over each other...
ZOE
Kill a Fed? Can you think of a
stupider thing to do?
JAYNE
He can I.D. us all.
SIMON
You wanna throw me out the airlock,
fine, but River's not a part of this.
WASH
Can we maybe vote on the whole
murdering people issue?
MAL
We don't vote on my ship because my
ship is not the rutting town hall!
INARA
This is insanity. Mal...
WASH
I happen to think we're a ways beyond
that now, sir.
(to Zoe)
Come on, we're gonna talk this
through, yeah?
Zoe doesn't answer. Wash is truly pissed.
BOOK
I'll not sit by while there's killing
here.
JAYNE
(smiling)
Shepherd's got a mean streak. We'd
best walk soft.
MAL
[Nimen de bizui! -- "Everybody shut
the hell up!"]
(they do)
Way it is is the way it is. We got
to deal with what's in front of us.
INARA
Mal, you know those two wouldn't
survive a day in Whitefall anyway.
You throw them out, I'm leaving too.
Mal looks at her, angry at being confronted publicly and upset by the thought of her leaving, but suppressing both.
MAL
It might be best you do. You ain't a
part of this business.
He exits toward the back. She looks startled, then resigned.
INT. AFT HALL - CONTINUING
Simon follows him.
SIMON
What business is that, exactly?
Mal turns and gives him a murderous look, but Simon doesn't back down.
SIMON (cont'd)
I'm a dead man, I can't know? Is it
gold? Drugs? Pirate treasure? What
is it that makes you so afraid of the
Alliance?
MAL
You don't wanna go down this road
with me, boy.
SIMON
Oh, you're not afraid of them? I already
know you'd sell me out to them for a
pat on the head. Hell, you should
probably be working for them. You
certainly fit the profile --
Mal decks him. He goes tumbling. Mal looks down at him, looks back to see:
ANGLE: THE DINING ROOM
The rest are looking at him, Jayne in the foreground.
JAYNE
(smugly)
Saw that comin'.
EXT. SPACE - CONTINUING
Serenity, still flying.
INT. DOBSON'S ROOM - LATER
Jayne and Mal are in the room with the tied and gagged cop. Mal pulls the duct tape off and Dobson grunts in pain.
MAL
I'm in a tricky position, I guess you
know. Got me a boatload of terribly
strange folk making my life a little
more interesting than I generally like,
chief among them an Alliance mole.
Likes to shoot at girls when he's
nervous. Now I got to know how
close the Alliance is, exactly how
much you told them before Wash
scrambled your call. So...
I've given Jayne here the job of
finding out.
Jayne pulls out a big-ass knife.
JAYNE
(to Dobson)
He was non-specific as to how.
Mal says to Jayne, very quietly:
MAL
Now you only gotta scare him.
JAYNE
(grinning at Dobson)
Pain is scary...
MAL
Just do it right.
Mal exits, shutting Jayne in with Dobson.
DOBSON
Do you have any idea how much trouble
you're in?
Jayne sits down on a chair across from Dobson.
JAYNE
Gee, I never been in trouble with the
law before...
DOBSON
Not like this you haven't. You think
this is just a smuggling rap? The
package that boy is carrying --
JAYNE
It's a girl. She's cute, too, but I don't
think she's all there, y'know?
(ugly grin)
'Course, not all of her has to be...
DOBSON
That girl is a precious commodity.
They'll come after her. Long after
you bury me they'll be coming.
JAYNE
Oh, I'm not gonna kill you, Dobson --
what's your first name?
DOBSON
(reluctantly)
Laurence.
JAYNE
Laurence. No, I'm just gonna cut on ya'
'til you tell me how much they know.
DOBSON
They know everything. They know every name,
every record -- they know how many
nosehairs you've got.
JAYNE
(genuinely
disappointed)
Ah, see -- they don't know a damn
thing. It's all over your face,
I ain't even... Was gonna get me
a ear, too. Aren't you an officer of the
law? Well, don't they teach you how to
withstand interrogation? Can't even tell
a damn lie.
DOBSON
Okay. I can see you're not an idiot.
JAYNE
Wish I could say the same, Laurence,
but... this is disappointing as hell.
DOBSON
Let me speak the language you will
understand. Money. This girl is
worth a lot of money. I mean a lot.
You kill me, there's nothing. But if
you help me out, you'll have enough
to buy your own ship. A better one
than this piece of crap.
JAYNE
Does helping you out mean turning on
the Captain?
DOBSON
Yes, it does.
Jayne thinks on it a moment.
INT. BRIDGE - CONTINUING
Mal arrives on the bridge, moving fast. It's dark, chaotic. Wash is watching a screen, very apprehensive.
MAL
How the Hell did they find us? I
thought you said we could get around
'em.
WASH
It's not Alliance.
MAL
You're sure?
WASH
It's a smaller vessel.
MAL
Commercial?
WASH
Uh, yeah, I read it as an older
model Trans-U.
MAL
I didn't think Trans-U still operated.
WASH
They don't.
MAL
Get me a visual.
WASH
They're still too far out to --
MAL
Get me something!
WASH
I'm picking up a lot of radiation...
they're operating without core
containment. Well, that's [ chinese - "nuts"],
that's suicide...
He looks at Mal, getting it.
MAL
Reavers.
Mal looks out toward a tiny speck that approaches them.
EXT. SPACE - CONTINUING
Where we see, for the first time, the ship. Once it was a commercial spaceliner, now it's a war machine. Tricked out, ornament and painted, with giant torpedo-looking tubes jerry-rigged near the front. Everything about this vessel says 'savage'.
INT. BRIDGE - CONTINUING
Where Mal continues to stare ahead, and Wash repeats softly:
WASH
Oh god.
(beat)
Oh god, oh god, oh god...
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. INFIRMARY - CONTINUING
We see the two girls laid out, unconscious. Book is quietly standing at the foot of Kaylee's bed, bible folded in his hands. Mal's voice comes over the com:
MAL (O.S.)
This is the captain.
INT. JAYNE'S ROOM - CONTINUING
Jayne stands in the middle of his room, holding a big gun.
INT. PASSENGER DORM HALL - CONTINUING
Zoe is standing outside Simon's room, she has stopped to listen. Simon steps out of his room, listening as well.
MAL (O.S.)
We're passing another ship. Looks to
be Reavers. From the size, probably
a raiding party.
INT. INARA'S CHAMBER - CONTINUING
She listens, too. Gravely.
MAL (O.S.)
Could be they're headed somewhere
particular, could be they've already
hit someone and they're full up. So
everyone stay calm.
INT. JAYNE'S ROOM - CONTINUING
Jayne pulls down a decorative blanket to reveal an arsenal on his wall. He his silent and serious.
MAL (O.S.)
We try to run, they'll have to chase us.
It's their way. We're holding course.
We should be passing 'em in a minute, so
we'll see what they do.
INT. BRIDGE - CONTINUING
MAL
Zoe, you come on up to the bridge.
INT. PASSENGER DORM HALL - CONTINUING
Zoe is going as Simon stops her with:
SIMON
Wait -- I-I don't understand.
ZOE
You've never heard of Reavers?
SIMON
Well... campfire stories... Men gone savage
on the edge of space, killing, and...
ZOE
They're not stories.
SIMON
What happens if they board us?
ZOE
If they take the ship, they'll rape
us to death, eat our flesh and sew
our skins into their clothing and if
we're very very lucky, they'll do it
in that order.
She exits. Simon moves quickly to:
INT. INFIRMARY - CONTINUING
Where he moves near River. He and Book look at each other.
EXT. SPACE - CONTINUING
We see the ships nearing each other. Slowly and silently.
INT. INARA'S CHAMBER - CONTINUING
Inara digs out a small, hidden box. She opens it. Inside is a modern syringe gun, smaller than the one Simon used on River, and a vial of black liquid. Unmarked.
She stares into the box.
INT. JAYNE'S ROOM - CONTINUING
Jayne is loading bullets the size of D batteries into a big-ass rifle. His hands are shaking slightly.
EXT. SPACE - CONTINUING
The ships are almost upon one another. The reaver ship is nearly twice the size of the Firefly.
INT. BRIDGE - CONTINUING
Zoe enters, says nothing. She stands behind Wash, slips her hand onto his shoulder. He covers it with his own.
Wash looks out the window at the ship, sees the attachments on the front. Also speaks softly.
WASH
There's a magnetic grappler. They get ahold
of us with that...
MAL
Just tell me if they alter course.
They wait.
Everybody waits.
EXT. SPACE - CONTINUING
The ships pass silently. The reaver ship comes close enough to cast a shadow on the smaller ship.
But it passes.
EXT. BRIDGE - CONTINUING
After a few long seconds...
WASH
They're holding course.
Mal lets out a long breath. Looks at the other two.
WASH (cont'd)
I guess they weren't hungry. Didn't
expect to see them here...
ZOE
They're pushing out further every
year, too.
MAL
Gettin' awful crowded in my sky.
INT. INFIRMARY - LATER
Mal is looking at River, silent.
KAYLEE
Hey, Captain.
He turns. She has woken, is woozy and quiet.
MAL
Hey... Hey little Kaylee, what's the
news?
KAYLEE
I'm shiny, Captain. A-okay. And I can't
feel much below my belly, though. It's
gettin' cold.
Mal moves to get her another blanket, lays it on her -- all the whole hiding his feelings at hearing that.
MAL
Well, you just gotta rest. Something's
gonna break down on this boat real
soon. Who else I got to fix it?
KAYLEE
Well, don't you worry none. Doc fixed me
up pretty. He's nice.
MAL
Don't go working too hard on that
crush, [xiao mei-mei - "little sister"]. Doc
won't be with us for long.
KAYLEE
You're nice, too.
MAL
No, I'm not. I'm a mean old man.
KAYLEE
He wasn't gonna let me die. He was
just trying to... It's nobody's fault.
Okay? Just promise me you'll
remember that?
MAL
(takes her hand)
I'll keep it in mind.
KAYLEE
You are a nice man, Captain. You
always looking after us. You just
gotta have faith in people.
He says nothing, just holds her hand.
Her eyes drift to River, still sleeping.
KAYLEE (cont'd)
She is a real beauty, isn't she?
She smiles... and her eyes gently close.
Her hand slips from Mal's.
INT. INARA'S CHAMBER - LATER
Simon is there, as Inara hands him a couple of packets.
SIMON
Thank you.
INARA
This is just standard Companion
immunization package. I'm not sure
it'll help in this --
SIMON
It won't hurt. Supplies down
there are pretty rudimentary.
INARA
Is there anything else I can do?
SIMON
I don't think so. But I appreciate
it.
INARA
Kaylee's very dear. To all of us.
SIMON
I... I'm sorry. For my part in what
happened. See... I've never... I mean,
I don't know how to --
INARA
You're lost in the woods. We all
are. Even the captain. The only
difference is, he likes it that way.
MAL
(entering)
No. No, the difference is, the woods are
the only place I can see a clear path.
(to Simon)
What's your business here?
INARA
It's my business. The usual. I gave
the boy a free thrust, since he's not
long for this world. What are you
doing in my shuttle?
MAL
It's my shuttle. You rent it.
INARA
Then when I'm behind on the rent, you
can enter unasked.
Simon elbows his way out. Mal and Inara look at each other a moment.
MAL
Thought you were leaving, anyhow.
INARA
Well I guess that depends on you.
Mal turns and goes.
INT. CARGO BAY - CONTINUOUS
Simon is walking away, but Mal stops him:
MAL
You'll ruin her, too, you know.
Simon turns.
MAL (cont'd)
This is the thing I see you're
uncomprehending on. Everyone on this
ship, even a 'legitimate businesswoman'
like her, their lives can be snatched
away because of that Fed. You got a
solution for that? You got a way round?
SIMON
I don't.
MAL
Comes time, someone's gonna have to
deal with him. That should be you,
but I don't think you got the guts.
(beat)
And I know you don't have the time.
SIMON
What do you mean?
MAL
Kaylee's dead.
He is steely, contained. Simon is shocked, quietly devastated.
Mal turns and walks toward the bridge. A moment, and Simon starts in a daze for the infirmary, running, unable to accept it as he enters:
INT. INFIRMARY - CONTINUING
To find Kaylee sitting up a bit, talking weakly but happily with Book. Simon turns and looks out where Mal left, true shock in his eyes.
SIMON
(panting)
That man's psychotic.
INT. BRIDGE - MOMENTS LATER
Mal, Wash, Jayne and Zoe are all laughing.
WASH
You are psychotic.
MAL
No, but you should have seen his
face... Oh... I'm a bad man.
ZOE
And Kaylee's really okay?
MAL
Yeah. Tell the truth, I didn't
expect her to heal this quick.
Doctor knows his trade, I'll give
him that.
There is a noise from a console. Wash checks it out.
WASH
We're being hailed.
MAL
That'd be Patience. We're close enough
for vid. Put her up.
We briefly see an image on a screen, a weathered, pioneer-looking woman of about fifty.
PATIENCE
Malcolm Reynolds?
MAL
Hello, Patience.
PATIENCE
I have to say I didn't look to be
hearing from you anytime soon.
MAL
Well, we may not have parted on
the best of terms. I realize
certain words were exchanged.
Also, certain... bullets. But
that's air through the engine.
It's past. We're business people.
Besides, your days of fightin'
over salvage rights are long
behind you, what I hear. What
are you, mayor now?
PATIENCE
Just about. You telling the truth
about that cargo? 'Cause your
asking price is a bit too
reasonable for that much
treasure.
MAL
It's imprinted -- Alliance -- hence
the discount.
PATIENCE
Oh, government goods, huh?
MAL
That doesn't work for ya, no harm.
Just thought you could use --
PATIENCE
Alliance don't scare me. Just
collating data, as they say.
I like that you're up front about
it. We can deal. I'll upload
coordinates for a rendezvous
point outside of town.
MAL
See you in the world.
He hits a button, ending the talk. He stares down at the console for a long beat.
MAL (cont'd)
I believe that woman's planning to
shoot me again.
JAYNE
She meant to pay you, she'd'a haggled
you down some.
WASH
Just a little effort to hide it
would've been --
Mal shuts everybody up by knocking something off the counter. It hits the ground with a loud clang.
Oh, he's mighty pissed.
ZOE
Sir, we don't have to deal with her.
MAL
Yes, we do.
JAYNE
Here's a little concept I been workin'
on. Why don't we shoot her first?
WASH
It is her turn.
MAL
That doesn't get us what we need, either.
ZOE
There's moons on this boat we ain't seen.
We could try our luck --
MAL
(angrily)
Our luck?
(beat)
You notice anything particular about our
luck these past few days? Any kind of
pattern?
(beat)
You depend on luck, you end up on the
drift -- no fuel, no prospects....
beggin' for Alliance make-work.
And towed out to the scrap belt.
That ain't us. Not ever. Patience
has got the money to pay, and she will,
one way or another. There's obstacles
in our path, and we're gonna deal with
them. One by one.
INT. DOBSON'S ROOM - CONTINUING
We see Dobson sawing away at his bonds with a tiny, jagged piece of metal.
MAL (O.S.)
We'll get through this. We will.
BLACK OUT.
END OF ACT FOUR
ACT FIVE
EXT. WHITEFALL
We're on the surface -- rocks and sagebrush jutting out of low hills. Serenity touches down, the airlock door beginning to open.
EXT. SERENITY - CARGO BAY - CONTINUOUS
Zoe and Mal down the ramp. Jayne zooms past them on the mule.
EXT. DESERT - DAY - LATER
We see a small valley, dotted with brush.. Pan slowly to discover Mal and Zoe walking down into it.
ZOE
Nice place for an ambush.
MAL
That it is.
Pan across the valley, then REVERSE camera to REVEAL Mal and Zoe staring at the valley.
Behind them, Jayne arrives at a decent clip. He hands one bar from the crate to Mal.
JAYNE
I buried 'em good. The equipment's back
on the boat.
(into comm)
Testing. Testing, Captain, can you
hear me?
MAL
(deadpan)
I'm standing right here.
JAYNE
(into comm)
You're coming through good and loud.
MAL
'Cause I'm standing right here.
JAYNE
Yeah, well... but the transmitter's...
Mal steps forward as Jayne trails off, looking about him, the wheels in his head turning.
MAL
All right. Patience is gonna figure we
buried the cargo. Which means means
putting us to our ease 'fore there's
any action. She'll come at us from
the east, talk the location out of us.
She'll have the coin to show us first.
We get it, give the location, snipers
hit us from....
(points)
There. And there.
JAYNE
You figure they're in place yet?
MAL
Should be. Feel like taking a walk
around the park?
JAYNE
(grinning)
Sure you don't just wanna piss
yourself and back down like you did
with Badger?
Mal stares at him 'til he stops smiling.
MAL
Walk soft. I want Patience thinking
they're still in place. Don't kill
anyone if you don't have to. We're
here to make a deal.
Jayne takes off. Zoe and Mal look over the meeting place some more.
ZOE
Don't think it's a good spot, sir.
She still has the advantage over us.
MAL
Everyone always does.
(turns back to her,
smiling)
That's what makes us special.
INT. PASSENGER DORM HALL/DOBSON'S ROOM - CONTINUING
Book is there, wrestling with his conscience. He looks toward the infirmary, looks toward Dobson's room. After a moment, he heads toward the latter, stops at the door. Knocks.
BOOK
Lawman, it's Shepherd Book.
He opens the door --
BOOK (cont'd)
I believe you're in more danger
than --
Dobson slams the Shepherd in the face with something, sending him flying back into the hall.
Dobson is on him in a second with a makeshift truncheon, hits him in the head viciously twice more. Now this? This is a bad man.
Book slumps, unconscious. Dobson looks out to make sure no one heard. Starts dragging Book into his room.
EXT. DESERT - DAY
We are high and wide above Mal and Zoe, watching them walk across the valley. Them small, landscape big.
Closer in, we track with them, moving slow. They keep their eyes peeled all ways, hands near their holsters.
A ways more, and they are nearing a rise -- Over which appear:
ANGLE: PATIENCE and her crew of six -- as they crest the hill on horseback -- all but one, who drives a vehicle not unlike the one on Serenity. They're maybe twenty yards from our two.
Patience is in a weatherbeaten duster, grey hair flyblown about her face. Her men are a hodgepodge of old and modern clothes -- not quite Road Warrior, but eclectic and raggedy. One wears a shiny black top hat.
PATIENCE
Ah!
(chuckles)
Mal! How you doin', boy?
MAL
Walkin' and talkin'.
PATIENCE
(squinting)
Is that Zoe? You still sailin' with
this old bum?
ZOE
Awful lot of men to haul three crates.
PATIENCE
Yeah, well, I couldn't be sure my Mal
here wouldn't be lookin' for some kinda
payback. You understand.
MAL
We're just on the job, Patience. Not
interested in surprises.
EXT. RIDGE OVERLOOKING THE MEETING PLACE - CONTINUING
A sniper is set to take a bead on Mal. Jayne gets the drop on him, knocks him unconscious. Grabs his rifle and takes his position. He finds a mark, smiles.
ANGLE: IN HIS SIGHTS:
Is Mal.
Jayne smiles, wicked-like.
INT. ANOTHER DORM ROOM - CONTINUING
As Dobson busts in, moves to his suitcase. He opens it, digs in and grabs his tiny computer, turns it on. The screen has icons on it, including CONNECT TO CENTRAL CORTEX. He hits it, waits. It comes up: INTERFERENCE: UNABLE TO CONNECT. Furious, he hurls the computer against the wall, smashing it. Reaches into the bottom of his suitcase.
He pulls out another gun. And another.
EXT. DESERT - CONTINUING
The exchange continues.
PATIENCE
I don't see my cargo anywhere...
MAL
And you're not gonna, 'til I'm holding
two hundred in platinum.
PATIENCE
Oh, come on, Reynolds. I'm supposed
to take it on faith you've got the
goods?
Mal pulls out the bar from the crate. He tosses it to Patience. She rips the foil off to reveal what looks like one of those awful energy bars, which, by the by, is what it is. She sniffs it.
MAL
It's pure, Patience. Genuine A-grade
foodstuffs. Protein, vitamins,
immunization supplements. One of
those'll feed a family for a month.
Longer, if they don't like their kids
too well.
She takes a tiny nibble.
PATIENCE
Yeah, that's the stuff.
She pulls a small bag from her pocket, tosses it to Mal.
PATIENCE (cont'd)
So where's the rest?
INT. INFIRMARY - CONTINUING
River wakes, sits up abruptly. True fear is on her face.
RIVER
Simon...
KAYLEE
What's wrong, sweetie?
River doesn't answer -- she moves to the door -- where Dobson GRABS her, sticks a gun to her head.
DOBSON
Look at you, all woke up.
Kaylee starts to move -- he pulls out the other gun, points it at her.
DOBSON (cont'd)
(to Kaylee)
Oh, I'm sorry about what happened before.
But make so much as a sound, the next
one goes through your throat.
She looks at him with genuine horror. He pulls River back toward the dorm.
EXT. DESERT - CONTINUING
MAL
Then east half a mile, bottom of the
first hill. You'll see where it's
been dug.
PATIENCE
I reckon I will.
MAL
Well then.
PATIENCE
Yep.
Nobody moves.
MAL
I'd appreciate it y'all turn around
and ride out first.
PATIENCE
Well, you see, there's a kind of hitch.
MAL
Both made out on this deal. Don't
complicate things.
PATIENCE
I got a rule. I never let go of money I
don't have to. Which is maybe why I'm
running this little world and you're still on
that dinky old boat, sniffing for scraps.
ANGLE: JAYNE'S POV, through the sights of the gun. Still on Mal, they now swing over to Patience and her gang as Mal tosses the money to her.
MAL
Got the money back. There's no need
for killin'.
ZOE
We're just gonna walk away, sir?
MAL
Guess that's up to Patience here.
(to Patience)
Could be messy.
PATIENCE
Not terribly.
(chuckles)
Mal, you just ain't very bright, are you?
Mal steps forward, nodding at one of her men.
MAL
That's quite a rifle. Boy must be your
best shot to carry that.
PATIENCE
He's called Two-Fry. Always makes it
quick and clean.
Two-Fry smiles. He is scruffy and mean, and wears the shiny top hat.
MAL
Two-Fry. Nice hat.
Two-Fry is BLOWN off his horse by a shot from the unseen Jayne.
And then a lot of things happen at once, people shootin' and yellin'.
Mal draws and nails a second man, Zoe a third (the one on the mule) -- as the gang opens up, a forth man blasts his shotgun, nailing Zoe right in the chest.
She goes flying back -- as Mal hits shotgun man, moving, diving behind some brush cover as Patience and the remaining two fire at him, their horses rearing in panic, one of them drops off his, comes up firing, Mal and he can't really find each other through the dust at this point --
INT. BRIDGE - CONTINUING
Simon and Wash are there, talking.
WASH
You should think about asking the
captain to drop you somewhere else.
Whitefall ain't exactly civilization
in the strictest sense.
SIMON
You don't have to worry about me.
WASH
Zoe's out on a deal, I always worry.
So... it's not out of my way --
Kaylee's voice comes over the com, weak and whispered...
KAYLEE
He took her... He took River...
Simon bolts out of the room. Wash is about to as well, but there is a beeping -- a proximity warning.
He stops, looks at his screen.
WASH
Oh, don't. Don't you dare.
EXT. DESERT - CONTINUING
Mal's up and firing. Jayne's picking people off from the hill. Patience's men know by now they've got a sniper on 'em but they can't see where he's at.
INT. CARGO BAY - CONTINUING
Simon runs out, sees Dobson with River below, his grip on her loose right now as he looks around him, heading for the closed airlock. He hits the release button and the cargo bay doors start opening --
Simon JUMPS right down on top of him -- two men go tumbling, two guns go flying -- and both men lie there in extreme ouchiness, unable to get up and get the guns.
River backs into a corner, wild with terror.
EXT. DESERT - CONTINUING
ANGLE: JAYNE
Still picking off Patience's men. He takes a shot and misses, looking up for a second to say,
JAYNE
[Hwin dan! - "Asshole!"]
The last man on his horse starts to ride away in panic --
ANGLE: ZOE
Still flat on her back. Raises her gun and shoots him in the back. He falls off the still moving horse.
Now it's just Patience and the one other. He fires and clips Mal in the arm -- Mal returns in kind, blasting his hip. The other guy goes down, screaming in pain.
Patience has her shotgun propped on the saddle, using her horse for cover.
Mal stands, no longer moving or hiding.
MAL
(grunting in pain)
Zoe?
ZOE
(grunting, also
in pain)
Armor's dented.
She pulls at her shirt -- there is a beat up kind of thin Kevlar underneath.
MAL
Well, you were right about this
being a bad idea.
ZOE
Thanks for sayin', sir.
PATIENCE
Mal, don't you take another step --
Mal fires. Her horse rears, falls half on top of her. Mal stalks forward, shoves his gun right up in Patience's face.
MAL
Now I did a job. I got nothing but
trouble since I did it, not to
mention more than a few unkind words
as regard to my character so let me
make this abundantly clear. I do the
job.
He takes the money back.
MAL (cont'd)
And then I get paid.
He moves his gun from her face.
MAL (cont'd)
Go run your little world.
Jayne runs up to him and Zoe, panicky and out of breath.
JAYNE
Mal! It's Wash! We got a ship
coming in. They followed us. The
gorram Reavers followed us!
Everyone still alive looks scared.
EXT. SPACE - CONTINUING
As the Reaver ship whips past camera, heading towards Whitefall.
END OF ACT FIVE
ACT SIX
INT. CARGO BAY - MOMENTS LATER
Dobson lunges for his gun -- and Simon throws himself on top of him. They can both barely stand from their crash before. They struggle in ugly fashion, until Dobson gets an elbow free and jerks it into Simon's face.
He gets free enough to crawl for the weapon, but Simon rolls around and grabs the other one, points it:
SIMON
No, don't! Don't move!
WASH (O.S.)
(on the com)
Reavers! Reavers incoming and headed
straight for us. We are in the air
in one minute.
INT. BRIDGE - CONTINUING
WASH
(to himself)
I guess they got hungry again.
He starts warming the ship up.
INT. CARGO BAY - CONTINUING
Simon holds the gun on Dobson. His hand shakes.
DOBSON
You gonna do that? You gonna kill a
lawman in cold blood. I know what
you did for your sister. I understand.
It doesn't make you a killer.
A barely conscious Book comes to the entrance, holding onto it to stay up.
DOBSON (cont'd)
I don't wanna hurt anybody. I have
a job to do. To uphold the law --
that's what we're talking about here.
EXT. SPACE - CONTINUING
The Reaver ship breaks into atmo, headed down to the planet.
INT. BRIDGE - CONTINUING
Wash is getting more and more freaked --
WASH
Come on, come on....
(into walkie)
Where the hell are you guys?!?
EXT. DESERT - CONTINUING
As we see Mal, Zoe and Jayne RIDE into frame on horseback, moving just as fast as they can.
INT. CARGO BAY - CONTINUING
Dobson, still on the floor with Simon holding a gun on him.
DOBSON
There's nowhere you can take her the
law won't find. Nobody is going to
hurt her. Unless you hurt me.
He tries to stand. Simon panics.
SIMON
No, I said -- I said don't-don't move!
DOBSON
It's your call.
Simon doesn't know what to do. He looks over at River.
EXT. DESERT - CONTINUING
Mal, Zoe, and Jayne ride up to the ship.
INT. CARGO BAY/AIRLOCK - CONTINUING
The airlock starts to open, the noise and motion distracting Simon long enough for Dobson to grab his gun and fire --
-- missing but sending Simon diving for cover. Inara comes out of her shuttle, seeing the trouble below --
-- as Dobson grabs River and puts himself behind her, gun to her head.
DOBSON
I'm not playing anymore.
EXT. SERENITY - CONTINUING
The three pull up on their horses, jump off, Mal striding in as the others shoo the horses off.
INT. CARGO BAY/AIRLOCK - CONTINUING
Mal walks in behind Simon --
DOBSON
Anybody makes so much as a --
-- and shoots Dobson without a word. He flies back, letting go of River and dead before he lands. Tilt up from him to see Book, unable to move. Mal stalks toward the body, crouching over him to make sure he's dead.
Zoe and Jayne appear behind him, walking up the ramp.
MAL
Jayne!
Grinning, Jayne jogs up beside Mal.
Simon finally lowers his gun and moves to River, shocked and silent. River makes panicky, frightened noises.
ZOE
(into comm)
Wash! We're on!
Zoe hits the button and the cargo bay starts to close.
Mal and Jayne pick up Dobson like a rag doll, running him across the cargo bay and tossing him off the closing ramp. Jayne and Mal run back in, narrowly missing the closing airlock doors.
EXT. SERENITY - CONTINUING
The hatch is still closing as the ship takes off.
INT. BRIDGE - MOMENTS LATER
Mal and Zoe come up to Wash, Jayne close behind.
MAL
How close are they?
WASH
About twenty seconds from spitting
distance.
JAYNE
Well, lose 'em!
MAL
(to Zoe)
Give me rear vid.
She punches it up. ON THE SCREEN, we see the ship approaching from behind.
ZOE
[Ai ya, women wanle. - "We're in big
trouble."]
MAL
(to Wash)
How close do they need to be to fire
those grapples?
JAYNE
C'mon, Wash, you dumbass, dodge 'em!
WASH
If everybody could just be quiet a
moment...
He's incredibly calm. He veers hard.
EXT. DESERT - CONTINUING
-- the hills, where we see the ship moving fast -- but the reavers right on them.
INT. BRIDGE/FOREDECK HALL - CONTINUING
Wash continues to pilot with serene expertise.
WASH
I need Kaylee in the engine room
please.
ZOE
Can she even --
MAL
(to Jayne)
Get her in there. Now.
Jayne goes, passing Inara in the hall.
INT. FOREDECK HALL - CONTINUING
ANGLE: MAL AND INARA
MAL
I want you to get in your shuttle.
Get the civilians, be ready to go.
INARA
We can't just leave you here.
MAL
Thought that was the plan.
INARA
Mal, don't do this --
MAL
We get boarded, you take off, head
for town. We might be able to stop
them from following.
INARA
They'll kill you.
MAL
Inara.
Just saying her name says more than he probably ever meant to. He puts his hand on her shoulder.
And pushes her gently away.
MAL (cont'd)
Go.
He turns back to the bridge. She is going as well, throws a look back.
INT. BRIDGE - CONTINUING
Mal moves back to Wash's side, puts a hand on his shoulder.
MAL
How we doing?
WASH
(droll)
I don't mean to alarm anybody... but
I think... we're being followed.
EXT. DESERT - CONTINUING
The reaver ship is hard on Serenity's heels.
INT. INFIRMARY - CONTINUING
Jayne is carrying Kaylee out as Inara enters. She speaks to Simon, River and Book:
INARA
You three. Come with me.
BOOK
I think I can help Kaylee out.
SIMON
Should I --
BOOK
(re: River)
Take her. Keep her safe.
Book and Inara share a glance before they go their separate ways.
INT. BRIDGE - MOMENTS LATER
Wash flies.
MAL
Can't keep this up, they get a bead,
they're gonna lock us down.
WASH
(into com)
Kaylee, how we doing?
INT. ENGINE ROOM - CONTINUING
Kaylee is propped up in a corner, Jayne and Book at the ready.
WASH (O.S.)
Gonna need a little push here.
KAYLEE
You want me to go for full burn?
WASH (O.S.)
Not just yet, but set it up.
KAYLEE
(to Book)
You know where the press regulator is?
He looks about, heads to a part of the engine, points at a panel. Kaylee smiles.
KAYLEE (cont'd)
Head of the class.
She coughs, wincing in pain.
INT. INARA'S SHUTTLE - CONTINUING
Inara is settling into the pilot's seat, Simon and River behind her.
KAYLEE (O.S.)
We're ready for full burn on your mark.
INT. BRIDGE - CONTINUING
ZOE
Full burn in atmo? That won't cause
a blowback? Burn us out?
MAL
Even if it doesn't, they can push
just as hard, keep right on us.
(beat)
Wash, you gotta give me an Ivan.
WASH
I'll see what I can do.
(into com)
Kaylee, how would you feel about
pulling a Crazy Ivan?
INT. ENGINE ROOM - CONTINUING
KAYLEE
Always wanted to try one. Jayne.
Open the port jet control. Cut the
hydraulics.
JAYNE
Where the hell is --
KAYLEE
Look. Look! Look where I'm pointing.
He does, opens a panel near the floor.
KAYLEE (cont'd)
Okay. Now it's real simple.
ANGLE: JAYNE'S POV: A tangle mess of cables.
Yeah. Real simple.
EXT. DESERT - CONTINUING
The reaver ship has Serenity locked in. The magnetic grappler warms up, latches flying off.
INT. BRIDGE - CONTINUING
Zoe watches the Reaver ship out of a porthole.
ZOE
They're on us.
WASH
(into com)
Kaylee...?
EXT. DESERT - CONTINUING
The reaver ship has black smoke billowing out the back, closing in on Serenity.
INT. BRIDGE - CONTINUING
Mal and Zoe are real tense, Wash still preternaturally calm.
MAL
(muttering)
C'mon, c'mon, c'mon, c'mon...
No answer from Kaylee. Then:
KAYLEE (O.S.)
Okay.
WASH
Everybody hold on to something.
(softly, to the
reavers)
Here's something you can't do...
He SLAMS down a lever and
EXT. DESERT - CONTINUING
Serenity's port jet flips the other way and the ship LURCHES into a perfect one-eighty, spinning on a dime, the jet flips back and it's headed straight for the reaver ship, which dodges at the last second --
INT. BRIDGE - CONTINUING
WASH
(into com)
NOW!
INT. ENGINE ROOM - CONTINUING
Book hits a button, Jayne pulls on a lever, and suddenly the engine turns faster, glows real bright.
EXT. DESERT - CONTINUING
As the ass-end of serenity lights up, sending ripples of fire bursting into the atmosphere as the ship blasts out of there fast, gradually arcing up toward space...
INT. BRIDGE - CONTINUING
Wash is pulling up at the controls with all his might. Finally he eases off, quietly pleased.
Mal and Zoe are kind of amazed.
MAL
Knew I hired you for somethin'.
INT. ENGINE ROOM - CONTINUING
Jayne looks around, pumps his fist in the air.
JAYNE
Whoo! Woo-hoo!
INT. BRIDGE - CONTINUING
Zoe leans over the back of Wash's chair.
ZOE
Ain't no way we they can come around
in time to follow us now.
Mal hits the com:
MAL
We're good, people.
INT. INARA'S SHUTTLE - CONTINUING
Extreme, solemn relief.
MAL (O.S.)
We're out of the woods.
INT. ENGINE ROOM - CONTINUING
Jayne whoops with delight. Even Book smiles.
Kaylee runs her hand along the hull.
JAYNE
Woo-hoo-hoo! Yeah!
KAYLEE
That's my girl... That's my good
girl.
She looks at the boys and beams.
INT. BRIDGE - CONTINUING
WASH
(to Mal)
We should have just enough left in us
to hit a fuel station. We'll need to
do some patching up. I hope we got
paid today.
MAL
We did.
Zoe exchanges a look with Wash.
ZOE
Sir? I'd like you to take the helm,
please.
(re: Wash)
I need this man to tear all my
clothes off.
Mal says nothing, just smiles and indicates the way out. Wash climbs out of the chair and exits with Zoe...
WASH
Work, work, work...
And Mal throws himself down into the pilot's seat. Lets out a breath he's been holding for, oh, about two days. And starts flying.
EXT. SPACE - LATER
As Serenity breaks out of atmosphere into the deep silence of space.
INT. INARA'S CHAMBER - LATER
Book sits as Inara takes a cloth from a bowl and dabs his head. He is sitting, she stands before him.
INARA
You should really have the young
doctor look at this.
BOOK
It's not so bad.
INARA
Well, I'm sure you'll be fine.
BOOK
I didn't say that.
He looks up at her and she sees how upset he is, how lost.
BOOK (cont'd)
Is this what life is, out here?
INARA
Sometimes.
BOOK
I've been out of the abbey two days,
I've beaten a lawman senseless, I've
fallen in with criminals. I watched
the captain shoot the man I swore to
protect.
(beat)
And I'm not even sure if I think he
was wrong.
INARA
Shepherd...
He is shaking a bit, tearing up.
BOOK
I believe I just...
(a pained smile)
I think I'm on the wrong ship.
INARA
Maybe. Or maybe you're exactly where
you ought to be.
He lowers his head. She puts her hand on it, a kind of benediction. We hold on them a second.
INT. SIMON'S ROOM - LATER
He is tucking River into bed.
SIMON
The shot I gave you will help you sleep.
RIVER
I slept for so long...
SIMON
Just a little while. Then we'll find
a place. We'll find a safe place.
He's not convinced, but he smiles at her anyway. She looks suddenly terribly sad.
RIVER
I didn't think you'd come for me.
SIMON
(welling up)
Well, you're a dummy.
He takes her in his arms, holds her tight.
JAYNE (PRE-LAP)
The girl's a problem.
INT. BRIDGE - LATER
Mal is still at the helm as Jayne speaks to him.
JAYNE
The lawman said they'd keep looking
for her. Something about her brain
being all special. Important to the
Alliance brass. Sooner we dump them
two, the better.
MAL
Suppose so.
Jayne gets up to leave.
MAL (cont'd)
Funny how the lawman got out of his
room. You having tied him up so well
and all.
JAYNE
I didn't have nothing to do with that.
Anyway it all turned out just fine.
Buzzards're the only ones gonna find
him...
MAL
But he did try to make a deal with
you, right?
He looks at Jayne, who says nothing.
MAL (cont'd)
How come you didn't turn on me, Jayne?
JAYNE
Money wasn't good enough.
MAL
What happens when it is?
JAYNE
(smiling)
Well... that'll be an interesting day.
MAL
Imagine it will.
Jayne leaves, rudely bumping into Simon, who is on his way in. Simon comes up next to Mal. He sees Mal's arm is a bit bloody.
SIMON
You need me to look at that?
MAL
Just a graze.
SIMON
(a beat, then)
So, where do you plan on dumping us?
MAL
There's places you might be safe.
You want the truth, though, you're
probably safer on the move.
(turns to him)
And we never stop moving.
SIMON
I'm confused. No wait, I -- I think
maybe you're confused.
MAL
It may have become apparent to you
that the ship could use a medic. You
ain't weak. I don't know how bright
you are, top three percent, but you
ain't weak and that's not nothing.
You live by my rule, you keep your
sister from doing anything crazy,
you could maybe find a place here.
'Til you find a better.
SIMON
I'm trying to put this as delicately
as I can... How do I know you won't
kill me in my sleep?
MAL
You don't know me, son. So let me
explain this to you once: If I ever
kill you, you'll be awake, you'll be
facing me, and you'll be armed.
SIMON
(smiles)
Are you always this sentimental?
MAL
Had a good day.
SIMON
You had the Alliance on you, criminals
and savages... half the people on the
ship have been shot or wounded
including yourself, and you're
harboring known fugitives.
Mal looks out at the black sky.
MAL
We're still flying.
SIMON
That's not much.
Mal answers, almost to himself:
MAL
It's enough.
A beat, then Simon goes. Mal just keeps looking ahead.
BLACK OUT
The Train Job
Belly dancer and men playing cards, middle eastern music playing. Pan up
MAL in brown coat playing chinese checkers. He's sitting with an ZOE and
JAYNE
JAYNE
(to MAL)
Your move.
MAL moves pieces.
ZOE
(to Mal)
That's a bold move.
MAL
I live on the edge.
Mal takes a swallow of his drink. Zoe moves her pieces.
JAYNE
(to MAL)
Nice work, dumbass.
MAL
I'd given some thought to movin' off the edge--
not an ideal location--thinkin' a place in
the middle.
MAN (O.S.)
Toast! Toast!
(the noise continues)
QUIET! SHUT UP!
Camera moves to a MAN, standing at the bar. He's large, bald, and
drunk -- and his name is LUND.
LUND
I'm, uh, I got words... I'm sayin' this is an
a'spicious day.
Camera moves to MAL, looking uncomfortable and serious.
LUND (cont'd)
We all know what day it is.
JAYNE
(quietly, to MAL)
Suspicious... what day is it?
The camera moves back to LUND.
LUND
A glorious day, for all the proud members of the
allied planets. Unification day!
(Pumps his fist for emphasis)
The camera moves back to MAL, who closes his eyes as if in pain, then
looks at ZOE, then back at LUND.
LUND
The end of the scumbag independents, the dawn
of a new galaxy!
Rough cheers burst from the crowd. MAL starts to get up.
ZOE
Captain?
MAL
(leaving the table)
I just feel the need for another drink.
JAYNE
(confused, half to himself)
What month is it?
MAL walks to the bar, and stands next to LUND, leaning forward to get
the bartender's attention.
MAL
(ordering drink)
[Ching zie lie ee bay Ng-Ka-Pei? -
Can I have one more glass of Ng-Ka-Pei, please?"]
LUND
Hey, you gonna drink t'the Alliance wi' me?
Six years today, the Alliance sent the
browncoats running, pissing their pants.
(Looks at MAL, considering.)
Y'know, your coat is kinda a brownish color.
MAL
It was on sale.
MAL downs his drink.
LUND
You didn't toast? Y'know, I'm thinkin' you one
of them independents
MAL
And I'm thinkin' you weren't burdened with an
overabundance of schooling. So why don't we
just ignore each other, til we go away?
MAL turns away from LUND and faces the bar.
LUND
The Independents were a bunch of cowardly inbred pisspots.
Shoulda been killed off of every world spinnin'.
MAL sets down his drink, stone faced. Turns to Lund.
MAL
(edge of anger to it)
Say that to my face.
The both stand, getting into each others' face.
LUND
(slowly)
I said, you're a coward, and a pisspot. Now what
are you gonna do about it?
MAL
(chipper)
Nothin'. I just wanted you to face me so she
could get behind ya.
LUND turns, and his face meets ZOE'S fist.
MAL
(to ZOE)
Drunks are so cute.
Entire bar pretty much gets up slowly, looking mighty pissed.
MAL
[Oh juh jen sh guh kwai luh duh jean jan. -
"Oh, this is a happy development..."]
ZOE
Jayne...
Camera pans to JAYNE, feet on the table and looking relaxed.
JAYNE
Hey, I didn't fight in no war. Best of
luck, though.
JAYNE drinks.
Camera moves back to MAL and ZOE.
MAL
Fine. Let's do this.
EXT. BAR - DAY
A large window, which turns out to be some sort of field rather than
glass. We know this because it shifts as MAL comes flying through it. Zoom
in on MAL, bringing his communicator to his mouth.
MAL
(into com)
Wash, we've got some local color happening.
Your grand entrance would not go amiss.
Cut to front of the building. ZOE is pushing two men around. The men and
ZOE and MAL fight
MAL
(to ZOE)
Is Jayne even awake?
Cut to front of the building. JAYNE comes out fighting, a few more men
getting pushed around by his barstool. lots of punching and fighting. Zoe
head-butts someone. The fight continues until...
MAL
(looking down. Way down.)
Woah woah... haha!
ZOE, MAL, and JAYNE are backed up against the edge of a cliff.
MAL (cont'd)
There's just an acre of you fellas.
(to ZOE)
This is why we lost, you know. Superior numbers.
ZOE
Thanks for the re-enactment, sir.
MAN from earlier comes out, big gun in hand, pointed at MAL. The two men
flanking him also draw their guns.
JAYNE
Hey, them ain't kosherized rules.
LUND
I'm thinkin' somebody needs to put you down, dog.
What do you think?
MAL
I'm thinkin' we'll rise again.
A whir of noise and dust as a space ship appears behind MAL, ZOE, and
JAYNE. A voice comes over the loudspeaker. Twanging music begins.
WASH (O.S.)
Every man there go back inside, or we will blow a
new crater in this little moon.
The men go back inside. ZOE, MAL, and JAYNE board the ship. MAL waves
goodbye to the men.
INT. SERENITY - CARGO AREA
JAYNE
Damn yokels can't even tell a transport ship
ain't got no guns on it.
(laughs)
"Blow a new crater in this moon."
(laughs)
JAYNE walks off screen. We follow MAL and ZOE up the stairs and into the
cockpit.
MAL
My thanks Wash, nice save as always.
WASH
A pleasure.
MAL
And how are our passengers?
KAYLEE slides out from under the instrument panel.
KAYLEE
They're fine. So...
(excited)
... what happened? Was there a terrible brawl?
Camera pans to ZOE, sitting close to WASH
ZOE
Oddly enough, there was.
WASH
(to MAL)
Are you gettin' my wife into trouble?
MAL
Wha? I didn't start it! Just wanted a quiet drink.
ZOE
(deadpan)
Funny, sir, how you always seem to find yourself
in an Alliance-friendly bar come U-day, looking
for a "quiet drink."
MAL
See, this is another sign of your tragic space dementia,
all paranoid and crotchety. Makes it hard.
Camera moves to KAYLEE as she laughs at the banter, then swings to WASH
WASH
Did we at least make a contact?
MAL
(pulling out a piece of paper)
Ladies and menfolk, we have ourselves a job.
ZOE grabs the paper with a smile.
MAL (cont'd)
Take us out of the world, Wash, got us some
crime to be done.
EXT: Serenity moving off.
-----------------------------------------------
INT. SERENITY - INFIRMARY
RIVER is on the table, asleep. Flashback to RIVER undergoing torture.
RIVER screams and jumps off the table.
SIMON
River?
RIVER is crying, kneeling against the wall.
SIMON
River, it's okay, it's me.
RIVER continues to cry, her hands over her ears.
SIMON
You know who I am?
RIVER
(duh)
Simon.
SIMON
Were you dreaming?
RIVER stands, slowly.
SIMON
Did you dream about the Academy?
RIVER
It's not relevent.
SIMON
If you can talk about what happened there, and I
know it's hard but, the more I know, the faster
you'll get better.
RIVER
(quietly)
This isn't home.
SIMON
(gently)
No. No, we can't go home. If we go home, they'll
just send you back to the Academy. This is safer now.
RIVER just shakes her head and looks upset.
SIMON
(cheerfully)
We're on a ship.
RIVER
(looking around)
Midbook Transport. Standard radio and accelerator
core. Class code 03-K64--Firefly.
MAL
(entering room)
Well, that's somethin'. I can't even remember all that.
MAL walks over to the sink, and starts washing his hands.
SIMON
Need a weave on that?
MAL
It's nothin'
SIMON
I expect there's someone's face feels differently.
MAL
Well, they tell ya, never hit a man with a closed
fist, but it is on occasion hilarious.
MAL dries his hands.
SIMON
I suppose so. So the, ah, the fight
(looking over at RIVER)
...didn't umm, draw any, umm, any attention.
MAL
No Feds. Just an honest brawl between folks. Ain't
none of us wanted the Alliance on us, Doctor, that's
why you're here.
SIMON
I thought I was here because you needed a medic.
MAL
Well, not today.
MAL walks out.
RIVER
(staring after him)
Mal, bad. In the Latin.
INT. SERENITY - OUTSIDE OF INFIRMARY
MAL
Shepherd Book.
BOOK
Captain! How's the girl?
MAL
Just a little whimsical in the brainpan.
Seems calm enough though.
In the background, RIVER can be seen freaking out through the windows of
the medical bay.
BOOK
That young man's very brave.
MAL
(mock seriousness)
Yeah. He's my hero.
BOOK
Gave up everything to free his sister from that
place. Go from being a doctor on the Central Planets
to hiding on the fringes of the system. There's
not many would do that.
MAL
Suppose not.
MAL starts to walk off.
BOOK
Not many would take them in, either.
MAL stops.
BOOK
Why did you?
MAL
Same reason I took you on board, Shepherd.
I need the fare.
MAL starts walking up the stairs. Book follows him with a laugh.
BOOK
There's neither of can pay a tenth what your
crew makes on one of your "jobs".
MAL
Are you referring to our perfectly legitimate
business enterprises?
BOOK
I'm wondering why a man so anxious to fly under
Alliance radar would house known fugitives. The
Alliance had her in that institution for a purpose,
whatever it was, and they will want her back. You're
not overly fond of the boy, so why risk it?
MAL
Only cause it's the right thing to do.
MAL looks at the engine room. It's a mess.
MAL
Oh, would you look at this? Kaylee!
MAL and BOOK keep walking.
BOOK
I begin to wonder if you yourself know why
you're doing it.
MAL
Well what about you, Shepherd? How come you're
flying about with us brigands? I mean, shouldn't
you be off bringing religiosity to the fuzzy-wuzzies
or some such?
BOOK
Oh, I've got heathens aplenty right here.
MAL
If I'm your mission, Shepherd, best give it up.
You're welcome on my boat, God ain't.
MAL walks off.
MAL
(to himself)
Where the hell's that girl?
INT. INARA'S SHUTTLE
INARA is brushing KAYLEE'S hair.
INARA
Do you want me to put it up?
KAYLEE
No, that's okay.
INARA
You have such lovely hair. I'm sure the Doctor
would agree.
KAYLEE
Who? Simon? No, he's much too, I mean I'm just--
do you think it looks better up?
INARA
We can experiment. We might even get wild later
and wash your face.
KAYLEE
Do you ever do this for your clients?
INARA
Very occasionally. Not all of them have enough
hair to get a brush through.
KAYLEE
Have you ever had to service a really hideous client?
With boils and the like?
INARA
A Companion chooses her own clients, that's Guild law.
But physical appearance doesn't matter so terribly.
You look for a compatibility of spirit. There's an
energy about a person that's difficult to hide, you
try to feel that--
MAL walks in, and interrupts.
MAL
And then you try to feel the energy of their credit
account. It has a sort of aura.
INARA
(pissed)
What did I say to you about barging into my shuttle?
MAL
That it was manly and impulsive?
INARA
Yes, precisely. Only the exact phrase I used was "don't".
MAL
Well, you're holding my mechanic in thrall. And
Kaylee, what the hell's goin' on in the engine room?
Were there monkeys? Some terrifying space monkeys
maybe got loose?
KAYLEE
I had to rewire the grav thrust because somebody
won't replace that crappy compression coil.
MAL
Well get the place squared away. It's dangerous in there,
and I ain't paying you to get your hair played at.
KAYLEE
[Kuh ooh duh lao bao jurn. - "Horrible old tyrant..."]
KAYLEE gets up and goes to do what she's told.
MAL
(to KAYLEE)
We work before we play.
He turns and watches INARA collect her tea things.
MAL
You're servicing crew now?
INARA
In your lonely, pathetic dreams. What do you want?
MAL
We have a job.
INARA
Congratulations. This job wouldn't be on a decently
civilized planet where I could screen some respectable
clients perhaps?
MAL
Respectable clients, it seems a contradiction.
INARA
(interrupting)
Don't start.
There is something that is intended to be UST.
MAL
There's, umm... We haven't gotten a location yet.
We'll be landing on the Skyplex in a bit. Run by
a fellow called Niska.
INARA
Never heard of him.
MAL
Well I have. While we're there, you'll stay confined
to the ship.
INARA
Is the petty criminal perchance ashamed to be riding
with a Companion?
MAL
(serious)
This guy has a very unlovely rep. He's got work for
me, fine. But I don't...
(pauses)
I'm not sure you'd be safe.
INARA
(smiling)
Mal, if you're being a gentleman, I may die of shock.
MAL grunts, and bows, walking off. He turns around and walks back towards
INARA.
MAL
Have you got time to do my hair?
INARA
Out.
END ACT ONE
----------------------------
ACT TWO
INT. SKYPLEX.
CROW, a buff man with tattoos opens the door.
NISKA (O.S.)
He's fine. Crow, they can come in. And Malcolm
Reynolds is which?
MAL
I'm Captain Reynolds. My First Mate Zoe, this is Jayne.
NISKA
Very nice. I am Adelai Niska. You have seen Crow.
He likes to stand at the door to say Boo!
MAL
We got word you might have a job for us.
NISKA
(standing)
Yes! Yes, an exciting job. A train has, eh, something
I need. You have worked a train before?
MAL
We did a few.
NISKA
Are you going to ask me what it is I need?
MAL
As a rule, no.
NISKA
Yes. Good! You have reputation! Malcolm Reynolds gets
it done is the talk.
MAL
Well, I'm glad to hear that.
NISKA
You know what is reputation? Is people talking. Is
gossip. I also have reputation. And not so pleasant
I think you know. Crow?
Crow swings open a door to reveal a man hanging by his feet, looking
pretty gorram tortured to death.
NISKA
(to Mal)
Now for you, my reputation is not from gossip. You
see this man. Eh, he does not do the job. I show
what I do him, and now my reputation for you is
fact, is solid. You do the train job for me, then
you are solid. No more gossip.
MAL
Right.
NISKA
Oooh. You do not like I kill this man.
MAL
Oh, no. I'm sure he was a very bad person.
NISKA
My wife's nephew. At dinner, I'm getting earful.
There is no way out of that. So, oh! The train job.
Come here!
(beckons)
NISKA turns on a display, indicating train cars.
NISKA (cont'd)
Here, in fifth car, two boxes. Alliance goods. You
don't mind taking from Alliance I think. From your
reputation? You get on train at Hancock, headed for
Paradiso. You take boxes off, before you reach
Paradiso, and deliver to Crow --
(he touches a spot on the display, which lights up)
-- here. Half money now, Crow give you other half money
at rendezvous point. Anything goes wrong, then, your
reputation, only gossip, and things between us, not
so solid. Yes?
END ACT TWO
-----------------------------
ACT THREE
INT. TRAIN
MAL and ZOE are seated in the train car.
MAL
How long till we hit Paradiso?
ZOE
Another twenty minutes. We should be in the
foothills in five.
MAL
Best get to work.
They stand.
ZOE
He's a psycho you know. Niska.
MAL
He's not the first psycho to hire us, nor the last.
You think that's a commentary on us?
ZOE
I just have an image in my head of a guy hanging
from the ceiling.
MAL
I've got an image of it not being me. Let's do the thing.
INT. NEW TRAIN CAR
The car is filled with Feds.
MAL
Hi.
INT. SERENITY - GALLEY
BOOK is reading the Bible.
INARA enters.
INARA
Shepherd.
BOOK
Good day. So, how do you think it's going?
INARA
The caper? Mal knows what he's doing.
BOOK
How long have you known him?
INARA
I've been on this ship eight months now. I'm not
sure I'll ever actually know the Captain.
BOOK
I'm surprised a respectable Companion would sail
with this crew.
INARA
It's not always this sort of work. They take the
jobs they can get, even legitimate ones. The further
you get away from the Central Planets, the harder
things are, so this is part of it.
BOOK
I wish I could help.
(off Inara's look)
I mean, I don't wanna..not help help, not with the
thieving, but... I do feel awfully useless.
INARA
You could always pray they make it back safely.
BOOK
I don't think the Captain would much like me
praying for him.
INARA
Don't tell him.
INARA pours water into a teakettle.
INARA (cont'd)
I never do.
INT. TRAIN CAR
Train car with Feds. MAL and ZOE walk through the car and into a car that
looks like cheap transport.
ZOE
(urgently)
Sir, is there some information we might maybe be
lacking as to why there's an entire fedsquad
sitting on this train?
MAL
Doesn't concern us.
ZOE
It kinda concerns me.
MAL
I mean they're not protecting the goods. If they
were, they wouldn't be letting people past 'em.
ZOE
You don't think that changes the situation a bit?
MAL
I surely do. Makes it more fun.
ZOE
Sir? I think you have a problem with your brain
being missing.
MAL
Come on. We stick to the plan. We get the goods,
we're back on Serenity before the train even reaches
Paradiso, only now we do it under the noses of twenty
trained Alliance Feds. And that makes 'em look all
manner of stupid. Hell, this job I would pull for free.
ZOE
(amused)
Can I have your share?
MAL
No.
ZOE
If you die, can I have your share?
MAL
Yes.
INT. SERENITY - CARGO HOLD
SIMON
Hey.
KAYLEE
Oh! Hey, Doctor.
SIMON
You really should just call me Simon.
KAYLEE
Oh, I'll do that, then.
SIMON
So, what are we doing?
KAYLEE
Oh! Crime.
SIMON
Crime? Good. Okay, crime.
KAYLEE
It's a train heist. See, we fly over the train car. The
Captain and Zoe sneak in, we lower Jayne onto the car,
and they bundle up the booty, and we haul 'em all back
up. Easy as lyin'.
SIMON
They've done this before?
KAYLEE
(laughing)
Hell no. But I think it's gonna work. The Captain's
[jen duh sh tyen tsai - "an absolute genius"]
when it comes to plans.
SIMON
Uh, well, uh... Is there anything I can...
something I should be doing?
JAYNE enters from behind SIMON.
JAYNE
Stayin' the hell outta everyone's way.
KAYLEE
There's no call to be snappy, Jayne.
JAYNE
You about to jump on a movin' train? Captain
ain't around. I'm in charge.
KAYLEE
Since when?
JAYNE (cont'd)
And just cause Mal say's you're Medic, don't
make you part of the crew.
Pan up to RIVER sitting on the catwalk, watching them.
JAYNE (cont'd)
You just, play at figurin' what's wrong with that
moonbrained sister of yours till we call for ya.
[Dong ma? - "Understand?"]
SIMON
Right.
SIMON walks off. A rope lowers. It's what will be attached to JAYNE so he
can jump on the train.
KAYLEE
You shouldn't be so rude to him.
JAYNE
Why? Cause he's all rich and fancible?
KAYLEE
He's not rich. The Alliance crashed his accounts
when he snuck out his sister.
JAYNE
Well, we could all be rich if we handed her back.
KAYLEE
You're not even thinking that.
JAYNE
Mal is.
KAYLEE
That's not funny.
Camera pans up to RIVER, watching them from above, her face shadowed and
still.
JAYNE (O.S.)
He ain't stupid. Why would he bring on trouble
like those two if there weren't no profit in it?
(camera moves back to Kaylee, locking
the rope on JAYNE)
Captain's got a move he ain't made yet, you'll see.
JAYNE pulls on a ridiculous hat with floppy ear covers and a chin strap.
JAYNE (cont'd)
Time for some thrilling heroics.
INT. TRAIN - CAR WITH STUFF
MAL is swiping a card in a reader.
MAL
Niska's sources better be good.
The card works. The door slides open.
ZOE
Shiny.
INT. TRAIN - FED CAR
A FED stands up, and walks back towards the car where MAL and ZOE are
breaking in for Crime Time.
INT. TRAIN - CAR WITH STUFF
MAL pulls a box to the middle of the car, stands on it, and starts
unscrewing a roof panel.
MAL
(to ZOE)
Find the cargo.
ZOE pulls a sheet off of two black boxes with red labels.
ZOE
All hail the great Alliance.
EXT. TRAIN
Serenity is moving over the train, approaching from the rear, so they can
drop JAYNE into the portal MAL will open.
INT. SERENITY-CARGO HOLD
A hatch opens. JAYNE pulls on goggles.
INT. SERENITY - COCKPIT
WASH steering. He's wearing a black muscle shirt.
INT. SERENITY-CARGO HOLD
JAYNE drops through the hatch.
EXT. TRAIN
JAYNE lands on the train with a grunt.
INT. TRAIN - CAR WITH STUFF
MAL pulls off the panel, leaving an opening for JAYNE
INT. TRAIN - CHEAP CAR.
FED cocks his gun.
INT. TRAIN - CAR WITH STUFF
JAYNE drops through the hole. MAL pats him on the back. They attach the
cargo to the rope bucket thing.
MAL
(into com)
Fifteen seconds.
INT. SERENITY-CARGO HOLD
KAYLEE waits
INT. SERENITY - COCKPIT
WASH flies.
INT. TRAIN - CAR WITH STUFF
FED enters. The smoke trap they've set up goes off. FED shoots. JAYNE'S
leg takes a hit.
ZOE
(to JAYNE)
Gorram!
JAYNE
(into com)
GO! Go now!
INT. SERENITY-CARGO HOLD
KAYLEE starts pulling him up w/ the stuff.
INT. TRAIN - CAR WITH STUFF
Fistfight. FED gets knocked out.
MAL
(to ZOE)
Come on!
MAL and ZOE start running through the cars.
INT. SERENITY - COCKPIT
WASH flies.
INT. TRAIN
Smoke.
INT. SERENITY-CARGO HOLD
JAYNE is collapsing as the stuff is lowered.
KAYLEE
Where are the others?
JAYNE
Ah! They shot my gorram leg.
KAYLEE
Jayne, are they still on the train? Are they
gonna be okay?
EXT. TRAIN, stopped.
VOICE
Everybody off. Everybody in there okay?
EXT. PARADISO
It's a small, ragged town. Very dusty and Westerny. MAL and ZOE are
standing with their backs to a FED and the SHERIFF.
FED
Our man didn't get a look.
SHERIFF
Well, Jesus, can somebody find out what they took?
(to someone in the crowd)
Handy! Keep those people together.
His Deputy wanders up.
DEPUTY
It's the medicine, sir. All of the supplies.
SHERIFF
They stole the gorram medicine?
ZOE and MAL look grim.
SHERIFF (cont'd)
We've been waitin'... All of it?
DEPUTY
Every ounce.
Camera pans over sad, tearful townspeople.
SHERIFF
(sighing)
God help us.
MAL
Son of a bitch.
END ACT THREE
-----------------------------
ACT FOUR
INT. ALLIANCE SHIP.
ALLIANCE OFFICER is walking into a station. There's an alert. OFFICER
turns to ALLIANCE ENSIGN and starts talking.
OFFICER
What's the fuss?
ENSIGN
All network alert. Cargo theft. Medical shipment
lifted off a train in the Georgia System en route
to Paradiso.
OFFICER
(looking at the alert screen)
Six crates of Pasceline D. Right. That'll get you a
tidy fortune on the black market.
(dismissive)
Tag it received, bounce it back. Locals can
deal with it.
ENSIGN
Sir, there is a regiment holding in Paradiso. They
were on the train, headed for the installation.
OFFICER
Then get them back on the train and get it moving.
Who's holding them there?
ENSIGN
The Sheriff requested we deploy a few to help
them investigate...
OFFICER
(impatient)
These are federal marshals, not local narcotic hounds.
They've got better things to do, so do we.
OFFICER leaves.
INT. SERENITY - INFIRMARY
JAYNE is on the table, sweaty and pissed.
JAYNE
Gorram it, let's get us moving.
SIMON
Now, I'm not, I'm not finished.
JAYNE
(not caring)
Why are you parked here? This ain't the
[go tsao de - "dog humping"] rendezvous spot.
WASH
It is now.
JAYNE
That's cause people are waitin', they ain't
partial to waitin'.
WASH
(sarcastic and firm)
Let 'em read a magazine. We don't make the sale
until Mal and Zoe are back on the boat.
JAYNE
These are stone killers, little man. They ain't
cuddly like me.
WASH
I'm not flying anywhere without my wife.
KAYLEE
(nervously)
She'll be okay. She's with the Captain.
JAYNE
(standing)
There, you see? Everybody wins.
He tries putting his leg down and screams in pain. BOOK is just watching
the action.
JAYNE
Doc, I need a pop to quiet this pain some.
SIMON goes over to get some medication
SIMON
(concerned)
All right, but what about the authorities? I mean,
we're sitting here with stolen Alliance goods.
Won't they be looking for us?
WASH
They buzz this canyon, we'll hear them long before
they ever see us. I figure we're good for...
RIVER
(interrupting)
Won't stop. Won't ever stop. They'll just keep coming
until they get back what you took. Two by two, hands
of blue. Two by two, hands of blue.
JAYNE
(to River)
How's about you shut that crazy mouth? Is that
a fun game?
(to everyone)
Now I'm in ruttin' charge here, and I'm tellin'
you how it works. We don't get the goods to Niska
on time, he'll make meat pies out of the lot of
us. And I ain't walkin' into that.
BOOK
Is this Adelai Niska you're talking about?
SIMON injects JAYNE with a pain shot.
JAYNE
Now how would a Shepherd know a name like that?
BOOK
As I've heard it, he made a deal with the Captain. If
the Captain's not there to finish it, if Niska finds
out he's being held, and may speak as to who hired
him--I think we're better off being a little late.
INT. PARADISO - HOLDING AREA
MAL and ZOE are sitting, huddled. Coughing people everywhere. It's a
holding area for train passengers.
MAL
This is a nightmare.
ZOE
Nothing points to us yet, sir.
MAL
That ain't what I'm talking about.
Long shot of poor, coughing, sick, poor people.
MAL
Whatever happens, remember I love you.
ZOE
(confused)
Sir?
MAL
(with a plan)
Because you're my wife.
ZOE
Right. Sir. Honey.
SHERIFF walks up, paperwork in hands
SHERIFF
Car 3, Row 12, Mr. and Mrs. Ring?
MAL
Can you tell us what's going on? We've been
here for so long. Did someone on the train
get killed?
SHERIFF
No, no, no. Nothing like that. Ah, says there
your fare's paid for by a third party?
MAL and ZOE stand and follow the SHERIFF to his desk.
MAL
My uncle. It was a wedding gift.
SHERIFF
Wedding gift?
The SHERIFF motions for MAL and ZOE to sit down.
SHERIFF (cont'd)
Spending your honeymoon in Paradiso?
ZOE
Actually, we're here lookin' for work.
SHERIFF
That right?
MAL
My uncle said he knew a Joey Bloggs out here, said
he might have an opening. Thought we'd try our luck.
SHERIFF
You a miner by trade? Either of you?
MAL
Not really.
SHERIFF
Hmm. You don't see many choose this life
weren't born to it.
ZOE
Well, work is real scarce for a couple
just starting out.
MAL
How come there's so many sick here?
SHERIFF
Bowden's Malady. Know what that is?
ZOE
Affliction of the bone and muscle. Degenerative.
SHERIFF
Very. Every planet that's been terraformed for
human life has its own little quirks. Turns out
the, uh, air down underground, mixed up with the
ore processors is a recipe for Bowden's. Everybody
gets it. Miners, dumpers. Hell, I got it, I ain't
never set foot in a mine.
ZOE
But it's treatable?
SHERIFF
There's medicine. Pasceline. Means you can live like
a person, you get it regular. But our shipment got
stole, right off the train you was riding in. Which
is why you won't be seeing a parade in town today.
MAL
Stolen? Well, didn't I see a whole regiment of fine
young Alliance Federals on the train?
SHERIFF
You did. Same regiment let our medicine get swiped
right under their noses, then took off for their own
camp without so much as a whoopsy daisy.
MAL
That sounds like the Alliance. Unite all the planets
under one rule so that everybody can be interfered
with or ignored equally.
The SHERIFF gets up, gets a cup of coffee, and sits on his desk, facing
MAL and ZOE
SHERIFF
Alliance ain't much use to us out here on the border
planets. But... they ain't the ones that stole the
medicine. I ever find those people, they ain't ever
going to see the inside of a jail. I'm just gonna toss
'em in a mine, let 'em breathe deep for the rest of
their lives.
MAL
Can't argue with that.
SHERIFF
Ah. You mind telling me when it was you last
spoke to Joey Bloggs?
MAL
Never did myself.
SHERIFF
Right. Your uncle. It was indicated to you that,
uh, Joey had an opening?
MAL
Any job would do.
SHERIFF
It's funny your uncle never went to mentioning the
Bowden's problem. Or that Joey Bloggs ate his own
gun, about eight months back.
MAL
Did he?
SHERIFF
Yep. Blew the back of his head right off.
MAL
(beat)
So... would his job be open?
INT. SERENITY - COCKPIT
JAYNE is limping up the stairs to where WASH and KAYLEE are sitting. He's
followed by about everyone else. Okay, SIMON.
JAYNE
That's it! We've waited long enough. Let's get
this bird in the air.
WASH
No rutting way
SIMON
(to Jayne)
You really should sit down.
KAYLEE
You can't just leave the Captain and Zoe here.
JAYNE
They ain't comin', we can't walk in there and get
'em, so they're done. Now let's fire it up.
INARA and BOOK walk in.
INARA
What's going on?
JAYNE
Strap in, we're takin' off.
WASH
We're NOT.
JAYNE
Captain'd do the same if it was one of us.
KAYLEE
Not in a million years!
JAYNE
Shove it.
WASH
Listen to me!
JAYNE
You know what the chain of command is? It's the chain
I go get and beat you with until you understand who's
in ruttin' command here. Now we're finishing this deal,
and then maybe maybe we'll come back for those morons
who got themselves caught.
(starts breathing heavily)
You can't change that by getting all...
(voice slows)
...bendy.
WASH
(not understanding the
bendy thing)
All what?
JAYNE
(drugged)
You've got the light.. from the console.. keep you,
lift you up. They shine like...
(tries to catch the light in his hands)
...little angels...
JAYNE collapses with a thud. The crew just stares.
WASH
Did he just go crazy and fall asleep?
SIMON
I told him to sit down.
KAYLEE
(amazed)
You doped him.
SIMON
It was supposed to kick in a good deal sooner. I,
I just didn't feel comfortable with him in charge.
I hope... hope that's all right.
Crew looks around. Yeah. It's all right.
BOOK
So. How do we get the others?
WASH
Jayne was right about them not making contact.
Chances are, they got pinched getting off
that train.
KAYLEE
We can't just waltz in and pull them out.
BOOK
Someone respectable enough might be able to.
INT. PARADISO - HOLDING AREA
Pan up from flowing rich, red satin. INARA is walking towards MAL and
ZOE.
MAL
What the hell?
INARA punches him.
INARA
Don't you dare speak to me.
(to Sherrif)
Sheriff, I want this man bound by law at once.
That's assuming he hasn't been already?
SHERIFF
No one's been bound, not yet.
INARA
Thank God you stopped them.
(to Mal)
Did you honestly think you could access my accounts
and I wouldn't find you? And Zoe, what would your
husband say if he knew you were here?
ZOE
I... I was weak.
SHERIFF
So I take it they ain't newlyweds?
INARA
Hardly. Malcolm's my indentured man, with three years
left on his debt. I imagine we'll have to add another
six months after this little adventure.
SHERIFF
(re: on-looking men gawking at Inara)
You'll have to pardon them. Don't think a one of 'em's
ever seen a registered Companion before.
INARA
I apologize for my manner.
SHERIFF
Oh, not a bit.
INARA
Should I contact my ship? Do you need to hold them
very much longer?
SHERIFF
Looks to me like we're about done here. I, uh. We
had some unrelated trouble. His story had kind of
an odor to it.
INARA
Yes, it's not the only thing about him that does.
Thank you, very much Sheriff.
(to Mal and Zoe)
Come along.
SHERIFF
(to Deputy)
That's one hell of a lady. Her files were
all in order?
DEPUTY
I ran 'em twice.
SHERIFF
Hmm. Let's get started with the rest, then.
INT. SERENITY - CARGO AREA
INARA is stepping off her shuttle.
KAYLEE
Hey. How'd it go?
MAL
She hit me.
WASH hugs ZOE. JAYNE is sprawled unconscious on the stairs.
KAYLEE
(re: Jayne)
We tried to get him into the infirmary, he's just heavy.
WASH
Captain, I've got the engine running, we're good to go.
MAL
We're not going.
WASH
Not? What? Not why?
ZOE
We're bringin' the cargo back.
JAYNE
(semi-conscious, slurring)
Wha? Whadda mean back? I waited for you guys!
WASH
What are you talking about? What about Niska? Won't
this put him in more or less a killing mood?
MAL and ZOE are grabbing the cargo.
MAL
There's others need this more.
ZOE
Let's get it on the mule.
INARA
My shuttle's faster.
MAL
You already risked enough flying in there once. And...
I don't wanna get slapped around no more. Far as Niska
goes, we'll just have to explain to him the job went
south when we return the money.
WASH
You wanna explain, now's your chance.
CUE ominous music. They look to the dock. Someone is striding up. It's
Niska's men, lead by CROW.
CROW
You didn't make the rendezvous.
MAL
Ran into a few complications.
CROW
You were thinking of taking Mr. Niska's money and
his property, maybe.
MAL
Ah, interestingly, neither.
CROW
I don't understand.
MAL
Yeah, look. Here's what it is. Deal's off.
(beat, CROW still doesn't get it)
We changed our minds.
CROW
(exasperated)
You entered into an arrangement with Mr. Niska.
There is no mind changing.
MAL
(nervous laugh)
I'm afraid that's where you're wrong. We just... we
can't take this job, so you just relax. We'll get
you all the money Niska gave us up front, you return
it to him, and we'll call it even.
CROW
(shakes head)
There is no even.
MAL
Is that right?
CROW throws a knife. It hits MAL in the shoulder. Guns get drawn. ZOE'S
included. Shots exchanged. ZOE shoots. People fall. It's a thing. CROW
starts punching MAL. WASH uses the mule to drive over some guys.
MAL'S on the ground, about to get speared by CROW. A shot rings out.
CROW is kneecapped.
MAL
Nice shot.
Camera pans up to JAYNE, smoking gun in hand.
JAYNE
(slurred)
I was aiming for his head.
EXT. PARADISO - NIGHT
MAL and ZOE are driving the cargo back.
MAL
We'll have to drag 'em from here. Leave 'em just off
the street. We'll notify the Sheriff when we're in
deep, deep space.
SHERIFF
Why not tell him in person?
CUT TO:
SHERIFF and his men coming up from over a slight rise. MAL looks shocked,
ZOE looks resigned.
SHERIFF (cont'd)
Got word of a ship not far out, came lookin'. Didn't
expect to find you comin' back.
It's clear now that the SHERIFF and his men are armed and prepared to use
those arms if need be.
MAL
Didn't expect to be comin'.
The Sheriff's crew inspects the cargo.
DEPUTY
Nothin' missing.
SHERIFF looks at MAL, smiles, and looks down in disbelief.
SHERIFF
You were truthful back in town. These are tough
times. If a man can get a job, he might not look
too close at what that job is. But a man learns
all the details of a situation like ours, well,
then he has a choice.
MAL
(looking stone-cold serious)
I don't believe he does.
A look of understanding passes between them.
SHERIFF
(to crew)
Get these crates back to town. Make yourselves useful.
EXT. SERENITY - NIGHT
CROW is on his knees, hands tied behind his back
MAL
Now this is all the money Niska gave us in advance.
You bring it back to him, tell him the job didn't
work out.
(Crow spits)
We're not thieves--but we are thieves. Point is
we're not takin' what's his. Now we'll stay out of
his way the best we can from here on in. You
explain that that's best for everyone, okay?
CROW stands.
CROW
Keep the money. Use it to buy a funeral. It doesn't
matter where you go, or how far you fly. I will
hunt you down, and the last thing you see will
be my blade.
MAL
Darn.
MAL kicks CROW into the engine intakes. Horrible crunching sounds
happen. A second one of Niska's henchmen is brought bound before him.
MAL
Now this is all the money Niska gave us in advance...
HENCHMAN
Oh, I'm good. I speak for everyone. I'm right
there with you.
INT. SERENITY - INFIRMITY
SIMON is stitching up MAL's shoulder.
SIMON
You should have let me do this sooner.
MAL
I have had plenty worse it's just
(Simon hits something sensitive)
OUCH!
SIMON
Sorry.
MAL
Just be careful. Pretty fast thinkin', doping up
Jayne. Can't say you've made a lifetime friend.
SIMON
I'll deal with him.
MAL
Yeah, I'm not too worried about you.
(beat)
How's your sister?
SIMON
The same. One moment she seems perfectly cogent,
the next...
CAMERA moves to the outside of the infirmary and pans right.
SIMON (cont'd)
...she speaks nonsense, like a child. So difficult
to diagnose. And I still don't know what the government
was trying to do with her, so I have no idea if
they succeeded.
SIMON's voice fades out as RIVER's grows louder. The camera moves in on
her. She's curled in a corner, chanting:
RIVER
Two by two, hands of blue. Two by two, hands of blue...
INT. ALLIANCE SHIP
ALLIANCE OFFICER from earlier walks into a room. There are two men in
suits there.
OFFICER
Sorry to keep you waiting. There's always
one crisis...
He's interrupted by the MAN.
MAN
We're not interested. We're here about a theft.
OFFICER
The medicine, on that planet. Word came up
that was returned.
OTHER MAN
We didn't fly 86 million miles to track down
a box of band-aids, Colonel.
MAN
We're looking for a girl.
MAN slides a picture of RIVER across the desk. We see that his
hands are encased in tight blue gloves.
MAN (cont'd)
This girl.
As the camera pans out, we see that MAN IN SUIT 2 is also wearing blue
gloves.
BLACK OUT.
END OF SHOW
MAL in brown coat playing chinese checkers. He's sitting with an ZOE and
JAYNE
JAYNE
(to MAL)
Your move.
MAL moves pieces.
ZOE
(to Mal)
That's a bold move.
MAL
I live on the edge.
Mal takes a swallow of his drink. Zoe moves her pieces.
JAYNE
(to MAL)
Nice work, dumbass.
MAL
I'd given some thought to movin' off the edge--
not an ideal location--thinkin' a place in
the middle.
MAN (O.S.)
Toast! Toast!
(the noise continues)
QUIET! SHUT UP!
Camera moves to a MAN, standing at the bar. He's large, bald, and
drunk -- and his name is LUND.
LUND
I'm, uh, I got words... I'm sayin' this is an
a'spicious day.
Camera moves to MAL, looking uncomfortable and serious.
LUND (cont'd)
We all know what day it is.
JAYNE
(quietly, to MAL)
Suspicious... what day is it?
The camera moves back to LUND.
LUND
A glorious day, for all the proud members of the
allied planets. Unification day!
(Pumps his fist for emphasis)
The camera moves back to MAL, who closes his eyes as if in pain, then
looks at ZOE, then back at LUND.
LUND
The end of the scumbag independents, the dawn
of a new galaxy!
Rough cheers burst from the crowd. MAL starts to get up.
ZOE
Captain?
MAL
(leaving the table)
I just feel the need for another drink.
JAYNE
(confused, half to himself)
What month is it?
MAL walks to the bar, and stands next to LUND, leaning forward to get
the bartender's attention.
MAL
(ordering drink)
[Ching zie lie ee bay Ng-Ka-Pei? -
Can I have one more glass of Ng-Ka-Pei, please?"]
LUND
Hey, you gonna drink t'the Alliance wi' me?
Six years today, the Alliance sent the
browncoats running, pissing their pants.
(Looks at MAL, considering.)
Y'know, your coat is kinda a brownish color.
MAL
It was on sale.
MAL downs his drink.
LUND
You didn't toast? Y'know, I'm thinkin' you one
of them independents
MAL
And I'm thinkin' you weren't burdened with an
overabundance of schooling. So why don't we
just ignore each other, til we go away?
MAL turns away from LUND and faces the bar.
LUND
The Independents were a bunch of cowardly inbred pisspots.
Shoulda been killed off of every world spinnin'.
MAL sets down his drink, stone faced. Turns to Lund.
MAL
(edge of anger to it)
Say that to my face.
The both stand, getting into each others' face.
LUND
(slowly)
I said, you're a coward, and a pisspot. Now what
are you gonna do about it?
MAL
(chipper)
Nothin'. I just wanted you to face me so she
could get behind ya.
LUND turns, and his face meets ZOE'S fist.
MAL
(to ZOE)
Drunks are so cute.
Entire bar pretty much gets up slowly, looking mighty pissed.
MAL
[Oh juh jen sh guh kwai luh duh jean jan. -
"Oh, this is a happy development..."]
ZOE
Jayne...
Camera pans to JAYNE, feet on the table and looking relaxed.
JAYNE
Hey, I didn't fight in no war. Best of
luck, though.
JAYNE drinks.
Camera moves back to MAL and ZOE.
MAL
Fine. Let's do this.
EXT. BAR - DAY
A large window, which turns out to be some sort of field rather than
glass. We know this because it shifts as MAL comes flying through it. Zoom
in on MAL, bringing his communicator to his mouth.
MAL
(into com)
Wash, we've got some local color happening.
Your grand entrance would not go amiss.
Cut to front of the building. ZOE is pushing two men around. The men and
ZOE and MAL fight
MAL
(to ZOE)
Is Jayne even awake?
Cut to front of the building. JAYNE comes out fighting, a few more men
getting pushed around by his barstool. lots of punching and fighting. Zoe
head-butts someone. The fight continues until...
MAL
(looking down. Way down.)
Woah woah... haha!
ZOE, MAL, and JAYNE are backed up against the edge of a cliff.
MAL (cont'd)
There's just an acre of you fellas.
(to ZOE)
This is why we lost, you know. Superior numbers.
ZOE
Thanks for the re-enactment, sir.
MAN from earlier comes out, big gun in hand, pointed at MAL. The two men
flanking him also draw their guns.
JAYNE
Hey, them ain't kosherized rules.
LUND
I'm thinkin' somebody needs to put you down, dog.
What do you think?
MAL
I'm thinkin' we'll rise again.
A whir of noise and dust as a space ship appears behind MAL, ZOE, and
JAYNE. A voice comes over the loudspeaker. Twanging music begins.
WASH (O.S.)
Every man there go back inside, or we will blow a
new crater in this little moon.
The men go back inside. ZOE, MAL, and JAYNE board the ship. MAL waves
goodbye to the men.
INT. SERENITY - CARGO AREA
JAYNE
Damn yokels can't even tell a transport ship
ain't got no guns on it.
(laughs)
"Blow a new crater in this moon."
(laughs)
JAYNE walks off screen. We follow MAL and ZOE up the stairs and into the
cockpit.
MAL
My thanks Wash, nice save as always.
WASH
A pleasure.
MAL
And how are our passengers?
KAYLEE slides out from under the instrument panel.
KAYLEE
They're fine. So...
(excited)
... what happened? Was there a terrible brawl?
Camera pans to ZOE, sitting close to WASH
ZOE
Oddly enough, there was.
WASH
(to MAL)
Are you gettin' my wife into trouble?
MAL
Wha? I didn't start it! Just wanted a quiet drink.
ZOE
(deadpan)
Funny, sir, how you always seem to find yourself
in an Alliance-friendly bar come U-day, looking
for a "quiet drink."
MAL
See, this is another sign of your tragic space dementia,
all paranoid and crotchety. Makes it hard.
Camera moves to KAYLEE as she laughs at the banter, then swings to WASH
WASH
Did we at least make a contact?
MAL
(pulling out a piece of paper)
Ladies and menfolk, we have ourselves a job.
ZOE grabs the paper with a smile.
MAL (cont'd)
Take us out of the world, Wash, got us some
crime to be done.
EXT: Serenity moving off.
-----------------------------------------------
INT. SERENITY - INFIRMARY
RIVER is on the table, asleep. Flashback to RIVER undergoing torture.
RIVER screams and jumps off the table.
SIMON
River?
RIVER is crying, kneeling against the wall.
SIMON
River, it's okay, it's me.
RIVER continues to cry, her hands over her ears.
SIMON
You know who I am?
RIVER
(duh)
Simon.
SIMON
Were you dreaming?
RIVER stands, slowly.
SIMON
Did you dream about the Academy?
RIVER
It's not relevent.
SIMON
If you can talk about what happened there, and I
know it's hard but, the more I know, the faster
you'll get better.
RIVER
(quietly)
This isn't home.
SIMON
(gently)
No. No, we can't go home. If we go home, they'll
just send you back to the Academy. This is safer now.
RIVER just shakes her head and looks upset.
SIMON
(cheerfully)
We're on a ship.
RIVER
(looking around)
Midbook Transport. Standard radio and accelerator
core. Class code 03-K64--Firefly.
MAL
(entering room)
Well, that's somethin'. I can't even remember all that.
MAL walks over to the sink, and starts washing his hands.
SIMON
Need a weave on that?
MAL
It's nothin'
SIMON
I expect there's someone's face feels differently.
MAL
Well, they tell ya, never hit a man with a closed
fist, but it is on occasion hilarious.
MAL dries his hands.
SIMON
I suppose so. So the, ah, the fight
(looking over at RIVER)
...didn't umm, draw any, umm, any attention.
MAL
No Feds. Just an honest brawl between folks. Ain't
none of us wanted the Alliance on us, Doctor, that's
why you're here.
SIMON
I thought I was here because you needed a medic.
MAL
Well, not today.
MAL walks out.
RIVER
(staring after him)
Mal, bad. In the Latin.
INT. SERENITY - OUTSIDE OF INFIRMARY
MAL
Shepherd Book.
BOOK
Captain! How's the girl?
MAL
Just a little whimsical in the brainpan.
Seems calm enough though.
In the background, RIVER can be seen freaking out through the windows of
the medical bay.
BOOK
That young man's very brave.
MAL
(mock seriousness)
Yeah. He's my hero.
BOOK
Gave up everything to free his sister from that
place. Go from being a doctor on the Central Planets
to hiding on the fringes of the system. There's
not many would do that.
MAL
Suppose not.
MAL starts to walk off.
BOOK
Not many would take them in, either.
MAL stops.
BOOK
Why did you?
MAL
Same reason I took you on board, Shepherd.
I need the fare.
MAL starts walking up the stairs. Book follows him with a laugh.
BOOK
There's neither of can pay a tenth what your
crew makes on one of your "jobs".
MAL
Are you referring to our perfectly legitimate
business enterprises?
BOOK
I'm wondering why a man so anxious to fly under
Alliance radar would house known fugitives. The
Alliance had her in that institution for a purpose,
whatever it was, and they will want her back. You're
not overly fond of the boy, so why risk it?
MAL
Only cause it's the right thing to do.
MAL looks at the engine room. It's a mess.
MAL
Oh, would you look at this? Kaylee!
MAL and BOOK keep walking.
BOOK
I begin to wonder if you yourself know why
you're doing it.
MAL
Well what about you, Shepherd? How come you're
flying about with us brigands? I mean, shouldn't
you be off bringing religiosity to the fuzzy-wuzzies
or some such?
BOOK
Oh, I've got heathens aplenty right here.
MAL
If I'm your mission, Shepherd, best give it up.
You're welcome on my boat, God ain't.
MAL walks off.
MAL
(to himself)
Where the hell's that girl?
INT. INARA'S SHUTTLE
INARA is brushing KAYLEE'S hair.
INARA
Do you want me to put it up?
KAYLEE
No, that's okay.
INARA
You have such lovely hair. I'm sure the Doctor
would agree.
KAYLEE
Who? Simon? No, he's much too, I mean I'm just--
do you think it looks better up?
INARA
We can experiment. We might even get wild later
and wash your face.
KAYLEE
Do you ever do this for your clients?
INARA
Very occasionally. Not all of them have enough
hair to get a brush through.
KAYLEE
Have you ever had to service a really hideous client?
With boils and the like?
INARA
A Companion chooses her own clients, that's Guild law.
But physical appearance doesn't matter so terribly.
You look for a compatibility of spirit. There's an
energy about a person that's difficult to hide, you
try to feel that--
MAL walks in, and interrupts.
MAL
And then you try to feel the energy of their credit
account. It has a sort of aura.
INARA
(pissed)
What did I say to you about barging into my shuttle?
MAL
That it was manly and impulsive?
INARA
Yes, precisely. Only the exact phrase I used was "don't".
MAL
Well, you're holding my mechanic in thrall. And
Kaylee, what the hell's goin' on in the engine room?
Were there monkeys? Some terrifying space monkeys
maybe got loose?
KAYLEE
I had to rewire the grav thrust because somebody
won't replace that crappy compression coil.
MAL
Well get the place squared away. It's dangerous in there,
and I ain't paying you to get your hair played at.
KAYLEE
[Kuh ooh duh lao bao jurn. - "Horrible old tyrant..."]
KAYLEE gets up and goes to do what she's told.
MAL
(to KAYLEE)
We work before we play.
He turns and watches INARA collect her tea things.
MAL
You're servicing crew now?
INARA
In your lonely, pathetic dreams. What do you want?
MAL
We have a job.
INARA
Congratulations. This job wouldn't be on a decently
civilized planet where I could screen some respectable
clients perhaps?
MAL
Respectable clients, it seems a contradiction.
INARA
(interrupting)
Don't start.
There is something that is intended to be UST.
MAL
There's, umm... We haven't gotten a location yet.
We'll be landing on the Skyplex in a bit. Run by
a fellow called Niska.
INARA
Never heard of him.
MAL
Well I have. While we're there, you'll stay confined
to the ship.
INARA
Is the petty criminal perchance ashamed to be riding
with a Companion?
MAL
(serious)
This guy has a very unlovely rep. He's got work for
me, fine. But I don't...
(pauses)
I'm not sure you'd be safe.
INARA
(smiling)
Mal, if you're being a gentleman, I may die of shock.
MAL grunts, and bows, walking off. He turns around and walks back towards
INARA.
MAL
Have you got time to do my hair?
INARA
Out.
END ACT ONE
----------------------------
ACT TWO
INT. SKYPLEX.
CROW, a buff man with tattoos opens the door.
NISKA (O.S.)
He's fine. Crow, they can come in. And Malcolm
Reynolds is which?
MAL
I'm Captain Reynolds. My First Mate Zoe, this is Jayne.
NISKA
Very nice. I am Adelai Niska. You have seen Crow.
He likes to stand at the door to say Boo!
MAL
We got word you might have a job for us.
NISKA
(standing)
Yes! Yes, an exciting job. A train has, eh, something
I need. You have worked a train before?
MAL
We did a few.
NISKA
Are you going to ask me what it is I need?
MAL
As a rule, no.
NISKA
Yes. Good! You have reputation! Malcolm Reynolds gets
it done is the talk.
MAL
Well, I'm glad to hear that.
NISKA
You know what is reputation? Is people talking. Is
gossip. I also have reputation. And not so pleasant
I think you know. Crow?
Crow swings open a door to reveal a man hanging by his feet, looking
pretty gorram tortured to death.
NISKA
(to Mal)
Now for you, my reputation is not from gossip. You
see this man. Eh, he does not do the job. I show
what I do him, and now my reputation for you is
fact, is solid. You do the train job for me, then
you are solid. No more gossip.
MAL
Right.
NISKA
Oooh. You do not like I kill this man.
MAL
Oh, no. I'm sure he was a very bad person.
NISKA
My wife's nephew. At dinner, I'm getting earful.
There is no way out of that. So, oh! The train job.
Come here!
(beckons)
NISKA turns on a display, indicating train cars.
NISKA (cont'd)
Here, in fifth car, two boxes. Alliance goods. You
don't mind taking from Alliance I think. From your
reputation? You get on train at Hancock, headed for
Paradiso. You take boxes off, before you reach
Paradiso, and deliver to Crow --
(he touches a spot on the display, which lights up)
-- here. Half money now, Crow give you other half money
at rendezvous point. Anything goes wrong, then, your
reputation, only gossip, and things between us, not
so solid. Yes?
END ACT TWO
-----------------------------
ACT THREE
INT. TRAIN
MAL and ZOE are seated in the train car.
MAL
How long till we hit Paradiso?
ZOE
Another twenty minutes. We should be in the
foothills in five.
MAL
Best get to work.
They stand.
ZOE
He's a psycho you know. Niska.
MAL
He's not the first psycho to hire us, nor the last.
You think that's a commentary on us?
ZOE
I just have an image in my head of a guy hanging
from the ceiling.
MAL
I've got an image of it not being me. Let's do the thing.
INT. NEW TRAIN CAR
The car is filled with Feds.
MAL
Hi.
INT. SERENITY - GALLEY
BOOK is reading the Bible.
INARA enters.
INARA
Shepherd.
BOOK
Good day. So, how do you think it's going?
INARA
The caper? Mal knows what he's doing.
BOOK
How long have you known him?
INARA
I've been on this ship eight months now. I'm not
sure I'll ever actually know the Captain.
BOOK
I'm surprised a respectable Companion would sail
with this crew.
INARA
It's not always this sort of work. They take the
jobs they can get, even legitimate ones. The further
you get away from the Central Planets, the harder
things are, so this is part of it.
BOOK
I wish I could help.
(off Inara's look)
I mean, I don't wanna..not help help, not with the
thieving, but... I do feel awfully useless.
INARA
You could always pray they make it back safely.
BOOK
I don't think the Captain would much like me
praying for him.
INARA
Don't tell him.
INARA pours water into a teakettle.
INARA (cont'd)
I never do.
INT. TRAIN CAR
Train car with Feds. MAL and ZOE walk through the car and into a car that
looks like cheap transport.
ZOE
(urgently)
Sir, is there some information we might maybe be
lacking as to why there's an entire fedsquad
sitting on this train?
MAL
Doesn't concern us.
ZOE
It kinda concerns me.
MAL
I mean they're not protecting the goods. If they
were, they wouldn't be letting people past 'em.
ZOE
You don't think that changes the situation a bit?
MAL
I surely do. Makes it more fun.
ZOE
Sir? I think you have a problem with your brain
being missing.
MAL
Come on. We stick to the plan. We get the goods,
we're back on Serenity before the train even reaches
Paradiso, only now we do it under the noses of twenty
trained Alliance Feds. And that makes 'em look all
manner of stupid. Hell, this job I would pull for free.
ZOE
(amused)
Can I have your share?
MAL
No.
ZOE
If you die, can I have your share?
MAL
Yes.
INT. SERENITY - CARGO HOLD
SIMON
Hey.
KAYLEE
Oh! Hey, Doctor.
SIMON
You really should just call me Simon.
KAYLEE
Oh, I'll do that, then.
SIMON
So, what are we doing?
KAYLEE
Oh! Crime.
SIMON
Crime? Good. Okay, crime.
KAYLEE
It's a train heist. See, we fly over the train car. The
Captain and Zoe sneak in, we lower Jayne onto the car,
and they bundle up the booty, and we haul 'em all back
up. Easy as lyin'.
SIMON
They've done this before?
KAYLEE
(laughing)
Hell no. But I think it's gonna work. The Captain's
[jen duh sh tyen tsai - "an absolute genius"]
when it comes to plans.
SIMON
Uh, well, uh... Is there anything I can...
something I should be doing?
JAYNE enters from behind SIMON.
JAYNE
Stayin' the hell outta everyone's way.
KAYLEE
There's no call to be snappy, Jayne.
JAYNE
You about to jump on a movin' train? Captain
ain't around. I'm in charge.
KAYLEE
Since when?
JAYNE (cont'd)
And just cause Mal say's you're Medic, don't
make you part of the crew.
Pan up to RIVER sitting on the catwalk, watching them.
JAYNE (cont'd)
You just, play at figurin' what's wrong with that
moonbrained sister of yours till we call for ya.
[Dong ma? - "Understand?"]
SIMON
Right.
SIMON walks off. A rope lowers. It's what will be attached to JAYNE so he
can jump on the train.
KAYLEE
You shouldn't be so rude to him.
JAYNE
Why? Cause he's all rich and fancible?
KAYLEE
He's not rich. The Alliance crashed his accounts
when he snuck out his sister.
JAYNE
Well, we could all be rich if we handed her back.
KAYLEE
You're not even thinking that.
JAYNE
Mal is.
KAYLEE
That's not funny.
Camera pans up to RIVER, watching them from above, her face shadowed and
still.
JAYNE (O.S.)
He ain't stupid. Why would he bring on trouble
like those two if there weren't no profit in it?
(camera moves back to Kaylee, locking
the rope on JAYNE)
Captain's got a move he ain't made yet, you'll see.
JAYNE pulls on a ridiculous hat with floppy ear covers and a chin strap.
JAYNE (cont'd)
Time for some thrilling heroics.
INT. TRAIN - CAR WITH STUFF
MAL is swiping a card in a reader.
MAL
Niska's sources better be good.
The card works. The door slides open.
ZOE
Shiny.
INT. TRAIN - FED CAR
A FED stands up, and walks back towards the car where MAL and ZOE are
breaking in for Crime Time.
INT. TRAIN - CAR WITH STUFF
MAL pulls a box to the middle of the car, stands on it, and starts
unscrewing a roof panel.
MAL
(to ZOE)
Find the cargo.
ZOE pulls a sheet off of two black boxes with red labels.
ZOE
All hail the great Alliance.
EXT. TRAIN
Serenity is moving over the train, approaching from the rear, so they can
drop JAYNE into the portal MAL will open.
INT. SERENITY-CARGO HOLD
A hatch opens. JAYNE pulls on goggles.
INT. SERENITY - COCKPIT
WASH steering. He's wearing a black muscle shirt.
INT. SERENITY-CARGO HOLD
JAYNE drops through the hatch.
EXT. TRAIN
JAYNE lands on the train with a grunt.
INT. TRAIN - CAR WITH STUFF
MAL pulls off the panel, leaving an opening for JAYNE
INT. TRAIN - CHEAP CAR.
FED cocks his gun.
INT. TRAIN - CAR WITH STUFF
JAYNE drops through the hole. MAL pats him on the back. They attach the
cargo to the rope bucket thing.
MAL
(into com)
Fifteen seconds.
INT. SERENITY-CARGO HOLD
KAYLEE waits
INT. SERENITY - COCKPIT
WASH flies.
INT. TRAIN - CAR WITH STUFF
FED enters. The smoke trap they've set up goes off. FED shoots. JAYNE'S
leg takes a hit.
ZOE
(to JAYNE)
Gorram!
JAYNE
(into com)
GO! Go now!
INT. SERENITY-CARGO HOLD
KAYLEE starts pulling him up w/ the stuff.
INT. TRAIN - CAR WITH STUFF
Fistfight. FED gets knocked out.
MAL
(to ZOE)
Come on!
MAL and ZOE start running through the cars.
INT. SERENITY - COCKPIT
WASH flies.
INT. TRAIN
Smoke.
INT. SERENITY-CARGO HOLD
JAYNE is collapsing as the stuff is lowered.
KAYLEE
Where are the others?
JAYNE
Ah! They shot my gorram leg.
KAYLEE
Jayne, are they still on the train? Are they
gonna be okay?
EXT. TRAIN, stopped.
VOICE
Everybody off. Everybody in there okay?
EXT. PARADISO
It's a small, ragged town. Very dusty and Westerny. MAL and ZOE are
standing with their backs to a FED and the SHERIFF.
FED
Our man didn't get a look.
SHERIFF
Well, Jesus, can somebody find out what they took?
(to someone in the crowd)
Handy! Keep those people together.
His Deputy wanders up.
DEPUTY
It's the medicine, sir. All of the supplies.
SHERIFF
They stole the gorram medicine?
ZOE and MAL look grim.
SHERIFF (cont'd)
We've been waitin'... All of it?
DEPUTY
Every ounce.
Camera pans over sad, tearful townspeople.
SHERIFF
(sighing)
God help us.
MAL
Son of a bitch.
END ACT THREE
-----------------------------
ACT FOUR
INT. ALLIANCE SHIP.
ALLIANCE OFFICER is walking into a station. There's an alert. OFFICER
turns to ALLIANCE ENSIGN and starts talking.
OFFICER
What's the fuss?
ENSIGN
All network alert. Cargo theft. Medical shipment
lifted off a train in the Georgia System en route
to Paradiso.
OFFICER
(looking at the alert screen)
Six crates of Pasceline D. Right. That'll get you a
tidy fortune on the black market.
(dismissive)
Tag it received, bounce it back. Locals can
deal with it.
ENSIGN
Sir, there is a regiment holding in Paradiso. They
were on the train, headed for the installation.
OFFICER
Then get them back on the train and get it moving.
Who's holding them there?
ENSIGN
The Sheriff requested we deploy a few to help
them investigate...
OFFICER
(impatient)
These are federal marshals, not local narcotic hounds.
They've got better things to do, so do we.
OFFICER leaves.
INT. SERENITY - INFIRMARY
JAYNE is on the table, sweaty and pissed.
JAYNE
Gorram it, let's get us moving.
SIMON
Now, I'm not, I'm not finished.
JAYNE
(not caring)
Why are you parked here? This ain't the
[go tsao de - "dog humping"] rendezvous spot.
WASH
It is now.
JAYNE
That's cause people are waitin', they ain't
partial to waitin'.
WASH
(sarcastic and firm)
Let 'em read a magazine. We don't make the sale
until Mal and Zoe are back on the boat.
JAYNE
These are stone killers, little man. They ain't
cuddly like me.
WASH
I'm not flying anywhere without my wife.
KAYLEE
(nervously)
She'll be okay. She's with the Captain.
JAYNE
(standing)
There, you see? Everybody wins.
He tries putting his leg down and screams in pain. BOOK is just watching
the action.
JAYNE
Doc, I need a pop to quiet this pain some.
SIMON goes over to get some medication
SIMON
(concerned)
All right, but what about the authorities? I mean,
we're sitting here with stolen Alliance goods.
Won't they be looking for us?
WASH
They buzz this canyon, we'll hear them long before
they ever see us. I figure we're good for...
RIVER
(interrupting)
Won't stop. Won't ever stop. They'll just keep coming
until they get back what you took. Two by two, hands
of blue. Two by two, hands of blue.
JAYNE
(to River)
How's about you shut that crazy mouth? Is that
a fun game?
(to everyone)
Now I'm in ruttin' charge here, and I'm tellin'
you how it works. We don't get the goods to Niska
on time, he'll make meat pies out of the lot of
us. And I ain't walkin' into that.
BOOK
Is this Adelai Niska you're talking about?
SIMON injects JAYNE with a pain shot.
JAYNE
Now how would a Shepherd know a name like that?
BOOK
As I've heard it, he made a deal with the Captain. If
the Captain's not there to finish it, if Niska finds
out he's being held, and may speak as to who hired
him--I think we're better off being a little late.
INT. PARADISO - HOLDING AREA
MAL and ZOE are sitting, huddled. Coughing people everywhere. It's a
holding area for train passengers.
MAL
This is a nightmare.
ZOE
Nothing points to us yet, sir.
MAL
That ain't what I'm talking about.
Long shot of poor, coughing, sick, poor people.
MAL
Whatever happens, remember I love you.
ZOE
(confused)
Sir?
MAL
(with a plan)
Because you're my wife.
ZOE
Right. Sir. Honey.
SHERIFF walks up, paperwork in hands
SHERIFF
Car 3, Row 12, Mr. and Mrs. Ring?
MAL
Can you tell us what's going on? We've been
here for so long. Did someone on the train
get killed?
SHERIFF
No, no, no. Nothing like that. Ah, says there
your fare's paid for by a third party?
MAL and ZOE stand and follow the SHERIFF to his desk.
MAL
My uncle. It was a wedding gift.
SHERIFF
Wedding gift?
The SHERIFF motions for MAL and ZOE to sit down.
SHERIFF (cont'd)
Spending your honeymoon in Paradiso?
ZOE
Actually, we're here lookin' for work.
SHERIFF
That right?
MAL
My uncle said he knew a Joey Bloggs out here, said
he might have an opening. Thought we'd try our luck.
SHERIFF
You a miner by trade? Either of you?
MAL
Not really.
SHERIFF
Hmm. You don't see many choose this life
weren't born to it.
ZOE
Well, work is real scarce for a couple
just starting out.
MAL
How come there's so many sick here?
SHERIFF
Bowden's Malady. Know what that is?
ZOE
Affliction of the bone and muscle. Degenerative.
SHERIFF
Very. Every planet that's been terraformed for
human life has its own little quirks. Turns out
the, uh, air down underground, mixed up with the
ore processors is a recipe for Bowden's. Everybody
gets it. Miners, dumpers. Hell, I got it, I ain't
never set foot in a mine.
ZOE
But it's treatable?
SHERIFF
There's medicine. Pasceline. Means you can live like
a person, you get it regular. But our shipment got
stole, right off the train you was riding in. Which
is why you won't be seeing a parade in town today.
MAL
Stolen? Well, didn't I see a whole regiment of fine
young Alliance Federals on the train?
SHERIFF
You did. Same regiment let our medicine get swiped
right under their noses, then took off for their own
camp without so much as a whoopsy daisy.
MAL
That sounds like the Alliance. Unite all the planets
under one rule so that everybody can be interfered
with or ignored equally.
The SHERIFF gets up, gets a cup of coffee, and sits on his desk, facing
MAL and ZOE
SHERIFF
Alliance ain't much use to us out here on the border
planets. But... they ain't the ones that stole the
medicine. I ever find those people, they ain't ever
going to see the inside of a jail. I'm just gonna toss
'em in a mine, let 'em breathe deep for the rest of
their lives.
MAL
Can't argue with that.
SHERIFF
Ah. You mind telling me when it was you last
spoke to Joey Bloggs?
MAL
Never did myself.
SHERIFF
Right. Your uncle. It was indicated to you that,
uh, Joey had an opening?
MAL
Any job would do.
SHERIFF
It's funny your uncle never went to mentioning the
Bowden's problem. Or that Joey Bloggs ate his own
gun, about eight months back.
MAL
Did he?
SHERIFF
Yep. Blew the back of his head right off.
MAL
(beat)
So... would his job be open?
INT. SERENITY - COCKPIT
JAYNE is limping up the stairs to where WASH and KAYLEE are sitting. He's
followed by about everyone else. Okay, SIMON.
JAYNE
That's it! We've waited long enough. Let's get
this bird in the air.
WASH
No rutting way
SIMON
(to Jayne)
You really should sit down.
KAYLEE
You can't just leave the Captain and Zoe here.
JAYNE
They ain't comin', we can't walk in there and get
'em, so they're done. Now let's fire it up.
INARA and BOOK walk in.
INARA
What's going on?
JAYNE
Strap in, we're takin' off.
WASH
We're NOT.
JAYNE
Captain'd do the same if it was one of us.
KAYLEE
Not in a million years!
JAYNE
Shove it.
WASH
Listen to me!
JAYNE
You know what the chain of command is? It's the chain
I go get and beat you with until you understand who's
in ruttin' command here. Now we're finishing this deal,
and then maybe maybe we'll come back for those morons
who got themselves caught.
(starts breathing heavily)
You can't change that by getting all...
(voice slows)
...bendy.
WASH
(not understanding the
bendy thing)
All what?
JAYNE
(drugged)
You've got the light.. from the console.. keep you,
lift you up. They shine like...
(tries to catch the light in his hands)
...little angels...
JAYNE collapses with a thud. The crew just stares.
WASH
Did he just go crazy and fall asleep?
SIMON
I told him to sit down.
KAYLEE
(amazed)
You doped him.
SIMON
It was supposed to kick in a good deal sooner. I,
I just didn't feel comfortable with him in charge.
I hope... hope that's all right.
Crew looks around. Yeah. It's all right.
BOOK
So. How do we get the others?
WASH
Jayne was right about them not making contact.
Chances are, they got pinched getting off
that train.
KAYLEE
We can't just waltz in and pull them out.
BOOK
Someone respectable enough might be able to.
INT. PARADISO - HOLDING AREA
Pan up from flowing rich, red satin. INARA is walking towards MAL and
ZOE.
MAL
What the hell?
INARA punches him.
INARA
Don't you dare speak to me.
(to Sherrif)
Sheriff, I want this man bound by law at once.
That's assuming he hasn't been already?
SHERIFF
No one's been bound, not yet.
INARA
Thank God you stopped them.
(to Mal)
Did you honestly think you could access my accounts
and I wouldn't find you? And Zoe, what would your
husband say if he knew you were here?
ZOE
I... I was weak.
SHERIFF
So I take it they ain't newlyweds?
INARA
Hardly. Malcolm's my indentured man, with three years
left on his debt. I imagine we'll have to add another
six months after this little adventure.
SHERIFF
(re: on-looking men gawking at Inara)
You'll have to pardon them. Don't think a one of 'em's
ever seen a registered Companion before.
INARA
I apologize for my manner.
SHERIFF
Oh, not a bit.
INARA
Should I contact my ship? Do you need to hold them
very much longer?
SHERIFF
Looks to me like we're about done here. I, uh. We
had some unrelated trouble. His story had kind of
an odor to it.
INARA
Yes, it's not the only thing about him that does.
Thank you, very much Sheriff.
(to Mal and Zoe)
Come along.
SHERIFF
(to Deputy)
That's one hell of a lady. Her files were
all in order?
DEPUTY
I ran 'em twice.
SHERIFF
Hmm. Let's get started with the rest, then.
INT. SERENITY - CARGO AREA
INARA is stepping off her shuttle.
KAYLEE
Hey. How'd it go?
MAL
She hit me.
WASH hugs ZOE. JAYNE is sprawled unconscious on the stairs.
KAYLEE
(re: Jayne)
We tried to get him into the infirmary, he's just heavy.
WASH
Captain, I've got the engine running, we're good to go.
MAL
We're not going.
WASH
Not? What? Not why?
ZOE
We're bringin' the cargo back.
JAYNE
(semi-conscious, slurring)
Wha? Whadda mean back? I waited for you guys!
WASH
What are you talking about? What about Niska? Won't
this put him in more or less a killing mood?
MAL and ZOE are grabbing the cargo.
MAL
There's others need this more.
ZOE
Let's get it on the mule.
INARA
My shuttle's faster.
MAL
You already risked enough flying in there once. And...
I don't wanna get slapped around no more. Far as Niska
goes, we'll just have to explain to him the job went
south when we return the money.
WASH
You wanna explain, now's your chance.
CUE ominous music. They look to the dock. Someone is striding up. It's
Niska's men, lead by CROW.
CROW
You didn't make the rendezvous.
MAL
Ran into a few complications.
CROW
You were thinking of taking Mr. Niska's money and
his property, maybe.
MAL
Ah, interestingly, neither.
CROW
I don't understand.
MAL
Yeah, look. Here's what it is. Deal's off.
(beat, CROW still doesn't get it)
We changed our minds.
CROW
(exasperated)
You entered into an arrangement with Mr. Niska.
There is no mind changing.
MAL
(nervous laugh)
I'm afraid that's where you're wrong. We just... we
can't take this job, so you just relax. We'll get
you all the money Niska gave us up front, you return
it to him, and we'll call it even.
CROW
(shakes head)
There is no even.
MAL
Is that right?
CROW throws a knife. It hits MAL in the shoulder. Guns get drawn. ZOE'S
included. Shots exchanged. ZOE shoots. People fall. It's a thing. CROW
starts punching MAL. WASH uses the mule to drive over some guys.
MAL'S on the ground, about to get speared by CROW. A shot rings out.
CROW is kneecapped.
MAL
Nice shot.
Camera pans up to JAYNE, smoking gun in hand.
JAYNE
(slurred)
I was aiming for his head.
EXT. PARADISO - NIGHT
MAL and ZOE are driving the cargo back.
MAL
We'll have to drag 'em from here. Leave 'em just off
the street. We'll notify the Sheriff when we're in
deep, deep space.
SHERIFF
Why not tell him in person?
CUT TO:
SHERIFF and his men coming up from over a slight rise. MAL looks shocked,
ZOE looks resigned.
SHERIFF (cont'd)
Got word of a ship not far out, came lookin'. Didn't
expect to find you comin' back.
It's clear now that the SHERIFF and his men are armed and prepared to use
those arms if need be.
MAL
Didn't expect to be comin'.
The Sheriff's crew inspects the cargo.
DEPUTY
Nothin' missing.
SHERIFF looks at MAL, smiles, and looks down in disbelief.
SHERIFF
You were truthful back in town. These are tough
times. If a man can get a job, he might not look
too close at what that job is. But a man learns
all the details of a situation like ours, well,
then he has a choice.
MAL
(looking stone-cold serious)
I don't believe he does.
A look of understanding passes between them.
SHERIFF
(to crew)
Get these crates back to town. Make yourselves useful.
EXT. SERENITY - NIGHT
CROW is on his knees, hands tied behind his back
MAL
Now this is all the money Niska gave us in advance.
You bring it back to him, tell him the job didn't
work out.
(Crow spits)
We're not thieves--but we are thieves. Point is
we're not takin' what's his. Now we'll stay out of
his way the best we can from here on in. You
explain that that's best for everyone, okay?
CROW stands.
CROW
Keep the money. Use it to buy a funeral. It doesn't
matter where you go, or how far you fly. I will
hunt you down, and the last thing you see will
be my blade.
MAL
Darn.
MAL kicks CROW into the engine intakes. Horrible crunching sounds
happen. A second one of Niska's henchmen is brought bound before him.
MAL
Now this is all the money Niska gave us in advance...
HENCHMAN
Oh, I'm good. I speak for everyone. I'm right
there with you.
INT. SERENITY - INFIRMITY
SIMON is stitching up MAL's shoulder.
SIMON
You should have let me do this sooner.
MAL
I have had plenty worse it's just
(Simon hits something sensitive)
OUCH!
SIMON
Sorry.
MAL
Just be careful. Pretty fast thinkin', doping up
Jayne. Can't say you've made a lifetime friend.
SIMON
I'll deal with him.
MAL
Yeah, I'm not too worried about you.
(beat)
How's your sister?
SIMON
The same. One moment she seems perfectly cogent,
the next...
CAMERA moves to the outside of the infirmary and pans right.
SIMON (cont'd)
...she speaks nonsense, like a child. So difficult
to diagnose. And I still don't know what the government
was trying to do with her, so I have no idea if
they succeeded.
SIMON's voice fades out as RIVER's grows louder. The camera moves in on
her. She's curled in a corner, chanting:
RIVER
Two by two, hands of blue. Two by two, hands of blue...
INT. ALLIANCE SHIP
ALLIANCE OFFICER from earlier walks into a room. There are two men in
suits there.
OFFICER
Sorry to keep you waiting. There's always
one crisis...
He's interrupted by the MAN.
MAN
We're not interested. We're here about a theft.
OFFICER
The medicine, on that planet. Word came up
that was returned.
OTHER MAN
We didn't fly 86 million miles to track down
a box of band-aids, Colonel.
MAN
We're looking for a girl.
MAN slides a picture of RIVER across the desk. We see that his
hands are encased in tight blue gloves.
MAN (cont'd)
This girl.
As the camera pans out, we see that MAN IN SUIT 2 is also wearing blue
gloves.
BLACK OUT.
END OF SHOW
Bushwacked
There is a noisy game of what looks vaguely like basketball going on. Zoe, Mal, Jayne, Wash, Kaylee and Book are playing.
JAYNE
Yeah, too tall, too tall!
WASH
Jayne!
Jayne passes the ball to Wash.
JAYNE
Little man!
There is lots of vying for the ball. Zoe shoots the ball towards a metal hoop suspended by a chain, and apparently scores. River and Simon watch the game from the walkway above.
VOICE (O.C.)
Yes!
JAYNE
Come on, old man! Ha ha!
Inara enters onto the walkway. Back on the game floor, Kaylee climbs onto Jayne's shoulders, Jayne runs towards the hoop and Kaylee puts it through. Inara crosses over to Simon.
SIMON
Hello.
INARA
Who's winning?
SIMON
I can't tell. They don't seem to be
playing by any civilized rules that
I know.
INARA
Well, we're pretty far from civilization.
Inara glances at River, who is watching the game intently.
INARA (cont'd)
How's your sister?
SIMON
She's good. Better. She has her days.
And she still won't talk about what it
was they did to her at the academy.
INARA
Perhaps she's not sure herself.
SIMON
She dreams about it. I know that much.
Nightmares. And now, on the run, on this
ship, I don't know if I'll be able to
help her here, and I need to help her.
INARA
Simon, you are. Leaving your whole
world behind. It's incredibly selfless.
SIMON
Yeah. I selflessly turned us both into
wanted fugitives.
INARA
Well, we're all running from something,
I suppose.
Cut back to the game. A LOUD ALARM starts sounding.
ZOE
Proximity alert. Must be coming up on something.
WASH
(alarmed)
Oh my god. What can it be? We're all doomed!
Who's flying this thing!?
(deadpan)
Oh right, that would be me. Back to work.
KAYLEE
So I guess that makes us one man short.
JAYNE
Little Kaylee's always one man short.
Kaylee punches Jayne good-naturedly in the arm.
JAYNE
Ow, hey.
KAYLEE
(to Simon)
Say Doc, why don't you come on down, play
for our side? Inara won't mind.
INT. SERENITY - BRIDGE
Wash enters the bridge, and though the viewport sees a spaceship tumbling through space. As he sits down, a human body suddenly bumps into the window. Wash startles, and bumps the flight controls, which causes the entire ship to shudder. Mal and Zoe enter the cockpit.
MAL
Wash, you have a stroke or something?
WASH
Near enough.
ZOE
What happened?
The rest of the crew enters the bridge and regards the slowly spinning spaceship.
JAYNE
[Wu de ma. - "Mother of god."]
MAL
Anybody home?
WASH
Been hailing her, but if whoever's there
is as healthy as the guy we just ran over,
can't imagine anyone's going to be picking up.
MAL
Bring us in a little closer.
WASH
Get you close enough to ring the doorbell.
SIMON
What is it?
Now we see that River is standing against the wall just outside the doorway of the bridge.
RIVER
It's ghosts.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - BRIDGE
Right back where we left them:
MAL
So, what do we figure? Transport ship?
WASH
Converted cargo hauler, maybe a
short-range scow.
KAYLEE
You can see she don't want to be parked
like that. The port thrust's gone, that's
what's making her spin the way she is.
SIMON
A short range vessel, this far out in space?
WASH
Retrofitted to carry passengers.
ZOE
Travelers pick them up cheap at government
auction. A few modifications and they
serve well enough for a one-way push to
the outer planets.
BOOK
Settlers.
WASH
Cram fifteen, maybe twenty families on a boat
that size, you pack 'em in tight enough.
INARA
Families?
JAYNE
Tell you what I think. I think that fellow
we ran into did everyone on board, killed
them all, then decided to take a swim through
space, see how fast his blood would boil out
of his ears.
WASH
You're a very "up" person.
BOOK
Shouldn't we report this?
MAL
To who? Alliance? Right. They're going to
run out here lickety-split and make sure
these taxpayers are okay.
BOOK
Then we'll have to.
JAYNE
If there's folks on board in need of help,
why ain't they beaming no distress call?
ZOE
It's true, there's no beacon.
MAL
Which means it's likely no one's looking
to find her.
BOOK
All the more reason for us to do the
right thing.
JAYNE
How about you just say a prayer when
we slide on by.
BOOK
Shall I remind you of the story of
the Good Samaritan?
MAL
I'd rather you didn't. But we'll check it
out. See if there are survivors. If not,
then, well no one's going to mind if we
take a look around, see if there's not
something of value they might have left behind.
JAYNE
(suddenly on board with
this plan)
Yeah, no, uh, someone could be hurt.
EXT. SERENITY
Serenity moves against the derelict ship and links to it. As they join, we see several snaky cables latching onto Serenity from the other ship.
INT. SERENITY - CARGO HOLD
Simon enters carrying a medical kit. Mal and Zoe are getting into space suits. Jayne walks up behind Simon.
JAYNE
Where do you think you're headed?
SIMON
Thought I'd offer my services, in case
anyone on board required medical attention.
JAYNE
Well, Cap and Zoe are going in first.
We'll holler if we need you.
(off Simon's somewhat
worried look)
Something wrong?
Simon is watching Mal and Zoe help each other on with their suits.
SIMON
Hmmm? Oh, no. I suppose it's just the
thought of a little Mylar and glass
separating a person from... nothing.
JAYNE
It's impressive what "nothing" can do
to a man. Like that fella we bumped into.
He's likely stuck up under our belly about
now. That's what space trash does, you
know. Kind of latches onto the first big
something that stops long enough. Hey now,
that'd be a bit like you and your sister
now, wouldn't it?
INT. DERELICT SHIP - AIRLOCK
Zoe and Mal enter through the airlock from Serenity, fully suited-up.
MAL
Entering adjoining airlock now. Okay,
Wash, ask Serenity to knock for us.
Quick cut to the bridge, where Wash is listening, and manipulating controls on the panel.
INT. DERELICT SHIP - CORRIDORS
MAL
Emergency power's up. Dashboard lights.
They move into the galley. The ship is deserted and eerie. A child's balloon is tied to the back of a chair. Unfinished meals are still on tables.
MAL
Whatever happened here, happened quick.
They continue exploring the ship.
INT. DERELICT SHIP - BRIDGE
ZOE
Everything was left on. Ship powered down on
its own. No sign of a struggle. They're just...
MAL
Gone.
ZOE
(re: a computer screen)
Sir. Personal log. Someone was in the
middle of an entry.
Zoe taps the screen (or the keyboard), which shorts out.
INT. SERENITY - RIVER'S BUNK
River awakes with a gasp and starts crying. Simon hears her and enters.
SIMON
Shh, shh, it's okay, it's okay, I'm here.
Bad dreams again?
RIVER
No, I can't sleep. There's too much screaming.
SIMON
River, there is... there is no screaming.
RIVER
(quietly)
There was.
Jayne appears in the corridor, loading a firearm.
JAYNE
Hey! Grab your med kit and let's hoof it.
Mal wants us both over there on the double.
SIMON
They found survivors?
JAYNE
Didn't say.
SIMON
Right. I'll ask Inara to look in on River.
JAYNE
Whatever. I ain't waiting. I'll meet you
over there. But don't take forever. Still
got to get suited up.
INT. DERELICT SHIP - AIRLOCK
Simon enters in a spacesuit, alone, looking nervous. He moves through the dark corridor, his breathing loud and irregular. He enters a small room where we find Jayne, Mal, Zoe and Kaylee, without spacesuits.
MAL
Hi.
Simon realizes he's been had, and struggles to remove his helmet. Kaylee moves to help him.
MAL (cont'd)
Um, what are you doing here, and what's
with the suit?
Jayne cracks up.
SIMON
(to Jayne)
You're hilarious. Sadist.
MAL
All right, enough. Ain't got time for
games. As long as you're here, you may
as well lend a hand. You can run with
Kaylee. Let's be quick about this people,
all right? A few loads each, no need
to be greedy.
SIMON
Where are all the people?
MAL
Ship says lifeboat launched more than a
week ago. We're going to assume everyone
got off okay. Anyway, we're just here to
pick the bones. You two start in the
engine room. Jayne, you take the galley.
KAYLEE
(to Simon, re: his
helmet)
You, um, had this on wrong.
Jayne laughs maliciously as the three move on to their assigned tasks.
ZOE
Sir, I count sixteen families signed on.
Lifeboat wouldn't hold a third of that.
MAL
I know.
(into com)
Wash, any luck?
INT. SERENITY - BRIDGE
WASH
(speaking into com)
I think I found something pretty well matches
that class. Layout looks about right. Seems
to me any valuables, if there are any, likely
be stored C-deck, aft.
INT. DERELICT SHIP
MAL
Good work. Keep the engine running,
shouldn't be long.
INT. SERENITY - CORRIDORS OUTSIDE PASSENGER QUARTERS
Inara is carrying a tray of food.
INARA
River? It's Inara. Are you hungry sweetie?
She knocks on the door and opens it, to find an empty room.
INARA (cont'd)
River?
INT. DERELICT SHIP - AIRLOCK
River enters the ship, barefoot.
SIMON (O.C.)
Aren't you the least bit curious?
INT. DERELICT SHIP - ENGINE ROOM
Simon and Kaylee are investigating the engine room. Well, Kaylee is and Simon is tagging along.
KAYLEE
About what?
SIMON
Well... what happened here. Why would
anyone abandon their ship in the middle
of nowhere like this?
KAYLEE
For all sorts of reasons. Just not
the mechanical.
SIMON
What?
KAYLEE
There ain't nothing wrong with this.
Not that I can see, anyhow.
There is an electrical flash and crackling as Kaylee pulls a part from the ship.
KAYLEE (cont'd)
Whoo. Well there's a good one. Hold the bag open.
INT. DERELICT SHIP - GALLEY
Jayne is scooping supplies into a duffel bag, munching on something.
INT. DERELICT SHIP - DECK C, AFT
MAL
This looks to be it.
Zoe tries to open a door set in the side of the wall.
ZOE
Locked.
MAL
Well now. I'd say that's like to be
a very good sign.
Mal stoops and removes a blowtorch from his satchel, and proceeds to work on the door.
INT. DERELICT SHIP - CORRIDORS
River is moving dreamily through the dimly lit ship.
INT. DERELICT SHIP - DECK C, AFT
The door falls away, Zoe and Mal enter. They move through the room, which is stacked with trunks and boxes. Zoe opens a case to reveal a child's doll, along with everyday things that would be found in a suitcase. Mal inspects a stack of plastic crates.
MAL
Here. Genseed, protein, crop supplements.
Everything a growing family needs to make
a fresh start on a new world.
ZOE
Hard subsidies for fourteen-plus families.
That's...
MAL
About a fortune. Forget the rest, we just
take this stuff. We're going to need a
hand hauling it out of here.
ZOE
Sir. Even on a lifeboat, you'd think those
who escaped would have found room for some
of this.
River has entered the room, and is staring up at something.
MAL
Nobody escaped.
ZOE
Sir?
Mal and Zoe turn their flashlights to the ceiling, to reveal five or six hideous corpses, strung up by chains and gutted.
MAL
Nobody.
ZOE
Oh my god.
MAL
[Jen dao mei. - "Just our luck."]
I know what did this.
(to Zoe, re: River)
Get her out of here.
(into com)
Jayne? Jayne, drop what you're doing, and get
to the engine room. I want you to take Kaylee
and the doctor off this boat.
INT. DERELICT SHIP - GALLEY
Jayne is listening to Mal's orders in the dark galley. Suddenly, the lights flash on to reveal a man attacking Jayne from behind. Jayne is knocked into a table; pots and pans go clattering to the floor. From the dropped walkie-talkie we hear Mal's voice.
MAL
Jayne?
BLACK OUT.
END ACT ONE
ACT TWO
INT. SERENITY - BRIDGE
WASH
(into com)
Captain? Captain. Zoe!
INT. DERELICT SHIP
Mal, Zoe and River are moving quickly though the ship.
ZOE
It came from above, Sir.
MAL
Galley.
They turn a corner to find Kaylee and Simon.
KAYLEE
We heard shooting.
SIMON
River! What are you...?
RIVER
I followed the voices.
SIMON
Don't ever leave the ship. Not ever.
MAL
Handle her, will you son?
WASH
(on com)
What the [tyen shiao duh - "God knows what"]
is going on in there?
ZOE
(into com)
Not now, dear.
INT. DERELICT SHIP - GALLEY
Mal and Zoe move into the galley, where there are signs of a struggle. The others follow. Mal aims his gun at a noise, which turns out to be Jayne, holding a gun on Mal.
MAL
What'd you see?
JAYNE
(panting)
Didn't. Came at me from behind. Big,
though. Strong. I think I might have
hit him.
SIMON
(re: blood on floor)
You did.
Mal follows the blood trail to a circular screen covering up a cubbyhole. We can hear gasping coming from inside as Mal removes the screen.
SURVIVOR
No, no, no.
MAL
Shh, easy now. No one's going to hurt you.
There is a young, terrified man hiding in the small space.
SURVIVOR
No, no mercy, no.
MAL
I mean, more than we already did. We got
lots and lots of...
Mal slugs the guy, knocking him unconscious. Mal hauls the man out of the hole, dropping him to the floor.
SIMON
(dripping sarcasm)
Oh yes, he's a real beast.
(to Jayne)
It's a wonder you're still alive.
JAYNE
Looked bigger when I couldn't see him.
INT. SERENITY - OUTSIDE THE INFIRMARY
The crew is gathered, watching through the infirmary window.
INARA
I wonder how long he'd been living like that?
KAYLEE
I don't know. He must be real brave to
survive like that when nobody else did.
JAYNE
Yeah, real hero, killing all them people.
KAYLEE
What!? We don't believe that. We don't, do we?
ZOE
Captain wouldn't have brought him on board,
were that the case.
INT. SERENITY - INFIRMARY
Simon is tending to the injured man while Mal observes.
SIMON
Pulse is rapid, blood pressure's the high
side of normal. That's to be expected.
SURVIVOR
Weak, they were all weak.
SIMON
Other than the bullet wound, there doesn't
appear to be any exterior trauma. Though
that crack in the head you gave him probably
didn't do him any good.
SURVIVOR
Cattle. Cattle for the slaughter.
MAL
Dope him.
SIMON
I don't think that's...
MAL
Just do it.
SURVIVOR
No mercy, no resistance.
Simon moves to sedate his patient, and the man grabs his arm.
SURVIVOR (cont'd)
Open up, see what's inside.
Simon administers the sedative.
SURVIVOR (cont'd)
(succumbing to the drug)
No mercy.
INT. SERENITY - COMMON AREA
Simon and Mal move outside to where the others have been observing.
KAYLEE
So, how's our patient?
SIMON
Aside from borderline malnutrition, he's
in remarkably good health.
BOOK
(relieved)
So he'll live then.
MAL
Which to my mind is unfortunate.
BOOK
Not a very charitable attitude, Captain.
MAL
Charity'd be putting a bullet in his brainpan.
INARA
Mal!
MAL
Only save him the suffering.
Mal, serious as a heart attack, pulls the door to the infirmary shut.
MAL (cont'd)
All right, no one goes in here. Nothing more
we can do for him now, not after what he's seen.
SIMON
What do you mean?
MAL
That ship was hit by Reavers.
JAYNE
Reavers?
WASH
[Tzao gao. - "Crap."]
INT. SERENITY - GALLEY
Mal goes into the galley, getting himself something to drink. The others follow.
INARA
Mal, how can you know?
JAYNE
He don't - that's how. No way. It was
that other fella, the one we ran into,
like I said before, he went stir-crazy,
killed the rest, then took a walk in space.
KAYLEE
Just a second ago you said that...
JAYNE
Don't matter what I said. Reavers don't
leave no survivors.
MAL
Strictly speaking, wouldn't say they did.
BOOK
What are you suggesting?
MAL
Doesn't matter that we took him off that
boat, Shepherd, it's the place he's going
to live from now on.
BOOK
I don't accept that. Whatever horror he
witnessed, whatever acts of barbarism,
it was done by men, nothing more.
JAYNE
Reavers ain't men.
BOOK
Of course they are. Too long removed from
civilization, of course, but men. And, I
believe there is a power greater than men,
a power that heals.
MAL
Reavers might take issue with that philosophy.
If they had a philosophy. If they weren't
too busy gnawing on your insides. Jayne's
right, Reavers ain't men. Or they forgot
how to be. Now they're just nothing. They
got out to the edge of the galaxy, to that
place of nothing, and that's what they became.
JAYNE
Why're we still sitting here? If it was
Reavers, shouldn't we be gone?
MAL
Work ain't done. Still substantial money
value sitting over there.
JAYNE
Whoa. I ain't going over there with them
bodies, no ruttin' way. Not if Reavers
messed with them.
ZOE
Jayne, you'll scare the women.
SIMON
I'll go. I've dealt with bodies,
they don't worry me.
BOOK
I'd like to go with him. Maybe see
what I can do about putting those
folks to rest.
MAL
Those folks already resting pretty good,
Shepherd. Reavers saw to that.
BOOK
How we treat our dead is part of what
makes us different than those that
did the slaughtering.
MAL
All right, you go say your words. Jayne,
you'll help the doc and Shepherd Book
cut down those people, then you'll load
up the cargo.
JAYNE
I don't believe this. We're sitting
put for a funeral?
MAL
Yes, Jayne, that is exactly what we're
going to do. Not going to have these
people looking over my shoulder once
we're gone. I'm not saying there's
any peace to be had, but on the off
chance there is, those folks deserve
a little of it.
INARA
Just when I think I've got you figured out.
Inara, Book, Simon and Jayne leave the galley.
KAYLEE
That was real pretty Captain, what
you just said.
WASH
I didn't think you were one for
rituals and such.
MAL
I'm not, but it'll keep the others busy
for a while. No reason to concern them
with what's to be done.
ZOE
Sir?
INT. SERENITY - BRIDGE
Kaylee, Wash, Mal and Zoe are looking at a camera feed of the snaky cables we saw latch onto Serenity earlier.
MAL
It's a real burden being right so often.
WASH
What is that?
MAL
Booby trap. Reavers sometimes leave them
for the rescue ships. Triggered it when
we latched on.
WASH
And when we detach?
MAL
It blows.
WASH
Okay, so we don't detach, we just, I don't
know, sit tight until...
ZOE
What, Reavers come back?
KAYLEE
Looks like they've jerry-rigged it with a
pressure catch. It's the only thing that'd
work with all these spare parts. We could
probably bypass that easy, we get to the
DC line.
MAL
You tell me right now, little Kaylee, you
really think you can do this?
KAYLEE
Sure. Yeah. I think so. 'Sides, if I mess up,
not like you'll be able to yell at me.
INT. DERELICT SHIP - C DECK, AFT
Jayne lowers the hanging bodies while Simon and Book look on.
INT. SERENITY - CARGO BAY
Zoe and Mal look on while Kaylee lowers herself into a chamber beneath the floor.
INT. SERENITY - INARA'S SHUTTLE
Inara is working on a scroll covered in Chinese calligraphy, while River sleeps on her bed.
INT. SERENITY - INFIRMARY
The patient is starting to wake, moaning.
SURVIVOR
No, no.
INT. SERENITY - CARGO BAY
Kaylee worms her way into a crawl space.
INT. SERENITY - INFIRMARY
The patient wakes up, laughing.
INT. SERENITY - INARA'S SHUTTLE
River wakes up screaming.
INT. SERENITY - INFIRMARY
A tray of surgical implements is knocked to the floor. We see a long, sharp knife being picked up by the patient.
INT. SERENITY - CARGO BAY
Kaylee clips a line, which oozes a dark viscous liquid. Cut to an exterior shot, where we see the cable disengaging.
Jayne enters, hauling a load of cargo.
JAYNE
What's going on?
MAL
Well, I'd have to say, right at this
particular moment, not a thing. Right?
KAYLEE
Not a gorram thing.
JAYNE
Looked like a thing to me.
Book and Simon enter the cargo bay.
MAL
Thought we might have had a situation, but it
looks to be taken care of. Let's get that
merchandise put away.
Cut to a quick shot of Serenity detaching from the derelict.
MAL
Everyone's home Wash, let's go.
The proximity alarm starts sounding again.
JAYNE
Oh no, nonono, don't you say that.
It's the Reavers. It's the gorram
Reavers come back!
MAL
Get that stuff stored.
JAYNE
Like it's going to matter!
MAL
Just do it!
Mal and Zoe race up the stairs to the bridge.
INT. SERENITY - BRIDGE
MALE VOICE (V.O.)
Firefly class transport, you are ordered to
release control of your helm.
Out the viewport, a huge spaceship looms. It's an ALLIANCE CRUISER.
MAL
Looks like civilization finally caught
up with us.
BLACK OUT.
END ACT TWO
ACT THREE
INT. ALLIANCE SHIP
COMMANDER HARKEN watches from the bridge as Serenity moves toward us. An ENSIGN approaches. Harken points to Serenity.
HARKEN
No mandatory registration markings on the
bow. Make sure we cite them for that.
ENSIGN
Sir, we've identified the transport ship
they were attached to. It was licensed
to a group of families out of Bernadette.
They were due to touch down in Newhall
three weeks ago. Never made it.
HARKEN
Once we secure these vultures, we'll send
a team over, check it out.
RADIO OPERATOR
Sir, didn't we have a flag on a Firefly
a while back?
HARKEN
Check.
RADIO OPERATOR
Here it is. An alert issued on a Firefly-class,
believed to be carrying two fugitives, a
brother and a sister.
HARKEN
What are they wanted for?
RADIO OPERATOR
It's uh, it's not available, it's classified.
HARKEN
40,000 of these old wrecks in the air and
that's all they give us. Well, I'm not
about to have any surprises on a routine
check. We run into these two, we shoot
first. The brass can sort it out later.
INT. SERENITY - CARGO BAY
Mal is walking quickly along the catwalk.
JAYNE
(to Mal)
So what was it?
MAL
Open the stash, pull out the goods.
JAYNE
What? Just got done putting it in.
MAL
Yeah, and I'm telling you to take it
all out again.
JAYNE
Why for?
MAL
I got no notion to argue this. In about
two minutes time this boat's going to
be crawling with Alliance.
The rest of the crew scrambles to get the salvaged goods un-stashed.
SIMON
(horrified)
No. We've got to run.
MAL
Can't run. They're pulling us in.
SIMON
If they find us they'll send River
back to that place. To be tortured.
(stammering)
I'd never see her again.
MAL
Stack everything here, in plain sight.
Wouldn't want it to seem like we got
anything to hide. It might give them
Alliance boys the wrong impression.
WASH
Or the right one.
MAL
That too.
(to Simon)
Now go run and fetch your sister.
SIMON
What?
(beat)
Why, are you going to put her in
plain sight, too?
MAL
Don't get tetchy. Just do as I say.
SIMON
Is that why you let us stay? So you
could use us as bargaining chips?
JAYNE
I knew there was a reason.
SIMON
(yelling)
They are not taking her and you are not
giving her to them!
BOOK
(calmly)
Don't be a fool son. Do as the man says.
Cut to exterior shot of Serenity being pulled against the vast Alliance ship. Back in the cargo bay, the doors open to reveal our crew (minus Simon and River) looking grim. Wash alone raises his hands. The Alliance Commander enters with a number of armed men.
MAL
Well, quite a lot of fuss. If I didn't
know better, I'd think we were dangerous.
HARKEN
Is this your vessel?
MAL
It is, bought and paid for. I'm Captain
Malcolm Reynolds.
HARKEN
And is this everyone, Captain?
MAL
By way of crew it is, though in our
infirmary you're going to find a
fellow that we rescued off that
derelict. Saved him, guess you
could say.
HARKEN
Hmm.
Unconvinced, Commander Harken motions to his soldiers to check this out.
MAL
Straight through the back, next to the
common area.
HARKEN
(re. salvage)
And these items, I take it you rescued
them as well.
Quick cut to the infirmary, where two of the soldiers are entering. Off-camera, we hear soft, maniacal laughter. Cut back to the cargo bay.
HARKEN
Looks to me like an illegal salvage operation.
MAL
Does it? Well, that's discouraging.
HARKEN
Yeah, and Alliance property. You could lose
your ship, Captain. But that is a wrist
slap compared to the penalty for harboring
fugitives. A brother and sister. When I
search this vessel, I won't find them, will I?
MAL
No children on this boat.
HARKEN
Hmm. I didn't say "children". Siblings,
adult siblings.
MAL
I misunderstood.
HARKEN
No chance they could have stowed away?
No one would blame you for that Captain.
I know how these older model Fireflys
tend to have those troublesome little nooks.
MAL
Do they?
HARKEN
Smugglers and the like tend to prefer
them just for that reason.
One of the soldiers that went to the infirmary returns and whispers something into the Commander's ear.
HARKEN
We will continue this conversation
in a more official capacity.
The soldiers begin to hustle our crew off Serenity and onto the Alliance ship.
HARKEN
I want every inch of this junker tossed.
KAYLEE
Junker?
MAL
Settle down, Kaylee.
KAYLEE
But Captain, did you hear what that
purple-belly called Serenity?
Quick cut to the infirmary, where soldiers are carrying out the man rescued from the derelict, strapped to a stretcher. Other soldiers are searching Serenity.
INT. ALLIANCE SHIP - INTERROGATION ROOM
HARKEN
You are a Companion.
The Commander and Inara are seated at a large, glass-topped table in an otherwise empty room.
INARA
Yes.
HARKEN
And you were based for years on Sihnon.
It's only in the last year that you've
been shipping out with the crew of
The Serenity?
INARA
It's just Serenity, and that's correct.
In a few weeks, it will be a year.
HARKEN
Oh.
INARA
Why is this important?
HARKEN
I'm just trying to put the pieces together.
It's a curiosity, a woman of stature such
as yourself falling in with...
(beat)
...these types.
INARA
Not in the least. It's a mutually beneficial
business arrangement. I rent the shuttle
from Captain Reynolds, which allows me to
expand my client base. And the Captain
finds that having a Companion on board
opens certain doors to him that might
otherwise be closed to him.
HARKEN
And do you love him?
Cut to see that the Commander is now speaking to Zoe.
ZOE
I don't see how that's relevant.
HARKEN
Well, he is your husband.
ZOE
Yes.
HARKEN
You two met through Captain Reynolds?
ZOE
Captain was looking for a pilot. I found
a husband. Seemed to work out.
HARKEN
You fought with Captain Reynolds in the war?
ZOE
Fought with a lot of people in the war.
HARKEN
And your husband?
ZOE
Fight with him sometimes, too.
HARKEN
Is there any particular reason you
don't wish to discuss your marriage?
ZOE
Don't see that it's any of your business,
is all. We're very private people.
Cut to the Commander now speaking with Wash.
WASH
The legs. Oh yeah, definitely have to say
it was her legs. You can put that down.
Her legs, and where her legs meet her
back. Actually, that whole area. That,
and above it.
Quick cut to Kaylee speaking to the Commander. Note that each crewmember is being interviewed separately; they are not in the room at the same time. Interspersed throughout the interrogation scenes are cuts to the soldiers methodically searching Serenity.
KAYLEE
Six Gurtslers crammed under every cooling
drive, so that you strain your primary
artery function, and you end up having to
recycle secondary exhaust through a bypass
system, just so's you don't end up pumping
it though the main atmo feed and asphyxiating
the entire crew! Now that's junk.
Cut back to Wash.
WASH
Have you seen what she wears? Forget about
it. Have you ever been with a warrior woman?
Cut to Jayne, staring silently at the Commander.
Cut to the Commander interviewing Shepherd Book.
HARKEN
Pirates. Pirates with their own chaplain.
There's an oddity.
BOOK
Not the only oddity this end of space,
Commander. Way of things not always so
plain as on the central planets. Rules
can be a mite fuzzier.
HARKEN
These fugitives that we're looking for,
the brother and the sister. They were
last seen on Persephone.
BOOK
That a fact?
HARKEN
They also left port aboard a Firefly-class
transport. Just about the same time you
shipped out with Serenity.
BOOK
Well, Persephone's a big place.
HARKEN
Yes, it is, and that Firefly isn't. And
if anyone's hiding anywhere on it, we
will find them.
EXT. SERENITY
Simon and River are in spacesuits, clinging to the hull of Serenity. River is gazing at the stars, a rapt, wondrous look on her face, and a rare smile. Simon is obviously terrified. He turns to see the look on his sister's face, then looks over his shoulder at the vastness of space. He quickly turns back, his face as near to the hull as he can manage.
INT. ALLIANCE SHIP - INTERROGATION ROOM
The Commander is interviewing Mal. Mal is the only one of the crew that warrants an armed guard, apparently.
MAL
So, by now, I figure you've been over
to the derelict. Seen it for yourself.
HARKEN
Yes. Terrible thing.
MAL
You want my advice, you won't tow it back.
Just fire the whole gorram thing from space.
Be done with it.
HARKEN
That ship is evidence. I'm not in the
habit of destroying evidence.
MAL
'Course not. Be against the rules. I'm
going to make a leap here and figure this
is your first tour here, out on the border?
HARKEN
That's a very loyal crew you have there.
But then I can tell by your record you
have a tendency to inspire that quality
in people.
(beat)
Sergeant.
MAL
It's not "Sergeant". Not no more. War's over.
HARKEN
For some the war will never be over. I
notice your ship's called Serenity.
You were stationed on Hera at the end
of the war; Battle of Serenity Valley
took place there if I recall.
MAL
You know, I believe you might be right.
HARKEN
Independents suffered a pretty crushing
defeat there. Some say that after Serenity
the brown coats were through. That the
war ended in that valley.
MAL
Hmm.
HARKEN
Seems odd that you would name your ship
after a battle you were on the wrong
side of.
MAL
May have been the losing side. Still
not convinced it was the wrong one.
HARKEN
Is that why you attacked that transport?
MAL
What?
HARKEN
You're still fighting the same battle,
Sergeant. Only those weren't soldiers
you murdered. Those were civilians,
families. Citizens loyal to the Alliance,
trying to make a new life for themselves
and you just can't stand that, can you?
MAL
So we attacked that ship, then brought
the only living survivor to our
infirmary. That's what we did?
HARKEN
I'd ask him. Only I'm not sure he'll be
able to speak with his tongue split down
the middle.
MAL
(realizing)
[Wuh de tyen, ah. - "Dear god in heaven."]
HARKEN
I haven't seen that kind of torture
since... well, since the war.
MAL
(quietly, to himself)
Oh I should have known.
HARKEN
You and your crew are bound by law. Formal
charges will be transmitted to Central
Authority.
MAL
Commander, I'm not what you need to be
concerned with right now. Things go
the way they are, there's going to
be blood.
INT. ALLIANCE SHIP - INFIRMARY
Several doctors and nurses are working on the man from the derelict. He seems to be convulsing on the table.
DOCTOR
Get a line in!
The staff is working frantically, at first it seems they are trying to revive the man, but then it becomes clear they are trying to restrain him. We see the man's hand come up, holding the long, slim knife he grabbed while on Serenity. There is screaming and a stream of blood splashes onto the wall.
BLACK OUT.
END ACT THREE
ACT FOUR
INT. ALLIANCE SHIP - INTERROGATION ROOM
Mal's been telling his story. Harken's not buying it.
HARKEN
Reavers?
MAL
That is what I said.
HARKEN
You can't imagine how many times men in
my position hear that excuse. "Reavers
did it."
MAL
It's the truth.
HARKEN
You saw them, did you?
MAL
Wouldn't be sitting here talking to
you if I had.
HARKEN
No, of course not.
MAL
But I'll tell you who did. That poor bastard
you took off my ship. He looked right into
the face of it. Was made to stare.
HARKEN
"It"?
MAL
The darkness. Kind of darkness you can't
even imagine. Blacker than the space it
moves through.
HARKEN
Very poetic.
MAL
They made him watch. He probably tried to
turn away, and they wouldn't let him. You
call him a survivor? He's not. A man comes
up against that kind of will, the only way
to deal with it, I suspect, is to become it.
He's following the only course left to him.
First, he'll try to make himself look like
one. Cut on himself, desecrate his flesh
and then, he'll start acting like one.
The Commander taps an intercom buzzer, and a second armed soldier enters.
HARKEN
Let's have two M.P.s up here to escort
Sergeant Reynolds to the brig.
INT. SERENITY - AIRLOCK
Simon and River have come inside, and are removing their spacesuits.
RIVER
Let's go again.
SIMON
Later, maybe. Captain said once the coast
is clear, we should lay low in the shuttle.
Come on.
RIVER
(sensing something)
He's coming back.
SIMON
(misunderstanding)
Yes, yes of course he is. They all are.
INT. ALLIANCE SHIP - INTERROGATION ROOM
Two M.P.s are taking Mal to the brig.
HARKEN
Your ship and its contents will be auctioned,
the proceeds of the sale will be applied to
the cost of your defense.
A third soldier enters and whispers into the Commander's ear.
HARKEN
(re: Mal)
Get him out of here!
(to the third soldier)
Go to full lock-down. I want guards
on the nursery.
MAL
It won't matter! You won't find him.
But I know where he'll go.
INT. SERENITY - GALLEY
The place is a mess, torn apart by the soldiers. Simon and River enter, still wearing the spacesuits.
RIVER
Wait, no! Don't, don't.
SIMON
No, River, River, it's okay.
River refuses to enter the galley, despite Simon's assurances.
RIVER
Wait, wait wait wait.
SIMON
They've gone. Come on.
RIVER
Don't...
SIMON
It's okay, come on.
From off-screen, we see a hand slip into frame and take a knife from a table.
RIVER
No, don't!
SIMON
River, you don't have to be afraid.
INT. ALLIANCE SHIP - CORRIDOR LEADING TO SERENITY
A man lies bloody and quite dead on the floor. The Commander and four soldiers are with Mal, who is handcuffed with his hands behind his back.
HARKEN
Why would he come back here?
MAL
Looking for familiar ground.
He's on the hunt.
HARKEN
(re: Mal)
All right, let's get him to the brig.
MAL
No, no, no... whoa, I should go with you.
HARKEN
That's out of the question.
MAL
How many more men do you feel like losing
today, Commander? Nobody knows Serenity
like I do. I can help you.
HARKEN
(considers briefly,
then nods)
We let him go first.
MAL
Right. You want to, uh?
Mal motions with his handcuffs. The Commander unlocks the handcuffs, and re-fastens them, only this time Mal has his hands in front of himself.
MAL
Thanks. Now I'll really have the advantage.
INT. SERENITY - GALLEY
River still refuses to go into the galley.
SIMON
No, we don't, we don't know how long it's
going to be. Once we're settled, I don't
think we should move around much. I'm
just going to grab some food.
Simon hears footsteps.
SIMON (cont'd)
Someone's coming.
Mal enters the galley warily, with the Commander and other soldiers following. He crosses the length of the galley, and notices a Simon's helmet in the passage at the other end. He steps into the doorway, where he sees Simon and River pressed up against the wall. Just at that moment, the man rescued from the derelict attacks one of the soldiers. A spatter of blood hits the Commander in the face. The Commander is then knocked to the ground by the Survivor, and we see the Survivor's face has been inexpertly pierced by what looks like surgical staples, bloody and horrifying. As he closes in for the kill, Mal loops his handcuffed hands around the neck of the attacker, and throttles him to death.
EXT. SPACE
Serenity undocks from Alliance ship and begins maneuvering for departure.
INT. SERENITY - BRIDGE
Wash, Zoe, Mal and Jayne are looking out of the bridge viewports.
JAYNE
(pensively)
You saved his gorram life he still takes
the cargo. [Hwoon dahn. - "Jerk."]
MAL
He had to...
(shakes head)
Couldn't let us profit.
(beat)
Wouldn't be civilized.
EXT. SPACE
Shot of Alliance ship firing missiles to destroy the derelict ship. We watch as ship slowly explodes and breaks up.
BLACK OUT.
JAYNE
Yeah, too tall, too tall!
WASH
Jayne!
Jayne passes the ball to Wash.
JAYNE
Little man!
There is lots of vying for the ball. Zoe shoots the ball towards a metal hoop suspended by a chain, and apparently scores. River and Simon watch the game from the walkway above.
VOICE (O.C.)
Yes!
JAYNE
Come on, old man! Ha ha!
Inara enters onto the walkway. Back on the game floor, Kaylee climbs onto Jayne's shoulders, Jayne runs towards the hoop and Kaylee puts it through. Inara crosses over to Simon.
SIMON
Hello.
INARA
Who's winning?
SIMON
I can't tell. They don't seem to be
playing by any civilized rules that
I know.
INARA
Well, we're pretty far from civilization.
Inara glances at River, who is watching the game intently.
INARA (cont'd)
How's your sister?
SIMON
She's good. Better. She has her days.
And she still won't talk about what it
was they did to her at the academy.
INARA
Perhaps she's not sure herself.
SIMON
She dreams about it. I know that much.
Nightmares. And now, on the run, on this
ship, I don't know if I'll be able to
help her here, and I need to help her.
INARA
Simon, you are. Leaving your whole
world behind. It's incredibly selfless.
SIMON
Yeah. I selflessly turned us both into
wanted fugitives.
INARA
Well, we're all running from something,
I suppose.
Cut back to the game. A LOUD ALARM starts sounding.
ZOE
Proximity alert. Must be coming up on something.
WASH
(alarmed)
Oh my god. What can it be? We're all doomed!
Who's flying this thing!?
(deadpan)
Oh right, that would be me. Back to work.
KAYLEE
So I guess that makes us one man short.
JAYNE
Little Kaylee's always one man short.
Kaylee punches Jayne good-naturedly in the arm.
JAYNE
Ow, hey.
KAYLEE
(to Simon)
Say Doc, why don't you come on down, play
for our side? Inara won't mind.
INT. SERENITY - BRIDGE
Wash enters the bridge, and though the viewport sees a spaceship tumbling through space. As he sits down, a human body suddenly bumps into the window. Wash startles, and bumps the flight controls, which causes the entire ship to shudder. Mal and Zoe enter the cockpit.
MAL
Wash, you have a stroke or something?
WASH
Near enough.
ZOE
What happened?
The rest of the crew enters the bridge and regards the slowly spinning spaceship.
JAYNE
[Wu de ma. - "Mother of god."]
MAL
Anybody home?
WASH
Been hailing her, but if whoever's there
is as healthy as the guy we just ran over,
can't imagine anyone's going to be picking up.
MAL
Bring us in a little closer.
WASH
Get you close enough to ring the doorbell.
SIMON
What is it?
Now we see that River is standing against the wall just outside the doorway of the bridge.
RIVER
It's ghosts.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - BRIDGE
Right back where we left them:
MAL
So, what do we figure? Transport ship?
WASH
Converted cargo hauler, maybe a
short-range scow.
KAYLEE
You can see she don't want to be parked
like that. The port thrust's gone, that's
what's making her spin the way she is.
SIMON
A short range vessel, this far out in space?
WASH
Retrofitted to carry passengers.
ZOE
Travelers pick them up cheap at government
auction. A few modifications and they
serve well enough for a one-way push to
the outer planets.
BOOK
Settlers.
WASH
Cram fifteen, maybe twenty families on a boat
that size, you pack 'em in tight enough.
INARA
Families?
JAYNE
Tell you what I think. I think that fellow
we ran into did everyone on board, killed
them all, then decided to take a swim through
space, see how fast his blood would boil out
of his ears.
WASH
You're a very "up" person.
BOOK
Shouldn't we report this?
MAL
To who? Alliance? Right. They're going to
run out here lickety-split and make sure
these taxpayers are okay.
BOOK
Then we'll have to.
JAYNE
If there's folks on board in need of help,
why ain't they beaming no distress call?
ZOE
It's true, there's no beacon.
MAL
Which means it's likely no one's looking
to find her.
BOOK
All the more reason for us to do the
right thing.
JAYNE
How about you just say a prayer when
we slide on by.
BOOK
Shall I remind you of the story of
the Good Samaritan?
MAL
I'd rather you didn't. But we'll check it
out. See if there are survivors. If not,
then, well no one's going to mind if we
take a look around, see if there's not
something of value they might have left behind.
JAYNE
(suddenly on board with
this plan)
Yeah, no, uh, someone could be hurt.
EXT. SERENITY
Serenity moves against the derelict ship and links to it. As they join, we see several snaky cables latching onto Serenity from the other ship.
INT. SERENITY - CARGO HOLD
Simon enters carrying a medical kit. Mal and Zoe are getting into space suits. Jayne walks up behind Simon.
JAYNE
Where do you think you're headed?
SIMON
Thought I'd offer my services, in case
anyone on board required medical attention.
JAYNE
Well, Cap and Zoe are going in first.
We'll holler if we need you.
(off Simon's somewhat
worried look)
Something wrong?
Simon is watching Mal and Zoe help each other on with their suits.
SIMON
Hmmm? Oh, no. I suppose it's just the
thought of a little Mylar and glass
separating a person from... nothing.
JAYNE
It's impressive what "nothing" can do
to a man. Like that fella we bumped into.
He's likely stuck up under our belly about
now. That's what space trash does, you
know. Kind of latches onto the first big
something that stops long enough. Hey now,
that'd be a bit like you and your sister
now, wouldn't it?
INT. DERELICT SHIP - AIRLOCK
Zoe and Mal enter through the airlock from Serenity, fully suited-up.
MAL
Entering adjoining airlock now. Okay,
Wash, ask Serenity to knock for us.
Quick cut to the bridge, where Wash is listening, and manipulating controls on the panel.
INT. DERELICT SHIP - CORRIDORS
MAL
Emergency power's up. Dashboard lights.
They move into the galley. The ship is deserted and eerie. A child's balloon is tied to the back of a chair. Unfinished meals are still on tables.
MAL
Whatever happened here, happened quick.
They continue exploring the ship.
INT. DERELICT SHIP - BRIDGE
ZOE
Everything was left on. Ship powered down on
its own. No sign of a struggle. They're just...
MAL
Gone.
ZOE
(re: a computer screen)
Sir. Personal log. Someone was in the
middle of an entry.
Zoe taps the screen (or the keyboard), which shorts out.
INT. SERENITY - RIVER'S BUNK
River awakes with a gasp and starts crying. Simon hears her and enters.
SIMON
Shh, shh, it's okay, it's okay, I'm here.
Bad dreams again?
RIVER
No, I can't sleep. There's too much screaming.
SIMON
River, there is... there is no screaming.
RIVER
(quietly)
There was.
Jayne appears in the corridor, loading a firearm.
JAYNE
Hey! Grab your med kit and let's hoof it.
Mal wants us both over there on the double.
SIMON
They found survivors?
JAYNE
Didn't say.
SIMON
Right. I'll ask Inara to look in on River.
JAYNE
Whatever. I ain't waiting. I'll meet you
over there. But don't take forever. Still
got to get suited up.
INT. DERELICT SHIP - AIRLOCK
Simon enters in a spacesuit, alone, looking nervous. He moves through the dark corridor, his breathing loud and irregular. He enters a small room where we find Jayne, Mal, Zoe and Kaylee, without spacesuits.
MAL
Hi.
Simon realizes he's been had, and struggles to remove his helmet. Kaylee moves to help him.
MAL (cont'd)
Um, what are you doing here, and what's
with the suit?
Jayne cracks up.
SIMON
(to Jayne)
You're hilarious. Sadist.
MAL
All right, enough. Ain't got time for
games. As long as you're here, you may
as well lend a hand. You can run with
Kaylee. Let's be quick about this people,
all right? A few loads each, no need
to be greedy.
SIMON
Where are all the people?
MAL
Ship says lifeboat launched more than a
week ago. We're going to assume everyone
got off okay. Anyway, we're just here to
pick the bones. You two start in the
engine room. Jayne, you take the galley.
KAYLEE
(to Simon, re: his
helmet)
You, um, had this on wrong.
Jayne laughs maliciously as the three move on to their assigned tasks.
ZOE
Sir, I count sixteen families signed on.
Lifeboat wouldn't hold a third of that.
MAL
I know.
(into com)
Wash, any luck?
INT. SERENITY - BRIDGE
WASH
(speaking into com)
I think I found something pretty well matches
that class. Layout looks about right. Seems
to me any valuables, if there are any, likely
be stored C-deck, aft.
INT. DERELICT SHIP
MAL
Good work. Keep the engine running,
shouldn't be long.
INT. SERENITY - CORRIDORS OUTSIDE PASSENGER QUARTERS
Inara is carrying a tray of food.
INARA
River? It's Inara. Are you hungry sweetie?
She knocks on the door and opens it, to find an empty room.
INARA (cont'd)
River?
INT. DERELICT SHIP - AIRLOCK
River enters the ship, barefoot.
SIMON (O.C.)
Aren't you the least bit curious?
INT. DERELICT SHIP - ENGINE ROOM
Simon and Kaylee are investigating the engine room. Well, Kaylee is and Simon is tagging along.
KAYLEE
About what?
SIMON
Well... what happened here. Why would
anyone abandon their ship in the middle
of nowhere like this?
KAYLEE
For all sorts of reasons. Just not
the mechanical.
SIMON
What?
KAYLEE
There ain't nothing wrong with this.
Not that I can see, anyhow.
There is an electrical flash and crackling as Kaylee pulls a part from the ship.
KAYLEE (cont'd)
Whoo. Well there's a good one. Hold the bag open.
INT. DERELICT SHIP - GALLEY
Jayne is scooping supplies into a duffel bag, munching on something.
INT. DERELICT SHIP - DECK C, AFT
MAL
This looks to be it.
Zoe tries to open a door set in the side of the wall.
ZOE
Locked.
MAL
Well now. I'd say that's like to be
a very good sign.
Mal stoops and removes a blowtorch from his satchel, and proceeds to work on the door.
INT. DERELICT SHIP - CORRIDORS
River is moving dreamily through the dimly lit ship.
INT. DERELICT SHIP - DECK C, AFT
The door falls away, Zoe and Mal enter. They move through the room, which is stacked with trunks and boxes. Zoe opens a case to reveal a child's doll, along with everyday things that would be found in a suitcase. Mal inspects a stack of plastic crates.
MAL
Here. Genseed, protein, crop supplements.
Everything a growing family needs to make
a fresh start on a new world.
ZOE
Hard subsidies for fourteen-plus families.
That's...
MAL
About a fortune. Forget the rest, we just
take this stuff. We're going to need a
hand hauling it out of here.
ZOE
Sir. Even on a lifeboat, you'd think those
who escaped would have found room for some
of this.
River has entered the room, and is staring up at something.
MAL
Nobody escaped.
ZOE
Sir?
Mal and Zoe turn their flashlights to the ceiling, to reveal five or six hideous corpses, strung up by chains and gutted.
MAL
Nobody.
ZOE
Oh my god.
MAL
[Jen dao mei. - "Just our luck."]
I know what did this.
(to Zoe, re: River)
Get her out of here.
(into com)
Jayne? Jayne, drop what you're doing, and get
to the engine room. I want you to take Kaylee
and the doctor off this boat.
INT. DERELICT SHIP - GALLEY
Jayne is listening to Mal's orders in the dark galley. Suddenly, the lights flash on to reveal a man attacking Jayne from behind. Jayne is knocked into a table; pots and pans go clattering to the floor. From the dropped walkie-talkie we hear Mal's voice.
MAL
Jayne?
BLACK OUT.
END ACT ONE
ACT TWO
INT. SERENITY - BRIDGE
WASH
(into com)
Captain? Captain. Zoe!
INT. DERELICT SHIP
Mal, Zoe and River are moving quickly though the ship.
ZOE
It came from above, Sir.
MAL
Galley.
They turn a corner to find Kaylee and Simon.
KAYLEE
We heard shooting.
SIMON
River! What are you...?
RIVER
I followed the voices.
SIMON
Don't ever leave the ship. Not ever.
MAL
Handle her, will you son?
WASH
(on com)
What the [tyen shiao duh - "God knows what"]
is going on in there?
ZOE
(into com)
Not now, dear.
INT. DERELICT SHIP - GALLEY
Mal and Zoe move into the galley, where there are signs of a struggle. The others follow. Mal aims his gun at a noise, which turns out to be Jayne, holding a gun on Mal.
MAL
What'd you see?
JAYNE
(panting)
Didn't. Came at me from behind. Big,
though. Strong. I think I might have
hit him.
SIMON
(re: blood on floor)
You did.
Mal follows the blood trail to a circular screen covering up a cubbyhole. We can hear gasping coming from inside as Mal removes the screen.
SURVIVOR
No, no, no.
MAL
Shh, easy now. No one's going to hurt you.
There is a young, terrified man hiding in the small space.
SURVIVOR
No, no mercy, no.
MAL
I mean, more than we already did. We got
lots and lots of...
Mal slugs the guy, knocking him unconscious. Mal hauls the man out of the hole, dropping him to the floor.
SIMON
(dripping sarcasm)
Oh yes, he's a real beast.
(to Jayne)
It's a wonder you're still alive.
JAYNE
Looked bigger when I couldn't see him.
INT. SERENITY - OUTSIDE THE INFIRMARY
The crew is gathered, watching through the infirmary window.
INARA
I wonder how long he'd been living like that?
KAYLEE
I don't know. He must be real brave to
survive like that when nobody else did.
JAYNE
Yeah, real hero, killing all them people.
KAYLEE
What!? We don't believe that. We don't, do we?
ZOE
Captain wouldn't have brought him on board,
were that the case.
INT. SERENITY - INFIRMARY
Simon is tending to the injured man while Mal observes.
SIMON
Pulse is rapid, blood pressure's the high
side of normal. That's to be expected.
SURVIVOR
Weak, they were all weak.
SIMON
Other than the bullet wound, there doesn't
appear to be any exterior trauma. Though
that crack in the head you gave him probably
didn't do him any good.
SURVIVOR
Cattle. Cattle for the slaughter.
MAL
Dope him.
SIMON
I don't think that's...
MAL
Just do it.
SURVIVOR
No mercy, no resistance.
Simon moves to sedate his patient, and the man grabs his arm.
SURVIVOR (cont'd)
Open up, see what's inside.
Simon administers the sedative.
SURVIVOR (cont'd)
(succumbing to the drug)
No mercy.
INT. SERENITY - COMMON AREA
Simon and Mal move outside to where the others have been observing.
KAYLEE
So, how's our patient?
SIMON
Aside from borderline malnutrition, he's
in remarkably good health.
BOOK
(relieved)
So he'll live then.
MAL
Which to my mind is unfortunate.
BOOK
Not a very charitable attitude, Captain.
MAL
Charity'd be putting a bullet in his brainpan.
INARA
Mal!
MAL
Only save him the suffering.
Mal, serious as a heart attack, pulls the door to the infirmary shut.
MAL (cont'd)
All right, no one goes in here. Nothing more
we can do for him now, not after what he's seen.
SIMON
What do you mean?
MAL
That ship was hit by Reavers.
JAYNE
Reavers?
WASH
[Tzao gao. - "Crap."]
INT. SERENITY - GALLEY
Mal goes into the galley, getting himself something to drink. The others follow.
INARA
Mal, how can you know?
JAYNE
He don't - that's how. No way. It was
that other fella, the one we ran into,
like I said before, he went stir-crazy,
killed the rest, then took a walk in space.
KAYLEE
Just a second ago you said that...
JAYNE
Don't matter what I said. Reavers don't
leave no survivors.
MAL
Strictly speaking, wouldn't say they did.
BOOK
What are you suggesting?
MAL
Doesn't matter that we took him off that
boat, Shepherd, it's the place he's going
to live from now on.
BOOK
I don't accept that. Whatever horror he
witnessed, whatever acts of barbarism,
it was done by men, nothing more.
JAYNE
Reavers ain't men.
BOOK
Of course they are. Too long removed from
civilization, of course, but men. And, I
believe there is a power greater than men,
a power that heals.
MAL
Reavers might take issue with that philosophy.
If they had a philosophy. If they weren't
too busy gnawing on your insides. Jayne's
right, Reavers ain't men. Or they forgot
how to be. Now they're just nothing. They
got out to the edge of the galaxy, to that
place of nothing, and that's what they became.
JAYNE
Why're we still sitting here? If it was
Reavers, shouldn't we be gone?
MAL
Work ain't done. Still substantial money
value sitting over there.
JAYNE
Whoa. I ain't going over there with them
bodies, no ruttin' way. Not if Reavers
messed with them.
ZOE
Jayne, you'll scare the women.
SIMON
I'll go. I've dealt with bodies,
they don't worry me.
BOOK
I'd like to go with him. Maybe see
what I can do about putting those
folks to rest.
MAL
Those folks already resting pretty good,
Shepherd. Reavers saw to that.
BOOK
How we treat our dead is part of what
makes us different than those that
did the slaughtering.
MAL
All right, you go say your words. Jayne,
you'll help the doc and Shepherd Book
cut down those people, then you'll load
up the cargo.
JAYNE
I don't believe this. We're sitting
put for a funeral?
MAL
Yes, Jayne, that is exactly what we're
going to do. Not going to have these
people looking over my shoulder once
we're gone. I'm not saying there's
any peace to be had, but on the off
chance there is, those folks deserve
a little of it.
INARA
Just when I think I've got you figured out.
Inara, Book, Simon and Jayne leave the galley.
KAYLEE
That was real pretty Captain, what
you just said.
WASH
I didn't think you were one for
rituals and such.
MAL
I'm not, but it'll keep the others busy
for a while. No reason to concern them
with what's to be done.
ZOE
Sir?
INT. SERENITY - BRIDGE
Kaylee, Wash, Mal and Zoe are looking at a camera feed of the snaky cables we saw latch onto Serenity earlier.
MAL
It's a real burden being right so often.
WASH
What is that?
MAL
Booby trap. Reavers sometimes leave them
for the rescue ships. Triggered it when
we latched on.
WASH
And when we detach?
MAL
It blows.
WASH
Okay, so we don't detach, we just, I don't
know, sit tight until...
ZOE
What, Reavers come back?
KAYLEE
Looks like they've jerry-rigged it with a
pressure catch. It's the only thing that'd
work with all these spare parts. We could
probably bypass that easy, we get to the
DC line.
MAL
You tell me right now, little Kaylee, you
really think you can do this?
KAYLEE
Sure. Yeah. I think so. 'Sides, if I mess up,
not like you'll be able to yell at me.
INT. DERELICT SHIP - C DECK, AFT
Jayne lowers the hanging bodies while Simon and Book look on.
INT. SERENITY - CARGO BAY
Zoe and Mal look on while Kaylee lowers herself into a chamber beneath the floor.
INT. SERENITY - INARA'S SHUTTLE
Inara is working on a scroll covered in Chinese calligraphy, while River sleeps on her bed.
INT. SERENITY - INFIRMARY
The patient is starting to wake, moaning.
SURVIVOR
No, no.
INT. SERENITY - CARGO BAY
Kaylee worms her way into a crawl space.
INT. SERENITY - INFIRMARY
The patient wakes up, laughing.
INT. SERENITY - INARA'S SHUTTLE
River wakes up screaming.
INT. SERENITY - INFIRMARY
A tray of surgical implements is knocked to the floor. We see a long, sharp knife being picked up by the patient.
INT. SERENITY - CARGO BAY
Kaylee clips a line, which oozes a dark viscous liquid. Cut to an exterior shot, where we see the cable disengaging.
Jayne enters, hauling a load of cargo.
JAYNE
What's going on?
MAL
Well, I'd have to say, right at this
particular moment, not a thing. Right?
KAYLEE
Not a gorram thing.
JAYNE
Looked like a thing to me.
Book and Simon enter the cargo bay.
MAL
Thought we might have had a situation, but it
looks to be taken care of. Let's get that
merchandise put away.
Cut to a quick shot of Serenity detaching from the derelict.
MAL
Everyone's home Wash, let's go.
The proximity alarm starts sounding again.
JAYNE
Oh no, nonono, don't you say that.
It's the Reavers. It's the gorram
Reavers come back!
MAL
Get that stuff stored.
JAYNE
Like it's going to matter!
MAL
Just do it!
Mal and Zoe race up the stairs to the bridge.
INT. SERENITY - BRIDGE
MALE VOICE (V.O.)
Firefly class transport, you are ordered to
release control of your helm.
Out the viewport, a huge spaceship looms. It's an ALLIANCE CRUISER.
MAL
Looks like civilization finally caught
up with us.
BLACK OUT.
END ACT TWO
ACT THREE
INT. ALLIANCE SHIP
COMMANDER HARKEN watches from the bridge as Serenity moves toward us. An ENSIGN approaches. Harken points to Serenity.
HARKEN
No mandatory registration markings on the
bow. Make sure we cite them for that.
ENSIGN
Sir, we've identified the transport ship
they were attached to. It was licensed
to a group of families out of Bernadette.
They were due to touch down in Newhall
three weeks ago. Never made it.
HARKEN
Once we secure these vultures, we'll send
a team over, check it out.
RADIO OPERATOR
Sir, didn't we have a flag on a Firefly
a while back?
HARKEN
Check.
RADIO OPERATOR
Here it is. An alert issued on a Firefly-class,
believed to be carrying two fugitives, a
brother and a sister.
HARKEN
What are they wanted for?
RADIO OPERATOR
It's uh, it's not available, it's classified.
HARKEN
40,000 of these old wrecks in the air and
that's all they give us. Well, I'm not
about to have any surprises on a routine
check. We run into these two, we shoot
first. The brass can sort it out later.
INT. SERENITY - CARGO BAY
Mal is walking quickly along the catwalk.
JAYNE
(to Mal)
So what was it?
MAL
Open the stash, pull out the goods.
JAYNE
What? Just got done putting it in.
MAL
Yeah, and I'm telling you to take it
all out again.
JAYNE
Why for?
MAL
I got no notion to argue this. In about
two minutes time this boat's going to
be crawling with Alliance.
The rest of the crew scrambles to get the salvaged goods un-stashed.
SIMON
(horrified)
No. We've got to run.
MAL
Can't run. They're pulling us in.
SIMON
If they find us they'll send River
back to that place. To be tortured.
(stammering)
I'd never see her again.
MAL
Stack everything here, in plain sight.
Wouldn't want it to seem like we got
anything to hide. It might give them
Alliance boys the wrong impression.
WASH
Or the right one.
MAL
That too.
(to Simon)
Now go run and fetch your sister.
SIMON
What?
(beat)
Why, are you going to put her in
plain sight, too?
MAL
Don't get tetchy. Just do as I say.
SIMON
Is that why you let us stay? So you
could use us as bargaining chips?
JAYNE
I knew there was a reason.
SIMON
(yelling)
They are not taking her and you are not
giving her to them!
BOOK
(calmly)
Don't be a fool son. Do as the man says.
Cut to exterior shot of Serenity being pulled against the vast Alliance ship. Back in the cargo bay, the doors open to reveal our crew (minus Simon and River) looking grim. Wash alone raises his hands. The Alliance Commander enters with a number of armed men.
MAL
Well, quite a lot of fuss. If I didn't
know better, I'd think we were dangerous.
HARKEN
Is this your vessel?
MAL
It is, bought and paid for. I'm Captain
Malcolm Reynolds.
HARKEN
And is this everyone, Captain?
MAL
By way of crew it is, though in our
infirmary you're going to find a
fellow that we rescued off that
derelict. Saved him, guess you
could say.
HARKEN
Hmm.
Unconvinced, Commander Harken motions to his soldiers to check this out.
MAL
Straight through the back, next to the
common area.
HARKEN
(re. salvage)
And these items, I take it you rescued
them as well.
Quick cut to the infirmary, where two of the soldiers are entering. Off-camera, we hear soft, maniacal laughter. Cut back to the cargo bay.
HARKEN
Looks to me like an illegal salvage operation.
MAL
Does it? Well, that's discouraging.
HARKEN
Yeah, and Alliance property. You could lose
your ship, Captain. But that is a wrist
slap compared to the penalty for harboring
fugitives. A brother and sister. When I
search this vessel, I won't find them, will I?
MAL
No children on this boat.
HARKEN
Hmm. I didn't say "children". Siblings,
adult siblings.
MAL
I misunderstood.
HARKEN
No chance they could have stowed away?
No one would blame you for that Captain.
I know how these older model Fireflys
tend to have those troublesome little nooks.
MAL
Do they?
HARKEN
Smugglers and the like tend to prefer
them just for that reason.
One of the soldiers that went to the infirmary returns and whispers something into the Commander's ear.
HARKEN
We will continue this conversation
in a more official capacity.
The soldiers begin to hustle our crew off Serenity and onto the Alliance ship.
HARKEN
I want every inch of this junker tossed.
KAYLEE
Junker?
MAL
Settle down, Kaylee.
KAYLEE
But Captain, did you hear what that
purple-belly called Serenity?
Quick cut to the infirmary, where soldiers are carrying out the man rescued from the derelict, strapped to a stretcher. Other soldiers are searching Serenity.
INT. ALLIANCE SHIP - INTERROGATION ROOM
HARKEN
You are a Companion.
The Commander and Inara are seated at a large, glass-topped table in an otherwise empty room.
INARA
Yes.
HARKEN
And you were based for years on Sihnon.
It's only in the last year that you've
been shipping out with the crew of
The Serenity?
INARA
It's just Serenity, and that's correct.
In a few weeks, it will be a year.
HARKEN
Oh.
INARA
Why is this important?
HARKEN
I'm just trying to put the pieces together.
It's a curiosity, a woman of stature such
as yourself falling in with...
(beat)
...these types.
INARA
Not in the least. It's a mutually beneficial
business arrangement. I rent the shuttle
from Captain Reynolds, which allows me to
expand my client base. And the Captain
finds that having a Companion on board
opens certain doors to him that might
otherwise be closed to him.
HARKEN
And do you love him?
Cut to see that the Commander is now speaking to Zoe.
ZOE
I don't see how that's relevant.
HARKEN
Well, he is your husband.
ZOE
Yes.
HARKEN
You two met through Captain Reynolds?
ZOE
Captain was looking for a pilot. I found
a husband. Seemed to work out.
HARKEN
You fought with Captain Reynolds in the war?
ZOE
Fought with a lot of people in the war.
HARKEN
And your husband?
ZOE
Fight with him sometimes, too.
HARKEN
Is there any particular reason you
don't wish to discuss your marriage?
ZOE
Don't see that it's any of your business,
is all. We're very private people.
Cut to the Commander now speaking with Wash.
WASH
The legs. Oh yeah, definitely have to say
it was her legs. You can put that down.
Her legs, and where her legs meet her
back. Actually, that whole area. That,
and above it.
Quick cut to Kaylee speaking to the Commander. Note that each crewmember is being interviewed separately; they are not in the room at the same time. Interspersed throughout the interrogation scenes are cuts to the soldiers methodically searching Serenity.
KAYLEE
Six Gurtslers crammed under every cooling
drive, so that you strain your primary
artery function, and you end up having to
recycle secondary exhaust through a bypass
system, just so's you don't end up pumping
it though the main atmo feed and asphyxiating
the entire crew! Now that's junk.
Cut back to Wash.
WASH
Have you seen what she wears? Forget about
it. Have you ever been with a warrior woman?
Cut to Jayne, staring silently at the Commander.
Cut to the Commander interviewing Shepherd Book.
HARKEN
Pirates. Pirates with their own chaplain.
There's an oddity.
BOOK
Not the only oddity this end of space,
Commander. Way of things not always so
plain as on the central planets. Rules
can be a mite fuzzier.
HARKEN
These fugitives that we're looking for,
the brother and the sister. They were
last seen on Persephone.
BOOK
That a fact?
HARKEN
They also left port aboard a Firefly-class
transport. Just about the same time you
shipped out with Serenity.
BOOK
Well, Persephone's a big place.
HARKEN
Yes, it is, and that Firefly isn't. And
if anyone's hiding anywhere on it, we
will find them.
EXT. SERENITY
Simon and River are in spacesuits, clinging to the hull of Serenity. River is gazing at the stars, a rapt, wondrous look on her face, and a rare smile. Simon is obviously terrified. He turns to see the look on his sister's face, then looks over his shoulder at the vastness of space. He quickly turns back, his face as near to the hull as he can manage.
INT. ALLIANCE SHIP - INTERROGATION ROOM
The Commander is interviewing Mal. Mal is the only one of the crew that warrants an armed guard, apparently.
MAL
So, by now, I figure you've been over
to the derelict. Seen it for yourself.
HARKEN
Yes. Terrible thing.
MAL
You want my advice, you won't tow it back.
Just fire the whole gorram thing from space.
Be done with it.
HARKEN
That ship is evidence. I'm not in the
habit of destroying evidence.
MAL
'Course not. Be against the rules. I'm
going to make a leap here and figure this
is your first tour here, out on the border?
HARKEN
That's a very loyal crew you have there.
But then I can tell by your record you
have a tendency to inspire that quality
in people.
(beat)
Sergeant.
MAL
It's not "Sergeant". Not no more. War's over.
HARKEN
For some the war will never be over. I
notice your ship's called Serenity.
You were stationed on Hera at the end
of the war; Battle of Serenity Valley
took place there if I recall.
MAL
You know, I believe you might be right.
HARKEN
Independents suffered a pretty crushing
defeat there. Some say that after Serenity
the brown coats were through. That the
war ended in that valley.
MAL
Hmm.
HARKEN
Seems odd that you would name your ship
after a battle you were on the wrong
side of.
MAL
May have been the losing side. Still
not convinced it was the wrong one.
HARKEN
Is that why you attacked that transport?
MAL
What?
HARKEN
You're still fighting the same battle,
Sergeant. Only those weren't soldiers
you murdered. Those were civilians,
families. Citizens loyal to the Alliance,
trying to make a new life for themselves
and you just can't stand that, can you?
MAL
So we attacked that ship, then brought
the only living survivor to our
infirmary. That's what we did?
HARKEN
I'd ask him. Only I'm not sure he'll be
able to speak with his tongue split down
the middle.
MAL
(realizing)
[Wuh de tyen, ah. - "Dear god in heaven."]
HARKEN
I haven't seen that kind of torture
since... well, since the war.
MAL
(quietly, to himself)
Oh I should have known.
HARKEN
You and your crew are bound by law. Formal
charges will be transmitted to Central
Authority.
MAL
Commander, I'm not what you need to be
concerned with right now. Things go
the way they are, there's going to
be blood.
INT. ALLIANCE SHIP - INFIRMARY
Several doctors and nurses are working on the man from the derelict. He seems to be convulsing on the table.
DOCTOR
Get a line in!
The staff is working frantically, at first it seems they are trying to revive the man, but then it becomes clear they are trying to restrain him. We see the man's hand come up, holding the long, slim knife he grabbed while on Serenity. There is screaming and a stream of blood splashes onto the wall.
BLACK OUT.
END ACT THREE
ACT FOUR
INT. ALLIANCE SHIP - INTERROGATION ROOM
Mal's been telling his story. Harken's not buying it.
HARKEN
Reavers?
MAL
That is what I said.
HARKEN
You can't imagine how many times men in
my position hear that excuse. "Reavers
did it."
MAL
It's the truth.
HARKEN
You saw them, did you?
MAL
Wouldn't be sitting here talking to
you if I had.
HARKEN
No, of course not.
MAL
But I'll tell you who did. That poor bastard
you took off my ship. He looked right into
the face of it. Was made to stare.
HARKEN
"It"?
MAL
The darkness. Kind of darkness you can't
even imagine. Blacker than the space it
moves through.
HARKEN
Very poetic.
MAL
They made him watch. He probably tried to
turn away, and they wouldn't let him. You
call him a survivor? He's not. A man comes
up against that kind of will, the only way
to deal with it, I suspect, is to become it.
He's following the only course left to him.
First, he'll try to make himself look like
one. Cut on himself, desecrate his flesh
and then, he'll start acting like one.
The Commander taps an intercom buzzer, and a second armed soldier enters.
HARKEN
Let's have two M.P.s up here to escort
Sergeant Reynolds to the brig.
INT. SERENITY - AIRLOCK
Simon and River have come inside, and are removing their spacesuits.
RIVER
Let's go again.
SIMON
Later, maybe. Captain said once the coast
is clear, we should lay low in the shuttle.
Come on.
RIVER
(sensing something)
He's coming back.
SIMON
(misunderstanding)
Yes, yes of course he is. They all are.
INT. ALLIANCE SHIP - INTERROGATION ROOM
Two M.P.s are taking Mal to the brig.
HARKEN
Your ship and its contents will be auctioned,
the proceeds of the sale will be applied to
the cost of your defense.
A third soldier enters and whispers into the Commander's ear.
HARKEN
(re: Mal)
Get him out of here!
(to the third soldier)
Go to full lock-down. I want guards
on the nursery.
MAL
It won't matter! You won't find him.
But I know where he'll go.
INT. SERENITY - GALLEY
The place is a mess, torn apart by the soldiers. Simon and River enter, still wearing the spacesuits.
RIVER
Wait, no! Don't, don't.
SIMON
No, River, River, it's okay.
River refuses to enter the galley, despite Simon's assurances.
RIVER
Wait, wait wait wait.
SIMON
They've gone. Come on.
RIVER
Don't...
SIMON
It's okay, come on.
From off-screen, we see a hand slip into frame and take a knife from a table.
RIVER
No, don't!
SIMON
River, you don't have to be afraid.
INT. ALLIANCE SHIP - CORRIDOR LEADING TO SERENITY
A man lies bloody and quite dead on the floor. The Commander and four soldiers are with Mal, who is handcuffed with his hands behind his back.
HARKEN
Why would he come back here?
MAL
Looking for familiar ground.
He's on the hunt.
HARKEN
(re: Mal)
All right, let's get him to the brig.
MAL
No, no, no... whoa, I should go with you.
HARKEN
That's out of the question.
MAL
How many more men do you feel like losing
today, Commander? Nobody knows Serenity
like I do. I can help you.
HARKEN
(considers briefly,
then nods)
We let him go first.
MAL
Right. You want to, uh?
Mal motions with his handcuffs. The Commander unlocks the handcuffs, and re-fastens them, only this time Mal has his hands in front of himself.
MAL
Thanks. Now I'll really have the advantage.
INT. SERENITY - GALLEY
River still refuses to go into the galley.
SIMON
No, we don't, we don't know how long it's
going to be. Once we're settled, I don't
think we should move around much. I'm
just going to grab some food.
Simon hears footsteps.
SIMON (cont'd)
Someone's coming.
Mal enters the galley warily, with the Commander and other soldiers following. He crosses the length of the galley, and notices a Simon's helmet in the passage at the other end. He steps into the doorway, where he sees Simon and River pressed up against the wall. Just at that moment, the man rescued from the derelict attacks one of the soldiers. A spatter of blood hits the Commander in the face. The Commander is then knocked to the ground by the Survivor, and we see the Survivor's face has been inexpertly pierced by what looks like surgical staples, bloody and horrifying. As he closes in for the kill, Mal loops his handcuffed hands around the neck of the attacker, and throttles him to death.
EXT. SPACE
Serenity undocks from Alliance ship and begins maneuvering for departure.
INT. SERENITY - BRIDGE
Wash, Zoe, Mal and Jayne are looking out of the bridge viewports.
JAYNE
(pensively)
You saved his gorram life he still takes
the cargo. [Hwoon dahn. - "Jerk."]
MAL
He had to...
(shakes head)
Couldn't let us profit.
(beat)
Wouldn't be civilized.
EXT. SPACE
Shot of Alliance ship firing missiles to destroy the derelict ship. We watch as ship slowly explodes and breaks up.
BLACK OUT.
Our Mrs Reynolds
EXT. PLANET - TRIUMPH SETTLEMENT - DAY
Two horses pull a covered boat-wagon down the bed of a shallow river, hiding their tracks. About six horsemen burst out of the wooded banks and surround the covered wagon, bringing their progress to a halt. In the front seat sit a husband and wife, their faces covered by a brimmed hat and flowered bonnet, respectively.
BANDIT #1
Pardon me for intruding, but I believe y'all
carrying something of mine.
HUSBAND (JAYNE)
T'ain't your'n!
BANDIT #1
Did you think we wouldn't find out you
changed your route?
(beat)
You gonna give us what due us, and every
damn thing else on that boat. And I think maybe
you're gonna give me a little one-on-one time
with the missus.
HUSBAND (JAYNE)
Oh, I think you might wanna reconsider that
last part. See, I married me a powerful
ugly creature.
(WIFE) MAL
How can you say that? How can you shame
me in front of new people?
(HUSBAND) JAYNE
If I could make you purtier, I would.
(WIFE) MAL
You are not the man I met a year ago.
Mal and Jayne suddenly draw their guns on the horsemen, Mal slowly pulling his bonnet off.
MAL
Now think real hard. You been bird-dogging
this township a while now. They wouldn't mind
a corpse of you. Now you can luxuriate in a nice
jail cell, but if your hand touches metal, I swear
by my pretty flowered bonnet, I will end you.
Mal and Jayne stare down the bandits for a moment, no one moving.
BANDIT #1
Take 'em!
Zoe leans around the covered wagon and shoots a horseman at the yell. The gunfight begins - Mal, Jayne and Zoe outnumbered but scoring direct hits. Within seconds, all the horsemen are dead.
EXT. CELEBRATION - TRIUMPH SETTLEMENT - NIGHT
Music and dancing. Pan across the merry, rustic crowd.
MAL (O.S.)
In the morning --
We now see Mal and Inara walking through the crowd.
MAL
-- we'll head for Beaumonde. Give you
a chance to find some work of your own.
INARA
I appreciate it.
(beat)
This place is lovely, but...
MAL
Not your clientele? I understand.
(Inara laughs)
You gotta play at being a lady.
INARA
Well, yes. So, explain to me again why Zoe wasn't in
the dress?
MAL
Tactics, woman. Needed her in the back.
'Sides, those soft cotton dresses feel kinda
nice. It's the whole... air-flow.
INARA
And you'd know that because...?
MAL
You can't open the book of my life and jump
in the middle. Like woman, I'm a mystery.
INARA
Let's keep it that way. I withdraw the question.
CUT TO:
Long shot of the bonfire. Camera moves in on Jayne sitting on a wooden log next to Elder Gommen. Elder Gommen is holding a rain stick, explaining its use to Jayne.
ELDER GOMMEN
Makes the rain come for eternity. The rain is very scarce,
comes only when needed most. And such it is with men like you.
(hands the stick to Jayne)
JAYNE
(drunkenly)
This is the most... you, friend. You're the guy...
(hugs Elder)
I will treasure this.
CUT TO:
Book watches from a distance as a young woman puts a crown of daises on Mal's head, then gives him a bowl of wine to drink. Mal drinks the wine, smiling broadly at the young woman. The young woman smiles back and twirls out onto the dance floor. Mal smiles and mouths "flowers" to Jayne, who is sitting next to him. Wash and Zoe are cuddling by the bonfire. After a moment, Mal and Jayne are pulled out to dance by several young women.
EXT. SERENITY - OPEN AIRLOCK - DAY
The crew of Serenity are preparing to leave the planet. Mal is walking toward the airlock with Elder Gommen.
MAL
Elder Gommen, thank you for the hospitality.
ELDER GOMMEN
We owe you a great debt. I'm sorry we have so
little to pay it with -- though I hope our gifts
will show our regards.
MAL
Well I don't think Jayne's ever lettin' go
of that stick.
(Elder laughs)
ZOE
(to Mal)
Mal, there's a patrol boat heading into atmo right now.
MAL
(to Elder)
Well we gotta fly.
ELDER GOMMEN
We'll pray for a safe voyage, and hope to lay eyes
on you again 'ere too long, my friend.
MAL
Count on it. Bye now.
ELDER GOMMEN
Bless you.
Echoes of the settlers calling goodbye as the airlock closes.
WIDE SHOT of Serenity closing its doors and rising into the atmosphere.
INT. SERENITY - CARGO BAY
Mal is alone in the cargo bay storing supplies. He squats down to put away what look like propane tanks into a wire cage when he spots a stowaway.
MAL
(surprised)
Gaaahhh!
(beat; angrily)
Who the hell are you?
SAFFRON
What do you mean?
MAL
Well, I think I was pretty clear. What
are you doing on my boat?
SAFFRON
But... you know I'm to cleave to you...?
MAL
To-whubba-who?
SAFFRON
Did Elder Gommen not tell you?
MAL
Tell me what? Who are you?
SAFFRON
Mr. Reynolds, sir.
(beat)
I'm your wife.
Off Mal's stunned expression:
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off, Mal staring at the redheaded stowaway.
SAFFRON
I am your wife. That was your agreement with
Elder Gommen, since he hadn't cash or
livestock --
MAL
I'm-I'm sorry. Go back to the part...
(beat)
Where you're my wife?
SAFFRON
I don't please you?
MAL
You can't please me. You never met me.
Zoe and Jayne enter the cargo bay.
MAL (cont'd)
Zoe, why do I have a wife?
JAYNE
You got a wife? All I got is that dumbass
stick sounds like it's raining. How come
you got a wife?
MAL
I didn't.
(to Saffron)
We're not married.
SAFFRON
(upset)
I'm sorry that I shame you.
MAL
You don't shame me!
(to Zoe)
Zoe, would you get Wash?
Zoe walks to comm, hits it, and then:
ZOE
This is Zoe. We need all personnel
in the cargo bay.
MAL
Whoa, whoa. I said Wash.
ZOE
(grinning)
Captain, everyone should have a chance to
congratulate you on your day of bliss.
MAL
There's-there's no bliss! I don't know this girl!
JAYNE
Then can I know her?
ZOE
(smacks Jayne's arm)
Jayne!
(beat)
Don't sully this.
MAL
You are gonna be cleaning latrines with your
face you don't knock that off.
The rest of the crew comes pouring into the cargo bay, curious.
BOOK
Who's the new recruit?
ZOE
Everybody, I want you all to meet...
(beat)
Mrs. Reynolds.
KAYLEE gasps excitedly. INARA looks less than pleased.
KAYLEE
You got married?!
SIMON
Well, that's, uh...
(searching)
Congratulations.
WASH
We'd always hoped you two kids would get together.
(to Mal)
Who is she?
MAL
She's no one!
Saffron bursts into tears.
KAYLEE
Captain.
MAL
(to Saffron)
Would you stop that?
SAFFRON
I'm sorry.
WASH
You brute.
KAYLEE
(comforting Saffron)
Hey, sweetie. Don't feel bad. He makes everybody
cry. He's like a monster.
MAL
I'm not a monster!
(to Wash; Jayne laughing)
Wash, turn the ship around.
WASH
Can't.
MAL
That's an order.
WASH
Yeah, but can't.
Cutting between Mal and Wash talking, and Book and Simon, all in the cargo bay:
MAL
What the hell is wrong with...
BOOK
(to Simon)
Have you got an encyclopedia?
SIMON
(nodding)
[Chinese - "Of course."]
WASH
...the Alliance touched down the second after we
left, and there's already a bulletin on the cortex
as to the murder of a prefect's nephew. That's
right, one of our bandits has family ties. So unless
you feel like walk into a gallows, I suggest we
continue on to Beaumonde, and you... enjoy your
honeymoon.
MAL
This isn't happening.
(to Saffron)
Would you stop cryin'?
INARA
For god's sake, Mal. Could you be a human being
for thirty seconds?
WASH
As one married man to another --
MAL
(yelling)
I'm not married!
(beat; to Saffron)
I'm sorry. You-you have very nice qualities, but
I didn't ever marry you.
BOOK
(entering with encyclopedia)
I believe you did. Last night.
MAL
(aside, to Jayne)
How drunk was I last night?
JAYNE
Well I dunno. I passed out.
BOOK
It says here:
(reading)
"The woman lays a wreath upon her intended" -- which
I do recall -- "which represents his sovereignty."
MAL
(to Saffron)
That was you?
BOOK
And he drinks of her wine. And then there's a
dance, with a joining of hands. The marriage
ceremony of the Triumph settlers. You, sir,
are a newlywed.
MAL
(beat)
What's it say in there about divorce?
Upset, Saffron runs from the cargo bay.
KAYLEE
[Chinese - "You don't deserve her, you fink."]
MAL
[Chinese - "Mind your own business."]
ZOE
Really think you're the one to talk to her, sir.
MAL
Way I see it, me and her got one thing in
common. We're the only ones don't think this
is funny.
Mal exits the cargo bay after Saffron.
INT. SERENITY - CORRIDOR
Mal is searching the ship.
MAL
Hello? Woman... person?
Mal climbs upstairs.
CUT TO:
Saffron sitting in a corridor quietly crying. Mal enters.
MAL
You all right?
SAFFRON
I thought last night during the ceremony
that you were pleased.
MAL
Well, yeah, last night I was. Had some
mulled wine, pretty girl gave me a hat
made out of a tree. Nobody said I
was signing up to have and to hold.
SAFFRON
Are you gonna kill me?
MAL
What?! What kind of crappy planet is that?
(scoffs)
Kill you.
SAFFRON
In the maiden's home I heard talk of men
who weren't pleased with their brides --
MAL
Well I ain't them! And don't you ever stand for
that sort of thing. Someone ever tries to kill
you, you try to kill 'em right back!
(sits next to her)
Look, wife or no, you are no one's property to
be tossed aside. You got the right same as anyone
to live and try to kill people. I mean, you
know... people that are...
(beat)
That's a dumb planet.
SAFFRON
What will you do with me?
MAL
Not rightly sure. We're bound for Beaumonde. Decent
kind of planet. Might be able set you up some
kind of work there.
SAFFRON
I'll not be anyone's doxy.
MAL
I don't mean whoring. I mean the factories and the like.
Some ranches, if you're more for the outdoors.
Near a week before we get there. We'll figure
something.
SAFFRON
I'd be a good wife.
MAL
Yeah, well, I'd be a terrible husband. You got
five whole days to figure that out.
SAFFRON
Five days... we'll be together?
MAL
We'll be together on the ship, but not in any --
SAFFRON
That'll be fine. I'll do for you -- or not --
as you choose.
MAL
Well. Shiny.
(beat)
Hungry? Kitchen's just through there.
SAFFRON
I'll cook you something.
Saffron moves quickly toward the kitchen area. Mal trails after her.
MAL
Well, no, I meant for you.
SAFFRON
I'm a fine cook. Everyone says.
MAL
That's-that's great. What... Hold it. Hold...
(beat)
I ain't never even --
SAFFRON
My name is Saffron.
Saffron exits. Book comes into frame, watching Saffron walk away.
BOOK
Divorce is very rare and requires dispensation
from her pastor. I can send him a wave, see what
I can do.
MAL
I appreciate that.
(beat)
She's a nice girl.
BOOK
Seems very anxious to please you.
MAL
Well, that's their way, I guess.
BOOK
I suppose so.
(beat)
If you take sexual advantage of her, you're
going to burn in a very special level of hell.
A level they reserve for child molesters and
people who talk at the theater.
MAL
What -- I am not... preacher, you got
a smutty mind!
BOOK
Perhaps I spoke out of turn.
MAL
You may perhaps I'm thinking!
BOOK
I apologize. I'll make her up a room in the
passenger dorm.
MAL
Good.
Book walks away and around the corner. A beat later, he pokes his head back around to say:
BOOK
The special hell.
INT. SERENITY - KITCHEN AREA
Saffron puts a plate of food in front of Mal, who is seated at the dinner table.
MAL
Thank you.
Wash and Zoe enter the kitchen area.
WASH
Something smells good.
ZOE
Havin' yourself a little supper, captain?
MAL
Well, Saffron insisted on... you know, I didn't
want to make her feel... it's damn tasty!
WASH
Is there any more where that came from?
SAFFRON
I didn't think to make enough for your friends. But
everything's laid out if you'd like to cook
for your husband.
Wash and Zoe sit at the table.
WASH
(laughs)
Isn't she quaint?
(to Saffron)
I'm just not hungry.
ZOE
So, are you enjoying your own nubile little
slave girl?
MAL
She wanted to make me dinner. At least she's not cryin'.
WASH
I might. Did she really make fresh bao?
(off Zoe's look)
Quaint!
ZOE
Remember that sex we were planning to have,
ever again?
MAL
You know what, you all are makin' a big deal.
I would appreciate it if someone on this boat
would not assume that I'm an evil
lecherous [hwin dan - "asshole"].
ZOE
Nobody's saying that, sir.
WASH
Yeah, we're pretty much just giving each other
significant glances and laughing incessantly.
(beat)
Is that cider?
MAL
By the stove.
WASH
Yum. I'll get you a refill,
[hwin dan - "asshole"].
Wash takes Mal's cup and stands. Saffron is suddenly there, snatching the glass firmly from Wash's hand.
SAFFRON
That's for me to do.
Wash sinks back into his chair and gives Zoe a significant glance.
MAL
You know, um... you weren't lyin' about your
cookin'. If I hadn't already eaten...
SAFFRON
You don't want to finish?
MAL
No, I just -- um, I have captainy things to do. But
truthfully, it was a fine meal. Thank you.
SAFFRON
Do you need anything else?
MAL
No. No. Um. You just... have somethin'
to eat yourself, and uh, I will go captain --
SAFFRON
If you're done with supper... would you like
me to wash your feet?
Mal stares blankly for a beat, then swiftly exits. Wash pulls the plate of bao over to his side of the table.
INT. SERENITY - INARA'S SHUTTLE
Inara sits in front of a console, programming appointments.
INARA
Beaumonde. City of New Dunsmuir. Arrival October 24th.
Departure --
MAL
(entering)
Can I come in?
INARA
No.
MAL
See? That's why I usually don't ask.
INARA
What do you want?
MAL
(sitting)
Oh, I just... needed a place to hide.
INARA
So I take it the honeymoon's over?
MAL
Oh, she's a fine girl, don't misread. A hell
of a cook, too.
INARA
I'm sure she has many exciting talents.
MAL
Do you ever... wash your client's feet?
INARA
It's my specialty.
(beat)
We'll be on Beaumonde at least two weeks,
right?
MAL
Mm. Can't exactly be sure.
INARA
Well, I need you to be exactly sure, Mal. I can't
make commitments and then not keep them. That's
your specialty.
MAL
I'm sorry. Are you tetchy because I got myself a
bride or 'cause I don't plan to keep her?
INARA
I find the whole thing degrading.
MAL
That's just what Saffron said about your
line of work.
INARA
Maybe you should think twice about letting go
of Saffron. You two seem like quite a match.
MAL
Maybe you're right. Maybe we're soulmates.
INARA
Yes. Great. I wish you hundreds of fat children.
MAL
Aw, could you imagine that? Me with a whole
passel of critters underfoot? Hell, ten
years time I could --
INARA
Could you leave me alone for five minutes,
please?
Mal, slightly offended, gets up and leaves Inara's shuttle.
EXT. INARA'S SHUTTLE - DOOR
Mal is closing her door.
MAL
(to Inara)
I wasn't lookin' for a fight!
INT. SERENITY - CATWALK
REVERSE camera to reveal JAYNE standing on the catwalk with a very large gun.
MAL
Always do seem to find one, though.
END OF ACT ONE
ACT TWO
INT. SERENITY - CATWALK
Right where we left off, Mal and Jayne squaring off on the catwalk.
JAYNE
There's times I think you don't take me
seriously. I think that ought to change.
MAL
Do you think it's likely to?
JAYNE
You got something you don't deserve.
MAL
And it's brought me a galaxy of fun,
I'm here to tell ya.
JAYNE
Six men came to kill me one time. The best
of 'em carried this.
(approaches Mal)
It's a Callahan full-bore autolock. Customized
trigger, double-cartridge thorough gauge.
(beat)
It is my very favorite gun.
(holds it out to Mal)
MAL
(beat)
[Chinese - "The explosive diarrhea of an
elephant!"] You offering me a trade?!
JAYNE
A trade?! Hell, it's theft. It's the best damn gun
made by man. It has extreme sentimental value. It's
miles more worthy than what you got.
MAL
What I got? She has a name.
JAYNE
So does this. I call it Vera.
MAL
Well my days of not taking you seriously are certainly
coming to a middle.
JAYNE
Well, damnit Mal, I'd treat her okay.
MAL
She's not to be bought, nor bartered, or borrowed, or
lent. She's a human woman doesn't know a damn
thing about the world and needs our protection.
JAYNE
Well I'll protect her!
MAL
Jayne!
(beat)
Go play with your rain stick.
Mal walks away, heading down the stairs. Jayne grumbles and exits out of frame.
INT. SERENITY - CARGO BAY
Mal hits the bottom of the stairs and rounds the corner only to see,
MAL
Gaahh!
SAFFRON lurking right there.
MAL
You do sneak about, don't you?
SAFFRON
You're a good man.
MAL
You clearly haven't been talking to anyone else
on this boat.
SAFFRON
I don't wish to be wed to the large one. I'd rather --
if I am not to be yours -- I'd rather have the work
you spoke of. I could be useful on a ranch.
MAL
It's good work. My momma had a ranch -- back on
Shadow, where I'm from. Ran cattle, mostly. Wasn't
nobody ran harder or smarter. Used to tell me: don't
brand the cattle, brand the buyer; he's the one likely
to stray.
SAFFRON
She raised you herself?
MAL
Well, her and about forty hands. I had more family
for a kid...
(beat)
Well that is odd.
SAFFRON
What?
MAL
I just don't... I'm not one talks about what's
past, and here you got me...
SAFFRON
Does your crew never show interest in your life?
MAL
No, they're... they just know me well enough to...
(beat)
What about you? What's your history?
SAFFRON
Not much to say. Life like yours, I'm figure you'd
find mine terrible dull.
MAL
Oh, I long for a little dullness. Truth to say, this
whole trip's gettin' to be just a little too interesting.
INT. INTERGALACTIC CHOP SHOP
Closeup of a firefly schematic on a computer monitor screen.
BREED
It's a wreck.
CORBIN
No, this is good.
BREED
It's parts. A lot of cheap parts we'll
never unload.
CORBIN
This is why you'll never be in charge, Breed.
You don't see the whole. The parts are crap.
BREED
I said exactly that.
CORBIN
But you put it together you got a Firefly. Thing'll
run forever they got a mechanic that's even half
awake.
BREED
She's got no flash.
CORBIN
Some people ain't lookin' for flash. She comes
this way, you prep the nets.
INT. SERENITY - BRIDGE
Zoe and Wash are returning to the bridge, arguing.
ZOE
Clearly she's out of her mind.
WASH
Well, she's let a sheltered life.
ZOE
Did you see the way she grabbed that glass from you?
WASH
Every planet has its own weird customs. About a
year before we met, I spent six weeks on a moon
where the principal form of recreation was
juggling geese. My hand of god.
(beat)
Baby geese. Goslings. They were juggled.
ZOE
Of course. The man rushes in to defend her.
WASH
I'm talking about geese.
ZOE
Captain shouldn't be babysitting a damned
groupie, and he knows it.
WASH
Okay, when did this become not funny?
ZOE
When you didn't turn around and put her ass
back down on Triumph where it belongs.
WASH
Oh, hey! Now it's even my fault? Is there
anything else on your mind that I should know about?
There are all kinds of twists and cul de sacs.
It's wild!
ZOE
She's trouble.
WASH
I'm getting that.
ZOE
I'm going to bed.
INT. SERENITY - CORRIDOR
Mal is walking down a corridor toward his quarters.
INT. SERENITY - MAL'S ROOM
Mal enters his room from the walkway above, idly unbuttoning his shirt as he walks farther into the room.
MAL
(startled)
Hey!
Camera pans left to reveal an obviously naked Saffron in Mal's bed, covered only by a sheet.
MAL
You're, uh... uh... well, there you are.
SAFFRON
I've made the bed warm for you.
MAL
It looks, uh, warm.
SAFFRON
And I've made myself ready for you.
MAL
Let's ride right past the part where you explain
exactly what that means. Didn't you see you
got a room of your own?
SAFFRON
And I'm to sleep there?
MAL
That's the notion. Assuming you're... yeah.
Sleepy.
SAFFRON
But we've been wed. Aren't we to become one flesh?
MAL
Well, no, uh... We're still two fleshes here, and I
think that your flesh ought to sleep somewhere else.
SAFFRON
I'm sorry. When we talked I'd hoped, but I don't --
(moves to stand)
MAL
Whoa, hey! Flesh...
(beat)
Listen, Saffron... it ain't a question of pleasing
me. It's more a question of what's, um, of what's
morally right.
SAFFRON
I do know my bible, sir.
(beat)
On the night of their betrothal the wife shall open
to the man as the furrow to the plow. He shall work
in her again and again, til she bring him to his full.
And rest him then upon the sweat of her breast.
MAL
Whoa. Good bible.
SAFFRON
I'm not skilled, sir. Nor a pleasure to look upon --
MAL
Saffron, you're pleasing.
(sits down)
You're... yep, you're all kinds of pleasing,
and uh, it's-it's been a while -- a long damn while --
since anybody but me took ahold of my plow, so
don't think for a second that I ain't interested.
But you and me, we ain't married. Just 'cause you
got handed to me by some [hwin dan - "asshole"]
couldn't pay off his debts don't make you beholden
to me. I keep trying to explain --
SAFFRON
Let me explain. I lived my life in the maiden
house waiting to be married off for trade.
I seen my sisteren paired off with ugly men.
Vicious or blubberous. Men with appetites
too unseemly to speak on. And I've cried
for those girls. But not half so hard as I
cried the night they gave me to you.
MAL
(worried)
Why? Is there blubber?
SAFFRON
I cried for I'd not dreamed to have a man so
sweet. So kind and beautiful. Had I to dare
to choose, I'd choose you from all the planets
the night sky could show me. If I'm wed, I
am a woman, and I'll take your to leave to be
bold. I want this. I swell to think of you
in me. And I see that you do, too.
MAL
Oh. That's-that's just, um --
SAFFRON
Leave me at the nearest port. Never look upon
me again. I'll make my way with the strength
that you've taught me. Only let me have my
wedding night.
MAL
Oh, I'm gonna go to the special hell.
They kiss. Mal pulls back reluctantly.
MAL
I-I really, really wish it was that simple,
but I...
Saffron pulls him back into the kiss, hotter than before. Suddenly Mal pushes back from Saffron, looking dazed. He looks at his hand awkwardly.
MAL
Son of a...
Mal falls heavily to the floor, drugged to the gills.
SAFFRON
Night, sweetie.
END OF ACT TWO
ACT THREE
INT. SERENITY - BRIDGE
Wash is alone on the bridge, piloting Serenity. Saffron enters.
WASH
Well, if it isn't the master chef.
Not sleepy?
SAFFRON
Am I allowed to be up here?
WASH
Well, sure. Why not? Not like anyone else
is taking up space.
SAFFRON
I've never been off-world before.
WASH
It's beautiful, isn't it?
SAFFRON
It's like a dream.
WASH
Planet I'm from, couldn't see a one of 'em,
pollution's so thick. Sometimes I think I
entered flight school just to see what the
hell everyone was talking about.
(re: Saffron shutting
bridge door)
What are you doing?
SAFFRON
Now we're alone. Just us and the stars. No
ship, no bellowing engines, no crew to bicker
at each other. Look.
(pulls Wash out of his chair)
Do you know the myth of Earth-that-was?
WASH
Not so much.
SAFFRON
That when she was born, she had no sky, and was open,
inviting. And the stars would rush into her, through
the skin of her. Making the oceans boil with sensation.
And when she could endure no more ecstasy, she puffed
up her cheeks and blew out the sky.
WASH
Whoa. Good myth.
SAFFRON
My whole life, I saw nothing but roofs and steeples
and the cellar door. A few days I'll be back to
that life and gone from yours. Make this night
what it should be. Please? Show me the stars.
WASH
[Chinese - "Holy mother of god and all her wacky Nephews"]
Do I wish I was somebody else right now. Somebody
not... married, not madly in love with a
beautiful woman who can kill me with her pinkie!
SAFFRON
I've been too forward.
WASH
No! Well, yes, but I actually like that in a
woman. That's part of why Zoe and I are, as
recently mentioned, married.
SAFFRON
I thought she didn't seem to respect you.
WASH
Not everybody gets me and Zoe at first glance.
Did it get very hot in here? I need air flow.
SAFFRON
You love her very much.
WASH
(emphatically)
Yeah.
(beat)
I never did meet anyone quite like Zoe. The,
uh, the first time we met, she actually --
Wash turns his back to Saffron to open the bridge door. PUSH IN on Saffron's face as she rolls her eyes in disgust, then kicks Wash in the head and knocks him out cold.
Saffron rushes to the bridge and begins reprogramming the ship's navigation system, then shorts it out. She drags Wash out of the bridge, then seals the door with a kind of explosive sticky tape.
INT. SERENITY - CATWALK
Saffron is running across the catwalk toward a shuttle door. As she reaches for the door, Inara opens it from the inside and steps out, startling them both.
INARA
Oh! Are you lost?
SAFFRON
I'm sorry. I thought the other shuttle
was yours.
INARA
It is. I was on the cortex and my screen
shorted. This one's out too.
SAFFRON
Looking for customers?
INARA
What were you looking for?
SAFFRON
I don't mean to be rude. A companion's life
is so glamorous and strange. I wish I had
the skill for such a trade.
INARA
Like to please your new husband?
SAFFRON
Oh he'll have none of me. For true I'm somewhat
relieved. If I'm to learn of love, I'd like it
to be at the hands of someone gentle. Someone
who could feel what I feel.
INARA
But Mal said... you-you don't approve of my work.
SAFFRON
Sure'n he said that to keep you from me. I was
too curious about you. Ever since I saw you...
INARA
Come to my shuttle.
SAFFRON
You would... you would lie with me?
Overhead, an alarm starts sounding, breaking the tension.
INARA
I guess we've lied enough.
SAFFRON
You're good.
INARA
You're amazing. Who are you?
SAFFRON
Malcolm Reynold's widow.
Inara, slightly stunned, blocks a punch from Saffron. Saffron pushes Inara down violently and runs for the shuttle, shutting the door behind her, strapping in, and firing up the engines.
EXT. SPACE - SERENITY
Shot of the shuttle detaching from Serenity and taking off.
INT. SERENITY - CORRIDOR
Inara rounds a corner and ends up outside the bridge. Zoe is hovering over Wash, who is still on the ground.
ZOE
Baby, wake up.
(to Inara)
He's bleeding!
WASH
There's no one in there.
KAYLEE
(entering)
What's going on?
Inara climbs down the ladder from the corridor.
INT. SERENITY - MAL'S ROOM
Inara sees Mal lying on the floor.
INARA
(upset)
Mal! Mal-Mal-Mal-Mal-Mal!
She runs to his side and kneels next to him, taking his head in her hands. Mal moans incoherently.
INARA (cont'd)
[Chinese - "Thank god."]
Inara kisses him in relief. Inara rises and hits the comm.
INARA
Get the doctor, Mal's hurt.
(growing groggy)
He...
(realizing, touching her lips)
Oh... you stupid son of a --
Inara collapses next to Mal on the floor.
CUT TO:
CLOSE, BLURRY SHOT of Mal's face. Focus in as Mal wakes, looking around groggily.
MAL
Is it Christmas?
REVERSE to REVEAL the entire crew tightly packed into Mal's room, watching him closely.
SIMON
Well, he's back.
MAL
What happened about me?
ZOE
Your blushing bride was a plant.
(re: Wash)
She took both of you out.
MAL
How did...?
SIMON
Narcotic compound. Probably spread over a
seal on her lips. You get it on yours,
and pow.
ZOE
Lips, huh?
MAL
Well...
SIMON
Yeah, we used to get a lot of guys brought in
on the night shift at the ER. Usually robbed,
very groggy. They called it the "good night kiss."
ZOE
So you two were kissin'?
BOOK
Well. Isn't that... special?
MAL
Wash, how did --
WASH
Hey, I just got kicked in the head.
ZOE
My man would never fall for that [Chinese - "cheap floozy"].
WASH
Most of my head wishes I had.
MAL
You guys don't understand.
BOOK
Seems pretty simple from here. You were taking
advantage of her --
MAL
I was the one being taken advantage of!
BOOK
My apologies. You were victimized, Wash was
beaten, and Inara found you here.
INARA
(groggily)
Then I fell. My head got hurt like Wash.
MAL
I don't get any of this.
INARA
(groggily)
I only fell, is all.
MAL
What the hell's our status?
ZOE
We're shut down. Jayne and Kaylee are trying
to get us on the bridge.
WASH
All we know is we're headed somewhere and it
ain't Beaumonde.
The crew starts standing and moving out of Mal's room. Simon approaches Inara, who has been propped awkwardly on a bunk throughout the scene, looking like a rag doll.
INARA
(to Simon)
I'm-I'm fine. I don't need to be examined.
I'm comfy.
INT. SERENITY - CORRIDOR
Jayne lights a blowtorch and pulls down a pair of goggles over his eyes. Behind him, we follow Kaylee as she turns around and jogs down the stairs to meet Mal and company.
KAYLEE
She didn't just lock it, she fused it to something.
Both entrances.
MAL
Why the big act? What was she after?
BOOK
Beside the less-than-innocent captain?
MAL
You want to stow it, preacher? We're in
some peril here.
ZOE
She can fly this thing, or just take the
shuttle.
WASH
Maybe she likes shuttles.
(re: Zoe's look)
Some people juggle geese!
Jayne finally breaks through the seal on the doors.
INT. SERENITY - BRIDGE
Wash and Kaylee are on their backs under the navigation system, staring up at wiring with flashlights.
KAYLEE
She's a pro.
WASH
This is a masterful job of muck-up. See how she
crossed the drive feeds?
KAYLEE
Ya-huh.
WASH
So we even try to reroute, it'll lock down.
[Chinese - "brilliant"].
KAYLEE
She went straight for the thermal cap.
WASH
Yeah, yeah. We are so hung!
MAL
I'm glad you two are havin' a good time under
there. Can we progress to the makin' it right?
WASH
That's not gonna happen for a long while, cap'n.
MAL
Well we don't have a good long while. We could
be headin' straight into a nice big solid moon,
for all we know. So, how's about we get to work?
KAYLEE
Hey. It was your big make-out session that
got us into this, sir.
MAL
I was poisoned!
INARA
You were drugged.
JAYNE
That's why I never kiss 'em on the mouth.
Long beat full of reaction shots while everyone processes this.
MAL
Well what can you do?
WASH
Give us some time, we can get the cortex and
nav comm back online. At least see where
we're headed.
MAL
What about steering?
INARA
What about stopping?
WASH
She humped us hard. We're gonna have to do
a lot of --
MAL
Well do it. Doesn't help me to see where
we're going if I can't change course.
KAYLEE
This girl really knows her ships.
INARA
That's not all she knows. She's
well-schooled.
SIMON
What do you mean, the sedative?
The "good night kiss"?
INARA
Well, I only hit my head, but Mal went through
that. But, no... I mean seduction. Body language,
signals. She's had training. As in companion.
As in academy.
BOOK
Our little Saffron's quite a wonder. I'm
beginning to think she married beneath herself.
MAL
How do you know -- about the training,
INARA
She tried to seduce me, too.
MAL
Really?
(beat)
Did she... did you...
INARA
You don't play a player. It was sloppy of her
to try it, but I think she was in a rush.
MAL
Yeah but she had professional...
So in my case, it was really...
(to Book)
You woulda kissed her, too.
ZOE
Wash didn't.
MAL
But she was naked! And all... articulate!
WASH
Okay! Everybody not talking about sex, in here.
Everybody else, elsewhere.
INT. INTERGALACTIC CHOP SHOP
Back at the chop shop with the criminals, where a radar screen is beeping.
BREED
They're coming!
CORBIN
How far out?
BREED
Ten minutes or so, right on target.
CORBIN
Speed?
BREED
A1.
CORBIN
That girl's a wonder.
BREED
She gets it done. Tell the boys.
INT. SERENITY - BRIDGE
Wash is working on restoring the nav comm.
WASH
Yes!
MAL
You got it?
WASH
Uh, we got light, we got screens. It's a
qualified yes. A partial.
MAL
What about nav control?
KAYLEE
No.
MAL
So where are we headed?
WASH
The coordinates she entered we're headed for
something and it's not too far.
MAL
Did she signal anybody?
WASH
Uh... [chinese - "hold on a minute"]. She did. Same
coordinates, no ID.
JAYNE
Who's out there?
WASH
Let me see if her signal wave can translate
into a visual. There might be...
(looks at red blob on radar)
Electromagnetic interference, uh... bouncing
the signal all over the place. Look at it.
Looks like a circle.
MAL
It's a net.
JAYNE
I don't get it. Where we headed?
BOOK
The end of the line.
EXT. SPACE - ELECTROMAGNETIC NET
Slowly pull back on the giant net that houses our intergalactic chop shop.
END OF ACT THREE
ACT FOUR
INT. SERENITY - BRIDGE
Right where we left the crew, realizing their fate.
BOOK
It's a carrion house. Scrap shop. Takes
ships, pulls 'em apart, or fixes 'em up.
WASH
Doesn't sound that scary.
MAL
That pattern you're lookin' at is a net.
We fall into that we're more than just
helpless. It'll turn this ship into one
big electrical conduit and burn us all
from the inside out.
BOOK
Some of the newer ones will just hold you,
and then the scrappers will override the
airlocks. Pull the O2 or just gas you.
They're not lookin' to deal with survivors.
JAYNE
One day you're gonna tell us all how a
preacher knows so damn much about crime.
MAL
Kaylee?
KAYLEE
I'm trying, sir.
MAL
Keep on it. We can't fall into that net.
(beat)
We're gonna need a Plan B.
Mal comes up with some kind of idea, walks across the bridge and hits the comm.
MAL
(to Zoe)
Zoe, get our suits prepped now.
(to Wash)
I figure we got one shot at this. Gimme a
visual as soon as we're close.
WASH
It won't be long.
JAYNE
What do I do?
MAL
You go get Vera.
INT. SERENITY - CARGO BAY
Mal, Zoe and Jayne are suiting up in their mylar space suits. Jayne is loading Vera.
JAYNE
She needs oxygen around her to fire and
we don't have a case.
MAL
Gonna use a suit.
SIMON
(bringing the suit)
Here. We got it.
JAYNE
What am I aimin' for, the window?
MAL
Well that might kill some folk but it won't
short the net. See these six points where it's
brightest? Those are the breakers. Hit one of
those, should short it out.
JAYNE
What do you mean "should"?
EXT. SPACE - SERENITY
Close on Serenity, then REVERSE camera to watch the shop fly past toward the net.
EXT. SPACE - ELECTROMAGNETIC NET
Pan across the glowing blue net.
INT. SERENITY - AIRLOCK
Mal, Jayne and Zoe are suited up and waiting as the airlock opens to reveal the net.
MAL
You see it?
JAYNE
Clear as day. See, Vera? Dress yourself up;
you get taken out somewhere fun.
Long moment, then Jayne fires at the net.
INT. INTERGALACTIC CHOP SHOP
Interior of their digs starts shaking and sparking. Our two criminals dive for cover.
INT. SERENITY - AIRLOCK
Jayne fires Vera rapidly at the net.
INT. INTERGALACTIC CHOP SHOP
Our two criminals watch bullets pound into the walls. They trade a slow glance of, "Oh, shit."
EXT. SPACE - ELECTROMAGNETIC NET
The blue sparks stop shooting just in time for Serenity to slip on through like a hot knife through butter.
INT. SERENITY - BRIDGE
Wash is looking triumphant.
WASH
We got it.
Mal enters, looking hopeful.
WASH
It's not pretty, but we can steer
enough to turn the hell around.
MAL
Nice work, Jerry Lee.
KAYLEE
Not soon enough to help.
MAL
Hey. Lot easier to pull things apart than it
is put 'em right. Let's do the best we can
at floatin'.
Mal kisses the top of Kaylee's head.
WASH
Captain, didn't you know kissin' girls
makes you sleepy?
MAL
Well sometimes I just can't help myself.
(beat)
Now, let's go visiting.
EXT. PLANET SURFACE - WINTER - DAY
INT. CABIN - DAY
Saffron, now made up and wearing revealing clothing, is packing when Mal bursts through the door with his gun drawn.
MAL
Honey, I'm home.
Saffron freezes, then struggles with Mal. After a moment, he wrestles her onto the bed, pinning her arms and legs.
MAL
Looks like you get that wedding night,
after all.
Saffron rolls them off the bed and they hit the floor, her back on the bottom after another struggle.
MAL
It's the first time, darlin'. I think you
should be gentle with me.
SAFFRON
You gonna kill me?
MAL
Can you conjure up a terribly compelling
reason for me not to?
SAFFRON
I didn't kill you.
MAL
You handed me and my crew over to those that
would kill us. That buys you nothing.
SAFFRON
I made you dinner.
MAL
Why the act? All the seduction games, the
dancin' about folk? There has to be an
easier way to steal.
SAFFRON
You're assuming the payoff is the point.
MAL
I'm not assuming anything at this juncture.
SAFFRON
How'd you find me?
MAL
Only a few places that shuttle would make
it to from where you left. Happy to find
it intact.
SAFFRON
You're quite a man, Malcolm Reynolds. I've
been waiting a long time for someone good
enough to take me down.
Beneath Mal, Saffron does a little wiggle-shimmy-bump-and-grind.
MAL
Saffron, you even think about playing
me again I will riddle you with holes.
SAFFRON
Everybody plays each other. That's all
anybody ever does. We play parts.
MAL
You got all kinds of learnin' and you made
me look the fool without tryin', and
yet here I am with a gun to your head.
That's 'cause I got people with me.
People who trust each other, who do for
each other, and ain't always lookin'
for the advantage.
SAFFRON
Promise me you're gonna kill me soon.
MAL
Aw, you already know I ain't gonna.
SAFFRON
You know, you did pretty well. Most men...
they're on me inside of ten minutes. Not tryin'
to teach me to be strong and the like.
MAL
I got one question for you. Just one thing
I'd like to know, straight up.
SAFFRON
Ask me.
MAL
What's your middle name?
Saffron stares at him for a moment -- it's not what she expected. Then, as she's about to reply, Mal knocks her out.
MAL
You'd have only lied, anyhow.
INT. SERENITY - INARA'S SHUTTLE
A knock sounds on Inara's door.
INARA
Come in.
MAL
(entering)
Back on course. Be on Beaumonde a day or
two late. Hope that's all right.
INARA
Should be fine, thank you. And does the
vixen live?
MAL
Yeah, if you can call it that. All's well,
I suppose.
INARA
Yes.
MAL
You're a very graceful woman, Inara.
INARA
(startled)
I --
(beat)
Thank you.
MAL
So here's where I'm fuzzy. You got by that
girl, came and found me. And somehow you
happened to just trip and fall.
INARA
What do you mean?
MAL
How's about we don't play. You didn't
just trip, did you?
INARA
No.
Hold on that -- it's an intense moment. They're standing close, tension thrumming...
Then, a big smile breaks over Mal's face.
MAL
Isn't that something.
(beat)
I knew you let her kiss you.
Mal leaves Inara's shuttle, grinning as big as all get out. Inara stares at his back as he leaves, blinking in disbelief.
END OF SHOW
Two horses pull a covered boat-wagon down the bed of a shallow river, hiding their tracks. About six horsemen burst out of the wooded banks and surround the covered wagon, bringing their progress to a halt. In the front seat sit a husband and wife, their faces covered by a brimmed hat and flowered bonnet, respectively.
BANDIT #1
Pardon me for intruding, but I believe y'all
carrying something of mine.
HUSBAND (JAYNE)
T'ain't your'n!
BANDIT #1
Did you think we wouldn't find out you
changed your route?
(beat)
You gonna give us what due us, and every
damn thing else on that boat. And I think maybe
you're gonna give me a little one-on-one time
with the missus.
HUSBAND (JAYNE)
Oh, I think you might wanna reconsider that
last part. See, I married me a powerful
ugly creature.
(WIFE) MAL
How can you say that? How can you shame
me in front of new people?
(HUSBAND) JAYNE
If I could make you purtier, I would.
(WIFE) MAL
You are not the man I met a year ago.
Mal and Jayne suddenly draw their guns on the horsemen, Mal slowly pulling his bonnet off.
MAL
Now think real hard. You been bird-dogging
this township a while now. They wouldn't mind
a corpse of you. Now you can luxuriate in a nice
jail cell, but if your hand touches metal, I swear
by my pretty flowered bonnet, I will end you.
Mal and Jayne stare down the bandits for a moment, no one moving.
BANDIT #1
Take 'em!
Zoe leans around the covered wagon and shoots a horseman at the yell. The gunfight begins - Mal, Jayne and Zoe outnumbered but scoring direct hits. Within seconds, all the horsemen are dead.
EXT. CELEBRATION - TRIUMPH SETTLEMENT - NIGHT
Music and dancing. Pan across the merry, rustic crowd.
MAL (O.S.)
In the morning --
We now see Mal and Inara walking through the crowd.
MAL
-- we'll head for Beaumonde. Give you
a chance to find some work of your own.
INARA
I appreciate it.
(beat)
This place is lovely, but...
MAL
Not your clientele? I understand.
(Inara laughs)
You gotta play at being a lady.
INARA
Well, yes. So, explain to me again why Zoe wasn't in
the dress?
MAL
Tactics, woman. Needed her in the back.
'Sides, those soft cotton dresses feel kinda
nice. It's the whole... air-flow.
INARA
And you'd know that because...?
MAL
You can't open the book of my life and jump
in the middle. Like woman, I'm a mystery.
INARA
Let's keep it that way. I withdraw the question.
CUT TO:
Long shot of the bonfire. Camera moves in on Jayne sitting on a wooden log next to Elder Gommen. Elder Gommen is holding a rain stick, explaining its use to Jayne.
ELDER GOMMEN
Makes the rain come for eternity. The rain is very scarce,
comes only when needed most. And such it is with men like you.
(hands the stick to Jayne)
JAYNE
(drunkenly)
This is the most... you, friend. You're the guy...
(hugs Elder)
I will treasure this.
CUT TO:
Book watches from a distance as a young woman puts a crown of daises on Mal's head, then gives him a bowl of wine to drink. Mal drinks the wine, smiling broadly at the young woman. The young woman smiles back and twirls out onto the dance floor. Mal smiles and mouths "flowers" to Jayne, who is sitting next to him. Wash and Zoe are cuddling by the bonfire. After a moment, Mal and Jayne are pulled out to dance by several young women.
EXT. SERENITY - OPEN AIRLOCK - DAY
The crew of Serenity are preparing to leave the planet. Mal is walking toward the airlock with Elder Gommen.
MAL
Elder Gommen, thank you for the hospitality.
ELDER GOMMEN
We owe you a great debt. I'm sorry we have so
little to pay it with -- though I hope our gifts
will show our regards.
MAL
Well I don't think Jayne's ever lettin' go
of that stick.
(Elder laughs)
ZOE
(to Mal)
Mal, there's a patrol boat heading into atmo right now.
MAL
(to Elder)
Well we gotta fly.
ELDER GOMMEN
We'll pray for a safe voyage, and hope to lay eyes
on you again 'ere too long, my friend.
MAL
Count on it. Bye now.
ELDER GOMMEN
Bless you.
Echoes of the settlers calling goodbye as the airlock closes.
WIDE SHOT of Serenity closing its doors and rising into the atmosphere.
INT. SERENITY - CARGO BAY
Mal is alone in the cargo bay storing supplies. He squats down to put away what look like propane tanks into a wire cage when he spots a stowaway.
MAL
(surprised)
Gaaahhh!
(beat; angrily)
Who the hell are you?
SAFFRON
What do you mean?
MAL
Well, I think I was pretty clear. What
are you doing on my boat?
SAFFRON
But... you know I'm to cleave to you...?
MAL
To-whubba-who?
SAFFRON
Did Elder Gommen not tell you?
MAL
Tell me what? Who are you?
SAFFRON
Mr. Reynolds, sir.
(beat)
I'm your wife.
Off Mal's stunned expression:
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off, Mal staring at the redheaded stowaway.
SAFFRON
I am your wife. That was your agreement with
Elder Gommen, since he hadn't cash or
livestock --
MAL
I'm-I'm sorry. Go back to the part...
(beat)
Where you're my wife?
SAFFRON
I don't please you?
MAL
You can't please me. You never met me.
Zoe and Jayne enter the cargo bay.
MAL (cont'd)
Zoe, why do I have a wife?
JAYNE
You got a wife? All I got is that dumbass
stick sounds like it's raining. How come
you got a wife?
MAL
I didn't.
(to Saffron)
We're not married.
SAFFRON
(upset)
I'm sorry that I shame you.
MAL
You don't shame me!
(to Zoe)
Zoe, would you get Wash?
Zoe walks to comm, hits it, and then:
ZOE
This is Zoe. We need all personnel
in the cargo bay.
MAL
Whoa, whoa. I said Wash.
ZOE
(grinning)
Captain, everyone should have a chance to
congratulate you on your day of bliss.
MAL
There's-there's no bliss! I don't know this girl!
JAYNE
Then can I know her?
ZOE
(smacks Jayne's arm)
Jayne!
(beat)
Don't sully this.
MAL
You are gonna be cleaning latrines with your
face you don't knock that off.
The rest of the crew comes pouring into the cargo bay, curious.
BOOK
Who's the new recruit?
ZOE
Everybody, I want you all to meet...
(beat)
Mrs. Reynolds.
KAYLEE gasps excitedly. INARA looks less than pleased.
KAYLEE
You got married?!
SIMON
Well, that's, uh...
(searching)
Congratulations.
WASH
We'd always hoped you two kids would get together.
(to Mal)
Who is she?
MAL
She's no one!
Saffron bursts into tears.
KAYLEE
Captain.
MAL
(to Saffron)
Would you stop that?
SAFFRON
I'm sorry.
WASH
You brute.
KAYLEE
(comforting Saffron)
Hey, sweetie. Don't feel bad. He makes everybody
cry. He's like a monster.
MAL
I'm not a monster!
(to Wash; Jayne laughing)
Wash, turn the ship around.
WASH
Can't.
MAL
That's an order.
WASH
Yeah, but can't.
Cutting between Mal and Wash talking, and Book and Simon, all in the cargo bay:
MAL
What the hell is wrong with...
BOOK
(to Simon)
Have you got an encyclopedia?
SIMON
(nodding)
[Chinese - "Of course."]
WASH
...the Alliance touched down the second after we
left, and there's already a bulletin on the cortex
as to the murder of a prefect's nephew. That's
right, one of our bandits has family ties. So unless
you feel like walk into a gallows, I suggest we
continue on to Beaumonde, and you... enjoy your
honeymoon.
MAL
This isn't happening.
(to Saffron)
Would you stop cryin'?
INARA
For god's sake, Mal. Could you be a human being
for thirty seconds?
WASH
As one married man to another --
MAL
(yelling)
I'm not married!
(beat; to Saffron)
I'm sorry. You-you have very nice qualities, but
I didn't ever marry you.
BOOK
(entering with encyclopedia)
I believe you did. Last night.
MAL
(aside, to Jayne)
How drunk was I last night?
JAYNE
Well I dunno. I passed out.
BOOK
It says here:
(reading)
"The woman lays a wreath upon her intended" -- which
I do recall -- "which represents his sovereignty."
MAL
(to Saffron)
That was you?
BOOK
And he drinks of her wine. And then there's a
dance, with a joining of hands. The marriage
ceremony of the Triumph settlers. You, sir,
are a newlywed.
MAL
(beat)
What's it say in there about divorce?
Upset, Saffron runs from the cargo bay.
KAYLEE
[Chinese - "You don't deserve her, you fink."]
MAL
[Chinese - "Mind your own business."]
ZOE
Really think you're the one to talk to her, sir.
MAL
Way I see it, me and her got one thing in
common. We're the only ones don't think this
is funny.
Mal exits the cargo bay after Saffron.
INT. SERENITY - CORRIDOR
Mal is searching the ship.
MAL
Hello? Woman... person?
Mal climbs upstairs.
CUT TO:
Saffron sitting in a corridor quietly crying. Mal enters.
MAL
You all right?
SAFFRON
I thought last night during the ceremony
that you were pleased.
MAL
Well, yeah, last night I was. Had some
mulled wine, pretty girl gave me a hat
made out of a tree. Nobody said I
was signing up to have and to hold.
SAFFRON
Are you gonna kill me?
MAL
What?! What kind of crappy planet is that?
(scoffs)
Kill you.
SAFFRON
In the maiden's home I heard talk of men
who weren't pleased with their brides --
MAL
Well I ain't them! And don't you ever stand for
that sort of thing. Someone ever tries to kill
you, you try to kill 'em right back!
(sits next to her)
Look, wife or no, you are no one's property to
be tossed aside. You got the right same as anyone
to live and try to kill people. I mean, you
know... people that are...
(beat)
That's a dumb planet.
SAFFRON
What will you do with me?
MAL
Not rightly sure. We're bound for Beaumonde. Decent
kind of planet. Might be able set you up some
kind of work there.
SAFFRON
I'll not be anyone's doxy.
MAL
I don't mean whoring. I mean the factories and the like.
Some ranches, if you're more for the outdoors.
Near a week before we get there. We'll figure
something.
SAFFRON
I'd be a good wife.
MAL
Yeah, well, I'd be a terrible husband. You got
five whole days to figure that out.
SAFFRON
Five days... we'll be together?
MAL
We'll be together on the ship, but not in any --
SAFFRON
That'll be fine. I'll do for you -- or not --
as you choose.
MAL
Well. Shiny.
(beat)
Hungry? Kitchen's just through there.
SAFFRON
I'll cook you something.
Saffron moves quickly toward the kitchen area. Mal trails after her.
MAL
Well, no, I meant for you.
SAFFRON
I'm a fine cook. Everyone says.
MAL
That's-that's great. What... Hold it. Hold...
(beat)
I ain't never even --
SAFFRON
My name is Saffron.
Saffron exits. Book comes into frame, watching Saffron walk away.
BOOK
Divorce is very rare and requires dispensation
from her pastor. I can send him a wave, see what
I can do.
MAL
I appreciate that.
(beat)
She's a nice girl.
BOOK
Seems very anxious to please you.
MAL
Well, that's their way, I guess.
BOOK
I suppose so.
(beat)
If you take sexual advantage of her, you're
going to burn in a very special level of hell.
A level they reserve for child molesters and
people who talk at the theater.
MAL
What -- I am not... preacher, you got
a smutty mind!
BOOK
Perhaps I spoke out of turn.
MAL
You may perhaps I'm thinking!
BOOK
I apologize. I'll make her up a room in the
passenger dorm.
MAL
Good.
Book walks away and around the corner. A beat later, he pokes his head back around to say:
BOOK
The special hell.
INT. SERENITY - KITCHEN AREA
Saffron puts a plate of food in front of Mal, who is seated at the dinner table.
MAL
Thank you.
Wash and Zoe enter the kitchen area.
WASH
Something smells good.
ZOE
Havin' yourself a little supper, captain?
MAL
Well, Saffron insisted on... you know, I didn't
want to make her feel... it's damn tasty!
WASH
Is there any more where that came from?
SAFFRON
I didn't think to make enough for your friends. But
everything's laid out if you'd like to cook
for your husband.
Wash and Zoe sit at the table.
WASH
(laughs)
Isn't she quaint?
(to Saffron)
I'm just not hungry.
ZOE
So, are you enjoying your own nubile little
slave girl?
MAL
She wanted to make me dinner. At least she's not cryin'.
WASH
I might. Did she really make fresh bao?
(off Zoe's look)
Quaint!
ZOE
Remember that sex we were planning to have,
ever again?
MAL
You know what, you all are makin' a big deal.
I would appreciate it if someone on this boat
would not assume that I'm an evil
lecherous [hwin dan - "asshole"].
ZOE
Nobody's saying that, sir.
WASH
Yeah, we're pretty much just giving each other
significant glances and laughing incessantly.
(beat)
Is that cider?
MAL
By the stove.
WASH
Yum. I'll get you a refill,
[hwin dan - "asshole"].
Wash takes Mal's cup and stands. Saffron is suddenly there, snatching the glass firmly from Wash's hand.
SAFFRON
That's for me to do.
Wash sinks back into his chair and gives Zoe a significant glance.
MAL
You know, um... you weren't lyin' about your
cookin'. If I hadn't already eaten...
SAFFRON
You don't want to finish?
MAL
No, I just -- um, I have captainy things to do. But
truthfully, it was a fine meal. Thank you.
SAFFRON
Do you need anything else?
MAL
No. No. Um. You just... have somethin'
to eat yourself, and uh, I will go captain --
SAFFRON
If you're done with supper... would you like
me to wash your feet?
Mal stares blankly for a beat, then swiftly exits. Wash pulls the plate of bao over to his side of the table.
INT. SERENITY - INARA'S SHUTTLE
Inara sits in front of a console, programming appointments.
INARA
Beaumonde. City of New Dunsmuir. Arrival October 24th.
Departure --
MAL
(entering)
Can I come in?
INARA
No.
MAL
See? That's why I usually don't ask.
INARA
What do you want?
MAL
(sitting)
Oh, I just... needed a place to hide.
INARA
So I take it the honeymoon's over?
MAL
Oh, she's a fine girl, don't misread. A hell
of a cook, too.
INARA
I'm sure she has many exciting talents.
MAL
Do you ever... wash your client's feet?
INARA
It's my specialty.
(beat)
We'll be on Beaumonde at least two weeks,
right?
MAL
Mm. Can't exactly be sure.
INARA
Well, I need you to be exactly sure, Mal. I can't
make commitments and then not keep them. That's
your specialty.
MAL
I'm sorry. Are you tetchy because I got myself a
bride or 'cause I don't plan to keep her?
INARA
I find the whole thing degrading.
MAL
That's just what Saffron said about your
line of work.
INARA
Maybe you should think twice about letting go
of Saffron. You two seem like quite a match.
MAL
Maybe you're right. Maybe we're soulmates.
INARA
Yes. Great. I wish you hundreds of fat children.
MAL
Aw, could you imagine that? Me with a whole
passel of critters underfoot? Hell, ten
years time I could --
INARA
Could you leave me alone for five minutes,
please?
Mal, slightly offended, gets up and leaves Inara's shuttle.
EXT. INARA'S SHUTTLE - DOOR
Mal is closing her door.
MAL
(to Inara)
I wasn't lookin' for a fight!
INT. SERENITY - CATWALK
REVERSE camera to reveal JAYNE standing on the catwalk with a very large gun.
MAL
Always do seem to find one, though.
END OF ACT ONE
ACT TWO
INT. SERENITY - CATWALK
Right where we left off, Mal and Jayne squaring off on the catwalk.
JAYNE
There's times I think you don't take me
seriously. I think that ought to change.
MAL
Do you think it's likely to?
JAYNE
You got something you don't deserve.
MAL
And it's brought me a galaxy of fun,
I'm here to tell ya.
JAYNE
Six men came to kill me one time. The best
of 'em carried this.
(approaches Mal)
It's a Callahan full-bore autolock. Customized
trigger, double-cartridge thorough gauge.
(beat)
It is my very favorite gun.
(holds it out to Mal)
MAL
(beat)
[Chinese - "The explosive diarrhea of an
elephant!"] You offering me a trade?!
JAYNE
A trade?! Hell, it's theft. It's the best damn gun
made by man. It has extreme sentimental value. It's
miles more worthy than what you got.
MAL
What I got? She has a name.
JAYNE
So does this. I call it Vera.
MAL
Well my days of not taking you seriously are certainly
coming to a middle.
JAYNE
Well, damnit Mal, I'd treat her okay.
MAL
She's not to be bought, nor bartered, or borrowed, or
lent. She's a human woman doesn't know a damn
thing about the world and needs our protection.
JAYNE
Well I'll protect her!
MAL
Jayne!
(beat)
Go play with your rain stick.
Mal walks away, heading down the stairs. Jayne grumbles and exits out of frame.
INT. SERENITY - CARGO BAY
Mal hits the bottom of the stairs and rounds the corner only to see,
MAL
Gaahh!
SAFFRON lurking right there.
MAL
You do sneak about, don't you?
SAFFRON
You're a good man.
MAL
You clearly haven't been talking to anyone else
on this boat.
SAFFRON
I don't wish to be wed to the large one. I'd rather --
if I am not to be yours -- I'd rather have the work
you spoke of. I could be useful on a ranch.
MAL
It's good work. My momma had a ranch -- back on
Shadow, where I'm from. Ran cattle, mostly. Wasn't
nobody ran harder or smarter. Used to tell me: don't
brand the cattle, brand the buyer; he's the one likely
to stray.
SAFFRON
She raised you herself?
MAL
Well, her and about forty hands. I had more family
for a kid...
(beat)
Well that is odd.
SAFFRON
What?
MAL
I just don't... I'm not one talks about what's
past, and here you got me...
SAFFRON
Does your crew never show interest in your life?
MAL
No, they're... they just know me well enough to...
(beat)
What about you? What's your history?
SAFFRON
Not much to say. Life like yours, I'm figure you'd
find mine terrible dull.
MAL
Oh, I long for a little dullness. Truth to say, this
whole trip's gettin' to be just a little too interesting.
INT. INTERGALACTIC CHOP SHOP
Closeup of a firefly schematic on a computer monitor screen.
BREED
It's a wreck.
CORBIN
No, this is good.
BREED
It's parts. A lot of cheap parts we'll
never unload.
CORBIN
This is why you'll never be in charge, Breed.
You don't see the whole. The parts are crap.
BREED
I said exactly that.
CORBIN
But you put it together you got a Firefly. Thing'll
run forever they got a mechanic that's even half
awake.
BREED
She's got no flash.
CORBIN
Some people ain't lookin' for flash. She comes
this way, you prep the nets.
INT. SERENITY - BRIDGE
Zoe and Wash are returning to the bridge, arguing.
ZOE
Clearly she's out of her mind.
WASH
Well, she's let a sheltered life.
ZOE
Did you see the way she grabbed that glass from you?
WASH
Every planet has its own weird customs. About a
year before we met, I spent six weeks on a moon
where the principal form of recreation was
juggling geese. My hand of god.
(beat)
Baby geese. Goslings. They were juggled.
ZOE
Of course. The man rushes in to defend her.
WASH
I'm talking about geese.
ZOE
Captain shouldn't be babysitting a damned
groupie, and he knows it.
WASH
Okay, when did this become not funny?
ZOE
When you didn't turn around and put her ass
back down on Triumph where it belongs.
WASH
Oh, hey! Now it's even my fault? Is there
anything else on your mind that I should know about?
There are all kinds of twists and cul de sacs.
It's wild!
ZOE
She's trouble.
WASH
I'm getting that.
ZOE
I'm going to bed.
INT. SERENITY - CORRIDOR
Mal is walking down a corridor toward his quarters.
INT. SERENITY - MAL'S ROOM
Mal enters his room from the walkway above, idly unbuttoning his shirt as he walks farther into the room.
MAL
(startled)
Hey!
Camera pans left to reveal an obviously naked Saffron in Mal's bed, covered only by a sheet.
MAL
You're, uh... uh... well, there you are.
SAFFRON
I've made the bed warm for you.
MAL
It looks, uh, warm.
SAFFRON
And I've made myself ready for you.
MAL
Let's ride right past the part where you explain
exactly what that means. Didn't you see you
got a room of your own?
SAFFRON
And I'm to sleep there?
MAL
That's the notion. Assuming you're... yeah.
Sleepy.
SAFFRON
But we've been wed. Aren't we to become one flesh?
MAL
Well, no, uh... We're still two fleshes here, and I
think that your flesh ought to sleep somewhere else.
SAFFRON
I'm sorry. When we talked I'd hoped, but I don't --
(moves to stand)
MAL
Whoa, hey! Flesh...
(beat)
Listen, Saffron... it ain't a question of pleasing
me. It's more a question of what's, um, of what's
morally right.
SAFFRON
I do know my bible, sir.
(beat)
On the night of their betrothal the wife shall open
to the man as the furrow to the plow. He shall work
in her again and again, til she bring him to his full.
And rest him then upon the sweat of her breast.
MAL
Whoa. Good bible.
SAFFRON
I'm not skilled, sir. Nor a pleasure to look upon --
MAL
Saffron, you're pleasing.
(sits down)
You're... yep, you're all kinds of pleasing,
and uh, it's-it's been a while -- a long damn while --
since anybody but me took ahold of my plow, so
don't think for a second that I ain't interested.
But you and me, we ain't married. Just 'cause you
got handed to me by some [hwin dan - "asshole"]
couldn't pay off his debts don't make you beholden
to me. I keep trying to explain --
SAFFRON
Let me explain. I lived my life in the maiden
house waiting to be married off for trade.
I seen my sisteren paired off with ugly men.
Vicious or blubberous. Men with appetites
too unseemly to speak on. And I've cried
for those girls. But not half so hard as I
cried the night they gave me to you.
MAL
(worried)
Why? Is there blubber?
SAFFRON
I cried for I'd not dreamed to have a man so
sweet. So kind and beautiful. Had I to dare
to choose, I'd choose you from all the planets
the night sky could show me. If I'm wed, I
am a woman, and I'll take your to leave to be
bold. I want this. I swell to think of you
in me. And I see that you do, too.
MAL
Oh. That's-that's just, um --
SAFFRON
Leave me at the nearest port. Never look upon
me again. I'll make my way with the strength
that you've taught me. Only let me have my
wedding night.
MAL
Oh, I'm gonna go to the special hell.
They kiss. Mal pulls back reluctantly.
MAL
I-I really, really wish it was that simple,
but I...
Saffron pulls him back into the kiss, hotter than before. Suddenly Mal pushes back from Saffron, looking dazed. He looks at his hand awkwardly.
MAL
Son of a...
Mal falls heavily to the floor, drugged to the gills.
SAFFRON
Night, sweetie.
END OF ACT TWO
ACT THREE
INT. SERENITY - BRIDGE
Wash is alone on the bridge, piloting Serenity. Saffron enters.
WASH
Well, if it isn't the master chef.
Not sleepy?
SAFFRON
Am I allowed to be up here?
WASH
Well, sure. Why not? Not like anyone else
is taking up space.
SAFFRON
I've never been off-world before.
WASH
It's beautiful, isn't it?
SAFFRON
It's like a dream.
WASH
Planet I'm from, couldn't see a one of 'em,
pollution's so thick. Sometimes I think I
entered flight school just to see what the
hell everyone was talking about.
(re: Saffron shutting
bridge door)
What are you doing?
SAFFRON
Now we're alone. Just us and the stars. No
ship, no bellowing engines, no crew to bicker
at each other. Look.
(pulls Wash out of his chair)
Do you know the myth of Earth-that-was?
WASH
Not so much.
SAFFRON
That when she was born, she had no sky, and was open,
inviting. And the stars would rush into her, through
the skin of her. Making the oceans boil with sensation.
And when she could endure no more ecstasy, she puffed
up her cheeks and blew out the sky.
WASH
Whoa. Good myth.
SAFFRON
My whole life, I saw nothing but roofs and steeples
and the cellar door. A few days I'll be back to
that life and gone from yours. Make this night
what it should be. Please? Show me the stars.
WASH
[Chinese - "Holy mother of god and all her wacky Nephews"]
Do I wish I was somebody else right now. Somebody
not... married, not madly in love with a
beautiful woman who can kill me with her pinkie!
SAFFRON
I've been too forward.
WASH
No! Well, yes, but I actually like that in a
woman. That's part of why Zoe and I are, as
recently mentioned, married.
SAFFRON
I thought she didn't seem to respect you.
WASH
Not everybody gets me and Zoe at first glance.
Did it get very hot in here? I need air flow.
SAFFRON
You love her very much.
WASH
(emphatically)
Yeah.
(beat)
I never did meet anyone quite like Zoe. The,
uh, the first time we met, she actually --
Wash turns his back to Saffron to open the bridge door. PUSH IN on Saffron's face as she rolls her eyes in disgust, then kicks Wash in the head and knocks him out cold.
Saffron rushes to the bridge and begins reprogramming the ship's navigation system, then shorts it out. She drags Wash out of the bridge, then seals the door with a kind of explosive sticky tape.
INT. SERENITY - CATWALK
Saffron is running across the catwalk toward a shuttle door. As she reaches for the door, Inara opens it from the inside and steps out, startling them both.
INARA
Oh! Are you lost?
SAFFRON
I'm sorry. I thought the other shuttle
was yours.
INARA
It is. I was on the cortex and my screen
shorted. This one's out too.
SAFFRON
Looking for customers?
INARA
What were you looking for?
SAFFRON
I don't mean to be rude. A companion's life
is so glamorous and strange. I wish I had
the skill for such a trade.
INARA
Like to please your new husband?
SAFFRON
Oh he'll have none of me. For true I'm somewhat
relieved. If I'm to learn of love, I'd like it
to be at the hands of someone gentle. Someone
who could feel what I feel.
INARA
But Mal said... you-you don't approve of my work.
SAFFRON
Sure'n he said that to keep you from me. I was
too curious about you. Ever since I saw you...
INARA
Come to my shuttle.
SAFFRON
You would... you would lie with me?
Overhead, an alarm starts sounding, breaking the tension.
INARA
I guess we've lied enough.
SAFFRON
You're good.
INARA
You're amazing. Who are you?
SAFFRON
Malcolm Reynold's widow.
Inara, slightly stunned, blocks a punch from Saffron. Saffron pushes Inara down violently and runs for the shuttle, shutting the door behind her, strapping in, and firing up the engines.
EXT. SPACE - SERENITY
Shot of the shuttle detaching from Serenity and taking off.
INT. SERENITY - CORRIDOR
Inara rounds a corner and ends up outside the bridge. Zoe is hovering over Wash, who is still on the ground.
ZOE
Baby, wake up.
(to Inara)
He's bleeding!
WASH
There's no one in there.
KAYLEE
(entering)
What's going on?
Inara climbs down the ladder from the corridor.
INT. SERENITY - MAL'S ROOM
Inara sees Mal lying on the floor.
INARA
(upset)
Mal! Mal-Mal-Mal-Mal-Mal!
She runs to his side and kneels next to him, taking his head in her hands. Mal moans incoherently.
INARA (cont'd)
[Chinese - "Thank god."]
Inara kisses him in relief. Inara rises and hits the comm.
INARA
Get the doctor, Mal's hurt.
(growing groggy)
He...
(realizing, touching her lips)
Oh... you stupid son of a --
Inara collapses next to Mal on the floor.
CUT TO:
CLOSE, BLURRY SHOT of Mal's face. Focus in as Mal wakes, looking around groggily.
MAL
Is it Christmas?
REVERSE to REVEAL the entire crew tightly packed into Mal's room, watching him closely.
SIMON
Well, he's back.
MAL
What happened about me?
ZOE
Your blushing bride was a plant.
(re: Wash)
She took both of you out.
MAL
How did...?
SIMON
Narcotic compound. Probably spread over a
seal on her lips. You get it on yours,
and pow.
ZOE
Lips, huh?
MAL
Well...
SIMON
Yeah, we used to get a lot of guys brought in
on the night shift at the ER. Usually robbed,
very groggy. They called it the "good night kiss."
ZOE
So you two were kissin'?
BOOK
Well. Isn't that... special?
MAL
Wash, how did --
WASH
Hey, I just got kicked in the head.
ZOE
My man would never fall for that [Chinese - "cheap floozy"].
WASH
Most of my head wishes I had.
MAL
You guys don't understand.
BOOK
Seems pretty simple from here. You were taking
advantage of her --
MAL
I was the one being taken advantage of!
BOOK
My apologies. You were victimized, Wash was
beaten, and Inara found you here.
INARA
(groggily)
Then I fell. My head got hurt like Wash.
MAL
I don't get any of this.
INARA
(groggily)
I only fell, is all.
MAL
What the hell's our status?
ZOE
We're shut down. Jayne and Kaylee are trying
to get us on the bridge.
WASH
All we know is we're headed somewhere and it
ain't Beaumonde.
The crew starts standing and moving out of Mal's room. Simon approaches Inara, who has been propped awkwardly on a bunk throughout the scene, looking like a rag doll.
INARA
(to Simon)
I'm-I'm fine. I don't need to be examined.
I'm comfy.
INT. SERENITY - CORRIDOR
Jayne lights a blowtorch and pulls down a pair of goggles over his eyes. Behind him, we follow Kaylee as she turns around and jogs down the stairs to meet Mal and company.
KAYLEE
She didn't just lock it, she fused it to something.
Both entrances.
MAL
Why the big act? What was she after?
BOOK
Beside the less-than-innocent captain?
MAL
You want to stow it, preacher? We're in
some peril here.
ZOE
She can fly this thing, or just take the
shuttle.
WASH
Maybe she likes shuttles.
(re: Zoe's look)
Some people juggle geese!
Jayne finally breaks through the seal on the doors.
INT. SERENITY - BRIDGE
Wash and Kaylee are on their backs under the navigation system, staring up at wiring with flashlights.
KAYLEE
She's a pro.
WASH
This is a masterful job of muck-up. See how she
crossed the drive feeds?
KAYLEE
Ya-huh.
WASH
So we even try to reroute, it'll lock down.
[Chinese - "brilliant"].
KAYLEE
She went straight for the thermal cap.
WASH
Yeah, yeah. We are so hung!
MAL
I'm glad you two are havin' a good time under
there. Can we progress to the makin' it right?
WASH
That's not gonna happen for a long while, cap'n.
MAL
Well we don't have a good long while. We could
be headin' straight into a nice big solid moon,
for all we know. So, how's about we get to work?
KAYLEE
Hey. It was your big make-out session that
got us into this, sir.
MAL
I was poisoned!
INARA
You were drugged.
JAYNE
That's why I never kiss 'em on the mouth.
Long beat full of reaction shots while everyone processes this.
MAL
Well what can you do?
WASH
Give us some time, we can get the cortex and
nav comm back online. At least see where
we're headed.
MAL
What about steering?
INARA
What about stopping?
WASH
She humped us hard. We're gonna have to do
a lot of --
MAL
Well do it. Doesn't help me to see where
we're going if I can't change course.
KAYLEE
This girl really knows her ships.
INARA
That's not all she knows. She's
well-schooled.
SIMON
What do you mean, the sedative?
The "good night kiss"?
INARA
Well, I only hit my head, but Mal went through
that. But, no... I mean seduction. Body language,
signals. She's had training. As in companion.
As in academy.
BOOK
Our little Saffron's quite a wonder. I'm
beginning to think she married beneath herself.
MAL
How do you know -- about the training,
INARA
She tried to seduce me, too.
MAL
Really?
(beat)
Did she... did you...
INARA
You don't play a player. It was sloppy of her
to try it, but I think she was in a rush.
MAL
Yeah but she had professional...
So in my case, it was really...
(to Book)
You woulda kissed her, too.
ZOE
Wash didn't.
MAL
But she was naked! And all... articulate!
WASH
Okay! Everybody not talking about sex, in here.
Everybody else, elsewhere.
INT. INTERGALACTIC CHOP SHOP
Back at the chop shop with the criminals, where a radar screen is beeping.
BREED
They're coming!
CORBIN
How far out?
BREED
Ten minutes or so, right on target.
CORBIN
Speed?
BREED
A1.
CORBIN
That girl's a wonder.
BREED
She gets it done. Tell the boys.
INT. SERENITY - BRIDGE
Wash is working on restoring the nav comm.
WASH
Yes!
MAL
You got it?
WASH
Uh, we got light, we got screens. It's a
qualified yes. A partial.
MAL
What about nav control?
KAYLEE
No.
MAL
So where are we headed?
WASH
The coordinates she entered we're headed for
something and it's not too far.
MAL
Did she signal anybody?
WASH
Uh... [chinese - "hold on a minute"]. She did. Same
coordinates, no ID.
JAYNE
Who's out there?
WASH
Let me see if her signal wave can translate
into a visual. There might be...
(looks at red blob on radar)
Electromagnetic interference, uh... bouncing
the signal all over the place. Look at it.
Looks like a circle.
MAL
It's a net.
JAYNE
I don't get it. Where we headed?
BOOK
The end of the line.
EXT. SPACE - ELECTROMAGNETIC NET
Slowly pull back on the giant net that houses our intergalactic chop shop.
END OF ACT THREE
ACT FOUR
INT. SERENITY - BRIDGE
Right where we left the crew, realizing their fate.
BOOK
It's a carrion house. Scrap shop. Takes
ships, pulls 'em apart, or fixes 'em up.
WASH
Doesn't sound that scary.
MAL
That pattern you're lookin' at is a net.
We fall into that we're more than just
helpless. It'll turn this ship into one
big electrical conduit and burn us all
from the inside out.
BOOK
Some of the newer ones will just hold you,
and then the scrappers will override the
airlocks. Pull the O2 or just gas you.
They're not lookin' to deal with survivors.
JAYNE
One day you're gonna tell us all how a
preacher knows so damn much about crime.
MAL
Kaylee?
KAYLEE
I'm trying, sir.
MAL
Keep on it. We can't fall into that net.
(beat)
We're gonna need a Plan B.
Mal comes up with some kind of idea, walks across the bridge and hits the comm.
MAL
(to Zoe)
Zoe, get our suits prepped now.
(to Wash)
I figure we got one shot at this. Gimme a
visual as soon as we're close.
WASH
It won't be long.
JAYNE
What do I do?
MAL
You go get Vera.
INT. SERENITY - CARGO BAY
Mal, Zoe and Jayne are suiting up in their mylar space suits. Jayne is loading Vera.
JAYNE
She needs oxygen around her to fire and
we don't have a case.
MAL
Gonna use a suit.
SIMON
(bringing the suit)
Here. We got it.
JAYNE
What am I aimin' for, the window?
MAL
Well that might kill some folk but it won't
short the net. See these six points where it's
brightest? Those are the breakers. Hit one of
those, should short it out.
JAYNE
What do you mean "should"?
EXT. SPACE - SERENITY
Close on Serenity, then REVERSE camera to watch the shop fly past toward the net.
EXT. SPACE - ELECTROMAGNETIC NET
Pan across the glowing blue net.
INT. SERENITY - AIRLOCK
Mal, Jayne and Zoe are suited up and waiting as the airlock opens to reveal the net.
MAL
You see it?
JAYNE
Clear as day. See, Vera? Dress yourself up;
you get taken out somewhere fun.
Long moment, then Jayne fires at the net.
INT. INTERGALACTIC CHOP SHOP
Interior of their digs starts shaking and sparking. Our two criminals dive for cover.
INT. SERENITY - AIRLOCK
Jayne fires Vera rapidly at the net.
INT. INTERGALACTIC CHOP SHOP
Our two criminals watch bullets pound into the walls. They trade a slow glance of, "Oh, shit."
EXT. SPACE - ELECTROMAGNETIC NET
The blue sparks stop shooting just in time for Serenity to slip on through like a hot knife through butter.
INT. SERENITY - BRIDGE
Wash is looking triumphant.
WASH
We got it.
Mal enters, looking hopeful.
WASH
It's not pretty, but we can steer
enough to turn the hell around.
MAL
Nice work, Jerry Lee.
KAYLEE
Not soon enough to help.
MAL
Hey. Lot easier to pull things apart than it
is put 'em right. Let's do the best we can
at floatin'.
Mal kisses the top of Kaylee's head.
WASH
Captain, didn't you know kissin' girls
makes you sleepy?
MAL
Well sometimes I just can't help myself.
(beat)
Now, let's go visiting.
EXT. PLANET SURFACE - WINTER - DAY
INT. CABIN - DAY
Saffron, now made up and wearing revealing clothing, is packing when Mal bursts through the door with his gun drawn.
MAL
Honey, I'm home.
Saffron freezes, then struggles with Mal. After a moment, he wrestles her onto the bed, pinning her arms and legs.
MAL
Looks like you get that wedding night,
after all.
Saffron rolls them off the bed and they hit the floor, her back on the bottom after another struggle.
MAL
It's the first time, darlin'. I think you
should be gentle with me.
SAFFRON
You gonna kill me?
MAL
Can you conjure up a terribly compelling
reason for me not to?
SAFFRON
I didn't kill you.
MAL
You handed me and my crew over to those that
would kill us. That buys you nothing.
SAFFRON
I made you dinner.
MAL
Why the act? All the seduction games, the
dancin' about folk? There has to be an
easier way to steal.
SAFFRON
You're assuming the payoff is the point.
MAL
I'm not assuming anything at this juncture.
SAFFRON
How'd you find me?
MAL
Only a few places that shuttle would make
it to from where you left. Happy to find
it intact.
SAFFRON
You're quite a man, Malcolm Reynolds. I've
been waiting a long time for someone good
enough to take me down.
Beneath Mal, Saffron does a little wiggle-shimmy-bump-and-grind.
MAL
Saffron, you even think about playing
me again I will riddle you with holes.
SAFFRON
Everybody plays each other. That's all
anybody ever does. We play parts.
MAL
You got all kinds of learnin' and you made
me look the fool without tryin', and
yet here I am with a gun to your head.
That's 'cause I got people with me.
People who trust each other, who do for
each other, and ain't always lookin'
for the advantage.
SAFFRON
Promise me you're gonna kill me soon.
MAL
Aw, you already know I ain't gonna.
SAFFRON
You know, you did pretty well. Most men...
they're on me inside of ten minutes. Not tryin'
to teach me to be strong and the like.
MAL
I got one question for you. Just one thing
I'd like to know, straight up.
SAFFRON
Ask me.
MAL
What's your middle name?
Saffron stares at him for a moment -- it's not what she expected. Then, as she's about to reply, Mal knocks her out.
MAL
You'd have only lied, anyhow.
INT. SERENITY - INARA'S SHUTTLE
A knock sounds on Inara's door.
INARA
Come in.
MAL
(entering)
Back on course. Be on Beaumonde a day or
two late. Hope that's all right.
INARA
Should be fine, thank you. And does the
vixen live?
MAL
Yeah, if you can call it that. All's well,
I suppose.
INARA
Yes.
MAL
You're a very graceful woman, Inara.
INARA
(startled)
I --
(beat)
Thank you.
MAL
So here's where I'm fuzzy. You got by that
girl, came and found me. And somehow you
happened to just trip and fall.
INARA
What do you mean?
MAL
How's about we don't play. You didn't
just trip, did you?
INARA
No.
Hold on that -- it's an intense moment. They're standing close, tension thrumming...
Then, a big smile breaks over Mal's face.
MAL
Isn't that something.
(beat)
I knew you let her kiss you.
Mal leaves Inara's shuttle, grinning as big as all get out. Inara stares at his back as he leaves, blinking in disbelief.
END OF SHOW
Jaynestown
NT. SERENITY - CARGO BAY
KAYLEE and SIMON are standing on opposite sides of a corridor, talking.
KAYLEE
Come on, admit it, it's true.
SIMON
No, I won't, because it's not. I use swear
words like anybody else.
KAYLEE
Oh, really? See, I never heard you. So when
is it you do all of this cussin'? After I
go to bed, or...
SIMON
I swear when it's appropriate.
KAYLEE
Simon, the whole point of swearing
is that it ain't appropriate.
KAYLEE, smiling widely, turns to see Inara crossing the cargo bay and climbing up the stairs toward her shuttle.
KAYLEE (cont'd)
Hey, there, Inara! Heading off for some
glamorous romance?
INARA
(chuckles)
Lets hope so. See you two tomorrow. Don't let Mal
get you into too much trouble while I'm gone.
KAYLEE
Bye, now. Have good sex.
INARA goes up the stairs.
KAYLEE (cont'd)
(re: Simon's look)
What?
Crashing noise off-screen. Cut to Jayne in the infirmary, which is a shambles. He has tape around his midsection. Kaylee and Simon walk into infirmary.
SIMON
Oh!
KAYLEE
Now, this would be the perfect time
for a swear word.
SIMON
What...happened in here?
JAYNE
Needed to find some tape.
SIMON
So you had to tear my infirmary apart?
JAYNE
Apparently.
SIMON
My god -- you're like a trained ape.
Without the training.
Mal enters, sees the gun Jayne is strapping to his belly.
MAL
Jayne. I told you we're setting down at
the Canton factory settlement on
Higgins' moon.
JAYNE
Yep. That you did.
MAL
Canton don't allow guns in their town
JAYNE
Yes sir. That's why I ain't strapping one to my hip.
MAL
No. That's why you ain't strapping
one anywhere.
JAYNE
Oh, listen, Mal -- I was in Canton a few
years back, I might have made me a few
enemies thereabouts.
SIMON
Enemies? You? No, how can it be?
JAYNE
I just don't like the idea of us going
in there empty-handed is all.
MAL
Why are you still arguing what's been decided?
JAYNE looks at MAL, sighs, rips tape off his belly. Whimpers.
CUT TO:
EXT. SPACE
Serenity approaching planet.
INT. SERENITY - BRIDGE
WASH
(on comm)
Okay, Inara, we're atmospheric. You are
good to go.
INARA
Thanks, Wash. Disengaging in three,
two, one.
Shuttle disengages, Firefly lands on Higgins' moon. Crew gets out.
SIMON
Canton really...stinks.
MAL
That's what makes it such a great drop point.
No one comes here that doesn't have to.
WASH
I vote we do this job really, really fast.
MAL
Kessler's our man. He's holding the goods
we're to deliver. We go in, make contact.
Easy peasy. Zoe, you're holding down the
fort. Call ahead to Bernoulli, let him
know we'll have his merchandise end of the week.
WASH
Don't I usually stay with the ship?
ZOE
I outrank you.
(kisses WASH)
Have fun.
SIMON
So, this is a place where they...
they make mud.
KAYLEE
Yep. Clay really. You'd be surprised how
many things it ends up in. Serenity's got
more than a few ceramic parts in her.
SIMON
Really?
KAYLEE
Yeah.
SIMON
Huh.
KAYLEE
Captain, don't you think Simon should
come with us?
SIMON
What? Oh, Kaylee, I don't--I don't
think that...
BOOK
You go on, boy. See the sights. I can
watch over your sister. I believe we've
been developing a rapport.
SIMON
I--I don't know, River can be...
BOOK
Go on. I'm a Shepherd, after all. I should
be able to keep my eye on a flock of one.
MAL
I'm not going that far, Doctor, and you
might maybe make yourself useful.
JAYNE
Come again?
JAYNE is clearly wearing a disguise -- hood, goggles.
MAL
The management here don't take kindly to
sight-seers, which is why we're...
(Notices JAYNE's getup)
...posing as buyers. There ain't a one of
us looks the part more than the good Doctor.
I mean, the pretty fits, soft hands, definitely
a moneyed individual. All rich and lily-white,
pasty all over...
SIMON
All right. Fine. I'll go. Just stop describing me.
MAL
(salutes)
You're the boss, boss.
JAYNE
He's the boss now? Day keeps getting better and better.
Crew walks off, toward town.
EXT. PLANET - MUD PITS - DAY
FOREMAN
Area's employees only! You best be getting back
to the landing unless you have business here!
SIMON
Yes. Yes, I, I'm looking. To buy some mud.
FOREMAN
Well, then.
(chuckles)
Come to the right place!
He claps SIMON on the shoulder, leaving a muddy handprint, and walks off, the crew following.
FOREMAN (cont'd)
Of course we can handle any volume here. We
have over 2,000 workers, mostly indentured.
We pay them next to nothing, that way we can
pass the savings directly on to you,
the customer.
SIMON
Savings? Uh, excellent. That's, uh, because,
as I -- as I said before, I'm going to, um, I'm
going to be needing quite a bit of it. I,
uh, I-I'm a buyer.
FOREMAN
Yup, best of its kind. Uh, we mix it, we brick
it raw, right here on the premises. Uh, you add
the right catalyst, you kiln it proper, this stuff's
ten times stronger than steel at half the weight.
SIMON
Yes. Uh, I - I've heard, uh, great things,
about the mud
WASH
(to Kaylee)
What happened to Simon? Who is this diabolical
master of disguise?
KAYLEE
He's learning.
MAL
Excuse me, boss? I'm sure the foreman has
things need attending. Why don't we wander
a bit, take a look at the operation, then you
can figure on whether we get an account here.
SIMON
Yes? Yes. Yes, we'll, uh, we'll wander a bit.
FOREMAN
Fair enough. Come and see me when you're through.
The Foreman walks out of frame.
MAL
All right, let's head to worker-town. Find
our man Kessler, get this job done.
(Crew walks off)
JAYNE
Boy's going to get us killed. Let's just
do this deal and get.
MAL
His disguise ain't half as funny as yours.
Who're you supposed to be, anyway?
WASH
You haven't been here in years, Jayne.
You really think you need that getup?
No one's going to remember you.
MAL
I think it's possible they might.
CUT TO:
Ceramic statue of JAYNE. Legend: JAYNE COBB. Long beat while they all take this in.
SIMON
Son of a bitch.
END OF TEASER
ACT ONE
EXT. PLANET - WORKER-TOWN - DAY
Right where we left off, with the crew staring at Jayne's statue.
MAL
Jayne?
JAYNE
Yeah?
MAL
You want to tell me how come there's a statue
of you here looking at me like I owe him
something?
JAYNE
Wishing I could, Captain.
MAL
No, seriously, Jayne, you want to tell me?
JAYNE
Look, Mal, I got no ruttin' idea. I was
here a few years back, like I said. Pulled
a second-story, stole a lot of scratch from
the magistrate up on the hill. But things
went way South. I had to hightail it.
They don't...put you on a pedestal in town
square for that.
MAL
Yeah, except I'm looking at some fair
compelling evidence says they do.
SIMON
This must be what going mad feels like.
WASH
I think they captured him, though - you
know...captured his essence.
KAYLEE
Looks sort of angry, don't he?
WASH
That's kinda what I meant.
A whistle sounds in the b.g.
FOREMAN
Shift four on duty. Shift four on duty.
JAYNE
Oh hey, I got an idea. Instead of us hanging
around playing art critic till I get pinched by
the Man, how's about we move away from this
eerie-ass piece of work and get on with our
increasingly eerie-ass day, how's that?
MAL
I don't know. This here's a spectacle might
warrant a moment's consideration.
KAYLEE
Everywhere I go, his eyes keep following me.
JAYNE
Come on, gorram it. We got a job. Let's go
do it, get the hell out of here. I crossed
the magistrate of this company town, understand?
He ain't exactly a forgiving sort of guy.
EXT. PLANET - MAGISTRATE'S HOUSE
INARA
Magistrate Higgins, I presume?
HIGGINS
You may, but I only make the people I own use
my title. "Mister Higgins" will do fine.
(kisses her hand)
INARA
And you can call me Inara, Mr. Higgins.
HIGGINS
It's a rare pleasure, your visit to my
little moon. Journey wasn't too taxing?
INARA
Not at all. I'm refreshed and ready.
Shall we begin at, say, 7:30?
HIGGINS
Perfect. I have a feeling it will take all
your arts to deal with this particular problem.
INARA
Every problem, Mr. Higgins, is an
opportunity in disguise.
HIGGINS points at INARA, walks away
INT. SERENITY - KITCHEN AREA
Inara sits at the kitchen table. Book enters.
BOOK
What are we up to, sweetheart?
RIVER
Fixing your Bible.
BOOK
I, um, what?
RIVER
Bible's broken. Contradictions, false
logistics - doesn't make sense.
She's marked up the bible, with crossed-out passages
BOOK
No, no. You - you can't...
RIVER
So we'll integrate non-progressional evolution
theory with God's creation of Eden. 11 inherent
metaphoric parallels already there. Eleven.
Important number. Prime number. One goes into
the house of 11 11 times, but always comes out
one. Noah's ark is a problem.
BOOK
Really?
RIVER
We'll have to call it "early quantum state
phenomenon." Only way to fit 5000 species
of mammal on the same boat.
(rips out page)
BOOK
Give me that. River, you don't...fix the Bible.
RIVER
It's broken. Doesn't make sense.
BOOK
It's not about making sense. It's about believing
in something and letting that belief be real enough
to change your life. It's about faith. You don't
fix faith, River. It fixes you.
(tries to take Bible pages from
River; fails)
You hang on to those, now.
INT. WORKER-TOWN - MUDDER BAR
Crew sitting around table. A busker is strumming a guitar in the center of the room.
JAYNE
Can't be a statue of me. No reason for it.
Flies in the face of every kind of sense.
MAL
Won't argue with that.
WASH gags, spits out what he's just drunk.
WASH
(Chinese)
[zhe shi she me lan dong xi? - "What kind
of rotten food is this"?]
JAYNE
Mm-hmm. They call it "Mudder's milk."
(WASH gags)
All the protein, vitamins, and carbs of
your grandma's best turkey dinner, plus
15% alcohol.
WASH
It's horrific.
SIMON
Well, it worked for the Egyptians.
JAYNE
What's that?
SIMON
The ancient Egyptians, back on Earth-That-Was.
Not so different from the ancestral form of beer
they fed the slaves to build their pyramids.
It's liquid bread. Kept them from starving and
knocked them out at night so they wouldn't be
inclined to insurrection.
KAYLEE
Wow, Simon. That was so...historical.
MAL
(spots Well-Dressed Man;
to himself)
What's a gussied-up fellow like you
doing in a place like this?
JAYNE
(to staring boy)
Shake your head, boy. Your eyes are stuck. Git!
The staring boy jumps and runs away.
WELL-DRESSED MAN
You wouldn't be looking for Kessler?
MAL
Just having a brew
WELL-DRESSED MAN
I knew a Kessler.
MAL
"Knew?"
WELL-DRESSED MAN
He was a good middleman. Low profile. Didn't filch.
Last week, the factory foreman and his prod crew
heard he was moving contraband through town.
Gave him a peck of trouble for it.
MAL
What kind of peck was that?
WELL-DRESSED MAN
The kind where they hacked off his hands and feet with
a machete, rolled him into the bog.
WASH
They peck pretty hard around here.
MAL
Listen, my client offworld is waiting for his
delivery. If the goods are gone...
WELL-DRESSED MAN
Not to worry. Your man's merchandise is here, safe
in Kessler's hiding place. We just got to figure
out how to get it across town without being seen
by the foreman and his prods. I advise we all
just lay low for a moment.
WELL-DRESSED MAN leaves
BUSKER starts to sing.
JAYNE
(Chinese)
[Yeh-soo ta ma duh.]
BUSKER
Jayne \ The man we call Jayne \ He robbed
from the rich and he gave to the poor \
Stood up to the Man and he gave him what for \
Our love for him now ain't hard to explain \
The Hero of Canton, the man they call Jayne \
Our Jayne saw the Mudders' backs breaking \
He saw the Mudders lament \ And he saw the
magistrate taking \ Every dollar and leaving
five cents \ So he said, "You can't do that
to my people" \ He said...
(singing continues)
MAL
(over singing)
Um...Jayne?
JAYNE
Yeah, Mal?
MAL
You got any light you'd like to shed on
this development?
JAYNE
No, Mal.
SIMON
No. This must be what going mad feels like.
Singing continues
MUDDERS
Our love for him now ain't hard to explain \
The Hero of Canton, the man they call Jayne
BUSKER
Now here is what separates heroes \ From
common folk like you and I \ The man they
call Jayne \ He turned 'round his plane \
And let that money hit the sky
JAYNE
Ohhh, I'll be gorrammed. That's where that
cash went. I stole that money from Higgins
just like the song says, lifted me one of
his hovercraft. But I got tagged by
anti-aircraft, started losing altitude.
Had dump them strongboxes to stay airborne.
Oh...60,000, untraceable. And I drop it right
square in the middle of mud-farmer central.
WASH
We gotta go to the crappy town where I'm the hero!
MUDDERS
(singing)
The man they call Jayne!
INT. SERENITY - BOOK'S ROOM
BOOK loosens his hair and washes his face, getting ready for bed.
RIVER
Hello?
BOOK
In here, River
RIVER
I'm...I tore these out of your symbol and
they turned into paper. But I want to
put them back, so...
BOOK stands up from washing his face. His hair is out of it's usual ponytail. He looks like Albert Einstein after sticking his finger in a light socket.
BOOK
I'm sorry, what's that?
RIVER screams, runs away.
BOOK
River? River, come back
ZOE
Preacher, what the hell did you sic on...
(sees him)
Woah! Oh.
INT. WORKER-TOWN - MUDDER BAR
The singing has finally stopped.
JAYNE
Captain, now they're off the subject of me,
shouldn't we be getting the hell out of here?
MAL
I'd say that's a reasonable request,
considering the circumstances.
JAYNE
Ruttin' mudders.
All get up from the table, walk our of bar. To crowd of MUDDERS, who cheer:
MUDDERS
JAYNE!!
(chanting)
Jayne Jayne Jayne Jayne Jayne Jayne Jayne!
JAYNE runs back into bar.
JAYNE
Gimme some milk.
The bartender gives Jayne a jar. Jayne drinks
MUDDER MAN
Don't you understand? He's come back! It's Jayne!
The Bartender swipes milk bottle from Jayne's hand.
JAYNE
What the..?!
BARTENDER
Hero of Canton won't be drinking that
[chou ma niao - "stinking horse piss"].
He drinks the best whiskey in the house!
MUDDERS cheer. MAL re-enters bar.
WELL-DRESSED MAN
What the hell's going on? This how people
lay low where you're from?
MAL
Not generally, no.
WELL-DRESSED MAN
Listen, friend. I came here to make sure a deal
went down solid, not to get chopped up by the
Canton prod crew and fed to the bog.
MAL
I understand your concerns, friend.
This here's all part of our new plan.
MAL smiles, WELL-DRESSED MAN walks off. Rest of crew has returned to bar.
KAYLEE
Captain, how exactly is this part...?
MAL
Still working the details.
END OF ACT ONE
ACT TWO
INT. INARA'S SHUTTLE
She's lighting candles, making tea. HIGGINS enters, a young man behind him.
HIGGINS
Inara, allow me to introduce my son,
Fess Higgins.
INARA
Hello, Fess. Mr. Higgins, this shuttle
is a place of union. I'm sure you can
appreciate...
HIGGINS
What is this? I brought you here to bed
my son, not throw him a tea party.
INARA
Sir, the Companion Greeting Ceremony is a
ritual with centuries of tradition...
HIGGINS
My son is 26 years old and he ain't yet a
man. Twenty-six. And since he can't find
a willin' woman himself...
INARA
Mr. Higgins, you're not allowed here.
HIGGINS
What?
INARA
As I've said, this room is a consecrated
place of union. Only your son belongs here.
HIGGINS
Well, I'm...
INARA
Now, why don't you go on, and let us
begin our work.
HIGGINS
Now listen here, young lady...
INARA
Good night, Mr. Higgins.
HIGGINS leaves. INARA continues, turning to FESS.
INARA (cont'd)
Well, that's a bit more peaceful. Will you sit?
INT. WORKER-TOWN - MUDDER BAR
MUDDERS
To Jayne! To Jayne!
JAYNE
To me!
They drink. More cheering.
JAYNE
To the Mudders!
MUDDERS
To the Mudders!
Cheering continues.
MAL and WASH are sitting at a table nearby. A little ways away, KAYLEE and SIMON sit close together.
SIMON
(drunkenly)
You know, I've saved lives. Dozens. Maybe
hundreds. I reattached a girl's leg. Her
whole leg. She named her hamster after me.
I got a hamster. He drops a box of money,
he gets a town.
KAYLEE
Hamsters is nice.
SIMON
To Jayne! The box-dropping,
man-ape-gone-wrong-thing.
KAYLEE
(laughs)
You are pretty funny.
SIMON
And you're pretty....pretty.
KAYLEE
What did you just say?
SIMON
I just said that you're pretty. Even when
you're covered in...engine grease, you're...
No, especially, especially when you're
covered in engine grease.
MAL interrupts.
MAL
It's time to get out of this nuthouse.
Got some planning to work out.
KAYLEE
Now, Captain? Things are going so well.
MAL
I suppose. Jayne's certainly feeling better
about life, but...
KAYLEE
I said, things are going well.
(meaningful look)
MAL
Oh, "well."
(looks at SIMON)
Well, I tell you what. Jayne is stuck here with
his adoring masses - why don't you and Simon hang
around and keep an eye on him for me.
They toast, MAL walks off. KAYLEE smiles at SIMON
INT. SERENITY - CARGO BAY
BOOK is looking into RIVER's hiding place under the Cargo Bay stairs.
RIVER (O.S.)
They say the snow on the roof was too heavy.
They say the ceiling will cave in. His brains
are in terrible danger.
BOOK
River? Why don't you come out?
RIVER
No! I can't. Too much hair.
ZOE chuckles
BOOK
Is that it?
ZOE
Hell, yes, Preacher. If I didn't have stuff
to get done, I'd be in there with her.
BOOK
It's the rules of my order. Like the book. It symbolizes...
ZOE
Uh huh. River, honey? He's putting the
hair away now.
RIVER
It'll still be there....waiting.
Mal and Wash enter the cargo bay.
WASH
Honey, we're home!
ZOE
Where you guys been? Mal, Bernoulli's chomping
at the bit. Says he wants his merchandise
yesterday.
MAL
Yeah, well, we still got a few wrinkles to
work out on the deal.
WASH
Did you know that Jayne is a bona fide
folk hero? Got a song and everything.
ZOE
What? You been drinking, husband.
MAL
That he has. Don't make it any less the case.
ZOE
You telling me that Jayne...
MAL
It's true. True enough -- We can use it, anyway.
We talked a few pillars of the Mudder community
into having a little Jayne Day celebration in
town square tomorrow.
WASH cracks up, laughing
MAL (cont'd)
It should buy us enough of a distraction to get
the stolen goods out from under the foreman and
his crew of prods.
ZOE
(to Wash)
You're really going to have to start again.
Jayne's a what?
INT. INARA'S SHUTTLE
Fess and Inara are sitting next to each other, taking tea.
FESS
This whole thing, uh...it, it is embarrassing.
My father's right again, I guess. And to have
to bring you here, and...
INARA
Your father's not right, Fess. It's not
embarrassing to be virgin. It's simply one
state of being. As far as bringing me here,
Companions choose the people they're to be
with very carefully. For example, if your
father had asked me to come here for him,
I wouldn't have.
FESS
Really?
INARA
Really, Fess. You're different from him.
The more you accept that, the stronger
you'll become.
INARA takes off FESS'S glasses, kisses him.
INT. WORKER-TOWN - MUDDER BAR
JAYNE
So, the magistrate, he let you folks keep
all that cash?
MUDDER MAN
He did. And it pained him, that's for dead sure.
When he found out, he sent his prods in to take
it back from us, but the workers resisted.
JAYNE
Fought the law, huh?
MUDDER MAN
If the Mudders are together on a thing, there's
too many of us to be put down. So in the end,
he just called it a bonus.
JAYNE
That's one hell of a bonus.
MUDDER MAN
And then, when we put that statue of you in town
square, he rolled in, wanted to tear it down.
But the whole town rioted.
JAYNE
You guys had a riot? On account of me?
A real riot?
MUDDER MAN
I can't believe you're back.
JAYNE
How could I stay away?
JAYNE hugs the MUDDERS closest to him.
INT. MAGISTRATE HIGGIN'S HOUSE
Magistrate Higgins is pouring himself a drink when the Foreman enters.
FOREMAN
Magistrate Higgins...
HIGGINS
My son's out there I pray to God losing
his cherry.
FOREMAN
There's a problem in worker-town, sir.
Jayne Cobb's come back.
EXT. PLANET - MUD PITS
The Foreman and Magistrate Higgins stand outside what appears to be a storage area. FOREMAN knocks on what looks like a storage shed, unlocks it, opens the door.
HIGGINS
Evenin', Stitch.
STITCH
(inside dark cell)
What do you want with me?
HIGGINS
Nothing. Done your time, you paid your debt.
It's time you were on your way.
STITCH comes out of the cell. He's missing one eye, has wild hair and beard. He has trouble standing. HIGGINS hands him a bag.
HIGGINS
Here.... I believe these were your
personal effects.
STITCH
You keep me in that box four years, you give
me a loaded gun?
HIGGINS
You got the urge to use it, no doubt. But I'm
not the one who brought you in on that robbery.
I'm not the one who partnered up with you and
then turned on you when his plan went South.
How high up was that Shuttle when he pushed
you out? 30 feet? Jayne Cobb cost you four
years of your life plus a perfectly good eyeball.
But here's the poetical portion - he's back in town.
This very day. Best of luck in your new life.
HIGGINS walks off. STITCH cocks his shotgun.
END OF ACT TWO
ACT THREE
EXT. WORKER-TOWN - SQUARE - DAY
Establishing shot.
INT. WORKER-TOWN - MUDDER BAR - DAY
KAYLEE and SIMON asleep together on bench. MAL approaches.
KAYLEE
(sleepily)
Hey, Captain.
(wakes up more; sits up)
Captain!
SIMON
Hey...Mal, uh, Mal... No, nuh-nuh-nothing
happened. No, there was, uh, there was some
drinking, but, uh, we, no we certainly didn't.
No, I would never ! Not with Kaylee...
KAYLEE
What do you mean, Not with me?
MAL
Yeah, uh-huh. Where's my hero?
Jayne enters from upstairs, his arm around a woman, and walks down to the bar area.
JAYNE
(singing)
My love for me now ain't hard to explain
The Hero of Canton
The man they call...ME
(speaking, now)
Eggs. The living legend needs eggs.
Or maybe another milk.
MAL
No, the living legend needs to come with us.
He's got a little appearance to make.
JAYNE
He does?
MAL
That's right This job here's gone way past long enough.
JAYNE
Yeah, all right.
(To woman)
Well, you go on now, I've got me important
hero-type stuff to do.
MAL gathers his crew and begins to walk off.
KAYLEE
(to Simon)
Where you going?
SIMON
I'm going with you.
KAYLEE
Mmm, I don't think so. No, maybe you ought
to stay here. It's about the time for a
civilized person to have his breakfast. That's
the sort of thing would be appropriate, don't
you think?
SIMON gapes. Rest of crew leaves.
SIMON
(sighs; to Bartender)
Excuse me, could I see a menu?
BARTENDER
A what?
INT. INARA'S SHUTTLE.
INARA and FESS are curled up in bed, post-coital.
INARA
You're very quiet
FESS
I'm sorry. I just...I just thought I'd feel...
different...after. Aren't I supposed to be
a man now?
INARA
A man is just a boy who's old enough to ask
that question. Our time together....It's a
ritual, a symbol. It means something to your
father. I hope it was not entirely forgettable
for you.
FESS
No, it was..
INARA
But it doesn't make you a man. You do
that yourself.
Suddenly there is a loud banging on door
HIGGINS
Fess! Fess Higgins! Get out here!
EXT. WORKER-TOWN - STREET - DAY
MAL
So, that's where the little "Jayne Celebration"
we got planned comes in. Should give us enough
time to get the goods back onto Serenity.
JAYNE
I don't know. You think we should be using my
fame to hoodwink folks?
MAL
You better laugh when you say that.
JAYNE
No really, Mal, I mean, maybe there's something
to this. The Mudders? I think I really made
a difference in their lives. You know --
Me, Jayne Cobb.
MAL
I know your name, jackass.
JAYNE
You know, they threw a riot on my account?
A riot...
WASH and ZOE ride up on a four-wheel.
WASH
Morning, kids!
ZOE
Is that Jayne? Is that really him?
Wash, pinch me, I must be dreaming!
JAYNE
Oh hell, I'll pinch you!
MAL
Just get on over to town square, Jayne.
Your fans are waiting.
WASH, ZOE, MAL and KAYLEE ride off, to a sparsely forested area.
ZOE
Do you really think we can get this stuff cross
town without being noticed?
MAL
Got to find it first. Here we go.
Camera pans down to reveal that the hill they are standing on is built over a large parcel.
MAL
Let's get it dug up.
INT. INARA'S SHUTTLE
Fess is dressed. Inara is wearing a loose robe and pouring more tea.
INARA
A criminal hearing?
FESS
Yeah, my father's ordered me to attend. You see,
there's this man, uh...It happened when I was
growing up here. He stole a ton of money from
my dad, gave it to the poor, to my father's workers.
He's become kind of folk hero in Canton.
INARA
Go on
FESS
Well, he's back, apparently. He landed here yesterday.
INARA
Yesterday. Oh, no. I - I know this man. He just
has this idiotic sense of nobility, you know? He
can never just let things go. He thinks he's this
hard-hearted criminal, and he can be unrelenting...
but there's a side to him that's just so...
FESS
You mean you actually know Jayne?
INARA
Jayne? Jayne Cobb? You're talking about Jayne Cobb?
FESS
Yes, Jayne Cobb. The Hero of Canton. The only
person I ever saw who stood up to my father.
INARA
I...
(flabbergasted)
FESS
My dad had him traced back to his ship. He had
Port Control put a land-lock on it. Jayne will
get back and find out that he's grounded. I sort
of hate the idea of his getting caught.
INARA
Yes, that would be bad.
INT. WORKER-TOWN - MUDDER BAR - DAY
Simon examines the gruel he was served for breakfast.
SIMON
(clears throat)
Could I just get the...the check...please...
Door opens, STITCH enters.
STITCH
Heard tell you run with Jayne Cobb.
SIMON
Excuse me?
STITCH
You going to take me to that dirty, low-down
shingle of a man?
SIMON
Listen, uh, sir... I don't know who...
STITCH grabs SIMON, lifts him out of his seat, punches him.
STITCH
Sir?! Look at me you pantywaist idiot!
(Kicks SIMON)
I just spent the last four years steaming in a
hot-box and you're Sir-ing me?
(kicks him again).
The folks say you're part of Jayne's team, so...
(picks Simon up; slams him against wall)
So, where is that no-good reptile hiding hisself?
(takes out knife; holds it to
SIMON's throat)
Tell me, boy, or I'll cut off every last bit of
them good looks!
SIMON reaches for a bottle on the ground, crashes it on STITCH's head. STITCH cuts SIMON on his forearm, knocks him back to the ground.
STITCH (cont'd)
Ohh, not done yet, young'un.
(Picks up SIMON)
That's going to cost you an eye.
MUDDERS (O.S.)
(outside chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
STITCH
Come on!
STITCH drags SIMON outside the bar.
EXT. WORKER-TOWN - SQUARE - DAY
The crew of Serenity rides up on loaded four-wheel.
WASH
They love their boy.
MAL
Just drive by now, nice and slow.
MUDDERS
(chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
PROD
Come on, sir. Let's just get...
FOREMAN
Magistrate says no. We hold position.
Understand me?
INT. SERENITY - CARGO BAY
MAL
Zoe, pack down the cargo. Wash, you heat
up Serenity. We're blowing this mess
inside half an hour.
WASH
Already there.
MAL
(to KAYLEE)
Let's go get our wayward babes.
EXT. WORKER-TOWN - SQUARE - DAY
MUDDERS
(chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
Jayne walks through the crowd and stands in front of his statue.
MUDDERS
Speech! Speech!
JAYNE
Uh...I'm no good with words. Don't...don't use
'em much, myself.
(crowd chuckles)
But I want to thank you all for being here, and
for thinking so much of me... Far as I see it,
you people been given the shortest end of the
stick ever been offered a human soul in this
crap-hill 'verse....But you took that end...
well, you took it. And that's... well, I guess
that's something.
MUDDERS cheer.
KAYLEE
Wow. That didn't sound half-bad.
MAL
I'm shocked my own self.
STITCH shoots off shotgun, the crowd parts to reveal Stitch holding a beaten Simon.
JAYNE
Stitch Hessian...
STITCH
(chuckles)
Well, hey there, Jayne. Thought I'd make you
watch while I butchered me one of your boys.
JAYNE
He ain't a one of mine. Where you been hiding?
You gone and got yourself looking mighty hideous.
STITCH
(laughs)
Yeah...
FOREMAN
(to Prod)
Now Jayne gets his.
KAYLEE approaches SIMON, who is face-down on the ground.
KAYLEE
Oh, honey...
SIMON
Kaylee?
She helps him up.
STITCH
So, what's this about a "Hero of Canton?" Was I
hearing that right? Four years of lock-down
plays tricks on the ear.
JAYNE
I ain't a hero, Stitch. Just a working stiff
like you.
STITCH
(laughs)
Yep, he's right. Jayne is. We used to work
together, he and I.
(pulls gun on MAL, who has been approaching)
Now why don't you just let ol' Stitch speak his piece?
MAL
Go on, then.
STITCH
Whole lot of money in a Magistrate's safe, weren't
there, Jayne? Got away clean, too! But then our
plane took a hit, and we're going down. We dumped
the fuel reserve, dumped the life support, hell,
we even dumped the seats! The, there's Jayne, the
money, and me. And there was no way he was going
to drop that money.
MUDDER MAN
He did. He dropped it on the Mudders.
STITCH
By accident, you in-bred dung-head! He tossed me
out first! For six months, we run together, he
turned me out before I could scream!
JAYNE
You'd have done the same.
STITCH
No, never. You protect the man you're with. You
watch his back. Everybody knows that! Well,
except the Hero of Canton.
JAYNE
You gonna talk me to death, buddy?
Is that the plan?
STITCH
This is the plan.
STITCH aims his gun, fires at JAYNE. The MUDDER MAN who has been shadowing Jayne the whole episode dives between JAYNE and the bullet. Crowd screams.
END OF ACT THREE
ACT FOUR
EXT. WORKER-TOWN - SQUARE - DAY
The MUDDER MAN lies dead in front of JAYNE. JAYNE throws his knife at STITCH, then charges him. They fight. JAYNE slams STITCH into the ground. Crowd watches. JAYNE notices the MUDDER MAN on the ground.
JAYNE
Get up...get up, you stupid piece of...
(rolls MUDDER over; he's dead)
What did you do that for? What's wrong with you?
Didn't you hear a word he said?
MUDDER BOY approaches STITCH's body, removes JAYNE's knife.
JAYNE (cont'd)
All of you! You think there's someone just going to
drop money on you?! Money they could use?! Well,
there ain't people like that. There's just people
like me.
BOY approaches JAYNE, presents knife. JAYNE slaps knife out of BOY's hands. Turns, goes to Jayne statue, topples it.
EXT. PLANET - SERENITY AIRLOCK
Crew boards ship, KAYLEE helping SIMON walk, JAYNE's hands bloody.
MAL
(on comm)
Wash, we're on. Get us the hell off of
this mud ball.
WASH
Uh, yeah, I'm working on it.
INT. SERENITY - BRIDGE
Wash is frantically pushing buttons, trying to get the ship started. He sees the ship is land-locked on a small display.
WASH
(Chinese)
[Goo yong jong dun goo yang.]
INARA
(entering)
Hello, Wash. Has there been a problem
with takeoff?
WASH
Is there a problem! Is there a problem?!?
(sees "Land-Lock released" on screen)
No. We're fine.
INARA smiles.
INT. MAGISTRATE HIGGINS'S HOUSE
HIGGINS
You did what?!?
FESS
I sent an override to Port Control. Lifted
the land-lock on Serenity.
HIGGINS
I ought to wipe that smile off your head.
How dare you defy me?
FESS
You wanted to make a man out of me, Dad.
I guess it worked.
EXT. PLANET
Shot of SERENITY lifting off and entering atmo.
INT. SERENITY - CATWALK
JAYNE leans on the catwalk railing, looking at the knife he used to kill Stitch.
INT. SERENITY - KITCHEN AREA
RIVER is looking at Bible, BOOK approaches.
RIVER
Just keep walking, preacher-man.
INT. SERENITY - SIMON'S ROOM
Kaylee is patching up the good doctor.
KAYLEE
You got to be steely. You can't be letting
men stomp on you so much
SIMON
It wasn't exactly a plan...
KAYLEE
You ain't weak. You couldn't beat them
back? Or would that not be appropriate?
SIMON
You're never letting go of that, are you?
KAYLEE
Well, you confound me some, is all. I mean,
you like me well enough, and we get along...
and then you go all stiff.
SIMON
(stiffens)
I'm, I'm not, um, I didn't...
KAYLEE
See! You're doing it right now! What's so damn
important about being proper? It don't mean
nothing out here in the black.
SIMON
It means more out here. It's all I have.
I mean... My way of being polite, or however
it's...well, it's the only way I have of showing
you that I like you. I'm showing respect.
KAYLEE
So, when we made love last night...
SIMON
When we WHAT?
KAYLEE
You really are such an easy mark.
INT. SERENITY - CATWALK
Mal joins Jayne on the catwalk, leaning on the railing.
JAYNE
Don't make no sense. What...Why the hell did
that Mudder have to go and do that for, Mal?
Jumping in front of that shotgun blast. Hell,
there weren't a one of them understood what
happened out there. They're probably sticking
that statue right back up.
MAL
Most like.
JAYNE
I don't know why that eats at me so.
MAL
It's my estimation that...every man ever got a
statue made of him, was one kind of sumbitch or
another. Ain't about you, Jayne. About
what they need.
JAYNE
Don't make no sense.
BLACK OUT.
KAYLEE and SIMON are standing on opposite sides of a corridor, talking.
KAYLEE
Come on, admit it, it's true.
SIMON
No, I won't, because it's not. I use swear
words like anybody else.
KAYLEE
Oh, really? See, I never heard you. So when
is it you do all of this cussin'? After I
go to bed, or...
SIMON
I swear when it's appropriate.
KAYLEE
Simon, the whole point of swearing
is that it ain't appropriate.
KAYLEE, smiling widely, turns to see Inara crossing the cargo bay and climbing up the stairs toward her shuttle.
KAYLEE (cont'd)
Hey, there, Inara! Heading off for some
glamorous romance?
INARA
(chuckles)
Lets hope so. See you two tomorrow. Don't let Mal
get you into too much trouble while I'm gone.
KAYLEE
Bye, now. Have good sex.
INARA goes up the stairs.
KAYLEE (cont'd)
(re: Simon's look)
What?
Crashing noise off-screen. Cut to Jayne in the infirmary, which is a shambles. He has tape around his midsection. Kaylee and Simon walk into infirmary.
SIMON
Oh!
KAYLEE
Now, this would be the perfect time
for a swear word.
SIMON
What...happened in here?
JAYNE
Needed to find some tape.
SIMON
So you had to tear my infirmary apart?
JAYNE
Apparently.
SIMON
My god -- you're like a trained ape.
Without the training.
Mal enters, sees the gun Jayne is strapping to his belly.
MAL
Jayne. I told you we're setting down at
the Canton factory settlement on
Higgins' moon.
JAYNE
Yep. That you did.
MAL
Canton don't allow guns in their town
JAYNE
Yes sir. That's why I ain't strapping one to my hip.
MAL
No. That's why you ain't strapping
one anywhere.
JAYNE
Oh, listen, Mal -- I was in Canton a few
years back, I might have made me a few
enemies thereabouts.
SIMON
Enemies? You? No, how can it be?
JAYNE
I just don't like the idea of us going
in there empty-handed is all.
MAL
Why are you still arguing what's been decided?
JAYNE looks at MAL, sighs, rips tape off his belly. Whimpers.
CUT TO:
EXT. SPACE
Serenity approaching planet.
INT. SERENITY - BRIDGE
WASH
(on comm)
Okay, Inara, we're atmospheric. You are
good to go.
INARA
Thanks, Wash. Disengaging in three,
two, one.
Shuttle disengages, Firefly lands on Higgins' moon. Crew gets out.
SIMON
Canton really...stinks.
MAL
That's what makes it such a great drop point.
No one comes here that doesn't have to.
WASH
I vote we do this job really, really fast.
MAL
Kessler's our man. He's holding the goods
we're to deliver. We go in, make contact.
Easy peasy. Zoe, you're holding down the
fort. Call ahead to Bernoulli, let him
know we'll have his merchandise end of the week.
WASH
Don't I usually stay with the ship?
ZOE
I outrank you.
(kisses WASH)
Have fun.
SIMON
So, this is a place where they...
they make mud.
KAYLEE
Yep. Clay really. You'd be surprised how
many things it ends up in. Serenity's got
more than a few ceramic parts in her.
SIMON
Really?
KAYLEE
Yeah.
SIMON
Huh.
KAYLEE
Captain, don't you think Simon should
come with us?
SIMON
What? Oh, Kaylee, I don't--I don't
think that...
BOOK
You go on, boy. See the sights. I can
watch over your sister. I believe we've
been developing a rapport.
SIMON
I--I don't know, River can be...
BOOK
Go on. I'm a Shepherd, after all. I should
be able to keep my eye on a flock of one.
MAL
I'm not going that far, Doctor, and you
might maybe make yourself useful.
JAYNE
Come again?
JAYNE is clearly wearing a disguise -- hood, goggles.
MAL
The management here don't take kindly to
sight-seers, which is why we're...
(Notices JAYNE's getup)
...posing as buyers. There ain't a one of
us looks the part more than the good Doctor.
I mean, the pretty fits, soft hands, definitely
a moneyed individual. All rich and lily-white,
pasty all over...
SIMON
All right. Fine. I'll go. Just stop describing me.
MAL
(salutes)
You're the boss, boss.
JAYNE
He's the boss now? Day keeps getting better and better.
Crew walks off, toward town.
EXT. PLANET - MUD PITS - DAY
FOREMAN
Area's employees only! You best be getting back
to the landing unless you have business here!
SIMON
Yes. Yes, I, I'm looking. To buy some mud.
FOREMAN
Well, then.
(chuckles)
Come to the right place!
He claps SIMON on the shoulder, leaving a muddy handprint, and walks off, the crew following.
FOREMAN (cont'd)
Of course we can handle any volume here. We
have over 2,000 workers, mostly indentured.
We pay them next to nothing, that way we can
pass the savings directly on to you,
the customer.
SIMON
Savings? Uh, excellent. That's, uh, because,
as I -- as I said before, I'm going to, um, I'm
going to be needing quite a bit of it. I,
uh, I-I'm a buyer.
FOREMAN
Yup, best of its kind. Uh, we mix it, we brick
it raw, right here on the premises. Uh, you add
the right catalyst, you kiln it proper, this stuff's
ten times stronger than steel at half the weight.
SIMON
Yes. Uh, I - I've heard, uh, great things,
about the mud
WASH
(to Kaylee)
What happened to Simon? Who is this diabolical
master of disguise?
KAYLEE
He's learning.
MAL
Excuse me, boss? I'm sure the foreman has
things need attending. Why don't we wander
a bit, take a look at the operation, then you
can figure on whether we get an account here.
SIMON
Yes? Yes. Yes, we'll, uh, we'll wander a bit.
FOREMAN
Fair enough. Come and see me when you're through.
The Foreman walks out of frame.
MAL
All right, let's head to worker-town. Find
our man Kessler, get this job done.
(Crew walks off)
JAYNE
Boy's going to get us killed. Let's just
do this deal and get.
MAL
His disguise ain't half as funny as yours.
Who're you supposed to be, anyway?
WASH
You haven't been here in years, Jayne.
You really think you need that getup?
No one's going to remember you.
MAL
I think it's possible they might.
CUT TO:
Ceramic statue of JAYNE. Legend: JAYNE COBB. Long beat while they all take this in.
SIMON
Son of a bitch.
END OF TEASER
ACT ONE
EXT. PLANET - WORKER-TOWN - DAY
Right where we left off, with the crew staring at Jayne's statue.
MAL
Jayne?
JAYNE
Yeah?
MAL
You want to tell me how come there's a statue
of you here looking at me like I owe him
something?
JAYNE
Wishing I could, Captain.
MAL
No, seriously, Jayne, you want to tell me?
JAYNE
Look, Mal, I got no ruttin' idea. I was
here a few years back, like I said. Pulled
a second-story, stole a lot of scratch from
the magistrate up on the hill. But things
went way South. I had to hightail it.
They don't...put you on a pedestal in town
square for that.
MAL
Yeah, except I'm looking at some fair
compelling evidence says they do.
SIMON
This must be what going mad feels like.
WASH
I think they captured him, though - you
know...captured his essence.
KAYLEE
Looks sort of angry, don't he?
WASH
That's kinda what I meant.
A whistle sounds in the b.g.
FOREMAN
Shift four on duty. Shift four on duty.
JAYNE
Oh hey, I got an idea. Instead of us hanging
around playing art critic till I get pinched by
the Man, how's about we move away from this
eerie-ass piece of work and get on with our
increasingly eerie-ass day, how's that?
MAL
I don't know. This here's a spectacle might
warrant a moment's consideration.
KAYLEE
Everywhere I go, his eyes keep following me.
JAYNE
Come on, gorram it. We got a job. Let's go
do it, get the hell out of here. I crossed
the magistrate of this company town, understand?
He ain't exactly a forgiving sort of guy.
EXT. PLANET - MAGISTRATE'S HOUSE
INARA
Magistrate Higgins, I presume?
HIGGINS
You may, but I only make the people I own use
my title. "Mister Higgins" will do fine.
(kisses her hand)
INARA
And you can call me Inara, Mr. Higgins.
HIGGINS
It's a rare pleasure, your visit to my
little moon. Journey wasn't too taxing?
INARA
Not at all. I'm refreshed and ready.
Shall we begin at, say, 7:30?
HIGGINS
Perfect. I have a feeling it will take all
your arts to deal with this particular problem.
INARA
Every problem, Mr. Higgins, is an
opportunity in disguise.
HIGGINS points at INARA, walks away
INT. SERENITY - KITCHEN AREA
Inara sits at the kitchen table. Book enters.
BOOK
What are we up to, sweetheart?
RIVER
Fixing your Bible.
BOOK
I, um, what?
RIVER
Bible's broken. Contradictions, false
logistics - doesn't make sense.
She's marked up the bible, with crossed-out passages
BOOK
No, no. You - you can't...
RIVER
So we'll integrate non-progressional evolution
theory with God's creation of Eden. 11 inherent
metaphoric parallels already there. Eleven.
Important number. Prime number. One goes into
the house of 11 11 times, but always comes out
one. Noah's ark is a problem.
BOOK
Really?
RIVER
We'll have to call it "early quantum state
phenomenon." Only way to fit 5000 species
of mammal on the same boat.
(rips out page)
BOOK
Give me that. River, you don't...fix the Bible.
RIVER
It's broken. Doesn't make sense.
BOOK
It's not about making sense. It's about believing
in something and letting that belief be real enough
to change your life. It's about faith. You don't
fix faith, River. It fixes you.
(tries to take Bible pages from
River; fails)
You hang on to those, now.
INT. WORKER-TOWN - MUDDER BAR
Crew sitting around table. A busker is strumming a guitar in the center of the room.
JAYNE
Can't be a statue of me. No reason for it.
Flies in the face of every kind of sense.
MAL
Won't argue with that.
WASH gags, spits out what he's just drunk.
WASH
(Chinese)
[zhe shi she me lan dong xi? - "What kind
of rotten food is this"?]
JAYNE
Mm-hmm. They call it "Mudder's milk."
(WASH gags)
All the protein, vitamins, and carbs of
your grandma's best turkey dinner, plus
15% alcohol.
WASH
It's horrific.
SIMON
Well, it worked for the Egyptians.
JAYNE
What's that?
SIMON
The ancient Egyptians, back on Earth-That-Was.
Not so different from the ancestral form of beer
they fed the slaves to build their pyramids.
It's liquid bread. Kept them from starving and
knocked them out at night so they wouldn't be
inclined to insurrection.
KAYLEE
Wow, Simon. That was so...historical.
MAL
(spots Well-Dressed Man;
to himself)
What's a gussied-up fellow like you
doing in a place like this?
JAYNE
(to staring boy)
Shake your head, boy. Your eyes are stuck. Git!
The staring boy jumps and runs away.
WELL-DRESSED MAN
You wouldn't be looking for Kessler?
MAL
Just having a brew
WELL-DRESSED MAN
I knew a Kessler.
MAL
"Knew?"
WELL-DRESSED MAN
He was a good middleman. Low profile. Didn't filch.
Last week, the factory foreman and his prod crew
heard he was moving contraband through town.
Gave him a peck of trouble for it.
MAL
What kind of peck was that?
WELL-DRESSED MAN
The kind where they hacked off his hands and feet with
a machete, rolled him into the bog.
WASH
They peck pretty hard around here.
MAL
Listen, my client offworld is waiting for his
delivery. If the goods are gone...
WELL-DRESSED MAN
Not to worry. Your man's merchandise is here, safe
in Kessler's hiding place. We just got to figure
out how to get it across town without being seen
by the foreman and his prods. I advise we all
just lay low for a moment.
WELL-DRESSED MAN leaves
BUSKER starts to sing.
JAYNE
(Chinese)
[Yeh-soo ta ma duh.]
BUSKER
Jayne \ The man we call Jayne \ He robbed
from the rich and he gave to the poor \
Stood up to the Man and he gave him what for \
Our love for him now ain't hard to explain \
The Hero of Canton, the man they call Jayne \
Our Jayne saw the Mudders' backs breaking \
He saw the Mudders lament \ And he saw the
magistrate taking \ Every dollar and leaving
five cents \ So he said, "You can't do that
to my people" \ He said...
(singing continues)
MAL
(over singing)
Um...Jayne?
JAYNE
Yeah, Mal?
MAL
You got any light you'd like to shed on
this development?
JAYNE
No, Mal.
SIMON
No. This must be what going mad feels like.
Singing continues
MUDDERS
Our love for him now ain't hard to explain \
The Hero of Canton, the man they call Jayne
BUSKER
Now here is what separates heroes \ From
common folk like you and I \ The man they
call Jayne \ He turned 'round his plane \
And let that money hit the sky
JAYNE
Ohhh, I'll be gorrammed. That's where that
cash went. I stole that money from Higgins
just like the song says, lifted me one of
his hovercraft. But I got tagged by
anti-aircraft, started losing altitude.
Had dump them strongboxes to stay airborne.
Oh...60,000, untraceable. And I drop it right
square in the middle of mud-farmer central.
WASH
We gotta go to the crappy town where I'm the hero!
MUDDERS
(singing)
The man they call Jayne!
INT. SERENITY - BOOK'S ROOM
BOOK loosens his hair and washes his face, getting ready for bed.
RIVER
Hello?
BOOK
In here, River
RIVER
I'm...I tore these out of your symbol and
they turned into paper. But I want to
put them back, so...
BOOK stands up from washing his face. His hair is out of it's usual ponytail. He looks like Albert Einstein after sticking his finger in a light socket.
BOOK
I'm sorry, what's that?
RIVER screams, runs away.
BOOK
River? River, come back
ZOE
Preacher, what the hell did you sic on...
(sees him)
Woah! Oh.
INT. WORKER-TOWN - MUDDER BAR
The singing has finally stopped.
JAYNE
Captain, now they're off the subject of me,
shouldn't we be getting the hell out of here?
MAL
I'd say that's a reasonable request,
considering the circumstances.
JAYNE
Ruttin' mudders.
All get up from the table, walk our of bar. To crowd of MUDDERS, who cheer:
MUDDERS
JAYNE!!
(chanting)
Jayne Jayne Jayne Jayne Jayne Jayne Jayne!
JAYNE runs back into bar.
JAYNE
Gimme some milk.
The bartender gives Jayne a jar. Jayne drinks
MUDDER MAN
Don't you understand? He's come back! It's Jayne!
The Bartender swipes milk bottle from Jayne's hand.
JAYNE
What the..?!
BARTENDER
Hero of Canton won't be drinking that
[chou ma niao - "stinking horse piss"].
He drinks the best whiskey in the house!
MUDDERS cheer. MAL re-enters bar.
WELL-DRESSED MAN
What the hell's going on? This how people
lay low where you're from?
MAL
Not generally, no.
WELL-DRESSED MAN
Listen, friend. I came here to make sure a deal
went down solid, not to get chopped up by the
Canton prod crew and fed to the bog.
MAL
I understand your concerns, friend.
This here's all part of our new plan.
MAL smiles, WELL-DRESSED MAN walks off. Rest of crew has returned to bar.
KAYLEE
Captain, how exactly is this part...?
MAL
Still working the details.
END OF ACT ONE
ACT TWO
INT. INARA'S SHUTTLE
She's lighting candles, making tea. HIGGINS enters, a young man behind him.
HIGGINS
Inara, allow me to introduce my son,
Fess Higgins.
INARA
Hello, Fess. Mr. Higgins, this shuttle
is a place of union. I'm sure you can
appreciate...
HIGGINS
What is this? I brought you here to bed
my son, not throw him a tea party.
INARA
Sir, the Companion Greeting Ceremony is a
ritual with centuries of tradition...
HIGGINS
My son is 26 years old and he ain't yet a
man. Twenty-six. And since he can't find
a willin' woman himself...
INARA
Mr. Higgins, you're not allowed here.
HIGGINS
What?
INARA
As I've said, this room is a consecrated
place of union. Only your son belongs here.
HIGGINS
Well, I'm...
INARA
Now, why don't you go on, and let us
begin our work.
HIGGINS
Now listen here, young lady...
INARA
Good night, Mr. Higgins.
HIGGINS leaves. INARA continues, turning to FESS.
INARA (cont'd)
Well, that's a bit more peaceful. Will you sit?
INT. WORKER-TOWN - MUDDER BAR
MUDDERS
To Jayne! To Jayne!
JAYNE
To me!
They drink. More cheering.
JAYNE
To the Mudders!
MUDDERS
To the Mudders!
Cheering continues.
MAL and WASH are sitting at a table nearby. A little ways away, KAYLEE and SIMON sit close together.
SIMON
(drunkenly)
You know, I've saved lives. Dozens. Maybe
hundreds. I reattached a girl's leg. Her
whole leg. She named her hamster after me.
I got a hamster. He drops a box of money,
he gets a town.
KAYLEE
Hamsters is nice.
SIMON
To Jayne! The box-dropping,
man-ape-gone-wrong-thing.
KAYLEE
(laughs)
You are pretty funny.
SIMON
And you're pretty....pretty.
KAYLEE
What did you just say?
SIMON
I just said that you're pretty. Even when
you're covered in...engine grease, you're...
No, especially, especially when you're
covered in engine grease.
MAL interrupts.
MAL
It's time to get out of this nuthouse.
Got some planning to work out.
KAYLEE
Now, Captain? Things are going so well.
MAL
I suppose. Jayne's certainly feeling better
about life, but...
KAYLEE
I said, things are going well.
(meaningful look)
MAL
Oh, "well."
(looks at SIMON)
Well, I tell you what. Jayne is stuck here with
his adoring masses - why don't you and Simon hang
around and keep an eye on him for me.
They toast, MAL walks off. KAYLEE smiles at SIMON
INT. SERENITY - CARGO BAY
BOOK is looking into RIVER's hiding place under the Cargo Bay stairs.
RIVER (O.S.)
They say the snow on the roof was too heavy.
They say the ceiling will cave in. His brains
are in terrible danger.
BOOK
River? Why don't you come out?
RIVER
No! I can't. Too much hair.
ZOE chuckles
BOOK
Is that it?
ZOE
Hell, yes, Preacher. If I didn't have stuff
to get done, I'd be in there with her.
BOOK
It's the rules of my order. Like the book. It symbolizes...
ZOE
Uh huh. River, honey? He's putting the
hair away now.
RIVER
It'll still be there....waiting.
Mal and Wash enter the cargo bay.
WASH
Honey, we're home!
ZOE
Where you guys been? Mal, Bernoulli's chomping
at the bit. Says he wants his merchandise
yesterday.
MAL
Yeah, well, we still got a few wrinkles to
work out on the deal.
WASH
Did you know that Jayne is a bona fide
folk hero? Got a song and everything.
ZOE
What? You been drinking, husband.
MAL
That he has. Don't make it any less the case.
ZOE
You telling me that Jayne...
MAL
It's true. True enough -- We can use it, anyway.
We talked a few pillars of the Mudder community
into having a little Jayne Day celebration in
town square tomorrow.
WASH cracks up, laughing
MAL (cont'd)
It should buy us enough of a distraction to get
the stolen goods out from under the foreman and
his crew of prods.
ZOE
(to Wash)
You're really going to have to start again.
Jayne's a what?
INT. INARA'S SHUTTLE
Fess and Inara are sitting next to each other, taking tea.
FESS
This whole thing, uh...it, it is embarrassing.
My father's right again, I guess. And to have
to bring you here, and...
INARA
Your father's not right, Fess. It's not
embarrassing to be virgin. It's simply one
state of being. As far as bringing me here,
Companions choose the people they're to be
with very carefully. For example, if your
father had asked me to come here for him,
I wouldn't have.
FESS
Really?
INARA
Really, Fess. You're different from him.
The more you accept that, the stronger
you'll become.
INARA takes off FESS'S glasses, kisses him.
INT. WORKER-TOWN - MUDDER BAR
JAYNE
So, the magistrate, he let you folks keep
all that cash?
MUDDER MAN
He did. And it pained him, that's for dead sure.
When he found out, he sent his prods in to take
it back from us, but the workers resisted.
JAYNE
Fought the law, huh?
MUDDER MAN
If the Mudders are together on a thing, there's
too many of us to be put down. So in the end,
he just called it a bonus.
JAYNE
That's one hell of a bonus.
MUDDER MAN
And then, when we put that statue of you in town
square, he rolled in, wanted to tear it down.
But the whole town rioted.
JAYNE
You guys had a riot? On account of me?
A real riot?
MUDDER MAN
I can't believe you're back.
JAYNE
How could I stay away?
JAYNE hugs the MUDDERS closest to him.
INT. MAGISTRATE HIGGIN'S HOUSE
Magistrate Higgins is pouring himself a drink when the Foreman enters.
FOREMAN
Magistrate Higgins...
HIGGINS
My son's out there I pray to God losing
his cherry.
FOREMAN
There's a problem in worker-town, sir.
Jayne Cobb's come back.
EXT. PLANET - MUD PITS
The Foreman and Magistrate Higgins stand outside what appears to be a storage area. FOREMAN knocks on what looks like a storage shed, unlocks it, opens the door.
HIGGINS
Evenin', Stitch.
STITCH
(inside dark cell)
What do you want with me?
HIGGINS
Nothing. Done your time, you paid your debt.
It's time you were on your way.
STITCH comes out of the cell. He's missing one eye, has wild hair and beard. He has trouble standing. HIGGINS hands him a bag.
HIGGINS
Here.... I believe these were your
personal effects.
STITCH
You keep me in that box four years, you give
me a loaded gun?
HIGGINS
You got the urge to use it, no doubt. But I'm
not the one who brought you in on that robbery.
I'm not the one who partnered up with you and
then turned on you when his plan went South.
How high up was that Shuttle when he pushed
you out? 30 feet? Jayne Cobb cost you four
years of your life plus a perfectly good eyeball.
But here's the poetical portion - he's back in town.
This very day. Best of luck in your new life.
HIGGINS walks off. STITCH cocks his shotgun.
END OF ACT TWO
ACT THREE
EXT. WORKER-TOWN - SQUARE - DAY
Establishing shot.
INT. WORKER-TOWN - MUDDER BAR - DAY
KAYLEE and SIMON asleep together on bench. MAL approaches.
KAYLEE
(sleepily)
Hey, Captain.
(wakes up more; sits up)
Captain!
SIMON
Hey...Mal, uh, Mal... No, nuh-nuh-nothing
happened. No, there was, uh, there was some
drinking, but, uh, we, no we certainly didn't.
No, I would never ! Not with Kaylee...
KAYLEE
What do you mean, Not with me?
MAL
Yeah, uh-huh. Where's my hero?
Jayne enters from upstairs, his arm around a woman, and walks down to the bar area.
JAYNE
(singing)
My love for me now ain't hard to explain
The Hero of Canton
The man they call...ME
(speaking, now)
Eggs. The living legend needs eggs.
Or maybe another milk.
MAL
No, the living legend needs to come with us.
He's got a little appearance to make.
JAYNE
He does?
MAL
That's right This job here's gone way past long enough.
JAYNE
Yeah, all right.
(To woman)
Well, you go on now, I've got me important
hero-type stuff to do.
MAL gathers his crew and begins to walk off.
KAYLEE
(to Simon)
Where you going?
SIMON
I'm going with you.
KAYLEE
Mmm, I don't think so. No, maybe you ought
to stay here. It's about the time for a
civilized person to have his breakfast. That's
the sort of thing would be appropriate, don't
you think?
SIMON gapes. Rest of crew leaves.
SIMON
(sighs; to Bartender)
Excuse me, could I see a menu?
BARTENDER
A what?
INT. INARA'S SHUTTLE.
INARA and FESS are curled up in bed, post-coital.
INARA
You're very quiet
FESS
I'm sorry. I just...I just thought I'd feel...
different...after. Aren't I supposed to be
a man now?
INARA
A man is just a boy who's old enough to ask
that question. Our time together....It's a
ritual, a symbol. It means something to your
father. I hope it was not entirely forgettable
for you.
FESS
No, it was..
INARA
But it doesn't make you a man. You do
that yourself.
Suddenly there is a loud banging on door
HIGGINS
Fess! Fess Higgins! Get out here!
EXT. WORKER-TOWN - STREET - DAY
MAL
So, that's where the little "Jayne Celebration"
we got planned comes in. Should give us enough
time to get the goods back onto Serenity.
JAYNE
I don't know. You think we should be using my
fame to hoodwink folks?
MAL
You better laugh when you say that.
JAYNE
No really, Mal, I mean, maybe there's something
to this. The Mudders? I think I really made
a difference in their lives. You know --
Me, Jayne Cobb.
MAL
I know your name, jackass.
JAYNE
You know, they threw a riot on my account?
A riot...
WASH and ZOE ride up on a four-wheel.
WASH
Morning, kids!
ZOE
Is that Jayne? Is that really him?
Wash, pinch me, I must be dreaming!
JAYNE
Oh hell, I'll pinch you!
MAL
Just get on over to town square, Jayne.
Your fans are waiting.
WASH, ZOE, MAL and KAYLEE ride off, to a sparsely forested area.
ZOE
Do you really think we can get this stuff cross
town without being noticed?
MAL
Got to find it first. Here we go.
Camera pans down to reveal that the hill they are standing on is built over a large parcel.
MAL
Let's get it dug up.
INT. INARA'S SHUTTLE
Fess is dressed. Inara is wearing a loose robe and pouring more tea.
INARA
A criminal hearing?
FESS
Yeah, my father's ordered me to attend. You see,
there's this man, uh...It happened when I was
growing up here. He stole a ton of money from
my dad, gave it to the poor, to my father's workers.
He's become kind of folk hero in Canton.
INARA
Go on
FESS
Well, he's back, apparently. He landed here yesterday.
INARA
Yesterday. Oh, no. I - I know this man. He just
has this idiotic sense of nobility, you know? He
can never just let things go. He thinks he's this
hard-hearted criminal, and he can be unrelenting...
but there's a side to him that's just so...
FESS
You mean you actually know Jayne?
INARA
Jayne? Jayne Cobb? You're talking about Jayne Cobb?
FESS
Yes, Jayne Cobb. The Hero of Canton. The only
person I ever saw who stood up to my father.
INARA
I...
(flabbergasted)
FESS
My dad had him traced back to his ship. He had
Port Control put a land-lock on it. Jayne will
get back and find out that he's grounded. I sort
of hate the idea of his getting caught.
INARA
Yes, that would be bad.
INT. WORKER-TOWN - MUDDER BAR - DAY
Simon examines the gruel he was served for breakfast.
SIMON
(clears throat)
Could I just get the...the check...please...
Door opens, STITCH enters.
STITCH
Heard tell you run with Jayne Cobb.
SIMON
Excuse me?
STITCH
You going to take me to that dirty, low-down
shingle of a man?
SIMON
Listen, uh, sir... I don't know who...
STITCH grabs SIMON, lifts him out of his seat, punches him.
STITCH
Sir?! Look at me you pantywaist idiot!
(Kicks SIMON)
I just spent the last four years steaming in a
hot-box and you're Sir-ing me?
(kicks him again).
The folks say you're part of Jayne's team, so...
(picks Simon up; slams him against wall)
So, where is that no-good reptile hiding hisself?
(takes out knife; holds it to
SIMON's throat)
Tell me, boy, or I'll cut off every last bit of
them good looks!
SIMON reaches for a bottle on the ground, crashes it on STITCH's head. STITCH cuts SIMON on his forearm, knocks him back to the ground.
STITCH (cont'd)
Ohh, not done yet, young'un.
(Picks up SIMON)
That's going to cost you an eye.
MUDDERS (O.S.)
(outside chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
STITCH
Come on!
STITCH drags SIMON outside the bar.
EXT. WORKER-TOWN - SQUARE - DAY
The crew of Serenity rides up on loaded four-wheel.
WASH
They love their boy.
MAL
Just drive by now, nice and slow.
MUDDERS
(chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
PROD
Come on, sir. Let's just get...
FOREMAN
Magistrate says no. We hold position.
Understand me?
INT. SERENITY - CARGO BAY
MAL
Zoe, pack down the cargo. Wash, you heat
up Serenity. We're blowing this mess
inside half an hour.
WASH
Already there.
MAL
(to KAYLEE)
Let's go get our wayward babes.
EXT. WORKER-TOWN - SQUARE - DAY
MUDDERS
(chanting)
Jayne! Jayne! Jayne! Jayne! Jayne!
Jayne! Jayne!
Jayne walks through the crowd and stands in front of his statue.
MUDDERS
Speech! Speech!
JAYNE
Uh...I'm no good with words. Don't...don't use
'em much, myself.
(crowd chuckles)
But I want to thank you all for being here, and
for thinking so much of me... Far as I see it,
you people been given the shortest end of the
stick ever been offered a human soul in this
crap-hill 'verse....But you took that end...
well, you took it. And that's... well, I guess
that's something.
MUDDERS cheer.
KAYLEE
Wow. That didn't sound half-bad.
MAL
I'm shocked my own self.
STITCH shoots off shotgun, the crowd parts to reveal Stitch holding a beaten Simon.
JAYNE
Stitch Hessian...
STITCH
(chuckles)
Well, hey there, Jayne. Thought I'd make you
watch while I butchered me one of your boys.
JAYNE
He ain't a one of mine. Where you been hiding?
You gone and got yourself looking mighty hideous.
STITCH
(laughs)
Yeah...
FOREMAN
(to Prod)
Now Jayne gets his.
KAYLEE approaches SIMON, who is face-down on the ground.
KAYLEE
Oh, honey...
SIMON
Kaylee?
She helps him up.
STITCH
So, what's this about a "Hero of Canton?" Was I
hearing that right? Four years of lock-down
plays tricks on the ear.
JAYNE
I ain't a hero, Stitch. Just a working stiff
like you.
STITCH
(laughs)
Yep, he's right. Jayne is. We used to work
together, he and I.
(pulls gun on MAL, who has been approaching)
Now why don't you just let ol' Stitch speak his piece?
MAL
Go on, then.
STITCH
Whole lot of money in a Magistrate's safe, weren't
there, Jayne? Got away clean, too! But then our
plane took a hit, and we're going down. We dumped
the fuel reserve, dumped the life support, hell,
we even dumped the seats! The, there's Jayne, the
money, and me. And there was no way he was going
to drop that money.
MUDDER MAN
He did. He dropped it on the Mudders.
STITCH
By accident, you in-bred dung-head! He tossed me
out first! For six months, we run together, he
turned me out before I could scream!
JAYNE
You'd have done the same.
STITCH
No, never. You protect the man you're with. You
watch his back. Everybody knows that! Well,
except the Hero of Canton.
JAYNE
You gonna talk me to death, buddy?
Is that the plan?
STITCH
This is the plan.
STITCH aims his gun, fires at JAYNE. The MUDDER MAN who has been shadowing Jayne the whole episode dives between JAYNE and the bullet. Crowd screams.
END OF ACT THREE
ACT FOUR
EXT. WORKER-TOWN - SQUARE - DAY
The MUDDER MAN lies dead in front of JAYNE. JAYNE throws his knife at STITCH, then charges him. They fight. JAYNE slams STITCH into the ground. Crowd watches. JAYNE notices the MUDDER MAN on the ground.
JAYNE
Get up...get up, you stupid piece of...
(rolls MUDDER over; he's dead)
What did you do that for? What's wrong with you?
Didn't you hear a word he said?
MUDDER BOY approaches STITCH's body, removes JAYNE's knife.
JAYNE (cont'd)
All of you! You think there's someone just going to
drop money on you?! Money they could use?! Well,
there ain't people like that. There's just people
like me.
BOY approaches JAYNE, presents knife. JAYNE slaps knife out of BOY's hands. Turns, goes to Jayne statue, topples it.
EXT. PLANET - SERENITY AIRLOCK
Crew boards ship, KAYLEE helping SIMON walk, JAYNE's hands bloody.
MAL
(on comm)
Wash, we're on. Get us the hell off of
this mud ball.
WASH
Uh, yeah, I'm working on it.
INT. SERENITY - BRIDGE
Wash is frantically pushing buttons, trying to get the ship started. He sees the ship is land-locked on a small display.
WASH
(Chinese)
[Goo yong jong dun goo yang.]
INARA
(entering)
Hello, Wash. Has there been a problem
with takeoff?
WASH
Is there a problem! Is there a problem?!?
(sees "Land-Lock released" on screen)
No. We're fine.
INARA smiles.
INT. MAGISTRATE HIGGINS'S HOUSE
HIGGINS
You did what?!?
FESS
I sent an override to Port Control. Lifted
the land-lock on Serenity.
HIGGINS
I ought to wipe that smile off your head.
How dare you defy me?
FESS
You wanted to make a man out of me, Dad.
I guess it worked.
EXT. PLANET
Shot of SERENITY lifting off and entering atmo.
INT. SERENITY - CATWALK
JAYNE leans on the catwalk railing, looking at the knife he used to kill Stitch.
INT. SERENITY - KITCHEN AREA
RIVER is looking at Bible, BOOK approaches.
RIVER
Just keep walking, preacher-man.
INT. SERENITY - SIMON'S ROOM
Kaylee is patching up the good doctor.
KAYLEE
You got to be steely. You can't be letting
men stomp on you so much
SIMON
It wasn't exactly a plan...
KAYLEE
You ain't weak. You couldn't beat them
back? Or would that not be appropriate?
SIMON
You're never letting go of that, are you?
KAYLEE
Well, you confound me some, is all. I mean,
you like me well enough, and we get along...
and then you go all stiff.
SIMON
(stiffens)
I'm, I'm not, um, I didn't...
KAYLEE
See! You're doing it right now! What's so damn
important about being proper? It don't mean
nothing out here in the black.
SIMON
It means more out here. It's all I have.
I mean... My way of being polite, or however
it's...well, it's the only way I have of showing
you that I like you. I'm showing respect.
KAYLEE
So, when we made love last night...
SIMON
When we WHAT?
KAYLEE
You really are such an easy mark.
INT. SERENITY - CATWALK
Mal joins Jayne on the catwalk, leaning on the railing.
JAYNE
Don't make no sense. What...Why the hell did
that Mudder have to go and do that for, Mal?
Jumping in front of that shotgun blast. Hell,
there weren't a one of them understood what
happened out there. They're probably sticking
that statue right back up.
MAL
Most like.
JAYNE
I don't know why that eats at me so.
MAL
It's my estimation that...every man ever got a
statue made of him, was one kind of sumbitch or
another. Ain't about you, Jayne. About
what they need.
JAYNE
Don't make no sense.
BLACK OUT.
Out of Gas
INT. SERENITY - KITCHEN AREA - CONTINUOUS
JAYNE cleans a gun, INARA sits on a couch next to KAYLEE they are playing a game (Mah Jong?), SIMON dishes much into a bowl for RIVER who stands next to him
RIVER
I don't want any.
SIMON
River, you have to eat. It's good.
It tastes like...
(uses chopsticks to eat some)
... It's good.
JAYNE
Smells like crotch.
KAYLEE
Jayne!
JAYNE
Well, it does.
WASH and ZOE enter through the corridor, conversation in progress
WASH
We don't even have to go someplace fancy.
We can just go to the park or something.
Feed the pigeons.
ZOE
Sure.
(puts arms around WASH)
Feed the pigeons. Probably get the
firing squad for littering.
(walks into room)
WASH
Come on, it's not that bad.
ZOE
It is. It's a Core planet, it's spotless.
It's got sensors, and where there ain't
sensors, there's feds. All Central
planets are the same.
WASH
Could you please tell my wife the
fun she's missing out on?
INARA
(laughs)
Ariel's quite a nice place, actually.
There are some beautiful museums, not
to mention some of the finest restaurants
in the Core.
WASH
But ... not boring, like she made it
sound. There's a .. .. Um, ah, um.
(looks to SIMON for help)
SIMON
There's hiking.
WASH
Yeah!
SIMON
And you can go swimming in a
bioluminescent lake.
WASH nods encouragingly.
ZOE
I don't care if it's got sunsets
twenty-four hours a day. I ain't
setting foot on that planet.
MAL
(walking into room)
No one is setting foot on that fancy
rock. I don't want anyone leaving the
ship. Come to think of it, I don't want
anyone looking out the windows or talking
loud. We're here to drop off Inara,
that's it.
(dishes mush into bowl)
JAYNE
(assembling his gun)
What's the point of coming to the Core
if I can't even step off the boat?
MAL
You could have got off with Shepherd
Book at the Bathgate Abbey. Could
have been meditating on the wonders of
your rock garden by now.
JAYNE
Well it beats just sitting.
WASH
It is just sitting.
We don't see KAYLEE and INARA; RIVER is looking at JAYNE as he licks his knife.
KAYLEE (V.O)
(to INARA)
So, how long you gonna be planetside?
INARA
Shouldn't be more than a day or two.
WASH
Big stop just to renew your license to
companion. Can I use companion as
a verb?
INARA
(laughs, plays game)
It's Guild law. All Companions are
required to undergo a physical
examination once a year.
JAYNE hocks and spits on his gun.
SIMON
(pauses eating in disgust)
Could you not do that while we're... ever?
JAYNE spits on his gun, looking straight at SIMON. SIMON stares at JAYNE, appalled, then looks away and starts to get up from the table.
WASH
(to INARA)
So, two days in a hospital? That's
awful. Don't you just hate doctors?
SIMON
(standing right here)
Hey.
RIVER walks to the cutlery bin.
WASH
I mean, present company excluded.
RIVER takes out a BIG knife, no one notices. SIMON sits.
JAYNE
Let's not be excluding people.
(smirks at SIMON)
That'd be rude.
RIVER walks up to JAYNE, we can see a flash of reflected light on his smiling face just before RIVER slashes him across the arm with the BIG knife.
JAYNE
(in pain)
Sonofa GAH!!
WASH
What the hell?!
KAYLEE and INARA jump up from the game table. JAYNE's face contorts with anger and he backhands RIVER across the face. RIVER falls to the deck, the knife is knocked out of her hand. JAYNE looks down at the bloody gash across his shirt. SIMON runs to RIVER.
SIMON
River! NO!
KAYLEE
Oh my god!
INARA
He's bleeding.
ZOE
That's deep.
KAYLEE
Are you okay?
SIMON helps RIVER sit up, she's bleeding from the mouth. INARA, KAYLEE and MAL crowd around JAYNE who is examining his wound.
SIMON
River?
JAYNE
(in shock and pain)
Oh, uh.
RIVER
He looks better in red.
Everyone stands around in confusion and shock. MAL looks between RIVER, who seems surprised by the fuss, and JAYNE, who is seething with anger.
INT. SERENITY - INFIRMARY - CONTINUOUS
JAYNE reclines on a gurney, bare-chested, while SIMON stitches his wound. MAL stands back.
JAYNE
(gasping in pain)
Gorram freak's completely off her axel.
SIMON
I'm sorry about this. I don't know what--
JAYNE
(to SIMON)
Shut up, I ain't talking to you.
(to MAL)
She's gotta go. Both of them's gotta go.
Ariel's as good a place as any to leave
'em. Might even pick us up a reward
for our trouble.
MAL
No one's getting left.
JAYNE
She belongs in a bughouse. You don't
pitch her off this boat right now, I
swear to you...
MAL
What? What are you swearing, Jayne?
JAYNE
They don't get gone, you better start
locking up your room at night. Next
time little sister gets in a murdering
mood, might be you she comes calling
on. Maybe Kaylee. Or Inara. You
let them stay, we're gonna find out.
MAL
(leans in very close to JAYNE)
Finish your work, doctor.
(SIMON turns away)
This is my boat. They're part of my
crew. No one's letting left. Best
you get used to that.
JAYNE looks at MAL, swallows visibly, looks very unhappy as he gets up from gurney, pushes bloody shirt at SIMON, who clutches it to his chest.
JAYNE
(to Simon)
You owe me a shirt.
(Leaves room)
MAL
(walks over to SIMON)
She's to stay confined to her room,
at all times, no exceptions.
(SIMON nods, unhappily)
Take her to the kitchen, the infirmary,
whatever, you ask me first, understand?
SIMON
I do.
MAL
When I took you and your sister in, the
deal was you keep her in check. You
can't hold up your end, we're going
to have to revisit the deal.
SIMON nods, looks down. MAL looks away.
MAL
She's getting worse, isn't she?
SIMON
Yes.
EXT. ARIEL - DAY
Serenity is landing in a futuristic city, full of gleaming spires and flying cars.
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and INARA walk across a catwalk. JAYNE and MAL are below.
KAYLEE
Just look at the bright side. Maybe
you'll meet a young, handsome doctor
and he'll ask you out and...
(beat)
What's the Companion policy on dating?
INARA
(laughing)
It's ...complicated.
KAYLEE
Mmmm. Well, that figures.
INARA
Stay out of trouble.
INARA and KAYLEE hug and kiss cheeks.
KAYLEE
You, too. Bye.
INARA walks through a corridor. KAYLEE walks down the stairs.
INT. SERENITY - CARGO BAY - LATER
Cargo bay floor. JAYNE and MAL play horseshoes. MAL is playing blue, JAYNE, red.
JAYNE
Ah!
(he's thrown a ringer)
How're we going to find a job if we
don't leave the ship?
MAL
(lines up throw)
It's Alliance territory. Ain't any
jobs worth having.
WASH sits on some barrels, ZOE standing beside him
WASH
Nor the last three places we've been.
JAYNE
(makes a throw, missing)
My pop always said, 'anyone who can't
find work ain't looking hard enough'.
(walks over to gather up horseshoes)
We ain't even looking at all.
KAYLEE walks down to the Cargo bay floor. SIMON enters.
SIMON
You can stop looking. There is a client.
(beat)
Me.
ZOE and WASH, JAYNE and MAL look at him as music twangs.
SIMON
I have a job for you.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off. Crew minus Inara and Book are all staring at Simon.
MAL
You've got a job for us?
SIMON
One that will pay for itself ten
times over.
Everyone circles close to SIMON.
JAYNE
Aw, forget it. We ain't that desperate.
SIMON
(holds out a vial)
You know what this is? It's a common
immune booster called isoprovaline.
Street value for a dosage this size,
fifty platinum.
JAYNE looks intrigued; KAYLEE and MAL exchange looks.
SIMON
Maybe twenty credits.
ZOE takes the first vial; SIMON holds up another vial.
SIMON
Propoxine, maybe eighty.
JAYNE takes the vial; SIMON gives another to WASH.
SIMON
Hydrozepam, two hundred. And all of
these are just from the medkit I had
with me when I came on board. At a
hospital like the one in Ariel City,
they'll have shelves of that stuff.
Whatever the take, it's more than
enough payment for what I have
in mind.
WASH
So, the medvault isn't the job?
SIMON
That's the payment. I tell you how
to get in, get out, and what's worth
taking; if you help me get River into
the hospital's diagnostic ward.
MAL
What's in the diagnostic ward?
SIMON
A 3-D neuroimager. If I can get River
in there, I might be able to figure
out what they did to her at the Academy.
MAL
So we get you and your sister into the
whatchathing and you tell us how to
clean out the hospital.
SIMON
Yes.
KAYLEE
Not to be negative, but, don't the
hospital need that medicine?
ZOE
Government run facility. They'd be
restocked in a matter of hours.
SIMON
She's right. They'll never miss it.
MAL
Plus, folks on the rim sure could use it.
WASH
You know, it's all very sweet; stealing
from the rich, selling to the poor, but
you're talking about breaking into a
highly secure Alliance facility.
How do you on plan getting around
security?
SIMON
It's not easy; but it can be done.
(SIMON reaches over and takes the
vials from the others).
You see, like all Core hospitals,
St. Lucy's has its own dedicated
security force.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The others stand and sit around a table looking at schematics while SIMON walks around.
SIMON
(continuing his speech.)
A small battery of local Alliance
Federals substationed here.
(he points at a computer screen,
the others look)
Now, every floor, every doorway is
equipped with sensors, and at all
points of entry - patient ident scans.
However, once clear of those checkpoints,
movement within the facility itself
should be relatively unhindered.
(Everyone seems rather nonplussed
at SIMON the planner.)
Now, the standard layout should put
the medvault somewhere...
MAL
(interrupting)
Now, let's go back to the ident scans.
You and your sister are tagged fugitives.
How do you figure we're going to get
you in the building?
SIMON
Through the front door.
(MAL scoffs)
Believe me, Captain, getting the two of
us in is going to be easy. The rest of
you, that is going to be the real trick.
We'll need to procure a few items off
ship. I've made a list. Now, given my
status as a fugitive, someone else will
have to --
KAYLEE, JAYNE, and WASH all preemptively raise their hands, grinning. ZOE smiles over at MAL.
SIMON
We have some volunteers. Good. Now,
before we ever make it to the front door
we're going to have to breach the perimeter.
Only official vehicles are allowed in, so,
we'll need one.
MAL lifts an eyebrow.
EXT. ARIEL CITY - JUNKYARD - DAY - CONTINUOUS
A junkyard. KAYLEE is looking at engine parts.
SIMON (V.O.)
(continuing his speech)
Now, obviously we can't steal what we need.
Any illegal activity in the planning stages
could end this thing before it starts. St.
Lucy's Hospital contracts with the local
municipal dumpyard for all its large
disposals.
KAYLEE gathers up spare parts.
KAYLEE
Figures. First time on a Core and what
do I get to do? Look through trash.
(walks over to WASH, who is looking
through trash)
Couldn't he send me shopping at the
Triplex, or Oooh!
(picks up a piece of pipe)
Synchronizers!
SIMON (V.O.)
Big hospitals mean big waste, so we
shouldn't have any trouble finding
what we're looking for.
WASH walks around a corner and throws a piece of junk, hitting a small ship. He gestures to KAYLEE, pleased at his discovery.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON walks around while the others sit at the table.
SIMON
We'll have to look like we belong.
EXT. ARIEL CITY - DAY - CONTINUOUS
JAYNE, off ship, signing off at a Telefonix console. He waits furtively, watching the crowd pass by.
SIMON (V.O.)
All we have to do is slip a couple of
bills into the right hands.
A PARTICULARLY DRESSED MAN in a beret drops two duffel bags near JAYNE. JAYNE stands and picks up the bags as he walks by. Successful trade off.
SIMON (V.O.)
That gets us uniforms, ID badges
and keycards.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
JAYNE dumps contents of duffel bags; uniforms, medical equipment.
SIMON (V.O.)
A little creative forgery and we've
got ourselves a working alias.
JAYNE takes out a knife and starts cutting pictures of the crew.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON is still talking to the group, detailing his plan.
SIMON
Now, all of these items are easy to
obtain. They'll get us up to the
door. Now, in order to get us in...
INT. SERENITY - INFIRMARY - CONTINUOUS
SIMON sits, ZOE, MAL, and JAYNE stand in front of him.
MAL
The patients were cynical and not
responding and we couldn't bring
them back.
SIMON
They were cyanotic.
MAL
They were cyanotic and not responding --
SIMON
(with MAL)
Not responsive.
MAL
Responsive.
SIMON
(coaching)
And we were unable to ...
MAL
(together)
Res.. Res...
ZOE
(together)
Resuscitate them.
ZOE (CONT'D)
Yes!
JAYNE looks confused.
SIMON
Resuscitate them.
MAL & ZOE
(together)
Resuscitate them.
SIMON
Good.
MAL
They were cyanotic.
SIMON
(to ZOE)
What methods did you use?
ZOE
We tried pulmonary stimulators
and-and cardiac... We ...
SIMON
Infusers.
ZOE
Infusers... Infusers. Pulmonary
stimulators and...
All together now, ZOE, MAL, JAYNE, and SIMON,
ALL
...and cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
JAYNE
Oh! Uh, we forgot 'em.
SIMON
Let's try that again.
MAL
Yeah.
INT. SERENITY - CARGO BAY - CONTINUOUS
WASH is working with circuit boards. KAYLEE is welding.
INT. SERENITY - INFIRMARY - CONTINUOUS
Back to the practicing.
MAL
Pupils were fixed and dilapidated --
SIMON
Dilated.
MAL
Dilated! Dilated!
(pounds table, swearing in Chinese)
[Ching-wah tsao duh liou mahng! -
"Frog-riding bastard!"]
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and WASH (in tank top) work on the salvaged ship.
INT. SERENITY - INFIRMARY - CONTINUOUS
Throughout this scene there are several different cuts of the speech, giving the impression that this is being done many, many times. MAL stands, sits, walks around; SIMON looks on, gesticulates, coaches, looks long suffering; ZOE paces, sits; JAYNE watches, sits, stand, writes.
MAL
We got there and the patients were
cyanotic... Not responding.. Non
responsive... And we tried to reviv...
Resuscitate them.. And, despite our
best efforts.. Ah, they kicked...
Despite our best efforts. Ah, they...
SIMON
(to ZOE)
Which methods did you use?
ZOE
We tried pulmonary stimulators and
cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
(sees what JAYNE has been writing)
What is that?
(takes away what is presumably a
crib sheet, balls it up)
JAYNE
(looks up)
We applied, we applied the cortical
electrodes. We used them electromagnetic...
Reacted from... We were unable to a ...
We applied the cortical electrodes but
were unable to get a neural reaction
from either... Unable to get a neural...
(pounds table, swears in Chinese)
MAL
Response.
JAYNE
Response... Hell, I don't know.
If I had wanted schooling, I'da
gone to school. I'll get it.
ZOE stands in a prayerful pose.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON walks into the cargo bay, standing between KAYLEE and WASH.
SIMON
That's amazing! You two did an
incredible job.
All three walk toward a fully restored ambulance ship.
KAYLEE
And now, for the finishing touch.
KAYLEE presses a button, opening the shuttle door. Out steps a uniformed ZOE, MAL, and JAYNE, all looking very medical, indeed.
SIMON
(smiling)
If I didn't know better I'd say you
were ready to save some lives.
MAL
Now all we need is a couple of patients.
SIMON
(losing his smile)
Corpses, actually. For this to work
River and I will have to be dead.
JAYNE
(smiling)
Huh. I'm starting to like this plan.
(chuckles)
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
SIMON and RIVER sit on the bunk.
SIMON
We're going to be asleep. Captain
Reynolds and the others will have
to pretend we're dead to sneak us
into the hospital. But once we're
inside, we'll wake up. Everything
will be fine. You understand?
RIVER
You're going to suspend cerebral,
cardiac, and pulmonary activity
in order to induce a proto-comatose
state.
SIMON
(nodding)
That's right.
RIVER
I don't wanna do it.
SIMON
I know.
RIVER
(getting upset)
I don't wanna go to that place.
I don't want to die.
SIMON
No, now, no one is going to die.
It's okay. The others will take
care of us while we're asleep,
and when we get back --
River begins moaning in fright.
SIMON (CONT'D)
Shh, shh. River, it's okay. It's
okay. This, this could be what
we've been hoping for. When this
is over, I'll be able to help you.
I'll be able to make the nightmares
go away. Okay?
RIVER
(nods, whispers)
Okay.
SIMON
Okay.
(takes a deep breath)
Lie back.
RIVER reclines on the pillows. SIMON fills a syringe and prepares to inject RIVER as she looks on.
SIMON
It's time to go to sleep.
RIVER nods, crying silently.
EXT. ARIEL CITY - NIGHT - CONTINUOUS
Establishing shot.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
The salvaged ambulance ship, the faces of the crew are light by interior panels; JAYNE's lips are moving, there are beeps and rattles and other background noise.
MAL
We speak only when spoken to, we avoid
all unnecessary contact, and we stay
together until we reach the morgue.
Understood?
ZOE
Yes, sir.
JAYNE
(mumbling)
We applied the cortical electrode...
MAL
Jayne?
JAYNE
(mumbling)
...were unable to get a neural response.
(louder)
Yeah, yeah, I got it.
MAL
Are we gonna have a problem?
JAYNE
I know what I gotta do.
MAL
That's not what I'm talking about. A
m I gonna have a problem with you
and Simon?
JAYNE
That's up to him.
MAL
Look, you got a little stabbed the other
day. That's bound to make anyone a mite
ornery, so I figure --
JAYNE
(interrupting)
It's a good plan.
MAL
What?
JAYNE
The doc did good coming up with that
job, don't mean I like him any better.
Nothing buys bygones quicker than cash.
Maybe I'll give him a tattoo while he's out.
MAL
Let him do his thing, and then you
get him out. No messing with him
for laughs.
JAYNE
Don't worry about me, as long as
I get paid I'm happy.
(mumbling)
We applied the cortical electrodes
and were unable to get a neural
response. We applied the cortical
electrodes...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT - CONTINUOUS
The ambulance lands outside the hospital. The door opens. MAL and JAYNE, and ZOE and WASH each load a casket onto a gurney.
WASH
We've only got a few hours left
before the morning shift.
MAL
Won't be an hour.
WASH returns to the ambulance; ZOE, JAYNE, and MAL wheel the gurneys past some guards, into the hospital.
INT. ST. LUCY'S HOSPITAL - EMERGENCY ROOM - NIGHT
Inside the hospital, very sterile and white; people milling about. MAL walks up to a nurses' station, where a Receiving Doctor is standing there in her scrubs.
RECEIVING DOCTOR
What do you got?
MAL
Got a couple of DOAs, by the time
we got there...
RECEIVING DOCTOR
(interrupting, uninterested)
Take them down to the morgue.
MAL looks back at ZOE, ZOE starts to push the gurney forward.
JAYNE
We applied the cortical electrodes
but were unable to get a neural
reaction from either patient.
The RECEIVING DOCTOR looks at JAYNE for a second, then looks down, still uninterested. MAL grimaces at JAYNE. They head toward the morgue.
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT - CONTINUOUS
White, bright, a few bodies on gurneys, draped with blue mesh cloth.
They open the caskets, move RIVER and SIMON to gurneys. MAL injects RIVER in the left arm.
MAL
That should bring them out of it
in a few minutes. Once they're up,
get them to the imaging suite.
(injects SIMON in the right arm)
Let Simon do his thing, and haul
it back to the rendezvous. Fifty
minutes.
MAL and ZOE take the empty caskets out of the room.
JAYNE
Got it. I'll just sit right here.
JAYNE sits back, looking around uneasily. Sighs, stands, and leaves the room. JAYNE goes to a terminal and swipes a card, pressing the screen to reveal the Telefonix logo; he's making a call. A man in an Alliance uniform comes on screen.
AGENT MCGINNIS
(Chinese greeting)
[Ni hao. - "How are you?"]
JAYNE
I'm in.
AGENT MCGINNIS
Do you have the fugitives?
JAYNE
You got my reward?
AGENT MCGINNIS
Yes, just like we talked about.
JAYNE
Then I got your fugitives.
AGENT MCGINNIS
Good. We'll see you shortly.
Congratulations, you're about
to become a very rich man.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT
JAYNE walks into the morgue, looks into an empty holding drawer. Behind him, RIVER sits up.
RIVER
(smiling)
Copper for a kiss.
JAYNE
(spinning, startled)
Jesus! What did you say?
RIVER looks confused. SIMON starts to cough convulsively, thrashing.
JAYNE
(to SIMON)
What the hell's the matter with you?
SIMON
(coughing)
Nothing. Just the after effects of
the drugs. I'll be fine. Just give
me a second.
JAYNE
Well, your sister seems okay.
Over SIMON's coughing we can hear retching and splashing, RIVER is vomiting. Jayne shoves some white clothes at Simon.
JAYNE
You've got to get dressed. We
gotta move.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets off of an elevator, moving down the hall.
MAL
Two lefts, two rights, and we're there.
You see anyone, smile.
ZOE
I don't think anyone smiles in hospitals.
MAL
Of course they do, it's the Core.
Everyone's rich and happy here,
why wouldn't they smile?
POMPOUS DOCTOR
(coming up behind them)
Excuse me.
(they keep walking)
Excuse me.
MAL
(smiling)
Hi.
POMPOUS DOCTOR
Where're you taking those bodies?
MAL
(pointing)
Just downstairs to the morgue.
POMPOUS DOCTOR
(pointing in opposite direction)
Downstairs is that way.
MAL
(looking)
Right. Must've gotten turned around.
DOCTOR
(snorting)
Let me see your badge.
The DOCTOR looks at MAL's badge; looks at ZOE's badge.
INT. ST. LUCY'S HOSPITAL - RECOVERY WARD - CONTINUOUS
JAYNE walks with SIMON, dressed as a doctor or orderly, as SIMON pushes RIVER, who is in a hospital gown in a wheelchair. They are passing through a recovery area, doctors, nurses, patients in beds.
RIVER
They're doing it backwards; walking
up the down slide.
JAYNE
(whispering, to SIMON)
Keep her quiet.
SIMON
(whispering, to RIVER)
This is the recovery ward. This is
where patients come to get better.
RIVER
They're going to die.
SIMON
No one is going to die.
RIVER
(pointing to a bed)
He is.
SIMON
(pushes down RIVER's hand)
No he's not. That man standing next
to him is his doctor. He's going
to help him.
RIVER
He's not going to help him right.
SIMON
River, the doctors here are the
best in the system. This is one
of the top hospitals in the Core,
or anywhere else.
RIVER
Where you should be.
RIVER looks at the patient she indicated as monitors start to beep wildly. She starts to rise from her wheelchair, and SIMON and JAYNE hold her down.
RIVER
You have to help him.
SIMON
River, we don't have time.
RIVER
(fighting JAYNE's grip)
He's killing him!
CRASH TEAM NURSE
(in the b.g.)
Code Blue.
SIMON
Stay here. Don't move.
SIMON runs toward patient in distress; JAYNE looks on angrily. SIMON breaks through the crowd at the bed.
SIMON
What do we have?
(starts examining patient)
YOUNG INTERN
Forty-two year old double-bypass
post-op, prognosis was positive.
CRASH TEAM NURSE
BP's 60/20, pulse is thready.
YOUNG INTERN
Who are you?
CRASH TEAM NURSE
He's crashing.
SIMON
Get the cart.
CRASH TEAM NURSE
We have flatline.
YOUNG INTERN
We've got to crack it.
SIMON
We're not cracking a post-op.
CRASH TEAM NURSE
He's non-responsive, should I c
all the code team?
SIMON
Get the infusers and point-four
of atropine.
(to YOUNG INTERN)
What did you give him?
YOUNG INTERN
Just twenty of alprazoline push.
SIMON sighs disgustedly, holds syringe in his teeth, takes defib paddles.
SIMON
Clear.
(looks at monitor)
Clear.
(monitor shows a heartbeat)
CRASH TEAM NURSE
(in b.g.)
We've got rhythm.
YOUNG INTERN
He's going tachy.
SIMON
Yeah, but his heart's beating.
SIMON injects the atropine, monitors stabilize, NURSE and YOUNG INTERN look on.
YOUNG INTERN
He's okay.
RIVER smiles; JAYNE's expression is difficult to read.
SIMON
(confronts YOUNG INTERN)
Explain to me how you justify
administering a vasoconstrictor
to this patient.
YOUNG INTERN
Alprazoline is a pain killer, not a vaso --
SIMON
(interrupting)
Unless you combine it with dilaftin.
Which any first-year should know is
the standard prep medication your patient
was taking before surgery. Your patient
should be dead.
SIMON walks back to JAYNE and RIVER.
SIMON
Let's go.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
Back to MAL and ZOE and their problem DOCTOR.
POMPOUS DOCTOR
Walk with me a minute.
MAL
Where're we going?
ZOE looks around, starts to walk away.
POMPOUS DOCTOR
You see this badge?
(turns to face MAL, points to his badge)
It says 'doctor'. I say walk, you walk.
MAL
Yeah, but, where're we going?
POMPOUS DOCTOR
You must be new.
(ZOE walks up behind him)
Don't get comfortable, your type never
lasts long around here. When your
supervisor hears about the rude and
disrespect--ARGH!!!
The DOCTOR falls to the ground, revealing the defib paddles that ZOE is holding. MAL looks from the fallen DOCTOR to ZOE.
ZOE
(shrugging)
Clear.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
A large, empty room with a machine in the centre of the room, the function of which is not apparent, yet remains vaguely threatening. JAYNE, SIMON, and ZOE enter. JAYNE shuts the doors behind them.
SIMON
(to RIVER)
Ready?
RIVER looks apprehensive, but nods.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets down the hall and stop in front of the door to the medvault.
MAL
Twelve-oh-five. Here it is.
(swipes his keycard, no go)
Zoe.
ZOE takes MAL's place. She swipes her keycard, nothing happens.
ZOE
Must've been demagged.
MAL opens a casket, revealing the unconscious POMPOUS DOCTOR. MAL grabs his keycard and swipes it. The door opens, MAL and ZOE stand in the opening.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON is gently lowering RIVER into the machine. SIMON goes to the controls, pressing some buttons. A humming fills the room, JAYNE backs away from the machine. RIVER closes her eyes stoically.
INT. ST. LUCY'S HOSPITAL - MEDVAULT - CONTINUOUS
ZOE and MAL enter the medvault, pushing the gurneys before them. They open the caskets, MAL deposits the unconscious DOCTOR on the floor. ZOE starts scanning bottles, picking up the ones she wants and putting them in her casket. MAL pushes back his uniform sleeve, revealing a list of names written on his wrist. ZOE and MAL work quickly and silently until their caskets are full. They close the caskets and start to move out.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON types instructions into the computer. A series of holographic images appear over RIVER - her skeletal system, her circulatory system, paring down until only her brain remains, hovering over her head.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the full caskets into the hallway.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
The computer screen informs us that it is downloading data. SIMON stands by RIVER's head, taking the holographic image between his fingers as if it were a picture and studying the changing angles.
SIMON
They opened up her skull.
(JAYNE walks over to look)
That's a scalpel scar. They... they
opened up her skull and they cut
into her brain.
JAYNE
(looks troubled)
Why?
SIMON
The only reason to make an incision in
someone's brain is to... lobotomize
them. To go in and remove damaged tissue.
Why...
(deep breath)
...anyone would cut into a healthy
brain is... They did it over and over...
(studies the scan)
They stripped her amygdala.
JAYNE
Her what?
SIMON
You know, ah, you know how you get
scared or worried or nervous, but
you don't want to be scared or
worried or nervous, so you push it
to the back of your mind? You
try not to think about it.
(cut to JAYNE's unreadable face)
Your amygdala is what lets you do that.
It's like a filter in your brain that
keeps your feelings in check.
JAYNE reaches toward the image of RIVER's brain. SIMON stays his hand. JAYNE angrily jerks out of SIMON's grip.
SIMON
She feels everything; she can't not.
JAYNE
(looking around)
Well, that's fascinating; let's get moving.
SIMON
We still have twenty minutes.
JAYNE
Oh, plan changed while you were out.
We're meeting out the back way in five.
RIVER's brain hovers eerily above her head, phantom words scroll out beside the image.
SIMON
Well, I, I could use another couple
minutes. I-I'm sure if we get in
touch with Captain Reynolds--
RIVER opens her eyes; SIMON walks toward the computer.
JAYNE
Captain gave his orders, we play it
by the book.
River SCREAMS.
JAYNE covers RIVER's mouth; SIMON shuts down the machine, grabs the information and comes over to RIVER. SIMON pushes JAYNE's hand away and gently cradles RIVER's face.
SIMON
River, River, shh, shh, it's okay.
It's okay
JAYNE
Get her in the chair, let's go.
SIMON
Shh, shh, shh.
RIVER
No, no, no, they come out of the black.
They come when you call.
JAYNE watches SIMON try to comfort RIVER.
SIMON
River, it's okay. It's over. We're leaving.
RIVER
Your toes are in the sand.
JAYNE
And you head's up your--
SIMON
(interrupting)
Hey! Back off.
JAYNE
You just make sure she keeps her mouth
shut. Don't need her screeching while
we're trying to make a quiet getaway.
JAYNE opens the door while SIMON tries to calm RIVER while getting her up.
INT. ST. LUCY'S HOSPITAL - CORRIDOR
A crowded hallway. A subdued RIVER is being pushed by SIMON while JAYNE hurries them along.
SIMON
You should have let me know when
the plan changed.
JAYNE
I told you when you needed to know.
What are you griping about? You
got what you came for.
INT. ARIEL CITY HOSPTIAL - CORRIDOR - MOMENTS LATER
A deserted hallway. JAYNE walks ahead of SIMON and RIVER.
RIVER
(distressed)
No, no, I can't go back. I don't
wanna go back.
JAYNE opens a door at the end of the hall.
SIMON
Shh, shh. It's okay. We're just
going back to the ship. We're
almost home.
RIVER and SIMON go through the door JAYNE is holding to,
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
AGENT MCGINNIS
Federal Marshals! Don't move!
(a shotgun action is heard)
River and Simon Tam, by the authority
of the Union of Allied Planets, you
are hereby bound by law.
The feds close in on RIVER and SIMON.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
Right back where we left off.
AGENT MCGINNIS
(to minions)
Take them to Processing.
Minions grab SIMON and RIVER, cuffing their hands behind their backs. A minion grabs and cuffs JAYNE, who looks shocked. RIVER and SIMON are led away.
JAYNE
(whispering, to AGENT MCGINNIS)
So, you gonna take me away for
questioning now? How you wanna
play it?
AGENT MCGINNIS
You're under arrest for aiding
and abetting Federal fugitives.
Better get a lawyer.
JAYNE
You're kidding, right? What
about my rutting money?
AGENT MCGINNIS
You mean my money? For apprehending
the three fugitives? I expect I'll
be getting it soon.
JAYNE lunges for AGENT MCGINNIS, and is shot in the chest by a minion and falls to the ground, groaning.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
WASH is cooling his heels, sitting by the ambulance. ZOE and MAL come out of the hospital, pushing the loaded caskets.
WASH
(helping ZOE pick up a casket)
How much did we get?
MAL
Enough to keep us flying.
ZOE
Can we fly somewhere with a beach?
WASH
Maybe a naked beach?
ZOE
Ooh.
WASH
Ahh.
ZOE and WASH have themselves some smoochies.
MAL
Cut it out. Job's not done until
we're back on Serenity.
ZOE
Sorry, sir. Didn't mean to enjoy
the moment.
MAL
(looking worried)
Where are the others?
Now ZOE looks worried; WASH is still smiling.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Federal Processing room. Minions push SIMON and JAYNE onto a bench; RIVER sits quietly beside them without being forced.
SIMON
(whispering, to JAYNE)
If those officers hadn't been armed,
I think you'd have had a chance.
JAYNE
A guy shoves me, I shove him. Not like
I was trying to mount a rescue.
SIMON
Still. I appreciate you trying.
JAYNE
You know what I'd appreciate? You stop
flapping that pretty mouth at me. I'm
trying to figure a way out of here; can't
do it with you yammering.
RIVER
They took Christmas away.
JAYNE and SIMON look over at her.
JAYNE
What the hell now?
RIVER
Came downstairs for the shiny presents.
They took the tree and the stockings.
Nothing left but coal.
JAYNE
(to SIMON)
Will you shut her up!
RIVER
(smiling)
Don't look in the closet, either.
It's greedy. It's not in the
spirit of the holiday.
JAYNE
(rolls his eyes)
You shut the hell up, right now, or
so help me, I will shut you up.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
MAL
Time?
ZOE
Ten minutes past rendezvous.
MAL
Something's happened.
WASH
(entering the ship)
Kaylee, are you linked?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE is on the radio.
KAYLEE
Uh...
(punches some keys)
I am now. What do you need?
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH
Find out if there's any kind of
security alert in the hospital.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Hang on.
(punches more keys)
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
ZOE
Could be they're just late.
MAL
Not this late. Jayne would have
sent up a flag.
KAYLEE (V.O.)
Nothing from hospital security,
nothing on the local pipeline,
either.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Although I am getting some weird
chatter from the official two-six-two. Sounds like...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
KAYLEE (V.O.)
... They're talking about ducks.
ZOE
Code.
MAL
Feds got 'em.
(to WASH)
Have her bring up a hospital schematic
on the Cortex. Find me a way into that
security substation.
ZOE hands MAL a communicator and they put on the earpieces.
WASH
Wait a minute, you don't even know
for sure if they're in there.
MAL
Gonna find out.
(testing his com)
Check.
ZOE
Coming in clear.
ZOE hands MAL a gun. Straps another gun to her ankle.
WASH
So, you're just going to walk in
through the front door?
MAL
No.
(chuckles)
You're gonna find me a way around back.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
AGENT MCGINNIS
Get up.
RIVER and JAYNE stand up, SIMON remains seated. AGENT MCGINNIS pushes JAYNE back down. JAYNE is not happy.
SIMON
What's going to happen to us?
AGENT MCGINIS
I said, get up.
AGENT MCGINNIS pulls at SIMON's jacket, SIMON shrugs him off and stands up on his own. SIMON and FED are standing face to face.
SIMON
Agent McGinnis, I'm certain you're
working under a superior who is
keeping close tabs on this case.
I'm certain of that because important
people don't do field work. I'm
also quite certain your superior
wants me and my sister alive. Now,
I'm not going to move from this spot
until one of two things happens.
You answer my very simple question;
or you shoot me.
AGENT MCGINNIS
(very precisely)
We are transferring you into a
holding area, until you can be
retrieved.
SIMON
Retrieved? By whom?
RIVER looks distressed; JAYNE looks angry.
AGENT MCGINNIS
People who want you alive. People not me.
(to minions)
Take them.
Two minions come and take RIVER, SIMON, and JAYNE into,
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE is led in first. He strikes out with his elbow, hitting the guard in the face; the second guard gets kicked in the stomach. JAYNE pins the first guard to the wall with his shoulder while SIMON does the same to the second guard. Both SIMON and the second guard fall to the ground, dazed. JAYNE knocks the first guard to the ground and cracks skull. JAYNE rolls away and brings his bound hands under his legs, his hands are still bound, but are now in front. RIVER looks on. JAYNE climbs on top of the first guard and starts throttling him. RIVER looks away, crying. The first guard manages to roll over until he is on top of JAYNE. The second guard starts to rouse, and SIMON presses a knee into his chest, holding him down. The first guard punches JAYNE a few times; then JAYNE regains top position, hauling the first guard to his feet. SIMON still holds the second guard immobile.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
A smiling MAL and ZOE walk through a crowded hall.
MAL
(into his radio)
Uh, Wash, we need a little direction here.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH is on the radio.
WASH
(to MAL)
Working on it.
(to KAYLEE)
Kaylee, what do you got?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Tell them to hand a left when they
reach cryo. They'll see a door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
MAL and ZOE rush toward a door.
WASH (V.O.)
Okay, go through that door, and down
to green level.
ZOE and MAL hurry down a stairwell.
MAL
This is exactly what I didn't want.
I wanted simple. I wanted in-and-out.
I wanted easy money.
ZOE
Things always get a little more
complicated, don't they, sir?
MAL
Just once I'd like things to go
according to the gorram plan.
WASH (V.O.)
Uh, guys, you might wanna hurry.
MAL
(into radio)
Oh, is there a problem?
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
An Alliance ship touches down near the ambulance. WASH is looking at it through the window.
WASH
I think that reinforcements just arrived.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE and the first guard are still grappling, but JAYNE manages to snap the guard's neck. SIMON and RIVER look on, appalled. JAYNE staggers to the dead guard and takes the handcuff keys; unlocking himself, then SIMON, then RIVER. SIMON picks up the second guard's gun and hands it to JAYNE. SIMON grabs RIVER and they leave the cell, heading to the left. JAYNE heads to the right.
SIMON
What are you doing?
JAYNE
Going out the way we came in.
SIMON
There are at least four armed
feds out there.
JAYNE
Six. I know.
SIMON
(pointing to the left)
We run.
RIVER is watching the back and forth.
JAYNE
You got no idea where that goes.
SIMON
We'll find our way.
JAYNE
I ain't chancing that. I can
handle the feds.
RIVER
(shaking her head)
Doesn't matter.
(JAYNE and SIMON look at RIVER)
They're here.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
The Processing room. A minion motions to FED who looks over.
AGENT MCGINNIS
Gentlemen, that was prompt. We're
almost finished here. The prisoners
will be out in a minute. Let me get the
paperwork together for you.
(to minion)
Bobby, bring that here.
REVERSE camera to REVEAL that AGENT MCGINNIS is talking to two men in dark suits. We can see that one of them is wearing blue gloves, BLUE GLOVE #1. BLUE GLOVE #2 hangs back.
AGENT MCGINNIS
Not that it will mean much.
(sits)
The men were tight lipped, the girl
was just spewing gibberish. We got
it all down.
BLUE GLOVE #1
(looks concerned)
You spoke to the prisoners?
AGENT MCGINNIS
Well, yeah. Had to process 'em.
There was no interrogation, if
that's what you mean.
(BLUE GLOVE #2 comes forward)
Didn't do your job for you.
BLUE GLOVE #2
Did your men also speak with them?
He is holding something that looks like a pen, but elongates with a snap to reveal an ominous glowing blue cylinder that extends from either side of his fist. A high-pitched hum emanates from it.
AGENT MCGINNIS
As much as they had to.
AGENT MCGINNIS looks uncomfortable. He brings a hand to his nose, which is dripping a small amount of blood. The BLUE GLOVES are smiling genially. AGENT MCGINNIS starts choking and gagging. The cuticles on his fingernails are leaking blood. Blood pours from his, nose, eyes, mouth - he is in acute distress.
Is he gonna survive the supersonic boomstick? Not so much, we're thinking.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. ST. LUCY'S HOSPITAL - CORRIDOR
Hallway outside of holding cell. Distant screams can be heard. SIMON, RIVER and JAYNE look around uneasily.
JAYNE
What the hell is that?
RIVER whimpers.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Processing room, now something of an abattoir. All the minions lie dead, covered with blood. The BLUE GLOVES walk calmly to the door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
RIVER
(terrified)
Two by two. Gloves of blue. Two by two.
(JAYNE and SIMON look at her)
Gloves... blue... two.
RIVER turns and runs crying down the hallway, SIMON runs after her. JAYNE looks up the stairwell for a moment, then follows.
The BLUE GLOVES walk through a door into the hallway our three heroes have just deserted.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
RIVER pushes open a heavy metal door, she runs across an empty room. SIMON and JAYNE are behind her.
JAYNE
(to SIMON)
Where the hell's she going?
SIMON
There must be some sort of exit this way.
JAYNE
I don't see no exit.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
BLUE GLOVE #1
(checking the first guard)
Dead.
BLUE GLOVE #2
(checking the second guard)
This one's alive.
He reaches into his pocket to remove the supersonic boomstick.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
Back to the empty room with RIVER, SIMON, and JAYNE
JAYNE
I got no intention to run around like
a rat in a maze 'til we're dead.
Now, we're going back.
Someone screams in the distance. JAYNE looks back, gasps, and follows RIVER and SIMON.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
The BLUE GLOVES step over the second guard, who is now very much not alive. They head down the hallway after the fugitives.
INT. ST. LUCY'S HOSPITAL - STAIRCASE - CONTINUOUS
RIVER runs down it.
RIVER
Almost there.
(another flight, we can see SIMON
and JAYNE behind her)
Almost there.
(reaches the bottom)
Almost there.
(stops in front of a blue door)
There.
JAYNE
(tries the door, locked)
Stand back.
SIMON
(moves RIVER back)
C'mere.
JAYNE
(shoots at door, rather
unsatisfyingly)
[Shee-niou - "shit urine"],
high-tech Alliance crap.
JAYNE uses the gun butt to beat at the lock.
INTERCUT WITH:
There are a series of cuts between the blue door and the BLUE GLOVES. The BLUE GLOVES open the heavy door. SIMON and RIVER watch JAYNE beat at the blue door. The BLUE GLOVES walk across the empty room. JAYNE throws himself at the blue door. The BLUE GLOVES are getting closer. JAYNE keeps beating at the blue door, and a sudden blast blows through the lock. SIMON shields RIVER, JAYNE moves back, training his gun on the door. The door is kicked open, and there stands MAL and ZOE. JAYNE gasps; MAL beckons with a tilt of his head. The BLUE GLOVES reach the top of the stairs and look down to see an empty room and an open blue door.
INT. SERENITY - CARGO BAY - CONTINUOUS
The cargo bay doors open, daylight hits INARA as she steps off her shuttle, and KAYLEE as she walks down the stairs.
KAYLEE
Oh, hey, there, Inara. How was
your check-up?
INARA
Same as last year... What's going
on here?
KAYLEE
(breezy) Oh, let's see..
(counting on her fingers)
We killed Simon and River...
(INARA looks aghast)
...Stole a bunch of medicine, and
now Zoe and the Captain are off
springing the others that got
snatched by the feds.
(a vehicle approaches)
Oh, here they are now.
The ambulance pulls into the bay. KAYLEE walks down the next set of stairs to push the button that closes the cargo bay door. MAL climbs out of the ambulance, goes to the cockpit window.
MAL
(to WASH)
Tell me we weren't followed.
WASH
Nothing in our rearview the whole
way back.
MAL
All right. Take us out of the world,
as quick as you can.
WASH
(climbing out of the ambulance)
We'll be out of atmo in five minutes.
MAL
(to INARA)
Hey. How was your thing?
INARA
As advertised: lots of needles and
cold exam tables.
(beat)
I heard you had some excitement.
MAL
Oh, nothing much. Lots of running
around. A little gunplay.
(walks toward JAYNE and KAYLEE)
A couple of needles.
JAYNE
Next time we come to the Core, I'm
staying with the Preacher.
MAL
(slaps JAYNE on the shoulder)
Oh, you hadn't come you wouldn't be
getting your big payday.
JAYNE looks a little confused. SIMON and RIVER walk up.
MAL
(to SIMON)
So...
(pulls KAYLEE into a back-to-front hug)
Did you get what you needed?
SIMON
I think I did. I have the information
I downloaded off the imager, I just
have to go over it and then... Ah,
I'm hopeful.
(looks at RIVER, who smiles)
KAYLEE
(to JAYNE)
What happened to your face?
JAYNE - Huh?
KAYLEE motions to her eyebrow 'ow'. JAYNE reaches a hand halfway to the cut on his face before shrugging.
JAYNE
Oh, uh, nothing.
SIMON
He was amazing. I can't even begin
to tell you.
SIMON slaps JAYNE's shoulder, JAYNE looks a little sick.
SIMON
We wouldn't be standing here if
it weren't for him.
(sincerely)
Thank you.
JAYNE
Well, hey, you're part of my crew.
SIMON pats JAYNE's shoulder before letting go.
MAL
I think I might cry.
(SIMON and KAYLEE laugh)
All right, Jayne, help me with the cargo.
Everyone, make yourself useful, you've got
jobs to do, go do 'em.
Everyone walks away, leaving JAYNE and MAL alone by the ambulance.
JAYNE
(opening a casket)
This's gotta be our best take ever.
MAL
Well, Doc had a good notion. The
boy's got a decent criminal mind.
JAYNE grunts as he moves some cargo out of the way and then walks toward MAL.
JAYNE
So, what're you buying with your cut?
MAL swings and hit JAYNE in the face. JAYNE falls to the floor. MAL looks down at JAYNE and the wrench he was holding drops to the deck. He looks quietly pissed as all hell.
EXT. ARIEL CITY - DAY
Serenity lifts off from Ariel City.
INTERCUT WITH:
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE wakes on the floor of the cargo bay. There is a radio on the floor beside him. A door with a small diamond-shaped window is closing him in.
JAYNE
Hey! What the hell are you doing?
A finger taps on the window, then points down to the radio. JAYNE picks the radio up.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL is pacing outside the door, talking into his own radio.
MAL
The job's done. Figured it was
time for a little chat.
JAYNE pounds on the door controls to no avail. MAL hits the button that opens the exterior bay door.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE looks behind him as the noise of the engine, the sunshine, and the wind, flood the room.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Seems to me we had a solid plan.
Smooth, you might say. But what
I can't figure out, is what you
were doing 'round the back exit.
MAL leans against the door, we can see JAYNE's face through the window.
JAYNE (V.O.)
(on radio)
What? I couldn't go out the front,
I had to improvise. Open the
damn door.
MAL
You called the feds.
JAYNE (V.O.)
(on radio)
What? I got pinched!
MAL
Which is what happens when you
call the feds.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE
(clinging to the door)
No. I would never do that, my hand
to god, may he strike me down as
I'm standing here.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Well, you won't be standing there long.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
MAL (V.O.)
(over the radio)
The minute we break atmo,
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
You'll be a lot thinner once you
get sucked out that hole.
(gestures to opening bay door)
JAYNE
(door alarm goes off)
Oh, come on, Mal.
SERENITY
(faintly heard over the wind)
Leaving atmo in two minutes.
JAYNE
That ain't no way for a man to die.
SERENITY
(louder inside the ship)
Secure cargo bay door at once.
JAYNE (V.O.)
You wanna kill me, shoot me. Just
let me in.
MAL
You know, I hear tell they used to
keelhaul traitors back in the day.
I don't have a keel to haul you on, so...
JAYNE (V.O.)
Oh. Okay. I'm sorry, all right?
MAL
Sorry for what, Jayne?
MAL looks JAYNE in the face, through the window.
MAL
I thought you'd never do such a thing?
JAYNE (V.O.)
The money was too good.
(MAL looks in at JAYNE.)
I got stupid.
(through the radio) I'm sorry, okay?
Be reasonable. What're you taking
this so personal for? It ain't like I
ratted you out to the feds.
MAL
(angry)
Oh, but you did. You turn on any
of my crew, you turn on me. But
since that's a concept you can't
seem to wrap your head around, then
you got no place here.
(through the radio)
You did it to me, Jayne. And
that's a fact.
MAL walks away while JAYNE watches him through the window.
JAYNE (V.O.)
What're you gonna tell the others?
MAL
About what?
JAYNE (V.O.)
About why I'm dead.
MAL
(through the radio)
I hadn't thought about it.
JAYNE
(V.O.)
Make something up. Don't tell 'em
what I did.
MAL stands still for a moment, looking at JAYNE. Then he presses the button that closes the outer bay door. The door closes.
MAL
(looking through the window)
The next time you decide to stab me
in the back...
(through the radio)
...Have the guts to do it to my face.
MAL leaves the radio on the window, and walks up the stairs. JAYNE looks after him, shaken.
JAYNE
(through the radio)
Can I come in?
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
RIVER is drawing Russian nesting dolls. SIMON walks in, holding a syringe.
SIMON
Hi.
(RIVER looks up)
What are you doing?
RIVER
Drawing.
SIMON sits beside her, watching her draw.
SIMON
That's really good.
RIVER
(looking at the syringe)
What are you doing?
SIMON
Oh, I, ah, brought some medicine. Do
you remember why we went to the hospital?
RIVER
(sitting up)
Time to go to sleep again.
SIMON
(softly)
No, [mei mei - "little sister"].
(SIMON reaches down and takes
RIVER's hand)
It's time to wake up.
SIMON uncaps the syringe and looks down. RIVER watches him.
BLACK OUT.
JAYNE cleans a gun, INARA sits on a couch next to KAYLEE they are playing a game (Mah Jong?), SIMON dishes much into a bowl for RIVER who stands next to him
RIVER
I don't want any.
SIMON
River, you have to eat. It's good.
It tastes like...
(uses chopsticks to eat some)
... It's good.
JAYNE
Smells like crotch.
KAYLEE
Jayne!
JAYNE
Well, it does.
WASH and ZOE enter through the corridor, conversation in progress
WASH
We don't even have to go someplace fancy.
We can just go to the park or something.
Feed the pigeons.
ZOE
Sure.
(puts arms around WASH)
Feed the pigeons. Probably get the
firing squad for littering.
(walks into room)
WASH
Come on, it's not that bad.
ZOE
It is. It's a Core planet, it's spotless.
It's got sensors, and where there ain't
sensors, there's feds. All Central
planets are the same.
WASH
Could you please tell my wife the
fun she's missing out on?
INARA
(laughs)
Ariel's quite a nice place, actually.
There are some beautiful museums, not
to mention some of the finest restaurants
in the Core.
WASH
But ... not boring, like she made it
sound. There's a .. .. Um, ah, um.
(looks to SIMON for help)
SIMON
There's hiking.
WASH
Yeah!
SIMON
And you can go swimming in a
bioluminescent lake.
WASH nods encouragingly.
ZOE
I don't care if it's got sunsets
twenty-four hours a day. I ain't
setting foot on that planet.
MAL
(walking into room)
No one is setting foot on that fancy
rock. I don't want anyone leaving the
ship. Come to think of it, I don't want
anyone looking out the windows or talking
loud. We're here to drop off Inara,
that's it.
(dishes mush into bowl)
JAYNE
(assembling his gun)
What's the point of coming to the Core
if I can't even step off the boat?
MAL
You could have got off with Shepherd
Book at the Bathgate Abbey. Could
have been meditating on the wonders of
your rock garden by now.
JAYNE
Well it beats just sitting.
WASH
It is just sitting.
We don't see KAYLEE and INARA; RIVER is looking at JAYNE as he licks his knife.
KAYLEE (V.O)
(to INARA)
So, how long you gonna be planetside?
INARA
Shouldn't be more than a day or two.
WASH
Big stop just to renew your license to
companion. Can I use companion as
a verb?
INARA
(laughs, plays game)
It's Guild law. All Companions are
required to undergo a physical
examination once a year.
JAYNE hocks and spits on his gun.
SIMON
(pauses eating in disgust)
Could you not do that while we're... ever?
JAYNE spits on his gun, looking straight at SIMON. SIMON stares at JAYNE, appalled, then looks away and starts to get up from the table.
WASH
(to INARA)
So, two days in a hospital? That's
awful. Don't you just hate doctors?
SIMON
(standing right here)
Hey.
RIVER walks to the cutlery bin.
WASH
I mean, present company excluded.
RIVER takes out a BIG knife, no one notices. SIMON sits.
JAYNE
Let's not be excluding people.
(smirks at SIMON)
That'd be rude.
RIVER walks up to JAYNE, we can see a flash of reflected light on his smiling face just before RIVER slashes him across the arm with the BIG knife.
JAYNE
(in pain)
Sonofa GAH!!
WASH
What the hell?!
KAYLEE and INARA jump up from the game table. JAYNE's face contorts with anger and he backhands RIVER across the face. RIVER falls to the deck, the knife is knocked out of her hand. JAYNE looks down at the bloody gash across his shirt. SIMON runs to RIVER.
SIMON
River! NO!
KAYLEE
Oh my god!
INARA
He's bleeding.
ZOE
That's deep.
KAYLEE
Are you okay?
SIMON helps RIVER sit up, she's bleeding from the mouth. INARA, KAYLEE and MAL crowd around JAYNE who is examining his wound.
SIMON
River?
JAYNE
(in shock and pain)
Oh, uh.
RIVER
He looks better in red.
Everyone stands around in confusion and shock. MAL looks between RIVER, who seems surprised by the fuss, and JAYNE, who is seething with anger.
INT. SERENITY - INFIRMARY - CONTINUOUS
JAYNE reclines on a gurney, bare-chested, while SIMON stitches his wound. MAL stands back.
JAYNE
(gasping in pain)
Gorram freak's completely off her axel.
SIMON
I'm sorry about this. I don't know what--
JAYNE
(to SIMON)
Shut up, I ain't talking to you.
(to MAL)
She's gotta go. Both of them's gotta go.
Ariel's as good a place as any to leave
'em. Might even pick us up a reward
for our trouble.
MAL
No one's getting left.
JAYNE
She belongs in a bughouse. You don't
pitch her off this boat right now, I
swear to you...
MAL
What? What are you swearing, Jayne?
JAYNE
They don't get gone, you better start
locking up your room at night. Next
time little sister gets in a murdering
mood, might be you she comes calling
on. Maybe Kaylee. Or Inara. You
let them stay, we're gonna find out.
MAL
(leans in very close to JAYNE)
Finish your work, doctor.
(SIMON turns away)
This is my boat. They're part of my
crew. No one's letting left. Best
you get used to that.
JAYNE looks at MAL, swallows visibly, looks very unhappy as he gets up from gurney, pushes bloody shirt at SIMON, who clutches it to his chest.
JAYNE
(to Simon)
You owe me a shirt.
(Leaves room)
MAL
(walks over to SIMON)
She's to stay confined to her room,
at all times, no exceptions.
(SIMON nods, unhappily)
Take her to the kitchen, the infirmary,
whatever, you ask me first, understand?
SIMON
I do.
MAL
When I took you and your sister in, the
deal was you keep her in check. You
can't hold up your end, we're going
to have to revisit the deal.
SIMON nods, looks down. MAL looks away.
MAL
She's getting worse, isn't she?
SIMON
Yes.
EXT. ARIEL - DAY
Serenity is landing in a futuristic city, full of gleaming spires and flying cars.
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and INARA walk across a catwalk. JAYNE and MAL are below.
KAYLEE
Just look at the bright side. Maybe
you'll meet a young, handsome doctor
and he'll ask you out and...
(beat)
What's the Companion policy on dating?
INARA
(laughing)
It's ...complicated.
KAYLEE
Mmmm. Well, that figures.
INARA
Stay out of trouble.
INARA and KAYLEE hug and kiss cheeks.
KAYLEE
You, too. Bye.
INARA walks through a corridor. KAYLEE walks down the stairs.
INT. SERENITY - CARGO BAY - LATER
Cargo bay floor. JAYNE and MAL play horseshoes. MAL is playing blue, JAYNE, red.
JAYNE
Ah!
(he's thrown a ringer)
How're we going to find a job if we
don't leave the ship?
MAL
(lines up throw)
It's Alliance territory. Ain't any
jobs worth having.
WASH sits on some barrels, ZOE standing beside him
WASH
Nor the last three places we've been.
JAYNE
(makes a throw, missing)
My pop always said, 'anyone who can't
find work ain't looking hard enough'.
(walks over to gather up horseshoes)
We ain't even looking at all.
KAYLEE walks down to the Cargo bay floor. SIMON enters.
SIMON
You can stop looking. There is a client.
(beat)
Me.
ZOE and WASH, JAYNE and MAL look at him as music twangs.
SIMON
I have a job for you.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off. Crew minus Inara and Book are all staring at Simon.
MAL
You've got a job for us?
SIMON
One that will pay for itself ten
times over.
Everyone circles close to SIMON.
JAYNE
Aw, forget it. We ain't that desperate.
SIMON
(holds out a vial)
You know what this is? It's a common
immune booster called isoprovaline.
Street value for a dosage this size,
fifty platinum.
JAYNE looks intrigued; KAYLEE and MAL exchange looks.
SIMON
Maybe twenty credits.
ZOE takes the first vial; SIMON holds up another vial.
SIMON
Propoxine, maybe eighty.
JAYNE takes the vial; SIMON gives another to WASH.
SIMON
Hydrozepam, two hundred. And all of
these are just from the medkit I had
with me when I came on board. At a
hospital like the one in Ariel City,
they'll have shelves of that stuff.
Whatever the take, it's more than
enough payment for what I have
in mind.
WASH
So, the medvault isn't the job?
SIMON
That's the payment. I tell you how
to get in, get out, and what's worth
taking; if you help me get River into
the hospital's diagnostic ward.
MAL
What's in the diagnostic ward?
SIMON
A 3-D neuroimager. If I can get River
in there, I might be able to figure
out what they did to her at the Academy.
MAL
So we get you and your sister into the
whatchathing and you tell us how to
clean out the hospital.
SIMON
Yes.
KAYLEE
Not to be negative, but, don't the
hospital need that medicine?
ZOE
Government run facility. They'd be
restocked in a matter of hours.
SIMON
She's right. They'll never miss it.
MAL
Plus, folks on the rim sure could use it.
WASH
You know, it's all very sweet; stealing
from the rich, selling to the poor, but
you're talking about breaking into a
highly secure Alliance facility.
How do you on plan getting around
security?
SIMON
It's not easy; but it can be done.
(SIMON reaches over and takes the
vials from the others).
You see, like all Core hospitals,
St. Lucy's has its own dedicated
security force.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The others stand and sit around a table looking at schematics while SIMON walks around.
SIMON
(continuing his speech.)
A small battery of local Alliance
Federals substationed here.
(he points at a computer screen,
the others look)
Now, every floor, every doorway is
equipped with sensors, and at all
points of entry - patient ident scans.
However, once clear of those checkpoints,
movement within the facility itself
should be relatively unhindered.
(Everyone seems rather nonplussed
at SIMON the planner.)
Now, the standard layout should put
the medvault somewhere...
MAL
(interrupting)
Now, let's go back to the ident scans.
You and your sister are tagged fugitives.
How do you figure we're going to get
you in the building?
SIMON
Through the front door.
(MAL scoffs)
Believe me, Captain, getting the two of
us in is going to be easy. The rest of
you, that is going to be the real trick.
We'll need to procure a few items off
ship. I've made a list. Now, given my
status as a fugitive, someone else will
have to --
KAYLEE, JAYNE, and WASH all preemptively raise their hands, grinning. ZOE smiles over at MAL.
SIMON
We have some volunteers. Good. Now,
before we ever make it to the front door
we're going to have to breach the perimeter.
Only official vehicles are allowed in, so,
we'll need one.
MAL lifts an eyebrow.
EXT. ARIEL CITY - JUNKYARD - DAY - CONTINUOUS
A junkyard. KAYLEE is looking at engine parts.
SIMON (V.O.)
(continuing his speech)
Now, obviously we can't steal what we need.
Any illegal activity in the planning stages
could end this thing before it starts. St.
Lucy's Hospital contracts with the local
municipal dumpyard for all its large
disposals.
KAYLEE gathers up spare parts.
KAYLEE
Figures. First time on a Core and what
do I get to do? Look through trash.
(walks over to WASH, who is looking
through trash)
Couldn't he send me shopping at the
Triplex, or Oooh!
(picks up a piece of pipe)
Synchronizers!
SIMON (V.O.)
Big hospitals mean big waste, so we
shouldn't have any trouble finding
what we're looking for.
WASH walks around a corner and throws a piece of junk, hitting a small ship. He gestures to KAYLEE, pleased at his discovery.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON walks around while the others sit at the table.
SIMON
We'll have to look like we belong.
EXT. ARIEL CITY - DAY - CONTINUOUS
JAYNE, off ship, signing off at a Telefonix console. He waits furtively, watching the crowd pass by.
SIMON (V.O.)
All we have to do is slip a couple of
bills into the right hands.
A PARTICULARLY DRESSED MAN in a beret drops two duffel bags near JAYNE. JAYNE stands and picks up the bags as he walks by. Successful trade off.
SIMON (V.O.)
That gets us uniforms, ID badges
and keycards.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
JAYNE dumps contents of duffel bags; uniforms, medical equipment.
SIMON (V.O.)
A little creative forgery and we've
got ourselves a working alias.
JAYNE takes out a knife and starts cutting pictures of the crew.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON is still talking to the group, detailing his plan.
SIMON
Now, all of these items are easy to
obtain. They'll get us up to the
door. Now, in order to get us in...
INT. SERENITY - INFIRMARY - CONTINUOUS
SIMON sits, ZOE, MAL, and JAYNE stand in front of him.
MAL
The patients were cynical and not
responding and we couldn't bring
them back.
SIMON
They were cyanotic.
MAL
They were cyanotic and not responding --
SIMON
(with MAL)
Not responsive.
MAL
Responsive.
SIMON
(coaching)
And we were unable to ...
MAL
(together)
Res.. Res...
ZOE
(together)
Resuscitate them.
ZOE (CONT'D)
Yes!
JAYNE looks confused.
SIMON
Resuscitate them.
MAL & ZOE
(together)
Resuscitate them.
SIMON
Good.
MAL
They were cyanotic.
SIMON
(to ZOE)
What methods did you use?
ZOE
We tried pulmonary stimulators
and-and cardiac... We ...
SIMON
Infusers.
ZOE
Infusers... Infusers. Pulmonary
stimulators and...
All together now, ZOE, MAL, JAYNE, and SIMON,
ALL
...and cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
JAYNE
Oh! Uh, we forgot 'em.
SIMON
Let's try that again.
MAL
Yeah.
INT. SERENITY - CARGO BAY - CONTINUOUS
WASH is working with circuit boards. KAYLEE is welding.
INT. SERENITY - INFIRMARY - CONTINUOUS
Back to the practicing.
MAL
Pupils were fixed and dilapidated --
SIMON
Dilated.
MAL
Dilated! Dilated!
(pounds table, swearing in Chinese)
[Ching-wah tsao duh liou mahng! -
"Frog-riding bastard!"]
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and WASH (in tank top) work on the salvaged ship.
INT. SERENITY - INFIRMARY - CONTINUOUS
Throughout this scene there are several different cuts of the speech, giving the impression that this is being done many, many times. MAL stands, sits, walks around; SIMON looks on, gesticulates, coaches, looks long suffering; ZOE paces, sits; JAYNE watches, sits, stand, writes.
MAL
We got there and the patients were
cyanotic... Not responding.. Non
responsive... And we tried to reviv...
Resuscitate them.. And, despite our
best efforts.. Ah, they kicked...
Despite our best efforts. Ah, they...
SIMON
(to ZOE)
Which methods did you use?
ZOE
We tried pulmonary stimulators and
cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
(sees what JAYNE has been writing)
What is that?
(takes away what is presumably a
crib sheet, balls it up)
JAYNE
(looks up)
We applied, we applied the cortical
electrodes. We used them electromagnetic...
Reacted from... We were unable to a ...
We applied the cortical electrodes but
were unable to get a neural reaction
from either... Unable to get a neural...
(pounds table, swears in Chinese)
MAL
Response.
JAYNE
Response... Hell, I don't know.
If I had wanted schooling, I'da
gone to school. I'll get it.
ZOE stands in a prayerful pose.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON walks into the cargo bay, standing between KAYLEE and WASH.
SIMON
That's amazing! You two did an
incredible job.
All three walk toward a fully restored ambulance ship.
KAYLEE
And now, for the finishing touch.
KAYLEE presses a button, opening the shuttle door. Out steps a uniformed ZOE, MAL, and JAYNE, all looking very medical, indeed.
SIMON
(smiling)
If I didn't know better I'd say you
were ready to save some lives.
MAL
Now all we need is a couple of patients.
SIMON
(losing his smile)
Corpses, actually. For this to work
River and I will have to be dead.
JAYNE
(smiling)
Huh. I'm starting to like this plan.
(chuckles)
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
SIMON and RIVER sit on the bunk.
SIMON
We're going to be asleep. Captain
Reynolds and the others will have
to pretend we're dead to sneak us
into the hospital. But once we're
inside, we'll wake up. Everything
will be fine. You understand?
RIVER
You're going to suspend cerebral,
cardiac, and pulmonary activity
in order to induce a proto-comatose
state.
SIMON
(nodding)
That's right.
RIVER
I don't wanna do it.
SIMON
I know.
RIVER
(getting upset)
I don't wanna go to that place.
I don't want to die.
SIMON
No, now, no one is going to die.
It's okay. The others will take
care of us while we're asleep,
and when we get back --
River begins moaning in fright.
SIMON (CONT'D)
Shh, shh. River, it's okay. It's
okay. This, this could be what
we've been hoping for. When this
is over, I'll be able to help you.
I'll be able to make the nightmares
go away. Okay?
RIVER
(nods, whispers)
Okay.
SIMON
Okay.
(takes a deep breath)
Lie back.
RIVER reclines on the pillows. SIMON fills a syringe and prepares to inject RIVER as she looks on.
SIMON
It's time to go to sleep.
RIVER nods, crying silently.
EXT. ARIEL CITY - NIGHT - CONTINUOUS
Establishing shot.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
The salvaged ambulance ship, the faces of the crew are light by interior panels; JAYNE's lips are moving, there are beeps and rattles and other background noise.
MAL
We speak only when spoken to, we avoid
all unnecessary contact, and we stay
together until we reach the morgue.
Understood?
ZOE
Yes, sir.
JAYNE
(mumbling)
We applied the cortical electrode...
MAL
Jayne?
JAYNE
(mumbling)
...were unable to get a neural response.
(louder)
Yeah, yeah, I got it.
MAL
Are we gonna have a problem?
JAYNE
I know what I gotta do.
MAL
That's not what I'm talking about. A
m I gonna have a problem with you
and Simon?
JAYNE
That's up to him.
MAL
Look, you got a little stabbed the other
day. That's bound to make anyone a mite
ornery, so I figure --
JAYNE
(interrupting)
It's a good plan.
MAL
What?
JAYNE
The doc did good coming up with that
job, don't mean I like him any better.
Nothing buys bygones quicker than cash.
Maybe I'll give him a tattoo while he's out.
MAL
Let him do his thing, and then you
get him out. No messing with him
for laughs.
JAYNE
Don't worry about me, as long as
I get paid I'm happy.
(mumbling)
We applied the cortical electrodes
and were unable to get a neural
response. We applied the cortical
electrodes...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT - CONTINUOUS
The ambulance lands outside the hospital. The door opens. MAL and JAYNE, and ZOE and WASH each load a casket onto a gurney.
WASH
We've only got a few hours left
before the morning shift.
MAL
Won't be an hour.
WASH returns to the ambulance; ZOE, JAYNE, and MAL wheel the gurneys past some guards, into the hospital.
INT. ST. LUCY'S HOSPITAL - EMERGENCY ROOM - NIGHT
Inside the hospital, very sterile and white; people milling about. MAL walks up to a nurses' station, where a Receiving Doctor is standing there in her scrubs.
RECEIVING DOCTOR
What do you got?
MAL
Got a couple of DOAs, by the time
we got there...
RECEIVING DOCTOR
(interrupting, uninterested)
Take them down to the morgue.
MAL looks back at ZOE, ZOE starts to push the gurney forward.
JAYNE
We applied the cortical electrodes
but were unable to get a neural
reaction from either patient.
The RECEIVING DOCTOR looks at JAYNE for a second, then looks down, still uninterested. MAL grimaces at JAYNE. They head toward the morgue.
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT - CONTINUOUS
White, bright, a few bodies on gurneys, draped with blue mesh cloth.
They open the caskets, move RIVER and SIMON to gurneys. MAL injects RIVER in the left arm.
MAL
That should bring them out of it
in a few minutes. Once they're up,
get them to the imaging suite.
(injects SIMON in the right arm)
Let Simon do his thing, and haul
it back to the rendezvous. Fifty
minutes.
MAL and ZOE take the empty caskets out of the room.
JAYNE
Got it. I'll just sit right here.
JAYNE sits back, looking around uneasily. Sighs, stands, and leaves the room. JAYNE goes to a terminal and swipes a card, pressing the screen to reveal the Telefonix logo; he's making a call. A man in an Alliance uniform comes on screen.
AGENT MCGINNIS
(Chinese greeting)
[Ni hao. - "How are you?"]
JAYNE
I'm in.
AGENT MCGINNIS
Do you have the fugitives?
JAYNE
You got my reward?
AGENT MCGINNIS
Yes, just like we talked about.
JAYNE
Then I got your fugitives.
AGENT MCGINNIS
Good. We'll see you shortly.
Congratulations, you're about
to become a very rich man.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT
JAYNE walks into the morgue, looks into an empty holding drawer. Behind him, RIVER sits up.
RIVER
(smiling)
Copper for a kiss.
JAYNE
(spinning, startled)
Jesus! What did you say?
RIVER looks confused. SIMON starts to cough convulsively, thrashing.
JAYNE
(to SIMON)
What the hell's the matter with you?
SIMON
(coughing)
Nothing. Just the after effects of
the drugs. I'll be fine. Just give
me a second.
JAYNE
Well, your sister seems okay.
Over SIMON's coughing we can hear retching and splashing, RIVER is vomiting. Jayne shoves some white clothes at Simon.
JAYNE
You've got to get dressed. We
gotta move.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets off of an elevator, moving down the hall.
MAL
Two lefts, two rights, and we're there.
You see anyone, smile.
ZOE
I don't think anyone smiles in hospitals.
MAL
Of course they do, it's the Core.
Everyone's rich and happy here,
why wouldn't they smile?
POMPOUS DOCTOR
(coming up behind them)
Excuse me.
(they keep walking)
Excuse me.
MAL
(smiling)
Hi.
POMPOUS DOCTOR
Where're you taking those bodies?
MAL
(pointing)
Just downstairs to the morgue.
POMPOUS DOCTOR
(pointing in opposite direction)
Downstairs is that way.
MAL
(looking)
Right. Must've gotten turned around.
DOCTOR
(snorting)
Let me see your badge.
The DOCTOR looks at MAL's badge; looks at ZOE's badge.
INT. ST. LUCY'S HOSPITAL - RECOVERY WARD - CONTINUOUS
JAYNE walks with SIMON, dressed as a doctor or orderly, as SIMON pushes RIVER, who is in a hospital gown in a wheelchair. They are passing through a recovery area, doctors, nurses, patients in beds.
RIVER
They're doing it backwards; walking
up the down slide.
JAYNE
(whispering, to SIMON)
Keep her quiet.
SIMON
(whispering, to RIVER)
This is the recovery ward. This is
where patients come to get better.
RIVER
They're going to die.
SIMON
No one is going to die.
RIVER
(pointing to a bed)
He is.
SIMON
(pushes down RIVER's hand)
No he's not. That man standing next
to him is his doctor. He's going
to help him.
RIVER
He's not going to help him right.
SIMON
River, the doctors here are the
best in the system. This is one
of the top hospitals in the Core,
or anywhere else.
RIVER
Where you should be.
RIVER looks at the patient she indicated as monitors start to beep wildly. She starts to rise from her wheelchair, and SIMON and JAYNE hold her down.
RIVER
You have to help him.
SIMON
River, we don't have time.
RIVER
(fighting JAYNE's grip)
He's killing him!
CRASH TEAM NURSE
(in the b.g.)
Code Blue.
SIMON
Stay here. Don't move.
SIMON runs toward patient in distress; JAYNE looks on angrily. SIMON breaks through the crowd at the bed.
SIMON
What do we have?
(starts examining patient)
YOUNG INTERN
Forty-two year old double-bypass
post-op, prognosis was positive.
CRASH TEAM NURSE
BP's 60/20, pulse is thready.
YOUNG INTERN
Who are you?
CRASH TEAM NURSE
He's crashing.
SIMON
Get the cart.
CRASH TEAM NURSE
We have flatline.
YOUNG INTERN
We've got to crack it.
SIMON
We're not cracking a post-op.
CRASH TEAM NURSE
He's non-responsive, should I c
all the code team?
SIMON
Get the infusers and point-four
of atropine.
(to YOUNG INTERN)
What did you give him?
YOUNG INTERN
Just twenty of alprazoline push.
SIMON sighs disgustedly, holds syringe in his teeth, takes defib paddles.
SIMON
Clear.
(looks at monitor)
Clear.
(monitor shows a heartbeat)
CRASH TEAM NURSE
(in b.g.)
We've got rhythm.
YOUNG INTERN
He's going tachy.
SIMON
Yeah, but his heart's beating.
SIMON injects the atropine, monitors stabilize, NURSE and YOUNG INTERN look on.
YOUNG INTERN
He's okay.
RIVER smiles; JAYNE's expression is difficult to read.
SIMON
(confronts YOUNG INTERN)
Explain to me how you justify
administering a vasoconstrictor
to this patient.
YOUNG INTERN
Alprazoline is a pain killer, not a vaso --
SIMON
(interrupting)
Unless you combine it with dilaftin.
Which any first-year should know is
the standard prep medication your patient
was taking before surgery. Your patient
should be dead.
SIMON walks back to JAYNE and RIVER.
SIMON
Let's go.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
Back to MAL and ZOE and their problem DOCTOR.
POMPOUS DOCTOR
Walk with me a minute.
MAL
Where're we going?
ZOE looks around, starts to walk away.
POMPOUS DOCTOR
You see this badge?
(turns to face MAL, points to his badge)
It says 'doctor'. I say walk, you walk.
MAL
Yeah, but, where're we going?
POMPOUS DOCTOR
You must be new.
(ZOE walks up behind him)
Don't get comfortable, your type never
lasts long around here. When your
supervisor hears about the rude and
disrespect--ARGH!!!
The DOCTOR falls to the ground, revealing the defib paddles that ZOE is holding. MAL looks from the fallen DOCTOR to ZOE.
ZOE
(shrugging)
Clear.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
A large, empty room with a machine in the centre of the room, the function of which is not apparent, yet remains vaguely threatening. JAYNE, SIMON, and ZOE enter. JAYNE shuts the doors behind them.
SIMON
(to RIVER)
Ready?
RIVER looks apprehensive, but nods.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets down the hall and stop in front of the door to the medvault.
MAL
Twelve-oh-five. Here it is.
(swipes his keycard, no go)
Zoe.
ZOE takes MAL's place. She swipes her keycard, nothing happens.
ZOE
Must've been demagged.
MAL opens a casket, revealing the unconscious POMPOUS DOCTOR. MAL grabs his keycard and swipes it. The door opens, MAL and ZOE stand in the opening.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON is gently lowering RIVER into the machine. SIMON goes to the controls, pressing some buttons. A humming fills the room, JAYNE backs away from the machine. RIVER closes her eyes stoically.
INT. ST. LUCY'S HOSPITAL - MEDVAULT - CONTINUOUS
ZOE and MAL enter the medvault, pushing the gurneys before them. They open the caskets, MAL deposits the unconscious DOCTOR on the floor. ZOE starts scanning bottles, picking up the ones she wants and putting them in her casket. MAL pushes back his uniform sleeve, revealing a list of names written on his wrist. ZOE and MAL work quickly and silently until their caskets are full. They close the caskets and start to move out.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON types instructions into the computer. A series of holographic images appear over RIVER - her skeletal system, her circulatory system, paring down until only her brain remains, hovering over her head.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the full caskets into the hallway.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
The computer screen informs us that it is downloading data. SIMON stands by RIVER's head, taking the holographic image between his fingers as if it were a picture and studying the changing angles.
SIMON
They opened up her skull.
(JAYNE walks over to look)
That's a scalpel scar. They... they
opened up her skull and they cut
into her brain.
JAYNE
(looks troubled)
Why?
SIMON
The only reason to make an incision in
someone's brain is to... lobotomize
them. To go in and remove damaged tissue.
Why...
(deep breath)
...anyone would cut into a healthy
brain is... They did it over and over...
(studies the scan)
They stripped her amygdala.
JAYNE
Her what?
SIMON
You know, ah, you know how you get
scared or worried or nervous, but
you don't want to be scared or
worried or nervous, so you push it
to the back of your mind? You
try not to think about it.
(cut to JAYNE's unreadable face)
Your amygdala is what lets you do that.
It's like a filter in your brain that
keeps your feelings in check.
JAYNE reaches toward the image of RIVER's brain. SIMON stays his hand. JAYNE angrily jerks out of SIMON's grip.
SIMON
She feels everything; she can't not.
JAYNE
(looking around)
Well, that's fascinating; let's get moving.
SIMON
We still have twenty minutes.
JAYNE
Oh, plan changed while you were out.
We're meeting out the back way in five.
RIVER's brain hovers eerily above her head, phantom words scroll out beside the image.
SIMON
Well, I, I could use another couple
minutes. I-I'm sure if we get in
touch with Captain Reynolds--
RIVER opens her eyes; SIMON walks toward the computer.
JAYNE
Captain gave his orders, we play it
by the book.
River SCREAMS.
JAYNE covers RIVER's mouth; SIMON shuts down the machine, grabs the information and comes over to RIVER. SIMON pushes JAYNE's hand away and gently cradles RIVER's face.
SIMON
River, River, shh, shh, it's okay.
It's okay
JAYNE
Get her in the chair, let's go.
SIMON
Shh, shh, shh.
RIVER
No, no, no, they come out of the black.
They come when you call.
JAYNE watches SIMON try to comfort RIVER.
SIMON
River, it's okay. It's over. We're leaving.
RIVER
Your toes are in the sand.
JAYNE
And you head's up your--
SIMON
(interrupting)
Hey! Back off.
JAYNE
You just make sure she keeps her mouth
shut. Don't need her screeching while
we're trying to make a quiet getaway.
JAYNE opens the door while SIMON tries to calm RIVER while getting her up.
INT. ST. LUCY'S HOSPITAL - CORRIDOR
A crowded hallway. A subdued RIVER is being pushed by SIMON while JAYNE hurries them along.
SIMON
You should have let me know when
the plan changed.
JAYNE
I told you when you needed to know.
What are you griping about? You
got what you came for.
INT. ARIEL CITY HOSPTIAL - CORRIDOR - MOMENTS LATER
A deserted hallway. JAYNE walks ahead of SIMON and RIVER.
RIVER
(distressed)
No, no, I can't go back. I don't
wanna go back.
JAYNE opens a door at the end of the hall.
SIMON
Shh, shh. It's okay. We're just
going back to the ship. We're
almost home.
RIVER and SIMON go through the door JAYNE is holding to,
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
AGENT MCGINNIS
Federal Marshals! Don't move!
(a shotgun action is heard)
River and Simon Tam, by the authority
of the Union of Allied Planets, you
are hereby bound by law.
The feds close in on RIVER and SIMON.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
Right back where we left off.
AGENT MCGINNIS
(to minions)
Take them to Processing.
Minions grab SIMON and RIVER, cuffing their hands behind their backs. A minion grabs and cuffs JAYNE, who looks shocked. RIVER and SIMON are led away.
JAYNE
(whispering, to AGENT MCGINNIS)
So, you gonna take me away for
questioning now? How you wanna
play it?
AGENT MCGINNIS
You're under arrest for aiding
and abetting Federal fugitives.
Better get a lawyer.
JAYNE
You're kidding, right? What
about my rutting money?
AGENT MCGINNIS
You mean my money? For apprehending
the three fugitives? I expect I'll
be getting it soon.
JAYNE lunges for AGENT MCGINNIS, and is shot in the chest by a minion and falls to the ground, groaning.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
WASH is cooling his heels, sitting by the ambulance. ZOE and MAL come out of the hospital, pushing the loaded caskets.
WASH
(helping ZOE pick up a casket)
How much did we get?
MAL
Enough to keep us flying.
ZOE
Can we fly somewhere with a beach?
WASH
Maybe a naked beach?
ZOE
Ooh.
WASH
Ahh.
ZOE and WASH have themselves some smoochies.
MAL
Cut it out. Job's not done until
we're back on Serenity.
ZOE
Sorry, sir. Didn't mean to enjoy
the moment.
MAL
(looking worried)
Where are the others?
Now ZOE looks worried; WASH is still smiling.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Federal Processing room. Minions push SIMON and JAYNE onto a bench; RIVER sits quietly beside them without being forced.
SIMON
(whispering, to JAYNE)
If those officers hadn't been armed,
I think you'd have had a chance.
JAYNE
A guy shoves me, I shove him. Not like
I was trying to mount a rescue.
SIMON
Still. I appreciate you trying.
JAYNE
You know what I'd appreciate? You stop
flapping that pretty mouth at me. I'm
trying to figure a way out of here; can't
do it with you yammering.
RIVER
They took Christmas away.
JAYNE and SIMON look over at her.
JAYNE
What the hell now?
RIVER
Came downstairs for the shiny presents.
They took the tree and the stockings.
Nothing left but coal.
JAYNE
(to SIMON)
Will you shut her up!
RIVER
(smiling)
Don't look in the closet, either.
It's greedy. It's not in the
spirit of the holiday.
JAYNE
(rolls his eyes)
You shut the hell up, right now, or
so help me, I will shut you up.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
MAL
Time?
ZOE
Ten minutes past rendezvous.
MAL
Something's happened.
WASH
(entering the ship)
Kaylee, are you linked?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE is on the radio.
KAYLEE
Uh...
(punches some keys)
I am now. What do you need?
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH
Find out if there's any kind of
security alert in the hospital.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Hang on.
(punches more keys)
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
ZOE
Could be they're just late.
MAL
Not this late. Jayne would have
sent up a flag.
KAYLEE (V.O.)
Nothing from hospital security,
nothing on the local pipeline,
either.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Although I am getting some weird
chatter from the official two-six-two. Sounds like...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
KAYLEE (V.O.)
... They're talking about ducks.
ZOE
Code.
MAL
Feds got 'em.
(to WASH)
Have her bring up a hospital schematic
on the Cortex. Find me a way into that
security substation.
ZOE hands MAL a communicator and they put on the earpieces.
WASH
Wait a minute, you don't even know
for sure if they're in there.
MAL
Gonna find out.
(testing his com)
Check.
ZOE
Coming in clear.
ZOE hands MAL a gun. Straps another gun to her ankle.
WASH
So, you're just going to walk in
through the front door?
MAL
No.
(chuckles)
You're gonna find me a way around back.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
AGENT MCGINNIS
Get up.
RIVER and JAYNE stand up, SIMON remains seated. AGENT MCGINNIS pushes JAYNE back down. JAYNE is not happy.
SIMON
What's going to happen to us?
AGENT MCGINIS
I said, get up.
AGENT MCGINNIS pulls at SIMON's jacket, SIMON shrugs him off and stands up on his own. SIMON and FED are standing face to face.
SIMON
Agent McGinnis, I'm certain you're
working under a superior who is
keeping close tabs on this case.
I'm certain of that because important
people don't do field work. I'm
also quite certain your superior
wants me and my sister alive. Now,
I'm not going to move from this spot
until one of two things happens.
You answer my very simple question;
or you shoot me.
AGENT MCGINNIS
(very precisely)
We are transferring you into a
holding area, until you can be
retrieved.
SIMON
Retrieved? By whom?
RIVER looks distressed; JAYNE looks angry.
AGENT MCGINNIS
People who want you alive. People not me.
(to minions)
Take them.
Two minions come and take RIVER, SIMON, and JAYNE into,
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE is led in first. He strikes out with his elbow, hitting the guard in the face; the second guard gets kicked in the stomach. JAYNE pins the first guard to the wall with his shoulder while SIMON does the same to the second guard. Both SIMON and the second guard fall to the ground, dazed. JAYNE knocks the first guard to the ground and cracks skull. JAYNE rolls away and brings his bound hands under his legs, his hands are still bound, but are now in front. RIVER looks on. JAYNE climbs on top of the first guard and starts throttling him. RIVER looks away, crying. The first guard manages to roll over until he is on top of JAYNE. The second guard starts to rouse, and SIMON presses a knee into his chest, holding him down. The first guard punches JAYNE a few times; then JAYNE regains top position, hauling the first guard to his feet. SIMON still holds the second guard immobile.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
A smiling MAL and ZOE walk through a crowded hall.
MAL
(into his radio)
Uh, Wash, we need a little direction here.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH is on the radio.
WASH
(to MAL)
Working on it.
(to KAYLEE)
Kaylee, what do you got?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Tell them to hand a left when they
reach cryo. They'll see a door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
MAL and ZOE rush toward a door.
WASH (V.O.)
Okay, go through that door, and down
to green level.
ZOE and MAL hurry down a stairwell.
MAL
This is exactly what I didn't want.
I wanted simple. I wanted in-and-out.
I wanted easy money.
ZOE
Things always get a little more
complicated, don't they, sir?
MAL
Just once I'd like things to go
according to the gorram plan.
WASH (V.O.)
Uh, guys, you might wanna hurry.
MAL
(into radio)
Oh, is there a problem?
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
An Alliance ship touches down near the ambulance. WASH is looking at it through the window.
WASH
I think that reinforcements just arrived.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE and the first guard are still grappling, but JAYNE manages to snap the guard's neck. SIMON and RIVER look on, appalled. JAYNE staggers to the dead guard and takes the handcuff keys; unlocking himself, then SIMON, then RIVER. SIMON picks up the second guard's gun and hands it to JAYNE. SIMON grabs RIVER and they leave the cell, heading to the left. JAYNE heads to the right.
SIMON
What are you doing?
JAYNE
Going out the way we came in.
SIMON
There are at least four armed
feds out there.
JAYNE
Six. I know.
SIMON
(pointing to the left)
We run.
RIVER is watching the back and forth.
JAYNE
You got no idea where that goes.
SIMON
We'll find our way.
JAYNE
I ain't chancing that. I can
handle the feds.
RIVER
(shaking her head)
Doesn't matter.
(JAYNE and SIMON look at RIVER)
They're here.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
The Processing room. A minion motions to FED who looks over.
AGENT MCGINNIS
Gentlemen, that was prompt. We're
almost finished here. The prisoners
will be out in a minute. Let me get the
paperwork together for you.
(to minion)
Bobby, bring that here.
REVERSE camera to REVEAL that AGENT MCGINNIS is talking to two men in dark suits. We can see that one of them is wearing blue gloves, BLUE GLOVE #1. BLUE GLOVE #2 hangs back.
AGENT MCGINNIS
Not that it will mean much.
(sits)
The men were tight lipped, the girl
was just spewing gibberish. We got
it all down.
BLUE GLOVE #1
(looks concerned)
You spoke to the prisoners?
AGENT MCGINNIS
Well, yeah. Had to process 'em.
There was no interrogation, if
that's what you mean.
(BLUE GLOVE #2 comes forward)
Didn't do your job for you.
BLUE GLOVE #2
Did your men also speak with them?
He is holding something that looks like a pen, but elongates with a snap to reveal an ominous glowing blue cylinder that extends from either side of his fist. A high-pitched hum emanates from it.
AGENT MCGINNIS
As much as they had to.
AGENT MCGINNIS looks uncomfortable. He brings a hand to his nose, which is dripping a small amount of blood. The BLUE GLOVES are smiling genially. AGENT MCGINNIS starts choking and gagging. The cuticles on his fingernails are leaking blood. Blood pours from his, nose, eyes, mouth - he is in acute distress.
Is he gonna survive the supersonic boomstick? Not so much, we're thinking.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. ST. LUCY'S HOSPITAL - CORRIDOR
Hallway outside of holding cell. Distant screams can be heard. SIMON, RIVER and JAYNE look around uneasily.
JAYNE
What the hell is that?
RIVER whimpers.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Processing room, now something of an abattoir. All the minions lie dead, covered with blood. The BLUE GLOVES walk calmly to the door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
RIVER
(terrified)
Two by two. Gloves of blue. Two by two.
(JAYNE and SIMON look at her)
Gloves... blue... two.
RIVER turns and runs crying down the hallway, SIMON runs after her. JAYNE looks up the stairwell for a moment, then follows.
The BLUE GLOVES walk through a door into the hallway our three heroes have just deserted.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
RIVER pushes open a heavy metal door, she runs across an empty room. SIMON and JAYNE are behind her.
JAYNE
(to SIMON)
Where the hell's she going?
SIMON
There must be some sort of exit this way.
JAYNE
I don't see no exit.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
BLUE GLOVE #1
(checking the first guard)
Dead.
BLUE GLOVE #2
(checking the second guard)
This one's alive.
He reaches into his pocket to remove the supersonic boomstick.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
Back to the empty room with RIVER, SIMON, and JAYNE
JAYNE
I got no intention to run around like
a rat in a maze 'til we're dead.
Now, we're going back.
Someone screams in the distance. JAYNE looks back, gasps, and follows RIVER and SIMON.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
The BLUE GLOVES step over the second guard, who is now very much not alive. They head down the hallway after the fugitives.
INT. ST. LUCY'S HOSPITAL - STAIRCASE - CONTINUOUS
RIVER runs down it.
RIVER
Almost there.
(another flight, we can see SIMON
and JAYNE behind her)
Almost there.
(reaches the bottom)
Almost there.
(stops in front of a blue door)
There.
JAYNE
(tries the door, locked)
Stand back.
SIMON
(moves RIVER back)
C'mere.
JAYNE
(shoots at door, rather
unsatisfyingly)
[Shee-niou - "shit urine"],
high-tech Alliance crap.
JAYNE uses the gun butt to beat at the lock.
INTERCUT WITH:
There are a series of cuts between the blue door and the BLUE GLOVES. The BLUE GLOVES open the heavy door. SIMON and RIVER watch JAYNE beat at the blue door. The BLUE GLOVES walk across the empty room. JAYNE throws himself at the blue door. The BLUE GLOVES are getting closer. JAYNE keeps beating at the blue door, and a sudden blast blows through the lock. SIMON shields RIVER, JAYNE moves back, training his gun on the door. The door is kicked open, and there stands MAL and ZOE. JAYNE gasps; MAL beckons with a tilt of his head. The BLUE GLOVES reach the top of the stairs and look down to see an empty room and an open blue door.
INT. SERENITY - CARGO BAY - CONTINUOUS
The cargo bay doors open, daylight hits INARA as she steps off her shuttle, and KAYLEE as she walks down the stairs.
KAYLEE
Oh, hey, there, Inara. How was
your check-up?
INARA
Same as last year... What's going
on here?
KAYLEE
(breezy) Oh, let's see..
(counting on her fingers)
We killed Simon and River...
(INARA looks aghast)
...Stole a bunch of medicine, and
now Zoe and the Captain are off
springing the others that got
snatched by the feds.
(a vehicle approaches)
Oh, here they are now.
The ambulance pulls into the bay. KAYLEE walks down the next set of stairs to push the button that closes the cargo bay door. MAL climbs out of the ambulance, goes to the cockpit window.
MAL
(to WASH)
Tell me we weren't followed.
WASH
Nothing in our rearview the whole
way back.
MAL
All right. Take us out of the world,
as quick as you can.
WASH
(climbing out of the ambulance)
We'll be out of atmo in five minutes.
MAL
(to INARA)
Hey. How was your thing?
INARA
As advertised: lots of needles and
cold exam tables.
(beat)
I heard you had some excitement.
MAL
Oh, nothing much. Lots of running
around. A little gunplay.
(walks toward JAYNE and KAYLEE)
A couple of needles.
JAYNE
Next time we come to the Core, I'm
staying with the Preacher.
MAL
(slaps JAYNE on the shoulder)
Oh, you hadn't come you wouldn't be
getting your big payday.
JAYNE looks a little confused. SIMON and RIVER walk up.
MAL
(to SIMON)
So...
(pulls KAYLEE into a back-to-front hug)
Did you get what you needed?
SIMON
I think I did. I have the information
I downloaded off the imager, I just
have to go over it and then... Ah,
I'm hopeful.
(looks at RIVER, who smiles)
KAYLEE
(to JAYNE)
What happened to your face?
JAYNE - Huh?
KAYLEE motions to her eyebrow 'ow'. JAYNE reaches a hand halfway to the cut on his face before shrugging.
JAYNE
Oh, uh, nothing.
SIMON
He was amazing. I can't even begin
to tell you.
SIMON slaps JAYNE's shoulder, JAYNE looks a little sick.
SIMON
We wouldn't be standing here if
it weren't for him.
(sincerely)
Thank you.
JAYNE
Well, hey, you're part of my crew.
SIMON pats JAYNE's shoulder before letting go.
MAL
I think I might cry.
(SIMON and KAYLEE laugh)
All right, Jayne, help me with the cargo.
Everyone, make yourself useful, you've got
jobs to do, go do 'em.
Everyone walks away, leaving JAYNE and MAL alone by the ambulance.
JAYNE
(opening a casket)
This's gotta be our best take ever.
MAL
Well, Doc had a good notion. The
boy's got a decent criminal mind.
JAYNE grunts as he moves some cargo out of the way and then walks toward MAL.
JAYNE
So, what're you buying with your cut?
MAL swings and hit JAYNE in the face. JAYNE falls to the floor. MAL looks down at JAYNE and the wrench he was holding drops to the deck. He looks quietly pissed as all hell.
EXT. ARIEL CITY - DAY
Serenity lifts off from Ariel City.
INTERCUT WITH:
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE wakes on the floor of the cargo bay. There is a radio on the floor beside him. A door with a small diamond-shaped window is closing him in.
JAYNE
Hey! What the hell are you doing?
A finger taps on the window, then points down to the radio. JAYNE picks the radio up.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL is pacing outside the door, talking into his own radio.
MAL
The job's done. Figured it was
time for a little chat.
JAYNE pounds on the door controls to no avail. MAL hits the button that opens the exterior bay door.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE looks behind him as the noise of the engine, the sunshine, and the wind, flood the room.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Seems to me we had a solid plan.
Smooth, you might say. But what
I can't figure out, is what you
were doing 'round the back exit.
MAL leans against the door, we can see JAYNE's face through the window.
JAYNE (V.O.)
(on radio)
What? I couldn't go out the front,
I had to improvise. Open the
damn door.
MAL
You called the feds.
JAYNE (V.O.)
(on radio)
What? I got pinched!
MAL
Which is what happens when you
call the feds.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE
(clinging to the door)
No. I would never do that, my hand
to god, may he strike me down as
I'm standing here.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Well, you won't be standing there long.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
MAL (V.O.)
(over the radio)
The minute we break atmo,
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
You'll be a lot thinner once you
get sucked out that hole.
(gestures to opening bay door)
JAYNE
(door alarm goes off)
Oh, come on, Mal.
SERENITY
(faintly heard over the wind)
Leaving atmo in two minutes.
JAYNE
That ain't no way for a man to die.
SERENITY
(louder inside the ship)
Secure cargo bay door at once.
JAYNE (V.O.)
You wanna kill me, shoot me. Just
let me in.
MAL
You know, I hear tell they used to
keelhaul traitors back in the day.
I don't have a keel to haul you on, so...
JAYNE (V.O.)
Oh. Okay. I'm sorry, all right?
MAL
Sorry for what, Jayne?
MAL looks JAYNE in the face, through the window.
MAL
I thought you'd never do such a thing?
JAYNE (V.O.)
The money was too good.
(MAL looks in at JAYNE.)
I got stupid.
(through the radio) I'm sorry, okay?
Be reasonable. What're you taking
this so personal for? It ain't like I
ratted you out to the feds.
MAL
(angry)
Oh, but you did. You turn on any
of my crew, you turn on me. But
since that's a concept you can't
seem to wrap your head around, then
you got no place here.
(through the radio)
You did it to me, Jayne. And
that's a fact.
MAL walks away while JAYNE watches him through the window.
JAYNE (V.O.)
What're you gonna tell the others?
MAL
About what?
JAYNE (V.O.)
About why I'm dead.
MAL
(through the radio)
I hadn't thought about it.
JAYNE
(V.O.)
Make something up. Don't tell 'em
what I did.
MAL stands still for a moment, looking at JAYNE. Then he presses the button that closes the outer bay door. The door closes.
MAL
(looking through the window)
The next time you decide to stab me
in the back...
(through the radio)
...Have the guts to do it to my face.
MAL leaves the radio on the window, and walks up the stairs. JAYNE looks after him, shaken.
JAYNE
(through the radio)
Can I come in?
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
RIVER is drawing Russian nesting dolls. SIMON walks in, holding a syringe.
SIMON
Hi.
(RIVER looks up)
What are you doing?
RIVER
Drawing.
SIMON sits beside her, watching her draw.
SIMON
That's really good.
RIVER
(looking at the syringe)
What are you doing?
SIMON
Oh, I, ah, brought some medicine. Do
you remember why we went to the hospital?
RIVER
(sitting up)
Time to go to sleep again.
SIMON
(softly)
No, [mei mei - "little sister"].
(SIMON reaches down and takes
RIVER's hand)
It's time to wake up.
SIMON uncaps the syringe and looks down. RIVER watches him.
BLACK OUT.
Shindig
INT. POOL HALL - NIGHT
Mal and Jayne are playing pool with a guy named Wright, while Inara sits at the bar and sips a dainty pink drink.
WRIGHT
Didn't hardly have to convert the ship even.
Six in the corner. Stronger locks, thicker doors,
keep everybody where they're supposed to be.
Don't even need more rations.
Pool balls on table waver and nearly disappear, like a holographic image shorting out.
WRIGHT
(in Chinese)
[Way! - "Hey!"]
A bar worker motions to the wall.
Cut to a shot of a sign on the wall "MANAGEMENT NOT RESPONSIBLE FOR BALL FAILURE".
JAYNE
You made money, huh?
WRIGHT
Hand over fist, my friend. Water planets need labor,
terraforming crews got a prodigious death rate.
MAL
Labor, you mean, uh ... slaves.
WRIGHT
Well it wasn't volunteers, for damn sure.
MAL
That why you didn't have to lay in more rations?
WRIGHT
I didn't hear no complaints.
JAYNE
How much money, lots?
Mal walks over to Inara, who's been watching the game from the bar.
MAL
There's a chance you might want to head
back to the ship.
INARA
Oh, I'm all right. This is entertaining, actually.
MAL
Yeah? What's entertaining?
INARA
I like watching the game. As with other situations,
the key seems to be giving Jayne a heavy stick and
standing back.
MAL
Still, might ought to clear out before too much
longer. Seems there's a thief about.
INARA
A thief?
MAL
Took this right off him.
(Mal hands Inara a wad of cash.)
Now they earned that with the sweat of their
slave-trading brows.
INARA
(hushed and a bit shocked)
Mal...
Inara shoves the cash into her bra.
MAL
Aw, terrible shame. Course they won't discover
it till they go order their next round of drinks.
Hand comes from behind and grabs Mal's shoulder.
WRIGHT
(in Chinese)
[Way! - "Hey!"]
MAL
Good drinker, that one.
Mal turns and slugs the grabber square in the jaw. Raucous bar fight ensues, Mal and Jayne basically kicking ass, while Inara stays out of the way and looks on. Bad guys down, if not beaten, Mal takes Inara's arm and hustles her out.
INARA
Lovely place, I'll tell my friends.
END OF TEASER
ACT ONE
INT. SERENTIY - BRIDGE
Wash is piloting the ship while Zoe looks out the front port.
WASH
Seem to you we cleared out of Santo in a hurry?
ZOE
Seems we do that a lot. Heard tell though,
we're going to stay a while on Persephone.
WASH
Shiny.
ZOE
Yeah? Thought you'd get land crazy that long
in port.
WASH
Probably, but I've been sane a long while now,
and change is good.
Mal enters the bridge.
MAL
Well, ain't that a joyful sight?
WASH
Gotta love a sunset.
ZOE
Starting to get familiar too, like a second home.
MAL
Persephone ain't home. Too many people we got to
avoid. Re-supply, look for work, move along.
Sniff the air, we don't kiss the dirt.
ZOE
Wasn't planning on the dirt-kissing, sir.
WASH
Besides, I wouldn't stand for it anyway,
Captain, jealous man like me.
(re: alarm sounding from the console)
Closing in.
ZOE
Planet's coming up a mite fast.
WASH
That's just cause, I'm going down too quick.
Likely crash and kill us all.
MAL
Well, that happens, let me know.
Mal walks off the bridge.
WASH
(maybe a tad nervous)
Okay. Whoa. No, we're good, we're good. It's okay.
INT. - INARA'S SHUTTLE
Cut to a computer screen with several faces displayed. Inara deletes a few faces, and then selects one which enlarges and begins speaking. The face belongs to a well-dressed but awkward young man.
YOUNGER HOPEFUL
I understand your time on our planet is limited,
and if you've selected my proposal to hear, then
the honor you do me flatters.... my honor....and I
hope that...
Inara cuts off the recitation and selects another face. While the previous young man's speech seemed pre-recorded, this is clearly a live transmission.
ATHERTON
Now there's the smile made of sunlight.
INARA
Atherton, how wonderful to see you.
ATHERTON
Did you get my message? I was extra appealing.
INARA
What a flattering invitation. I had no idea I was
arriving in time for the social event of the season.
ATHERTON
So, you'll accompany me? I ask, heart in my throat.
There's a certain offer I'm still waiting to hear about.
Off-screen knocking at the door.
INARA
Yes, I imagine there is. I'm delighted to say I'll
be there. Now, I'm sorry Atherton, but I have to run.
ATHERTON
No, please, I understand. I'll see you soon,
[bao bay - "sweetheart"].
Mal enters Inara's shuttle.
INARA
Good afternoon, Captain.
MAL
Morning. We're downing, and in case that Wash don't
kill us all, local time's going to be in the a.m.,
10 or so.
INARA
Yes, I saw that.
MAL
(looking over Inara's shoulder, which still
shows the face of Atherton)
Making plans? "Atherton Wing". He's a regular, ain't he?
Inara covers the computer screen with a handy drapery.
INARA
I've seen him before.
MAL
Oh, I never did. Not what I pictured - young. Must
be rich too, to afford your rates.
INARA
I suppose. He has engaged me for several days.
MAL
Days!? Boy must have stamina.
INARA
He does.
MAL
Well...fine. Is he letting you out at all?
INARA
Actually, we're attending a ball tomorrow night.
MAL
Tell me, do all the men there pay for their dates,
or just the young rich ones with stamina?
INARA
Most of the women in there will not be Companions,
if that's what you're asking. Perhaps the other
men couldn't attract one.
MAL
Hmm. It's sounds like the finest party I can
imagine getting paid to go to.
INARA
I don't suppose you'd find it up to standards
of your outings. More conversation and somewhat
less petty theft and getting hit with pool cues.
I understand if you need to go prepare for that
"It's 10 in the morning" issue.
MAL
Yeah. Better go do that. 'Cause I think this
is more of an evening look.
EXT. PERSEPHONE MOON - BUSY STREET SCENE - DAY
Kaylee, Zoe, Wash, Mal and Jayne are walking through a street, carrying luggage. Kaylee spies a shop window and moves in for a closer look. The others follow.
KAYLEE
Oh, look at the pretties!
WASH
What am I looking at, the girls or the clothes?
JAYNE
There's clothes?
ZOE
The clothes, please.
KAYLEE
(indicating a pink frilly dress, something out
of Gone With the Wind)
Say, look at the fluffy one.
ZOE
Too much foofaraw. If I'm going to wear a dress,
I'd want something with some slink.
WASH
(eagerly)
You want a slinky dress? I can buy you a slinky
dress. Captain, can I have money for a slinky dress?
JAYNE
I'll chip in.
ZOE
(to Jayne)
I can hurt you.
KAYLEE
The only place I seen somethin' so nice is
some of the things Inara has.
MAL
Well, we best be movin'.
ZOE
(to Kaylee)
I guess she needs all that stuff, the life she leads.
KAYLEE
Well, sure. Sometimes the customers buy
her things. Some real rich men.
MAL
Come on! These ain't feathers I'm toting
here, ya know?
KAYLEE
I like the ruffles. Inara gets to wear whatever
she wants.
MAL
What are you going to do in that rig? Flounce
around the engine room? Be like a sheep walking
on its hind legs.
Kaylee walks off, obviously hurt. Zoe gives Mal a glare.
ZOE
See ya on the ship, Captain.
Mal looks disgusted with himself.
Zoe, Wash and Kaylee board a quad-runner type thing and leave.
JAYNE
(to Mal)
Is she mad or something?
Off screen sound of gun cocking. Mal turns to see a dread-locked man holding a rifle on him. We see at least one more thug with a rifle at the ready. A small man in a derby approaches from the side.
MAL
Badger.
BADGER
(noticeable cockney accent)
Captain Reynolds. Heard you was in town. Thought
we might have a bit of a sit-down.
MAL
Prefer a bit of a piss-off.
BADGER
I'm very sorry. Did I give you the impression
I was asking?
INT. - BADGER'S OFFICE - DAY
Jayne, Mal and Badger are seated around what is possibly a crate, passing for a table.
MAL
Seems the last time there was a chance for a little
palaver we were all manner of unwelcome.
JAYNE
(sipping from a chipped tea cup)
This ain't bad.
BADGER
There's a trick to it: wood-alcohol.
MAL
Now we're favored guests... treated to the finest
in beverages that make you blind. So what is it
you need?
JAYNE
(mouth full as he reaches for more sandwiches
that are laid out on the table)
Mmm, 'scuse me.
BADGER
There's a local, but the name of Warrick Harrow.
Got some property he wants to sell off-planet...
fetch a high price.
MAL
The local powers won't let him sell off-world.
BADGER
It's a conundrum. What my man Harrow needs himself
is a smuggler. Willing to cut you in on it.
MAL
Why me? You have access to ships. You could do
it yourself.
BADGER
He won't deal with me direct. He's taken an
irrational dislike.
JAYNE
What happened? He see your face?
BADGER
He's a quality gent. Nose in the air like he never
[wun gwo pee - "smelled a fart"]. Don't find me
respectable. But you, now I figure you got a chance.
MAL
You backed out of a deal last time. Left us hanging.
JAYNE
Hurt our feelings.
MAL
You recall why that took place?
BADGER
Had a problem with your attitude is why.
Felt you was... what's the word?
JAYNE
Pretentious?
Mal looks at Jayne as if he's surprised to learn Jayne knows a word with that many syllables.
BADGER
Exactly! You think you're better than other people.
MAL
Just the ones I'm better than. And that very quality
is the one I think you're placing value on today.
BADGER
I'm placing value on the fact that stick up your
[pee goo - "bottom"] is about as large as the one Harrow's got.
MAL
How would you set up a meet, man that won't
deal with you?
BADGER
I know a place he'll be. Safe place. Using some
new-tech gun scans. High-class too. Wouldn't let me
in there. You might slip in. Course you couldn't buy
an invite with a diamond the size of a testicle, but I
got my hands on a couple.
Mal and Jayne glance at each other, snickering like little boys.
BADGER
Of invites! You want this meeting or not?
INT. - GRAND BALLROOM ENTRANCE WAY - NIGHT
There is a porter announcing guests as they arrive.
PORTER
Colonel Cyrus Momsen, and escort.
(beat)
William and Lady Cortland.
A translucent grid appears, Cortland hands over a small handgun to a waiting security guard.
PORTER
Atherton Wing, and Inara Serra.
Inara and Atherton enter the ballroom, with is terribly genteel and stylish, people are dancing in a very courtly fashion.
INARA
(to a woman standing off to one side)
Roberta, its been too long.
(to an older man seated and sipping a glass
of red wine, in Chinese)
[Lao pung yo, nee can chi lai hun yo jing shen. -
"You're looking wonderful, old friend."]
ATHERTON
Half the men in this room wish you were on their
arm, tonight.
INARA
Only half? I must be losing my indefinable allure.
ATHERTON
Oh, its not that indefinable.
(quietly)
All of them wish they were in your bed.
INARA
(seems a bit put off by that remark)
I'm looking for the boy with the shimmerwine.
ATHERTON
Oh, she blushes. Not many in your line of work do
that. You are a very singular woman. And I find....
I find I admire you more and more.
INT. SERENITY - ENGINE ROOM
Kaylee is working on something mechanical. Mal enters.
MAL
Kaylee? Kaylee!
KAYLEE
I'm not speaking to you, Captain.
MAL
Got no need to speak. Come on. Got a job for you.
Kaylee mutters under her breath.
INT. - GRAND BALLROOM - NIGHT
Atherton and Inara are dancing together.
ATHERTON
I'm trying to offer you something you know. A life.
INARA
Atherton...
ATHERTON
You can live here on Persephone, as my personal companion.
INARA
You are a generous man.
ATHERTON
That is not a "yes".
INARA
It's not a "no", either.
(to a woman dancing nearby)
You look gorgeous, dear.
ATHERTON
You belong here, Inara, not on that flying piece
of [gos se. - "crap."] You see that, don't you?
INARA
Atherton, language.
ATHERTON
What? Piece of [gos se? - "crap?"]
But it is a piece of [gos se. - "crap."]
PORTER
Miss Kaywinnit Lee Frye and escort.
INARA
(turns and looks toward the entrance)
Kaylee?
Mal and Kaylee enter the ballroom, Kaylee looking radiant in the ruffly pink hoop skirted dress she was admiring in the shop window.
INARA
Oh, [gos se. - "crap."]
END ACT ONE
ACT TWO
INT. GRAND BALLROOM - NIGHT
Right back where we left off, with Kaylee and Mal wandering farther into the ballroom.
MAL
Does.. um.. does this seem kind of tight?
KAYLEE
Shows off your backside. Did you see the
chandelier? It's hovering!
MAL
What's the point of that, I wonder?
KAYLEE
Oh! Mangoes!
MAL
I mean, I see how they did it. I just ain't
getting the why.
KAYLEE
These girls have the most beautiful dresses.
And so do I -- how about that?
MAL
Yeah, well, just be careful. We cheated Badger out
of good money to buy that frippery, and you're supposed
to make me look respectable.
KAYLEE
Yes, sir, Captain Tightpants.
MAL
Ok, I'm looking for our guy Harrow.
KAYLEE
And Inara. We should look for Inara, right?
Just to say halloo at her.
MAL
If we see her. I think she's wearing gold. Okay,
help me find our man. He's supposed to be old, kinda
stocky, wears a red sash crossways.
KAYLEE
Why does he do that?
MAL
Maybe he won the Miss Persephone Pageant.
Just help me look.
KAYLEE
Is that him?
MAL
That's the buffet table.
KAYLEE
Well how can we be sure, unless we question it?
MAL
Fine. Don't make yourself sick.
KAYLEE
Oh, [sheh-sheh - "thank you"], Captain.
INT. SERENITY - COMMON AREA
Jayne, Simon and Book are playing cards. River is skulking around in the background. The boys have scraps of paper instead of chips. They seem to be playing for ship-board chores.
SIMON
(dealing)
Ante up, gentlemen. Dishes.
BOOK
Dishes. Could do with less of them.
JAYNE
Garbage.
SIMON
(turns over a card)
Tall card... plum. Plums are tall.
BOOK
I'll take... two.
SIMON
Two. No tall card claim.
JAYNE
Speaking of garbage, I'll take three.
SIMON
Three. Dealer forced to claim the tall.
In the background, River is muttering over cans of food, getting increasingly more agitated.
BOOK
What do you supposed the Captain and Kaylee are
doing now? Septic vat.
JAYNE
Eating steaks off of plates made of solid money,
like as anything. I fold.
River is now ripping the labels from several cans of food.
SIMON
Me too. Tall card's around my neck like a weight.
Take it Shepherd.
BOOK
That's a nice pile of things I don't have to do.
RIVER
(still attacking the food packages)
These are the ones that take you. They're the ones
reaching and doing. They're the ones...
The three at the table finally notice River. Book and Simon move to her side.
SIMON
River.
BOOK
Is she hurt?
JAYNE
You better see to her. Bad habit for a fugitive.
She's going to do that in public and get herself
hauled off.
As Jayne is saying this, he is re-arranging the scraps of paper that represent winnings in the card game, while Simon and Book are busy tending to freaking-out River.
RIVER
...everywhere... and the hands go everywhere...
SIMON
(gently restraining her)
Shhh, its ok.
RIVER
...when you brush your teeth and...
BOOK
It's ok, she didn't harm much.
RIVER
...and nobody said anything....
BOOK
We'll have a few mystery meals.
SIMON
It's ok. Shh shh shh shh.
RIVER
(calmer now)
...and then they come.
JAYNE
So we gonna play cards, or screw around?
INT. SERENITY - ZOE AND WASH'S PERSONAL QUARTERS
Cut to a long, lovely shot, traveling up Zoe's naked leg. Zoe and Wash are in bed, obviously in the throes of post-coital bliss. Both are breathless. The atmosphere is comfortable and happy. These people are deeply in love with one another.
ZOE
I thought you wanted to spend more time off-ship
this visit.
WASH
Out there is seems like its all fancy parties.
I like our party better. The dress code is easier
and I know all the steps.
ZOE
(happy and sleepy)
I'd say you do at that.
WASH
Don't fall asleep now. Sleepiness is weakness of
character. Ask anyone. You're acting captain.
Know what happens you fall asleep now?
ZOE
Jayne slits my throat and takes over.
WASH
That's right.
ZOE
And we can't stop it.
WASH
Well, I wash my hands of it. It's a hopeless case.
I'll read a nice poem at the funeral. Something
with imagery.
ZOE
You could lock the door and keep the power-hungry
maniac at bay.
WASH
Oh, no, I'm starting to like this poetry idea now.
(dramatically)
"Here lies my beloved Zoe, my autumn flower, somewhat
less attractive now she's all corpsified and gross..."
Zoe ends this eulogy with a pillow to Wash's face.
INT. GRAND BALLROOM - PROBABLY NIGHT
KAYLEE
(watching the dancing, to a young gentleman
standing on the edge of the dance floor)
Aren't they something. They're like butterflies,
or little pieces of wrapping paper blowing around.
The young gentleman bows and walks off, leaving Kaylee. She looks a little sad, bur rallies and walks over to a group of women.
KAYLEE
Hello.
BANNING
I don't.. um... have we been introduced?
KAYLEE
(shaking hands with first woman)
Oh, I'm Kaylee.
BANNING
Banning. And this is Destra, Cabott and Zelle.
KAYLEE
(gushing)
Don't you just love this party? Everything's so
fancy, and there's some kind of hot cheese over there.
CABOTT
It's not as good as last year.
KAYLEE
Oh really? What'd they have last year?
CABOTT
Standards.
Kaylee looks crestfallen.
BANNING
Who made your dress, Kaylee?
KAYLEE
Oh, do you like it? When I saw the ruffles,
I just couldn't resist.
BANNING
You ought to see to your girl.
KAYLEE
[Shah muh? - "What?"]
BANNING
Your girl. She's not very good. She made you a
dress that looks like you bought it in a store.
KAYLEE
Oh, I didn't know.
An older gentleman has obviously overheard this exchange, and walks to Kaylee's side.
MURPHY
Why Banning Miller. What a vision you are in your
fine dress. It must have taken a dozen slaves a
dozen days to get you into that getup.
(Banning preens)
'Course your daddy tells me it takes the space of
a schoolboy's wink to get you out of it again.
Banning gets huffy and stalks off, followed by the other women. Kaylee looks surprised and delighted.
MURPHY
Forgive my rudeness. I cannot abide useless people.
Cut to Mal, as he spies his quarry. He crosses over to Harrow.
HARROW
(to someone offscreen)
Oh, no, thank you very much.
MAL
Beg pardon, but would you be Warrick Harrow?
HARROW
Sir Warrick Harrow. The sash.
MAL
The sash.
HARROW
It indicates lordship.
MAL
And it's... it's doing a great job.
Harrow sighs and moves away.
MAL
Sir, my name is Malcolm Reynolds. I captain a ship,
name of Serenity. I mention this because I've been led
to believe you want to move some property off-world.
(tto see Inara dancing with Atherton,
then turns back to Harrow)
Some property you want to move off-world discreetly.
HARROW
You're mistaken sir. I'm an honest man.
MAL
It seems to me there's nothing dishonest to getting
your goods to people what need them.
HARROW
Whom do you represent?
MAL
"Represent" isn't exactly the...
HARROW
Don't waste my time.
MAL
Fellow called Badger.
HARROW
I know him. And I think he's a psychotic low-life.
MAL
And I think calling him that is an insult to the
psychotic low-life community. But the deal is solid.
Atherton and Inara walk up.
ATHERTON
Sorry to interrupt, Sir Warrick, I know you from
the club, I believe.
INARA
Captain, this is Atherton Wing, Atherton, this is
Captain Mal Reynolds.
MAL
Pleased to meet ya. Inara, I didn't realize you
were going to this party.
INARA
It's the only party.
MAL
And I can see why. How about that floating chandelier?
(to Atherton)
Almost outshines our girl here.
Mal notices the possessive and overly rough grip Atherton has on Inara's upper arm.
MAL
Ath? Can I call you Ath? Inara has spoken of you
to me. She made a point of mentioning your generosity.
Given that, I'm sure you won't mind if I ask Inara the
favor of a dance?
ATHERTON
(not happy)
Of course.
Inara and Mal walk off.
HARROW
(to Atherton)
You're a brave man.
ATHERTON
I know what's mine.
Mal leads Inara to the dance floor.
MAL
This dance I think I actually know.
INARA
Why are you here?
MAL
Business. Same as you. I was talking to a contact
about a smuggling job and you came over to me.
INARA
You were staring at me.
MAL
I saw you is all. You stand out.
INARA
In this company, Captain, I believe you're the
one who stands out.
MAL
Well then, maybe I just wanted to see a professional
at work. Is this the hardest part, would you say,
or does that come later?
INARA
You have no call to try to make me ashamed of my job.
What I do is legal. And how's that smuggling coming?
MAL
My work's illegal, but at least it's honest.
INARA
What!?
MAL
Well this, the lie of it. That man parading you around
on his arm as if he actually won you, as if he loves you,
and everyone here actually going along with it.
INARA
These people like me and I like them. I like Atherton
too by the way.
MAL
Well sure, what's not to like. I'm liable to sleep
with him myself.
INARA
And he likes me, whether you see it or not. He's made
me an offer. You may think he doesn't honor me, but he
wants me to live here. I'd be his personal companion.
I could belong here. Call me pretentious but there is
some appeal in that.
MAL
You're right. Got no call to stop you. You've got
the right to a decent life.
INARA
I see Kaylee's here.
MAL
Yeah, crying Cinderella tears. You should have seen
her when I told he she could have that layer cake
she's wearing.
INARA
I think she looks adorable.
MAL
Yeah, but I never said it.
Cut to scene of Kaylee, holding court with a group of mostly older men, including her rescuer.
KAYLEE
I'm not saying the 80-04's hard to repair, it
just ain't worth it.
OLDER FARMER
It's a fine machine, you just keep it tuned.
KAYLEE
[Tsai boo shr. - "No way."] The extenders ain't braced.
MURPHY
I've been telling him to buy the 80-10 for years.
KAYLEE
Those 'tenders snap off, don't matter how good
the engine's cycling.
YOUNGER FARMER
Miss Kaylee, I wonder if I could request the honor of....
MURPHY
(interrupting)
Wait a minute. Let her talk. She's talking.
Dance later.
KAYLEE
By the way, the 80-10's the same machine, they just
changed the plating and hope no one noticed.
The men laugh, obviously charmed by Kaylee.
Cut back to Mal and Inara dancing, while Atherton looks on with a glare. Mal missteps the dance, and Inara and Mal both chuckle.
MAL
It's possible you were right, and this ain't my
kind of party.
They are comfortable with each other, laughing and smiling. Atherton barges in and roughly grabs Inara's arm and pulls her away from the dance floor.
MAL
Whoa now. Watch yourself. Ain't no need for hands on.
ATHERTON
Excuse me, she's not here with you, Captain. She's mine.
MAL
Yours? She don't belong to nobody.
ATHERTON
Money changed hands, which makes her mine tonight.
And no matter how you dress her up she's still...
Mal hauls off and slugs him before he can get the rest of the sentence out.
MAL
(to Inara)
Turns out this is my kind of party.
INARA
Oh, Mal.
MAL
What? Man was out of line.
ATHERTON
(recovering, angry)
I accept.
MAL
That's great. What?
GENTLEMAN
There has been a challenge.
ATHERTON
I hope you're prepared, Captain.
MAL
What? You all talking about a fight? That's fine.
(taking off his jacket)
Let's get out of here.
INARA
It's not a fist fight, Mal.
GENTLEMAN
The duel will be met tomorrow morning at Cadrie Pond.
MAL
Well, why wait? Where's that guard? He collected
a whole mess of pistols.
GENTLEMAN
If you require it, any gentleman here can give you
use of a sword.
MAL
Use of a swo... what?
END OF ACT TWO
ACT THREE
INT. GRAND BALLROOM - NIGHT
Back where we left off, Mal in hot water:
KAYLEE
What's going on?
MAL
I'm not rightly sure. What's going on?
HARROW
First off, you'll be put up in lodgings for the night,
so you don't disappear. I wouldn't blame you,
incidentally. Wing may be a spoiled dandy, but he's
an expert swordsman. He's killed a dozen men with a
longblade. You're the only one gave him a reason.
MAL
(exasperated)
Oh this is a joke.
INARA
He'll need a second.
MAL
What's that?
HARROW
I'll take on the job.
INARA
He fights if you refuse.
ATHERTON
(moving towards the entranceway)
Inara, come with me, please.
MAL
(to Harrow)
You taking on this job... being my second...
does this mean we're in business?
HARROW
It means you're in mortal danger. But you mussed
up Atherton's face, and that has endeared you to me
somewhat. You might even give him a fight, before
he guts you.
ATHERTON
(sharply)
Inara!
(holds out his arm to Inara)
KAYLEE
Up until the punching, it was a real nice party.
INT. SERENITY - CARGO HOLD
Jayne is doing pull-ups from straps attached to the overhead walkway. There is a banging noise, like someone knocking on a metal door. Jayne stops, picks up a rifle, and looks out the small window of a door. Sighs, and opens the door to admit Badger.
BADGER
The captain's gone and gotten himself in trouble.
A short time later, the crew has assembled in the cargo hold. Only Jayne and River are missing.
BOOK
A duel?
WASH
With swords?
SIMON
Captain's a good fighter, he must know how to
handle a sword.
ZOE
I think he knows which end to hold.
SIMON
All right, so we just need to figure out how
to get him out of there.
BOOK
(to Badger)
We have until the morning, correct? Do you know
what lodging he's in?
BADGER
This is embarrassing. Some of you seem to be
misapprehending my purpose in being here.
ZOE
You're here to make sure that we don't do what
these men are keen on doing.
BADGER
Penny for the smart lady. Persephone's my home.
I got to do business with the people here. I don't
want it known I brought someone in caused this kind
of ruckus. We'll just settle in, till this blows over,
one way or the other.
Off-camera sound of rifle being cocked. Heads turn to look up onto the overhead walkway. Jayne holds his rifle on Badger. Zoe smiles.
ZOE
Jayne, I wouldn't.
JAYNE
Why not?
Zoe indicates to where Badger's thugs have just come in with Kaylee. She's still in her party dress, and looks unhappy.
KAYLEE
Hi.
INT. LARGE MANSION - NIGHT
Inara is walking through the halls. She affixes a glowy door-handle sort of thing to one of the many doors, and walks in to find Mal practicing with a sword.
INARA
Mal?
MAL
(startled and swinging his sword into a pillar,
where it lodges)
Whoa! What are you doing here?
INARA
Atherton's a heavy sleeper the night before a
big day. He's got that killing in the morning,
and a haircut later.
MAL
Such a comfort, having friends visit at a time
like this.
INARA
I knew the accommodations would be nice.
Atherton doesn't skimp.
Mal pulls the sword from the pillar.
MAL
I don't suppose I like being kept by him as much as
others do. So, how come you're still attached to him?
INARA
Because it's my decision, not yours.
MAL
I thought he made it pretty clear he has no regard for you.
INARA
You did manage to push him into saying something, yes.
Made a nice justification for the punch.
MAL
Well, he insulted you. I hit him. Seemed like the
thing to do. Why'd this get so complicated?
INARA
Well, it's about to get simpler. There's a back door.
Desk clerk is on alert. He'll let us out.
MAL
Whoa, whoa, I'm not running off. I don't know what you
got in your head, but I didn't do this to prove some kind
of point to you. I thought I was defending your honor.
And I never back down from a fight.
INARA
Yes, you do! You do all the time!
MAL
Well, yeah... but, I'm not backing down from this one.
INARA
He's an expert swordsman, Mal. You had trouble with
the pillar. How will your death help my honor?
MAL
Well, see, I plan on having it be his death. That's
why I need lessons. I figure you know how, being such
an educated woman, and all.
(tosses a sword to Inara)
INT. SERENITY - CARGO HOLD
Most of the crew is gathered playing cards. All speak quietly. Badger and his henchman are standing about, mostly doing nothing but looking vaguely threatening. Badger is busy slicing up and eating an apple.
KAYLEE
He said not to do anything. He'll join us after
he wins the duel.
ZOE
It doesn't hurt to have a contingency plan, Kaylee.
SIMON
I'm thinking, since we're unarmed, we should take
them by surprise.
ZOE
Not necessarily. We can lure one or two of them away.
Say infirmary? Take 'em out, be on Badger before he
knows what happens.
JAYNE
Only if his attention's elsewhere. What we need's a
diversion. I say Zoe gets nekkid.
WASH
(sitting on the floor, head on knees)
Nope.
JAYNE
I could get nekkid.
ALL
No!
Book has been standing off to one side during this exchange, reading the Bible. He notices that River has come quietly into the room, and moves to Simon's side and lays a hand on his shoulder. Our crew realizes she's there, and senses that this could be trouble. Simon moves to her. Badger seems not to notice.
SIMON
(whispering)
River, you can't be here.
RIVER
(laughing and trying to push by Simon)
There are tiny...
SIMON
River, please.
RIVER
Pull!
BADGER
(finally noticing River)
Who's that then? Here, look at me. What's your story, love?
SIMON
She's ... just a... just a passenger.
BADGER
Yeah? Why ain't she talking? She got a secret?
RIVER
(with Badger's accent)
Sure, I got a secret. More than one. Don't seem
likely I'd tell 'em to you now, do it? Anyone off
Dyton Colony knows better than to talk to strangers.
(notices a shiny pin in the shape of a bird on
Badger's lapel, nearly touches it, then runs a
finger down his lapel before pulling back)
You're talking loud enough for the both of us though,
ain'tcha? I've known a dozen like you. Skipped off
home early, running graft jobs here and there. Spent
some time in the lock down, but less than you claim.
And you're what? Petty thief with delusions of standing?
Sad, little king of a sad, little hill.
The crew exchanges glances, bemused. Who knew she could pull this off?
BADGER
Nice to see someone from the old homestead.
RIVER
Not really.
(to Simon)
Call me if anyone interesting shows up.
River leaves the way she came in.
BADGER
I like her.
JAYNE
(quietly, to the crew)
That there -- exactly the kind of diversion we
could have used.
INT. MANSION - MAL'S QUARTERS - NIGHT
MAL AND INARA square off, swords in hand.
INARA
Attack.
Mal lunges at Inara with his sword. She easily side-steps him, and whacks him on the ass with her sword as he goes by.
INARA
How did I avoid that?
MAL
By being fast like a freak?
INARA
No, because you always attack the same way, swinging
from the shoulder like you were chopping wood. You
have to thrust with the point sometimes, or swing
from the elbow.
MAL
Swinging from the shoulder feels stronger.
INARA
It's also slower, Mal. You don't need strength as much
as speed. We're fragile creatures. It takes less than a
pound of pressure to cut skin.
MAL
You know that? They teach you that in whore academy?
INARA
You have a strange sense of nobility Captain. You'll
lay a man out for calling me a whore, and yet you keep
calling me one to my face.
MAL
I might not show respect to your job, but he didn't
respect you. That's the difference. Inara, he doesn't
even see you.
INARA
Well I guess death will solve the issue to everyone's
satisfaction.
MAL
This [yu bun duh - "stupid"] duel is the result of the rules of
your society, not mine.
INARA
You are always breaking the rules, no matter what society
you're in! You don't get along with ordinary criminals
either, which is why you're constantly getting in trouble.
MAL
You think following the rules will buy you a nice life,
even if the rules make you a slave.
(Inara turns away)
Don't take his offer.
INARA
(turning to face Mal)
What?
MAL
Don't do it. Because in the case it happens it means
he's the fella that killed me and I don't like fellas
that kill me, just in general. I said before I don't
have call to stop you, and that's true, but anyways, don't.
INARA
I need to get back. He'll be up early.
MAL
Right. He's got that big day.
EXT. PERSEPHONE MOON - CADRIE POND - DAY
There are many on-lookers, including Inara and Harrow. The duelists face off and begin parrying. Mal gets a lucky swipe and draws first blood, with a shallow cut to Atherton's chest.
MAL
(pleased)
Best be careful, Ath. Hear these things are sharp.
HARROW
(incredulous, to Inara)
He thinks he's doing well, doesn't he?
INARA
(horrified)
He's being toyed with.
More dueling, Atherton slashes a shallow cut to Mal's sword arm. Mal attacks rather blindly, flailing his sword broadly from the shoulder. He's obviously out-classed here. Atherton smiles, steps back, and puts both arms behind his back, leaving his chest exposed.
HARROW
What's he doing?
INARA
Don't fall for that!
Mal attacks, and Atherton spins and stabs Mal in the abdomen. This is a serious wound, but not a killing blow.
HARROW
Well, this isn't going to take long, is it?
END OF ACT THREE
ACT FOUR
EXT. PERSEPHONE MOON - CADRIE POND - DAY
Mal is bloodied, and a bit wobbly on his feet. He continues to fight, though with his free hand clamped over his wound. Atherton is gleeful and poised, supremely confident.
HARROW
(to Inara)
We're coming up on the end, Miss. You might not
want to watch.
Harrow is right, this is almost over. Atherton knocks Mal to his knees, and snaps his sword blade off at the hilt. He stands triumphant over Mal, sword at his throat.
INARA
(moving forward)
Atherton, wait! I'll stay here, exclusive to you.
Just let him live.
Atherton is distracted by Inara, and looks her way. Mal takes his chance then, and knocks Atherton's sword out of his hands, and clubs him across the jaw with the hilt of the broken sword. He quickly kicks up the freed sword and throws it at Atherton, stabbing him through the chest. Atherton manages to pull out the blade, just has Mal clubs him across the face again. Mal picks up the bloody sword, and holds it to the throat of the fallen Atherton.
HARROW
He's down. You have to finish it, lad. You have to
finish it. For a man to lie beaten, and yet breathing?
It makes him a coward.
INARA
It's humiliation.
MAL
Sure, it's humiliating. Having to lie there while
the better man refuses to spill your blood. Mercy
is the mark of a great man.
(pokes Atherton in the belly with the sword)
Guess I'm just a good man.
(pokes him again for good measure)
Well, I'm all right.
Inara puts her arm around the wobbly Mal to support him, and they walk off together.
ATHERTON
(calling after them)
Inara. Inara!
HARROW
(to Atherton)
You've lost her lad. Be gracious.
ATHERTON
You set this up, whore. After I bought and paid for
you. I should have uglied you up so much no one
else'd want you.
MAL
(to Inara)
See how I'm not punching him? I think I've grown.
ATHERTON
(to Inara)
Well get ready to starve. I'll see that you
never work again.
INARA
(to Atherton)
Actually, that's not how it works. You see, you've
earned yourself a black mark in the client registry.
No Companion is ever going to contract with you,
ever again.
HARROW
(to Atherton)
You'll have to rely on your winning personality to
get women. God help you.
(to Mal)
You didn't have to wound that man.
MAL
Yeah, I know, it was just funny.
HARROW
(walks away with Inara and Mal)
You willing to fight that hard to protect my property,
I'll have it in your hold before midnight.
Mal shakes hands with Harrow, smile and laughs.
Harrow walks off.
MAL
(to Inara)
Mighty fine shindig.
INT. SERENITY - CARGO HOLD
JAYNE
(whispers to the crew around the crate/card table)
Doc is filling Shepherd in on the plan.
Doc is the diversion.
Light spills in from an opened door.
MAL
Did you ever see such a lazy crew.
Mal walks in being supported by Inara.
KAYLEE
Captain.
SIMON
You're hurt.
BADGER
You get us a deal then?
MAL
I got a deal. Now get off my ship.
BADGER
Ta very much for a lovely night, then.
Badger whistles and motions to his gang, and they leave Serenity.
Mal and Inara sit down, Book comes over.
BOOK
Are you badly hurt?
Mal nods.
JAYNE
We was just about to spring into action, Captain.
Complicated escape and rescue op.
WASH
I was going to watch. It was very exciting.
Cut to an exterior shot of Serenity flying through space.
INT. SERENITY - CORRIDORS
Kaylee is walking down the corridors of the ship humming and skipping just a little to herself. She goes to her room, flops onto her bunk, and tunes a tiny speaker to classical music. She stares up at the pink, frilly dress which is hanging over her bed, obviously happy.
INT. SERENITY - CARGO HOLD
Mal and Inara are sitting on the walkway overhead, legs dangling. There is a large glass jug beside them, and they are drinking out of mis-matched cups.
INARA
Thank you for the wine. It's... very fresh.
MAL
To Kaylee and her inter-engine fermentation
system.
They clink cups and Mal winces, a bit more dramatically than necessary.
INARA
Are you in pain?
MAL
Absolutely. I got stabbed, you know, right here.
Mal lifts his shirt to show her the bloody bandage on his abdomen.
INARA
(turning away, squeamish)
I saw.
MAL
Don't care much for fancy parties. Too rough.
INARA
It wasn't entirely a disaster.
MAL
(incredulous)
I got stabbed! Right here!
INARA
You also lined up exciting new crime.
MAL
It's good to have cargo. Makes us a target for
every other scavenger out there, though, but
sometimes that's fun too.
INARA
I am grateful, you know, for the ill-conceived and
high-handed attempt to defend my honor, although
I didn't want you to.
MAL
Gracious as that is, looking back, I probably should
have stayed out of your world.
INARA
My world? If it is that. I wasn't going to stay,
you know.
MAL
Yeah? Why is that?
INARA
Oh, someone needs to keep Kaylee out of trouble.
And all my things are here. Besides, why would I
want to leave Serenity?
MAL
Can't think of a reason.
Cut to a distance shot of Mal and Inara, drinking companionably. We then see the hold is full of Harrow's cargo... cattle.
END OF SHOW
Mal and Jayne are playing pool with a guy named Wright, while Inara sits at the bar and sips a dainty pink drink.
WRIGHT
Didn't hardly have to convert the ship even.
Six in the corner. Stronger locks, thicker doors,
keep everybody where they're supposed to be.
Don't even need more rations.
Pool balls on table waver and nearly disappear, like a holographic image shorting out.
WRIGHT
(in Chinese)
[Way! - "Hey!"]
A bar worker motions to the wall.
Cut to a shot of a sign on the wall "MANAGEMENT NOT RESPONSIBLE FOR BALL FAILURE".
JAYNE
You made money, huh?
WRIGHT
Hand over fist, my friend. Water planets need labor,
terraforming crews got a prodigious death rate.
MAL
Labor, you mean, uh ... slaves.
WRIGHT
Well it wasn't volunteers, for damn sure.
MAL
That why you didn't have to lay in more rations?
WRIGHT
I didn't hear no complaints.
JAYNE
How much money, lots?
Mal walks over to Inara, who's been watching the game from the bar.
MAL
There's a chance you might want to head
back to the ship.
INARA
Oh, I'm all right. This is entertaining, actually.
MAL
Yeah? What's entertaining?
INARA
I like watching the game. As with other situations,
the key seems to be giving Jayne a heavy stick and
standing back.
MAL
Still, might ought to clear out before too much
longer. Seems there's a thief about.
INARA
A thief?
MAL
Took this right off him.
(Mal hands Inara a wad of cash.)
Now they earned that with the sweat of their
slave-trading brows.
INARA
(hushed and a bit shocked)
Mal...
Inara shoves the cash into her bra.
MAL
Aw, terrible shame. Course they won't discover
it till they go order their next round of drinks.
Hand comes from behind and grabs Mal's shoulder.
WRIGHT
(in Chinese)
[Way! - "Hey!"]
MAL
Good drinker, that one.
Mal turns and slugs the grabber square in the jaw. Raucous bar fight ensues, Mal and Jayne basically kicking ass, while Inara stays out of the way and looks on. Bad guys down, if not beaten, Mal takes Inara's arm and hustles her out.
INARA
Lovely place, I'll tell my friends.
END OF TEASER
ACT ONE
INT. SERENTIY - BRIDGE
Wash is piloting the ship while Zoe looks out the front port.
WASH
Seem to you we cleared out of Santo in a hurry?
ZOE
Seems we do that a lot. Heard tell though,
we're going to stay a while on Persephone.
WASH
Shiny.
ZOE
Yeah? Thought you'd get land crazy that long
in port.
WASH
Probably, but I've been sane a long while now,
and change is good.
Mal enters the bridge.
MAL
Well, ain't that a joyful sight?
WASH
Gotta love a sunset.
ZOE
Starting to get familiar too, like a second home.
MAL
Persephone ain't home. Too many people we got to
avoid. Re-supply, look for work, move along.
Sniff the air, we don't kiss the dirt.
ZOE
Wasn't planning on the dirt-kissing, sir.
WASH
Besides, I wouldn't stand for it anyway,
Captain, jealous man like me.
(re: alarm sounding from the console)
Closing in.
ZOE
Planet's coming up a mite fast.
WASH
That's just cause, I'm going down too quick.
Likely crash and kill us all.
MAL
Well, that happens, let me know.
Mal walks off the bridge.
WASH
(maybe a tad nervous)
Okay. Whoa. No, we're good, we're good. It's okay.
INT. - INARA'S SHUTTLE
Cut to a computer screen with several faces displayed. Inara deletes a few faces, and then selects one which enlarges and begins speaking. The face belongs to a well-dressed but awkward young man.
YOUNGER HOPEFUL
I understand your time on our planet is limited,
and if you've selected my proposal to hear, then
the honor you do me flatters.... my honor....and I
hope that...
Inara cuts off the recitation and selects another face. While the previous young man's speech seemed pre-recorded, this is clearly a live transmission.
ATHERTON
Now there's the smile made of sunlight.
INARA
Atherton, how wonderful to see you.
ATHERTON
Did you get my message? I was extra appealing.
INARA
What a flattering invitation. I had no idea I was
arriving in time for the social event of the season.
ATHERTON
So, you'll accompany me? I ask, heart in my throat.
There's a certain offer I'm still waiting to hear about.
Off-screen knocking at the door.
INARA
Yes, I imagine there is. I'm delighted to say I'll
be there. Now, I'm sorry Atherton, but I have to run.
ATHERTON
No, please, I understand. I'll see you soon,
[bao bay - "sweetheart"].
Mal enters Inara's shuttle.
INARA
Good afternoon, Captain.
MAL
Morning. We're downing, and in case that Wash don't
kill us all, local time's going to be in the a.m.,
10 or so.
INARA
Yes, I saw that.
MAL
(looking over Inara's shoulder, which still
shows the face of Atherton)
Making plans? "Atherton Wing". He's a regular, ain't he?
Inara covers the computer screen with a handy drapery.
INARA
I've seen him before.
MAL
Oh, I never did. Not what I pictured - young. Must
be rich too, to afford your rates.
INARA
I suppose. He has engaged me for several days.
MAL
Days!? Boy must have stamina.
INARA
He does.
MAL
Well...fine. Is he letting you out at all?
INARA
Actually, we're attending a ball tomorrow night.
MAL
Tell me, do all the men there pay for their dates,
or just the young rich ones with stamina?
INARA
Most of the women in there will not be Companions,
if that's what you're asking. Perhaps the other
men couldn't attract one.
MAL
Hmm. It's sounds like the finest party I can
imagine getting paid to go to.
INARA
I don't suppose you'd find it up to standards
of your outings. More conversation and somewhat
less petty theft and getting hit with pool cues.
I understand if you need to go prepare for that
"It's 10 in the morning" issue.
MAL
Yeah. Better go do that. 'Cause I think this
is more of an evening look.
EXT. PERSEPHONE MOON - BUSY STREET SCENE - DAY
Kaylee, Zoe, Wash, Mal and Jayne are walking through a street, carrying luggage. Kaylee spies a shop window and moves in for a closer look. The others follow.
KAYLEE
Oh, look at the pretties!
WASH
What am I looking at, the girls or the clothes?
JAYNE
There's clothes?
ZOE
The clothes, please.
KAYLEE
(indicating a pink frilly dress, something out
of Gone With the Wind)
Say, look at the fluffy one.
ZOE
Too much foofaraw. If I'm going to wear a dress,
I'd want something with some slink.
WASH
(eagerly)
You want a slinky dress? I can buy you a slinky
dress. Captain, can I have money for a slinky dress?
JAYNE
I'll chip in.
ZOE
(to Jayne)
I can hurt you.
KAYLEE
The only place I seen somethin' so nice is
some of the things Inara has.
MAL
Well, we best be movin'.
ZOE
(to Kaylee)
I guess she needs all that stuff, the life she leads.
KAYLEE
Well, sure. Sometimes the customers buy
her things. Some real rich men.
MAL
Come on! These ain't feathers I'm toting
here, ya know?
KAYLEE
I like the ruffles. Inara gets to wear whatever
she wants.
MAL
What are you going to do in that rig? Flounce
around the engine room? Be like a sheep walking
on its hind legs.
Kaylee walks off, obviously hurt. Zoe gives Mal a glare.
ZOE
See ya on the ship, Captain.
Mal looks disgusted with himself.
Zoe, Wash and Kaylee board a quad-runner type thing and leave.
JAYNE
(to Mal)
Is she mad or something?
Off screen sound of gun cocking. Mal turns to see a dread-locked man holding a rifle on him. We see at least one more thug with a rifle at the ready. A small man in a derby approaches from the side.
MAL
Badger.
BADGER
(noticeable cockney accent)
Captain Reynolds. Heard you was in town. Thought
we might have a bit of a sit-down.
MAL
Prefer a bit of a piss-off.
BADGER
I'm very sorry. Did I give you the impression
I was asking?
INT. - BADGER'S OFFICE - DAY
Jayne, Mal and Badger are seated around what is possibly a crate, passing for a table.
MAL
Seems the last time there was a chance for a little
palaver we were all manner of unwelcome.
JAYNE
(sipping from a chipped tea cup)
This ain't bad.
BADGER
There's a trick to it: wood-alcohol.
MAL
Now we're favored guests... treated to the finest
in beverages that make you blind. So what is it
you need?
JAYNE
(mouth full as he reaches for more sandwiches
that are laid out on the table)
Mmm, 'scuse me.
BADGER
There's a local, but the name of Warrick Harrow.
Got some property he wants to sell off-planet...
fetch a high price.
MAL
The local powers won't let him sell off-world.
BADGER
It's a conundrum. What my man Harrow needs himself
is a smuggler. Willing to cut you in on it.
MAL
Why me? You have access to ships. You could do
it yourself.
BADGER
He won't deal with me direct. He's taken an
irrational dislike.
JAYNE
What happened? He see your face?
BADGER
He's a quality gent. Nose in the air like he never
[wun gwo pee - "smelled a fart"]. Don't find me
respectable. But you, now I figure you got a chance.
MAL
You backed out of a deal last time. Left us hanging.
JAYNE
Hurt our feelings.
MAL
You recall why that took place?
BADGER
Had a problem with your attitude is why.
Felt you was... what's the word?
JAYNE
Pretentious?
Mal looks at Jayne as if he's surprised to learn Jayne knows a word with that many syllables.
BADGER
Exactly! You think you're better than other people.
MAL
Just the ones I'm better than. And that very quality
is the one I think you're placing value on today.
BADGER
I'm placing value on the fact that stick up your
[pee goo - "bottom"] is about as large as the one Harrow's got.
MAL
How would you set up a meet, man that won't
deal with you?
BADGER
I know a place he'll be. Safe place. Using some
new-tech gun scans. High-class too. Wouldn't let me
in there. You might slip in. Course you couldn't buy
an invite with a diamond the size of a testicle, but I
got my hands on a couple.
Mal and Jayne glance at each other, snickering like little boys.
BADGER
Of invites! You want this meeting or not?
INT. - GRAND BALLROOM ENTRANCE WAY - NIGHT
There is a porter announcing guests as they arrive.
PORTER
Colonel Cyrus Momsen, and escort.
(beat)
William and Lady Cortland.
A translucent grid appears, Cortland hands over a small handgun to a waiting security guard.
PORTER
Atherton Wing, and Inara Serra.
Inara and Atherton enter the ballroom, with is terribly genteel and stylish, people are dancing in a very courtly fashion.
INARA
(to a woman standing off to one side)
Roberta, its been too long.
(to an older man seated and sipping a glass
of red wine, in Chinese)
[Lao pung yo, nee can chi lai hun yo jing shen. -
"You're looking wonderful, old friend."]
ATHERTON
Half the men in this room wish you were on their
arm, tonight.
INARA
Only half? I must be losing my indefinable allure.
ATHERTON
Oh, its not that indefinable.
(quietly)
All of them wish they were in your bed.
INARA
(seems a bit put off by that remark)
I'm looking for the boy with the shimmerwine.
ATHERTON
Oh, she blushes. Not many in your line of work do
that. You are a very singular woman. And I find....
I find I admire you more and more.
INT. SERENITY - ENGINE ROOM
Kaylee is working on something mechanical. Mal enters.
MAL
Kaylee? Kaylee!
KAYLEE
I'm not speaking to you, Captain.
MAL
Got no need to speak. Come on. Got a job for you.
Kaylee mutters under her breath.
INT. - GRAND BALLROOM - NIGHT
Atherton and Inara are dancing together.
ATHERTON
I'm trying to offer you something you know. A life.
INARA
Atherton...
ATHERTON
You can live here on Persephone, as my personal companion.
INARA
You are a generous man.
ATHERTON
That is not a "yes".
INARA
It's not a "no", either.
(to a woman dancing nearby)
You look gorgeous, dear.
ATHERTON
You belong here, Inara, not on that flying piece
of [gos se. - "crap."] You see that, don't you?
INARA
Atherton, language.
ATHERTON
What? Piece of [gos se? - "crap?"]
But it is a piece of [gos se. - "crap."]
PORTER
Miss Kaywinnit Lee Frye and escort.
INARA
(turns and looks toward the entrance)
Kaylee?
Mal and Kaylee enter the ballroom, Kaylee looking radiant in the ruffly pink hoop skirted dress she was admiring in the shop window.
INARA
Oh, [gos se. - "crap."]
END ACT ONE
ACT TWO
INT. GRAND BALLROOM - NIGHT
Right back where we left off, with Kaylee and Mal wandering farther into the ballroom.
MAL
Does.. um.. does this seem kind of tight?
KAYLEE
Shows off your backside. Did you see the
chandelier? It's hovering!
MAL
What's the point of that, I wonder?
KAYLEE
Oh! Mangoes!
MAL
I mean, I see how they did it. I just ain't
getting the why.
KAYLEE
These girls have the most beautiful dresses.
And so do I -- how about that?
MAL
Yeah, well, just be careful. We cheated Badger out
of good money to buy that frippery, and you're supposed
to make me look respectable.
KAYLEE
Yes, sir, Captain Tightpants.
MAL
Ok, I'm looking for our guy Harrow.
KAYLEE
And Inara. We should look for Inara, right?
Just to say halloo at her.
MAL
If we see her. I think she's wearing gold. Okay,
help me find our man. He's supposed to be old, kinda
stocky, wears a red sash crossways.
KAYLEE
Why does he do that?
MAL
Maybe he won the Miss Persephone Pageant.
Just help me look.
KAYLEE
Is that him?
MAL
That's the buffet table.
KAYLEE
Well how can we be sure, unless we question it?
MAL
Fine. Don't make yourself sick.
KAYLEE
Oh, [sheh-sheh - "thank you"], Captain.
INT. SERENITY - COMMON AREA
Jayne, Simon and Book are playing cards. River is skulking around in the background. The boys have scraps of paper instead of chips. They seem to be playing for ship-board chores.
SIMON
(dealing)
Ante up, gentlemen. Dishes.
BOOK
Dishes. Could do with less of them.
JAYNE
Garbage.
SIMON
(turns over a card)
Tall card... plum. Plums are tall.
BOOK
I'll take... two.
SIMON
Two. No tall card claim.
JAYNE
Speaking of garbage, I'll take three.
SIMON
Three. Dealer forced to claim the tall.
In the background, River is muttering over cans of food, getting increasingly more agitated.
BOOK
What do you supposed the Captain and Kaylee are
doing now? Septic vat.
JAYNE
Eating steaks off of plates made of solid money,
like as anything. I fold.
River is now ripping the labels from several cans of food.
SIMON
Me too. Tall card's around my neck like a weight.
Take it Shepherd.
BOOK
That's a nice pile of things I don't have to do.
RIVER
(still attacking the food packages)
These are the ones that take you. They're the ones
reaching and doing. They're the ones...
The three at the table finally notice River. Book and Simon move to her side.
SIMON
River.
BOOK
Is she hurt?
JAYNE
You better see to her. Bad habit for a fugitive.
She's going to do that in public and get herself
hauled off.
As Jayne is saying this, he is re-arranging the scraps of paper that represent winnings in the card game, while Simon and Book are busy tending to freaking-out River.
RIVER
...everywhere... and the hands go everywhere...
SIMON
(gently restraining her)
Shhh, its ok.
RIVER
...when you brush your teeth and...
BOOK
It's ok, she didn't harm much.
RIVER
...and nobody said anything....
BOOK
We'll have a few mystery meals.
SIMON
It's ok. Shh shh shh shh.
RIVER
(calmer now)
...and then they come.
JAYNE
So we gonna play cards, or screw around?
INT. SERENITY - ZOE AND WASH'S PERSONAL QUARTERS
Cut to a long, lovely shot, traveling up Zoe's naked leg. Zoe and Wash are in bed, obviously in the throes of post-coital bliss. Both are breathless. The atmosphere is comfortable and happy. These people are deeply in love with one another.
ZOE
I thought you wanted to spend more time off-ship
this visit.
WASH
Out there is seems like its all fancy parties.
I like our party better. The dress code is easier
and I know all the steps.
ZOE
(happy and sleepy)
I'd say you do at that.
WASH
Don't fall asleep now. Sleepiness is weakness of
character. Ask anyone. You're acting captain.
Know what happens you fall asleep now?
ZOE
Jayne slits my throat and takes over.
WASH
That's right.
ZOE
And we can't stop it.
WASH
Well, I wash my hands of it. It's a hopeless case.
I'll read a nice poem at the funeral. Something
with imagery.
ZOE
You could lock the door and keep the power-hungry
maniac at bay.
WASH
Oh, no, I'm starting to like this poetry idea now.
(dramatically)
"Here lies my beloved Zoe, my autumn flower, somewhat
less attractive now she's all corpsified and gross..."
Zoe ends this eulogy with a pillow to Wash's face.
INT. GRAND BALLROOM - PROBABLY NIGHT
KAYLEE
(watching the dancing, to a young gentleman
standing on the edge of the dance floor)
Aren't they something. They're like butterflies,
or little pieces of wrapping paper blowing around.
The young gentleman bows and walks off, leaving Kaylee. She looks a little sad, bur rallies and walks over to a group of women.
KAYLEE
Hello.
BANNING
I don't.. um... have we been introduced?
KAYLEE
(shaking hands with first woman)
Oh, I'm Kaylee.
BANNING
Banning. And this is Destra, Cabott and Zelle.
KAYLEE
(gushing)
Don't you just love this party? Everything's so
fancy, and there's some kind of hot cheese over there.
CABOTT
It's not as good as last year.
KAYLEE
Oh really? What'd they have last year?
CABOTT
Standards.
Kaylee looks crestfallen.
BANNING
Who made your dress, Kaylee?
KAYLEE
Oh, do you like it? When I saw the ruffles,
I just couldn't resist.
BANNING
You ought to see to your girl.
KAYLEE
[Shah muh? - "What?"]
BANNING
Your girl. She's not very good. She made you a
dress that looks like you bought it in a store.
KAYLEE
Oh, I didn't know.
An older gentleman has obviously overheard this exchange, and walks to Kaylee's side.
MURPHY
Why Banning Miller. What a vision you are in your
fine dress. It must have taken a dozen slaves a
dozen days to get you into that getup.
(Banning preens)
'Course your daddy tells me it takes the space of
a schoolboy's wink to get you out of it again.
Banning gets huffy and stalks off, followed by the other women. Kaylee looks surprised and delighted.
MURPHY
Forgive my rudeness. I cannot abide useless people.
Cut to Mal, as he spies his quarry. He crosses over to Harrow.
HARROW
(to someone offscreen)
Oh, no, thank you very much.
MAL
Beg pardon, but would you be Warrick Harrow?
HARROW
Sir Warrick Harrow. The sash.
MAL
The sash.
HARROW
It indicates lordship.
MAL
And it's... it's doing a great job.
Harrow sighs and moves away.
MAL
Sir, my name is Malcolm Reynolds. I captain a ship,
name of Serenity. I mention this because I've been led
to believe you want to move some property off-world.
(tto see Inara dancing with Atherton,
then turns back to Harrow)
Some property you want to move off-world discreetly.
HARROW
You're mistaken sir. I'm an honest man.
MAL
It seems to me there's nothing dishonest to getting
your goods to people what need them.
HARROW
Whom do you represent?
MAL
"Represent" isn't exactly the...
HARROW
Don't waste my time.
MAL
Fellow called Badger.
HARROW
I know him. And I think he's a psychotic low-life.
MAL
And I think calling him that is an insult to the
psychotic low-life community. But the deal is solid.
Atherton and Inara walk up.
ATHERTON
Sorry to interrupt, Sir Warrick, I know you from
the club, I believe.
INARA
Captain, this is Atherton Wing, Atherton, this is
Captain Mal Reynolds.
MAL
Pleased to meet ya. Inara, I didn't realize you
were going to this party.
INARA
It's the only party.
MAL
And I can see why. How about that floating chandelier?
(to Atherton)
Almost outshines our girl here.
Mal notices the possessive and overly rough grip Atherton has on Inara's upper arm.
MAL
Ath? Can I call you Ath? Inara has spoken of you
to me. She made a point of mentioning your generosity.
Given that, I'm sure you won't mind if I ask Inara the
favor of a dance?
ATHERTON
(not happy)
Of course.
Inara and Mal walk off.
HARROW
(to Atherton)
You're a brave man.
ATHERTON
I know what's mine.
Mal leads Inara to the dance floor.
MAL
This dance I think I actually know.
INARA
Why are you here?
MAL
Business. Same as you. I was talking to a contact
about a smuggling job and you came over to me.
INARA
You were staring at me.
MAL
I saw you is all. You stand out.
INARA
In this company, Captain, I believe you're the
one who stands out.
MAL
Well then, maybe I just wanted to see a professional
at work. Is this the hardest part, would you say,
or does that come later?
INARA
You have no call to try to make me ashamed of my job.
What I do is legal. And how's that smuggling coming?
MAL
My work's illegal, but at least it's honest.
INARA
What!?
MAL
Well this, the lie of it. That man parading you around
on his arm as if he actually won you, as if he loves you,
and everyone here actually going along with it.
INARA
These people like me and I like them. I like Atherton
too by the way.
MAL
Well sure, what's not to like. I'm liable to sleep
with him myself.
INARA
And he likes me, whether you see it or not. He's made
me an offer. You may think he doesn't honor me, but he
wants me to live here. I'd be his personal companion.
I could belong here. Call me pretentious but there is
some appeal in that.
MAL
You're right. Got no call to stop you. You've got
the right to a decent life.
INARA
I see Kaylee's here.
MAL
Yeah, crying Cinderella tears. You should have seen
her when I told he she could have that layer cake
she's wearing.
INARA
I think she looks adorable.
MAL
Yeah, but I never said it.
Cut to scene of Kaylee, holding court with a group of mostly older men, including her rescuer.
KAYLEE
I'm not saying the 80-04's hard to repair, it
just ain't worth it.
OLDER FARMER
It's a fine machine, you just keep it tuned.
KAYLEE
[Tsai boo shr. - "No way."] The extenders ain't braced.
MURPHY
I've been telling him to buy the 80-10 for years.
KAYLEE
Those 'tenders snap off, don't matter how good
the engine's cycling.
YOUNGER FARMER
Miss Kaylee, I wonder if I could request the honor of....
MURPHY
(interrupting)
Wait a minute. Let her talk. She's talking.
Dance later.
KAYLEE
By the way, the 80-10's the same machine, they just
changed the plating and hope no one noticed.
The men laugh, obviously charmed by Kaylee.
Cut back to Mal and Inara dancing, while Atherton looks on with a glare. Mal missteps the dance, and Inara and Mal both chuckle.
MAL
It's possible you were right, and this ain't my
kind of party.
They are comfortable with each other, laughing and smiling. Atherton barges in and roughly grabs Inara's arm and pulls her away from the dance floor.
MAL
Whoa now. Watch yourself. Ain't no need for hands on.
ATHERTON
Excuse me, she's not here with you, Captain. She's mine.
MAL
Yours? She don't belong to nobody.
ATHERTON
Money changed hands, which makes her mine tonight.
And no matter how you dress her up she's still...
Mal hauls off and slugs him before he can get the rest of the sentence out.
MAL
(to Inara)
Turns out this is my kind of party.
INARA
Oh, Mal.
MAL
What? Man was out of line.
ATHERTON
(recovering, angry)
I accept.
MAL
That's great. What?
GENTLEMAN
There has been a challenge.
ATHERTON
I hope you're prepared, Captain.
MAL
What? You all talking about a fight? That's fine.
(taking off his jacket)
Let's get out of here.
INARA
It's not a fist fight, Mal.
GENTLEMAN
The duel will be met tomorrow morning at Cadrie Pond.
MAL
Well, why wait? Where's that guard? He collected
a whole mess of pistols.
GENTLEMAN
If you require it, any gentleman here can give you
use of a sword.
MAL
Use of a swo... what?
END OF ACT TWO
ACT THREE
INT. GRAND BALLROOM - NIGHT
Back where we left off, Mal in hot water:
KAYLEE
What's going on?
MAL
I'm not rightly sure. What's going on?
HARROW
First off, you'll be put up in lodgings for the night,
so you don't disappear. I wouldn't blame you,
incidentally. Wing may be a spoiled dandy, but he's
an expert swordsman. He's killed a dozen men with a
longblade. You're the only one gave him a reason.
MAL
(exasperated)
Oh this is a joke.
INARA
He'll need a second.
MAL
What's that?
HARROW
I'll take on the job.
INARA
He fights if you refuse.
ATHERTON
(moving towards the entranceway)
Inara, come with me, please.
MAL
(to Harrow)
You taking on this job... being my second...
does this mean we're in business?
HARROW
It means you're in mortal danger. But you mussed
up Atherton's face, and that has endeared you to me
somewhat. You might even give him a fight, before
he guts you.
ATHERTON
(sharply)
Inara!
(holds out his arm to Inara)
KAYLEE
Up until the punching, it was a real nice party.
INT. SERENITY - CARGO HOLD
Jayne is doing pull-ups from straps attached to the overhead walkway. There is a banging noise, like someone knocking on a metal door. Jayne stops, picks up a rifle, and looks out the small window of a door. Sighs, and opens the door to admit Badger.
BADGER
The captain's gone and gotten himself in trouble.
A short time later, the crew has assembled in the cargo hold. Only Jayne and River are missing.
BOOK
A duel?
WASH
With swords?
SIMON
Captain's a good fighter, he must know how to
handle a sword.
ZOE
I think he knows which end to hold.
SIMON
All right, so we just need to figure out how
to get him out of there.
BOOK
(to Badger)
We have until the morning, correct? Do you know
what lodging he's in?
BADGER
This is embarrassing. Some of you seem to be
misapprehending my purpose in being here.
ZOE
You're here to make sure that we don't do what
these men are keen on doing.
BADGER
Penny for the smart lady. Persephone's my home.
I got to do business with the people here. I don't
want it known I brought someone in caused this kind
of ruckus. We'll just settle in, till this blows over,
one way or the other.
Off-camera sound of rifle being cocked. Heads turn to look up onto the overhead walkway. Jayne holds his rifle on Badger. Zoe smiles.
ZOE
Jayne, I wouldn't.
JAYNE
Why not?
Zoe indicates to where Badger's thugs have just come in with Kaylee. She's still in her party dress, and looks unhappy.
KAYLEE
Hi.
INT. LARGE MANSION - NIGHT
Inara is walking through the halls. She affixes a glowy door-handle sort of thing to one of the many doors, and walks in to find Mal practicing with a sword.
INARA
Mal?
MAL
(startled and swinging his sword into a pillar,
where it lodges)
Whoa! What are you doing here?
INARA
Atherton's a heavy sleeper the night before a
big day. He's got that killing in the morning,
and a haircut later.
MAL
Such a comfort, having friends visit at a time
like this.
INARA
I knew the accommodations would be nice.
Atherton doesn't skimp.
Mal pulls the sword from the pillar.
MAL
I don't suppose I like being kept by him as much as
others do. So, how come you're still attached to him?
INARA
Because it's my decision, not yours.
MAL
I thought he made it pretty clear he has no regard for you.
INARA
You did manage to push him into saying something, yes.
Made a nice justification for the punch.
MAL
Well, he insulted you. I hit him. Seemed like the
thing to do. Why'd this get so complicated?
INARA
Well, it's about to get simpler. There's a back door.
Desk clerk is on alert. He'll let us out.
MAL
Whoa, whoa, I'm not running off. I don't know what you
got in your head, but I didn't do this to prove some kind
of point to you. I thought I was defending your honor.
And I never back down from a fight.
INARA
Yes, you do! You do all the time!
MAL
Well, yeah... but, I'm not backing down from this one.
INARA
He's an expert swordsman, Mal. You had trouble with
the pillar. How will your death help my honor?
MAL
Well, see, I plan on having it be his death. That's
why I need lessons. I figure you know how, being such
an educated woman, and all.
(tosses a sword to Inara)
INT. SERENITY - CARGO HOLD
Most of the crew is gathered playing cards. All speak quietly. Badger and his henchman are standing about, mostly doing nothing but looking vaguely threatening. Badger is busy slicing up and eating an apple.
KAYLEE
He said not to do anything. He'll join us after
he wins the duel.
ZOE
It doesn't hurt to have a contingency plan, Kaylee.
SIMON
I'm thinking, since we're unarmed, we should take
them by surprise.
ZOE
Not necessarily. We can lure one or two of them away.
Say infirmary? Take 'em out, be on Badger before he
knows what happens.
JAYNE
Only if his attention's elsewhere. What we need's a
diversion. I say Zoe gets nekkid.
WASH
(sitting on the floor, head on knees)
Nope.
JAYNE
I could get nekkid.
ALL
No!
Book has been standing off to one side during this exchange, reading the Bible. He notices that River has come quietly into the room, and moves to Simon's side and lays a hand on his shoulder. Our crew realizes she's there, and senses that this could be trouble. Simon moves to her. Badger seems not to notice.
SIMON
(whispering)
River, you can't be here.
RIVER
(laughing and trying to push by Simon)
There are tiny...
SIMON
River, please.
RIVER
Pull!
BADGER
(finally noticing River)
Who's that then? Here, look at me. What's your story, love?
SIMON
She's ... just a... just a passenger.
BADGER
Yeah? Why ain't she talking? She got a secret?
RIVER
(with Badger's accent)
Sure, I got a secret. More than one. Don't seem
likely I'd tell 'em to you now, do it? Anyone off
Dyton Colony knows better than to talk to strangers.
(notices a shiny pin in the shape of a bird on
Badger's lapel, nearly touches it, then runs a
finger down his lapel before pulling back)
You're talking loud enough for the both of us though,
ain'tcha? I've known a dozen like you. Skipped off
home early, running graft jobs here and there. Spent
some time in the lock down, but less than you claim.
And you're what? Petty thief with delusions of standing?
Sad, little king of a sad, little hill.
The crew exchanges glances, bemused. Who knew she could pull this off?
BADGER
Nice to see someone from the old homestead.
RIVER
Not really.
(to Simon)
Call me if anyone interesting shows up.
River leaves the way she came in.
BADGER
I like her.
JAYNE
(quietly, to the crew)
That there -- exactly the kind of diversion we
could have used.
INT. MANSION - MAL'S QUARTERS - NIGHT
MAL AND INARA square off, swords in hand.
INARA
Attack.
Mal lunges at Inara with his sword. She easily side-steps him, and whacks him on the ass with her sword as he goes by.
INARA
How did I avoid that?
MAL
By being fast like a freak?
INARA
No, because you always attack the same way, swinging
from the shoulder like you were chopping wood. You
have to thrust with the point sometimes, or swing
from the elbow.
MAL
Swinging from the shoulder feels stronger.
INARA
It's also slower, Mal. You don't need strength as much
as speed. We're fragile creatures. It takes less than a
pound of pressure to cut skin.
MAL
You know that? They teach you that in whore academy?
INARA
You have a strange sense of nobility Captain. You'll
lay a man out for calling me a whore, and yet you keep
calling me one to my face.
MAL
I might not show respect to your job, but he didn't
respect you. That's the difference. Inara, he doesn't
even see you.
INARA
Well I guess death will solve the issue to everyone's
satisfaction.
MAL
This [yu bun duh - "stupid"] duel is the result of the rules of
your society, not mine.
INARA
You are always breaking the rules, no matter what society
you're in! You don't get along with ordinary criminals
either, which is why you're constantly getting in trouble.
MAL
You think following the rules will buy you a nice life,
even if the rules make you a slave.
(Inara turns away)
Don't take his offer.
INARA
(turning to face Mal)
What?
MAL
Don't do it. Because in the case it happens it means
he's the fella that killed me and I don't like fellas
that kill me, just in general. I said before I don't
have call to stop you, and that's true, but anyways, don't.
INARA
I need to get back. He'll be up early.
MAL
Right. He's got that big day.
EXT. PERSEPHONE MOON - CADRIE POND - DAY
There are many on-lookers, including Inara and Harrow. The duelists face off and begin parrying. Mal gets a lucky swipe and draws first blood, with a shallow cut to Atherton's chest.
MAL
(pleased)
Best be careful, Ath. Hear these things are sharp.
HARROW
(incredulous, to Inara)
He thinks he's doing well, doesn't he?
INARA
(horrified)
He's being toyed with.
More dueling, Atherton slashes a shallow cut to Mal's sword arm. Mal attacks rather blindly, flailing his sword broadly from the shoulder. He's obviously out-classed here. Atherton smiles, steps back, and puts both arms behind his back, leaving his chest exposed.
HARROW
What's he doing?
INARA
Don't fall for that!
Mal attacks, and Atherton spins and stabs Mal in the abdomen. This is a serious wound, but not a killing blow.
HARROW
Well, this isn't going to take long, is it?
END OF ACT THREE
ACT FOUR
EXT. PERSEPHONE MOON - CADRIE POND - DAY
Mal is bloodied, and a bit wobbly on his feet. He continues to fight, though with his free hand clamped over his wound. Atherton is gleeful and poised, supremely confident.
HARROW
(to Inara)
We're coming up on the end, Miss. You might not
want to watch.
Harrow is right, this is almost over. Atherton knocks Mal to his knees, and snaps his sword blade off at the hilt. He stands triumphant over Mal, sword at his throat.
INARA
(moving forward)
Atherton, wait! I'll stay here, exclusive to you.
Just let him live.
Atherton is distracted by Inara, and looks her way. Mal takes his chance then, and knocks Atherton's sword out of his hands, and clubs him across the jaw with the hilt of the broken sword. He quickly kicks up the freed sword and throws it at Atherton, stabbing him through the chest. Atherton manages to pull out the blade, just has Mal clubs him across the face again. Mal picks up the bloody sword, and holds it to the throat of the fallen Atherton.
HARROW
He's down. You have to finish it, lad. You have to
finish it. For a man to lie beaten, and yet breathing?
It makes him a coward.
INARA
It's humiliation.
MAL
Sure, it's humiliating. Having to lie there while
the better man refuses to spill your blood. Mercy
is the mark of a great man.
(pokes Atherton in the belly with the sword)
Guess I'm just a good man.
(pokes him again for good measure)
Well, I'm all right.
Inara puts her arm around the wobbly Mal to support him, and they walk off together.
ATHERTON
(calling after them)
Inara. Inara!
HARROW
(to Atherton)
You've lost her lad. Be gracious.
ATHERTON
You set this up, whore. After I bought and paid for
you. I should have uglied you up so much no one
else'd want you.
MAL
(to Inara)
See how I'm not punching him? I think I've grown.
ATHERTON
(to Inara)
Well get ready to starve. I'll see that you
never work again.
INARA
(to Atherton)
Actually, that's not how it works. You see, you've
earned yourself a black mark in the client registry.
No Companion is ever going to contract with you,
ever again.
HARROW
(to Atherton)
You'll have to rely on your winning personality to
get women. God help you.
(to Mal)
You didn't have to wound that man.
MAL
Yeah, I know, it was just funny.
HARROW
(walks away with Inara and Mal)
You willing to fight that hard to protect my property,
I'll have it in your hold before midnight.
Mal shakes hands with Harrow, smile and laughs.
Harrow walks off.
MAL
(to Inara)
Mighty fine shindig.
INT. SERENITY - CARGO HOLD
JAYNE
(whispers to the crew around the crate/card table)
Doc is filling Shepherd in on the plan.
Doc is the diversion.
Light spills in from an opened door.
MAL
Did you ever see such a lazy crew.
Mal walks in being supported by Inara.
KAYLEE
Captain.
SIMON
You're hurt.
BADGER
You get us a deal then?
MAL
I got a deal. Now get off my ship.
BADGER
Ta very much for a lovely night, then.
Badger whistles and motions to his gang, and they leave Serenity.
Mal and Inara sit down, Book comes over.
BOOK
Are you badly hurt?
Mal nods.
JAYNE
We was just about to spring into action, Captain.
Complicated escape and rescue op.
WASH
I was going to watch. It was very exciting.
Cut to an exterior shot of Serenity flying through space.
INT. SERENITY - CORRIDORS
Kaylee is walking down the corridors of the ship humming and skipping just a little to herself. She goes to her room, flops onto her bunk, and tunes a tiny speaker to classical music. She stares up at the pink, frilly dress which is hanging over her bed, obviously happy.
INT. SERENITY - CARGO HOLD
Mal and Inara are sitting on the walkway overhead, legs dangling. There is a large glass jug beside them, and they are drinking out of mis-matched cups.
INARA
Thank you for the wine. It's... very fresh.
MAL
To Kaylee and her inter-engine fermentation
system.
They clink cups and Mal winces, a bit more dramatically than necessary.
INARA
Are you in pain?
MAL
Absolutely. I got stabbed, you know, right here.
Mal lifts his shirt to show her the bloody bandage on his abdomen.
INARA
(turning away, squeamish)
I saw.
MAL
Don't care much for fancy parties. Too rough.
INARA
It wasn't entirely a disaster.
MAL
(incredulous)
I got stabbed! Right here!
INARA
You also lined up exciting new crime.
MAL
It's good to have cargo. Makes us a target for
every other scavenger out there, though, but
sometimes that's fun too.
INARA
I am grateful, you know, for the ill-conceived and
high-handed attempt to defend my honor, although
I didn't want you to.
MAL
Gracious as that is, looking back, I probably should
have stayed out of your world.
INARA
My world? If it is that. I wasn't going to stay,
you know.
MAL
Yeah? Why is that?
INARA
Oh, someone needs to keep Kaylee out of trouble.
And all my things are here. Besides, why would I
want to leave Serenity?
MAL
Can't think of a reason.
Cut to a distance shot of Mal and Inara, drinking companionably. We then see the hold is full of Harrow's cargo... cattle.
END OF SHOW
Safe
EXT. LARGE MANSION - NIGHT
Establishing shot. High-tech security fence surrounds the mansion.
INT. LARGE MANSION - NIGHT - CONTINUOUS
We're in a study or living room. Spacious, lushly appointed, a fire crackling in the fireplace.
Chyron reads:
TAM ESTATE, 11 YEARS AGO
Young Simon Tam sits on the couch doing his homework. Young River Tam is playing behind the couch.
YOUNG RIVER
(peeping up from behind couch)
We're in trouble.
(beat)
We got cut off!
YOUNG SIMON
Cut off from what?
YOUNG RIVER
Our platoon, Simon. We got outflanked
by the independent squad, and we're never
gonna make it back to our platoon.
(beat)
We need to resort to cannibalism.
YOUNG SIMON
That was fast. Don't we have rations
or anything?
YOUNG RIVER
They got lost. We're gonna have to eat
the men.
YOUNG SIMON
Aren't you supposed to be practicing for
your dance recital?
YOUNG RIVER
I learned it all.
(re: his homework)
That's wrong.
YOUNG SIMON
It's from the book, River.
YOUNG RIVER
No, the book is wrong. This whole
conclusion is fallacious.
Simon smiles, puts his homework away. Turns to River.
YOUNG SIMON
So... how'd the independents cut us off?
YOUNG RIVER
They were using dinosaurs.
YOUNG SIMON
(incredulous)
[Jien tah-duh guay! - "Like hell!"]
GABRIEL TAM enters the study.
GABRIEL
Language, young man.
YOUNG SIMON
Sorry, dad. The independents attacked
us with dinosaurs.
YOUNG RIVER
Simon lost his head in the heat of battle.
GABRIEL
(chuckling)
[Nah mei guan-shee. - "That has nothing to
do with it."] Because there were dinosaurs
involved, I think we'll let it slide.
YOUNG SIMON
Did you get my wave?
GABRIEL
I got it. Your text shorted. I got the
whole thing during a board meeting.
Thank you.
YOUNG SIMON
If I had a dedicated source box, it
wouldn't short out. I lost half my
essay.
GABRIEL
Yes, and you'd have access to any
[tyen-shiao duh - "heaven knows what"]
that filtered in from the cortex. I
absolutely forbid it!
YOUNG SIMON
(pleading)
Dad...
YOUNG RIVER
Dad...
GABRIEL
I will not have it in my house.
(beat)
But since your mother's already ordered you
one, I guess I should give up the fantasy
that this is my house!
YOUNG SIMON
Are you kidding?
GABRIEL
You will repay me by becoming a brilliant
doctor. That's the deal. Dedicated source
box -- brilliant doctor.
YOUNG RIVER
When do I...?
GABRIEL
(dismissive)
Many years.
YOUNG SIMON
Dad, this is so [da bianhua - "big change"]!
It's really gonna --
GABRIEL
I know. You think I'd let you work with
something second-rate?
YOUNG SIMON
Thank you.
GABRIEL
You're worth it.
(beat)
Now do you think it's possible for you two
geniuses to give your tired old dad a couple
minutes' quiet?
INT. SERENITY - COMMON AREA - CONTINUOUS
Back to the present. River is struggling and shouting, Simon is attempting to calm her.
RIVER
(collapses onto couch)
No! No, I don't wanna go back to the...
SIMON
It's okay. It --
RIVER
It's not okay!
(beat)
You can't just dig into me, shove twenty
needles in my eyes and ask me what I see!
SIMON
I... we won't go in. Look.
(shuts infirmary doors)
No test today.
RIVER
No rutting tests? Stupid son of a bitch,
dress me up like a gorramn doll!
SIMON
No tests, no shots...
(beat)
I'm, uh, I'm just gonna give you a smoother
that'll...
River stands, takes Simon's case of medical supplies, and tosses it.
SIMON
River!
Mal is walking down the steps to the infirmary as this happens. None too pleased.
RIVER
(to Mal)
You're not him?
(beat)
[Liou coe shway duh biao-tze huh hoe-tze
duh ur-tze.]
River wilts and sits back on the couch. Mal continues down the stairs.
MAL
So, she's added cussing and hurling about
of things to her repertoire. She really
is a prodigy.
SIMON
It's just a bad day.
MAL
No, a bad day is when someone's yellin'
spooks the cattle. Understand?
(beat)
You ever see cattle stampede when they got
no place to run? It's kind of like a...
a meat grinder. And it'll lose us half
the herd.
SIMON
She hasn't gone anywhere near the cattle.
MAL
No, but in case you hadn't noticed, her voice
kinda carries. We're two miles above ground
and they can probably hear her down there.
Soon as we unload, she can holler until our
ears bleed.
(to River)
Although I would take it as a kindness if
she didn't.
RIVER
The human body can be drained of blood in 8.6
seconds given adequate vacuuming systems.
MAL
(to Simon)
See, morbid and creepifying, I got no problem
with, long as she does it quiet-like.
SIMON
This is paranoid schizophrenia, Captain. Hand-crafted
by government scientists who thought my sister's
brain was a rutting playground. I have no idea
what'll set her off. If you have some expertise --
MAL
(firmly)
I'm not a doctor. And I'm not your gorramn
baby-sitter, either. Gag her, if you have to.
We got trade to be done.
Mal exits via the stairs. Simon sighs heavily.
EXT. PLANET - DAY
Establishing shot of Serenity landing on the planet's surface.
REVERSE camera to reveal three hill folk sitting in a copse of trees, all men. One of the men is skinning a rabbit hung from a tree.
STARK
You see that? Fancy vessel such as that
don't land here 'less they got something
to sell. And if it's something we need...
He RIPS the skin off the rabbit in one move.
STARK (CONT'D)
We take it.
BLACK OUT.
END OF TEASER
ACT ONE
EXT. JIANGYIN PLANET/SERENITY'S CARGO BAY DOORS - DAY
Simon is walking down the cargo bay ramp. The ramp's covered in cow pies. Simon's carefully picking his way around them, but Jayne herds some cattle past him, and Simon stumbles into some cow poo.
JAYNE
(amused)
'Bout time you broke in them pretty shoes.
(to cattle)
Yah! Get along!
Simon ignores Jayne, walks off the ramp.
MAL
You know, they walk just as easy if you
lead 'em.
JAYNE
I like smackin' 'em.
REVERSE camera to see the cattle trotting along a hastily-erected corral consisting of metal gates fastened together.
CUT TO:
Book tying off part of the corral, watching the cattle walk past.
BOOK
Hope this corral's strong enough to hold
them. "Shepherd's" a purely figurative
title, you know.
Follow Book with camera to reveal WASH and ZOE seated on top of the corral to the right, also watching the cattle.
ZOE
(chuckling)
Next time we smuggle stock, let's make
it something smaller.
WASH
Yeah, we should start dealing in those
black-market beagles.
CUT TO:
River sitting on the ground outside the corral, staring at a calf.
RIVER
Little soul, big world. Eat, sleep,
and eat... Many souls.
MAL
(to Jayne)
Cattle on the ship three weeks, she don't
go near 'em. Suddenly we're on Jiangyin
and she's got a driving need to commune
with the beast?
RIVER
They weren't cows inside. They were
waiting to be, but they forgot. Now
they see the sky and they remember
what they are.
MAL
(to Jayne)
Is it bad that what she said made perfect
sense to me?
(beat)
C'mon, now. Let's get you clear of
the work.
SIMON (O.S.)
What's going on?
REVERSE camera to show Simon approaching the corral where Mal, Jayne and River are standing.
SIMON (cont'd)
What are you doing?
MAL
I'm fixing to do some business. Can't be
herding these steers and your sister, too.
SIMON
She didn't mean any harm.
MAL
I never figured she did. But when a man
engages in clandestine dealings, he has
his preference for things being smooth.
Quick cut to the bushes shaking -- but there's no wind. Could it be hill folk baiting the schmuck?
MAL
She makes things not be smooth.
SIMON
(snippy)
Right. I'm very sorry if she tipped off
anyone about your cunningly concealed
herd of cows.
MAL
(guides Simon away from the corral)
I'm starting to think you got a little
too much time on your hands, doctor. I
think now I got a notion regarding that.
Why don't you take your sister for a
little walk.
SIMON
A walk?
MAL
Yeah. Someplace... away.
SIMON
Uh, probably best we stay close. Alliance
has us marked as fugitives.
MAL
Closest Alliance is the Cruiser Magellan.
Hours out from here. And I promise you,
they ain't coming to a backwater like Jiang.
SIMON
Still, I'm not sure it's such a wise suggestion.
MAL
Might not wanna mistake it for a suggestion.
(beat)
Don't worry, we won't leave without ya.
EXT. JIANGYIN - GENERAL STORE - DAY - CONTINUOUS
Establishing shot of dusty street, dilapidated but very much inhabited buildings.
INT. GENERAL STORE - DAY - CONTINUOUS
Inara and Kaylee are browsing. The store's light is dim and yellow, shelves are cluttered with cheap knick knacks.
INARA
Does it seem every supply store on every
'water planet has the same five rag dolls
and the same wood carvings of... what is
this? A duck?
KAYLEE
That's a swan.
(beat)
I like it.
INARA
You do?
KAYLEE
(stroking swan)
Looks like it was made with, you know,
longing. Made by a person really
longed to see a swan.
INARA
Perhaps they'd only heard of them
by rough description.
KAYLEE
(holding up a painted plate)
You think this would make a nice gift?
INARA
A gift? For whom?
KAYLEE
I just kinda like it.
(beat)
It's rich, you know?
INARA
Ooh. For Simon.
KAYLEE
I didn't say that.
INARA
(chuckling)
You don't do a very good job of hiding
your interest.
KAYLEE
He's just so [shuai - "handsome"]. You
just wanna take a bite out of him all
over, you know?
INARA
(softly)
Careful.
Inara indicates something behind Kaylee. Getting it, Kaylee turns to greet Simon and River, who have just entered the store.
KAYLEE
Morning, you two.
INARA
Don't usually see you two out and
about planet-side.
SIMON
Yeah, we're... we're trying something
different today.
(to River)
River, be careful with that... that's, um...
(to Kaylee)
What is that?
KAYLEE
It's a post-holer. You dig holes. For posts.
SIMON
(separating River from the post-holer)
It's, uh, it's dirty. And sharp.
(to River)
Let's come over here.
(picks up plate Kaylee was looking
at earlier)
Jiangyin prairie paradise. Good god.
They're asking money for this crap?
KAYLEE
(somewhat crestfallen)
Hard to believe ain't it? Glad you're out.
SIMON
Mm.
KAYLEE
Give you a chance to have a little fun.
SIMON
Fun. Right, yeah.
(runs to rescue knick knacks from River)
I, uh, I consider this fun. It's fun, being
forced to the ass-end of the galaxy. To get
to live on a piece of [luh-suh -"crappy"] wreck.
And to eat molded protein. And to be bullied
around by our [boo-tai jung tzhang duh] of a
captain. It's fun.
KAYLEE
(hurt)
[Luh-suh? - "Crappy?"]
SIMON
Sorry?
KAYLEE
Serenity ain't [luh-suh - "crappy"].
SIMON
No, I... I didn't mean --
KAYLEE
Yeah you did. You meant everything you
just said.
SIMON
Well, no. Uh, actually I was being ironic,
so in-in-in the strictest sense --
KAYLEE
You were being mean, is what.
(beat)
And if that's what you think of this life,
then you can't think much of them that
choose it, can you.
Kaylee exits the store. Inara follows, giving Simon a significant, "You screwed up," look as she exits. Simon sighs heavily, then turns around. River's nowhere to be seen.
SIMON
River?
EXT. JIANGYIN/SERENITY'S CARGO BAY DOOR - DAY - CONTINUOUS
Mal and Jayne are walking down the cow-pie-riddled cargo bay ramp.
MAL
This is the last time. Last time with cows.
Hear there was an idea regarding beagles?
They have smallish droppings?
REVERSE camera to reveal ZOE approaching Serenity from the corral.
ZOE
I believe so, sir. Also, your
disreputable men are here.
MAL
Better go take their money.
EXT. JIANGYIN - CORRAL - DAY - CONTINUOUS
Mal approaches the corral, where Jayne is keeping watch on the cattle. Two men are standing outside the corral.
MAL
Morning, gentlemen. You must be the Grange
brothers. Hope you're in the mood for
beefsteak.
JAYNE
Attractive animals, ain't they?
OLDER GRANGE
T'ain't well fed. Scrawny.
MAL
[Fei hua. - "Crap talk."]
Milk and hay, three times a day. Fed to
'em by beautiful women.
JAYNE
(gleefully)
That was somethin' to see.
YOUNGER GRANGE
They's branded.
MAL
Oh, you boys are hittin' all the sellin'
points. A fresh brand's a dead giveaway.
Claim 'em as your own.
OLDER GRANGE
Twenty a head.
MAL
That's an amusing figure, in light of we
already agreed on thirty with Badger.
OLDER GRANGE
That's afore we seen 'em. They're atrophied,
standin' around on a ship for near a month.
MAL
My comprehension is less muscle, more tender
the meat. Thirty.
BOOK
(aside, to Mal)
Problem?
MAL
(to Book)
No. 'Bout a minute from now, we'll agree
on twenty-five.
The Grange brothers startle at a rattling noise, their hands going to their guns.
BOOK
(to Mal)
Seem a mite jumpy to you?
EXT. JIANGYIN STREET - DAY - CONTINUOUS
River walks into an alley in the distance. REVERSE camera to show Simon, agitated, running out of the General Store looking for River. REVERSE camera to reveal a posse of lawmen walking down the steps of a building across the street, then crossing the street to walk into the building right past Simon, who looks down on the ground nervously.
SIMON
Morning, officers.
The last officer tips his hat brim at Simon's greeting. Once they're all inside, he bolts across the street after River.
EXT. CORRAL - DAY - CONTINUOUS
Grange brothers are still negotiating with Mal.
OLDER GRANGE
I'm thinking... maybe we walk away entirely.
MAL
I'm thinking, you do that, and we got
ourselves trouble.
(re: Inara and Kaylee returning
to ship)
Mornin', ladies.
(to Grange brothers)
Serious trouble. Of the you-owe-us variety.
OLDER GRANGE
We can go to twenty-five.
MAL
Well... we'd be takin' a loss, but you seem
like clean and virtuous boys. Done.
Older Grange brother is taking out his bag of cash, when suddenly, the lawmen we just saw in town burst out of the brush with their guns drawn.
HEAD COP
Marcus and Nathaniel Grange! You are wanted
in connection to the illegal killing of Rance
Durbin. You are bound by law to stand down!
MAL
(to Jayne)
You know, I'm starting to find this whole
planet very uninviting.
JAYNE
Yeah.
Off that,
EXT. JIANGYIN ALLEY - DAY - CONTINUOUS
Simon is walking down a dim, uninviting alley. At the end of alley is a green field with a platform set up surrounded by a crowd.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
Musicians are playing lively music, and people are dancing on the stage. River wanders up onto the stage, at first confused. Then she watches the steps, smiles, and joins in on the dance. Simon watches, awed.
EXT. CORRAL - DAY - CONTINUOUS
Close on gunbelts being dropped to the dirt.
JAYNE
(re: gunbelt)
Aww, careful with that!
MAL
It appears we have ourselves a situation.
HEAD COP
Who are you?
MAL
Just a bystander.
HEAD COP
This your beef?
MAL
No, sir.
(re: Grange brothers)
You're lookin' at the proper owners
right there.
HEAD COP
Mm-hmm.
(to Grange brothers)
I'd like to see some papers on that
cattle.
The Younger Grange brother punches one of the lawmen and steals his pistol. Before he can shoot, it's shot out of his hand by Zoe, positioned high up on the hill overlooking the corral. Shots are firing off pretty regularly now, chaos ensues.
OLDER GRANGE
(yelling)
Come on, hurry up!
Older Grange has a pistol by now and shooting off covering fire so he and his brother can get away. As a bullet zings by, Mal and Jayne drop to the ground, crawling forward toward their gunbelts and the sack of money.
JAYNE
Here we go.
MAL
Never goes smooth. How come it never
goes smooth?
INTERCUT WITH:
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances, Simon watches.
EXT. CORRAL - DAY - CONTINUOUS
The midst of a firefight. Mal reaches forward for the money, nearly gets his hand shot off for his trouble. He reaches again, grabs it, rolls back toward Jayne, narrowly avoiding a shot to the head.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances, the crowd recognizing her talent; Simon watches.
EXT. CORRAL - DAY - CONTINUOUS
Firefight. Shooting over the corral. Cattle moo and stir restlessly.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River begins dancing a solo.
EXT. CORRAL - DAY - CONTINUOUS
Firefight. Close on a lawman. Grange brothers still alive and kicking.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River's solo.
EXT. CORRAL - DAY - CONTINUOUS
Mal and Jayne crawling along the edge of the corral.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River's dancing becomes more acrobatic.
EXT. CORRAL - DAY - CONTINUOUS
Mal tackles a Grange brother, taking him down. The lawmen close in.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances.
EXT. CORRAL - DAY - CONTINUOUS
Lawmen are arresting the Grange brothers. Mal and Jayne walk past them, Mal looking stunned. REVERSE camera to reveal Shepherd Book is lying on the ground, blood spreading over his shirt.
He's been hit.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River startles suddenly, losing the rhythm of the dance. Simon looks concerned.
EXT. CORRAL - DAY - CONTINUOUS
Close on Book's face. He's barely conscious.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
As Simon watches River, men come up behind him and put a bag over his head, dragging him away from the festival. River, scared and startled, is shoved about by the dancers, the music ominous.
BLACK OUT.
END OF ACT ONE
ACT TWO
EXT. CORRAL - DAY
Shepherd Book is wounded on the ground, Mal leaning next to him. It's a bullet wound, just above his heart.
MAL
Hey. Stay with me, Shepherd.
BOOK
That's... that's quite a lot of
blood, isn't it?
MAL
(nodding)
Just means you ain't dead.
BOOK
Afraid I might be needing a preacher.
MAL
That's good. You lie there and be
ironical.
(to Jayne)
Stretcher.
Jayne doesn't move, watching the lawmen escort the Grange brothers away.
MAL
Jayne.
JAYNE
They goin'?
MAL
Of course. They got what they came
here for.
JAYNE
You get the cash?
INT. SERENITY - CARGO BAY - CONTINUOUS
Jayne and Mal are carrying Book in on a stretcher.
KAYLEE (O.S.)
What's going on?
WIDEN shot to include Kaylee.
KAYLEE (CONT'D)
Oh my god. Shepherd? Shepherd, can
you hear me?
INT. SERENITY - INFIRMARY - CONTINUOUS
Jayne and Mal put the stretcher on an examination table and remove the side supports.
JAYNE
(to Mal)
Don't look good.
Mal crosses to the intercom.
MAL
Wash, get down to the infirmary,
[ma-shong! - "on the double!"]
(to others)
We gotta try and stop this bleeding.
Zoe cuts Book's bloody shirt from him. Mal and Zoe do some battle triage.
KAYLEE
(tearfully)
Don't you worry, Shepherd. Cap and Zoe got
lots of experience with this kind of thing.
Seen a lot worse in the war.
(beat)
Shepherd?
(beat)
Oh, god, he ain't breathin'.
Book's back arches and he goes into convulsions. Zoe pulls the cap off a hypodermic needled with her teeth and hands it to Mal, who injects it into Book's arm. The convulsions stop.
MAL
He ain't dead. But he is bad off.
Now we gotta see what we can do to
help him.
WASH
(entering)
[Lao-tyen, boo.]
MAL
Wash, I want you to go to town. See if
you can't find that [jing tzahng mei
yong duh - "useless"] of a doctor.
KAYLEE
Hurry.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
The three hill folk we saw in the teaser have kidnapped Simon! They rush him along, still with the bag over his head.
STARK
Faster. Got to go faster. Want to get
there 'fore dark!
SIMON
Get where? Where are we going?
STARK
Shut up!
SIMON
If it's ransom you want, I... I can
arrange something.
STARK
No talking!
SIMON
Look, you don't understand. My
sister...
One of the kidnappers punches Simon in the face. Simon hits the ground.
INT. TAM ESTATE - FLASHBACK - NIGHT
Forward in time from the last flashback. Simon is an adult now.
REGAN
Your sister is fine, Simon.
SIMON
She's not fine. Didn't you look at
the letters? Look at the letters.
GABRIEL
Uh, I'm looking at letters.
SIMON
These phrases -- they don't sound
anything like her. Some of these
words -- they're misspelled.
(off their looks)
She started correcting my spelling
when she was three. She's trying to
tell us something. I think there's
a code.
REGAN
A code?
SIMON
Yes.
GABRIEL
(chuckling)
I always thought it was River who was
lost without her big brother. Now I'm
beginning to wonder if it isn't the
other way around.
SIMON
Did you have a good time at the
D'arbanville's ball this year?
GABRIEL
What are you...?
SIMON
River thought it was duller than
last year. But since we don't
know anybody named D'arbanville,
I'm having trouble judging.
(angrily)
Did you even read these?
GABRIEL
Well, of course I did.
REGAN
It's one of her silly games. You
two are always playing.
SIMON
She is trying to tell us something
that somebody doesn't want her
to say.
REGAN
Simon, this is paranoid. It's stress.
If they heard you talking like this at
the hospital, it could affect your
entire future.
SIMON
Who cares about my future?
GABRIEL
You should.
REGAN
You're a surgeon in one of the best
hospitals in Capital City. On your
way to a major position, possibly
even the Medical Elect. You're
going to throw all of that away?
Everything you've worked for your
whole life?
GABRIEL
Being a doctor means more to you than
just a position, I know that.
REGAN
A few months time, you'll turn around
and there she'll be. Now, nothing is
going to keep you two apart for long.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
The hill folk are herding Simon along.
SIMON
No. Oh, no.
RIVER
(appearing, triumphant)
Found you.
Simon breaks from the hill folk, running toward River.
STARK
Get him!
SIMON
River! No! Run!
RIVER
Found you!
SIMON
Go!
The hill folk quickly nab River and Simon both.
STARK
Bring her.
INT. SERENITY - CARGO BAY - CONTINUOUS
Wash pulls into the cargo bay on his four-wheel.
KAYLEE
Where's the doctor? Why isn't he
with you?
WASH
He wasn't in town. Wasn't anywhere.
KAYLEE
He was in town. We saw him there.
Him and River. I can show you --
WASH
Town's not that big, Kaylee. Believe
me when I say he wasn't there.
JAYNE
Knew it. Probably saw them cops,
turned tail.
MAL
(entering)
Doctor could be called a lot of things.
Coward wouldn't be one of 'em, though.
INARA
You don't think they were arrested,
do you?
WASH
Worse than that, probably. Looks
like maybe they got snatched.
INARA
Kidnapped?
WASH
I went by the sheriff's office. Seems
if we had checked the posted alerts
for this rock, we might've known it.
Settlers in the hills take people
sometimes. Usually tradesmen and
the like.
MAL
And now they got themselves a doctor.
And we don't.
(beat)
We're goin'.
Mal moves to the cargo bay controls, begins shutting the bay door.
KAYLEE
Wh-what are you doing? What about
Simon and River?
MAL
Forget them. We already lost two
people today. If I can help it,
we won't lose a third.
(to Wash)
Wash, get us in the air.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
Simon and River are being herded by the hill folk.
RIVER
We're lost... lost in the woods.
SIMON
It's going to be okay. They'll
find us. Once the Captain realizes
what happened, they'll come.
REVERSE camera to reveal the Serenity rising above the tree line and taking off into atmo. Simon looks stunned.
STARK
See there? No one's coming for you.
You just keep moving.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. SPACE - SERENITY
Establishing shot of Serenity cruising through space.
INT. SERENITY - INFIRMARY - CONTINUOUS
Zoe is removing latex gloves. Book is lying on the examination table, bandaged and awake.
BOOK
That bad?
ZOE
Battle wounds are nothing new to me,
preacher. I've seen men live with
a dozen holes in 'em this size.
BOOK
That right?
ZOE
Surely is. Knew a man whole had a
hole clean through his whole shoulder,
once. Used to keep a spare hankie
in there.
BOOK
Where's the doctor? Not back yet?
ZOE
(beat)
We don't make him hurry for the little
stuff. He'll be along.
BOOK
He could hurry... a little.
INT. SERENITY - BRIDGE - CONTINUOUS
Mal and Wash are hunched over a terminal.
WASH
Well, there's Greenleaf. They'd have
med help there.
MAL
Too far -- more than ten hours. Man's
worse off than that.
INARA
(entering)
You know where you can find what you need.
MAL
Don't recall inviting you onto the bridge.
INARA
You didn't. Mal, you know where you can
find a doctor. You know exactly.
MAL
Inara, he was dumb enough to get himself
grabbed in broad daylight. Don't have
time to be beatin' the trees looking for
him now. No assurance we'd find him,
or he wouldn't need a doctor himself.
INARA
I'm not talking about Simon. I'm talking
about medical facilities.
MAL
That's not an option, nor is it a discussion
I much want to have at the moment.
INARA
It doesn't matter what you want. He's dying,
and we need a doctor now.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
Simon and River are still being herded through the forest by the hill folk -- they're crossing a makeshift bridge into,
EXT. HILL FOLK VILLAGE - DAY - CONTINUOUS
STARK
Look what we got! Got ourselves a doctor.
A real doctor.
(to Simon)
Stand up straight.
WOMAN (O.S.)
They brought home a doctor.
Thank the Lord.
Hill folk gather around, staring at Simon curiously.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
Jayne is tossing Simon's room, stealing all the valuables he can find. He comes across a journal of Simon's, opens it up, reads to himself out loud:
JAYNE
(mock reading)
"Dear Diary,
Today I was pompous and my sister was crazy."
(flips page)
"Today, we were kidnapped by hill folk never
to be seen again. It was the best day ever."
Jayne tosses aside the journal and continues searching Simon's belongings. He finds some money, pockets it.
JAYNE (CONT'D)
Now we're talkin'.
Jayne pulls out a fancy maroon shirt and shakes it out, holding it up as if sizing it.
JAYNE (CONT'D)
Amazing we kept him this long.
INT. SERENITY - INFIRMARY - CONTINUOUS
Zoe is sitting with Book in the infirmary. Kaylee enters hesitantly.
KAYLEE
(re: holding Book's hand)
Can I?
ZOE
Sure. He's out, though.
KAYLEE
He did this for me, once.
(beat)
How's he doin'?
ZOE
I cleaned it out, wrapped it up. Best I could do.
(off Kaylee's look)
I don't know.
KAYLEE
Well, we're headed for help... right?
ZOE
Captain will come up with a plan.
KAYLEE
That's good. Right?
ZOE
Possibly you're not recalling some of his
previous plans.
This barely gets a smile out of Kaylee. Beat.
KAYLEE
We left them back there.
ZOE
Yeah.
KAYLEE
Don't seem right.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH
You sure this is where we wanna be?
MAL
Oh, I'm fairly certain it ain't.
EXT. SPACE - CONTINUOUS
Shot of Serenity approaching a huge ship, presumably the Alliance cruiser Magellan.
INT. SERENITY - BRIDGE - CONTINUOUS
MAL
Be sure to ask nicely.
WASH
Alliance Cruiser Magellan, this is Firefly
Transport Serenity, requesting permission
for docking.
ALLIANCE OFFICER (V.O.)
Firefly Transport Serenity, stand by for
docking orders.
INT. HILL FOLK VILLAGE - HOSPITAL - DAY
Stark is showing Simon and River into the makeshift hospital.
STARK
In here.
(beat)
I don't figure it's as fancy as you're used to,
but it's what we got.
(to Doralee)
I got your doctor.
Doralee, a young, soft-voiced black woman, rises from tending a sick child.
DORALEE
Oh, praise the Lord.
STARK
Doralee here'll show you what's what.
(exits)
DORALEE
(to Simon)
What's your name?
RIVER
Simon.
DORALEE
Well, hello there. Who are you?
SIMON
This is... River.
(guides River to a bench)
River... just, uh, just sit down. Over there.
(to Doralee)
Has there been, uh... is there a sickness here?
DORALEE
Not especial. Just people get sick or injured.
Mostly people heal on their own, but sometimes...
SIMON
Sometimes, you need a doctor.
(beat)
Bring me light, and any supplies you have.
EXT. ALLIANCE CRUISER MAGELLAN DOCKING STATION - CONTINUOUS
Serenity is moving in to dock.
INT. SERENITY - CARGO BAY - CONTINUOUS
Mal and Jayne and carrying Book on a stretcher. Zoe is in the lead, opening the cargo bay doors.
ZOE
You sanguine about the kind of reception
we're up to receive on an Alliance ship, Cap?
MAL
Absolutely.
(beat)
What's "sanguine" mean?
ZOE
"Sanguine." Hopeful. Plus, point of
interest, it also means "bloody."
MAL
Well, that pretty much covers all the
options, don't it?
Zoe opens the cargo bay doors. Alliance soldiers enter, armed and wary. An Alliance Commander steps through last.
MAL
We're requesting aid, no other purpose.
ZOE
We got papers.
COMMANDER
(taking the papers)
What's your business?
MAL
We're a supply ship, freelance. Had an
accident this morning, crewman got hurt.
ZOE
We need medical help.
MAL
Fast'd be better than slow.
COMMANDER
Official seal's out of date Captain...
Harbatkin?
MAL
We ain't been through a checkpoint in
a while, sir. You gonna see to my man?
COMMANDER
How did this happen?
ZOE
He was --
MAL
Bystander in a gunfight. Back on Jiangyin.
You can check. Not he nor any of ours
were the aggressors.
COMMANDER
We aren't an emergency facility, Captain.
Our services aren't available simply
to anyone.
BOOK
Com... mander... my... ident card.
An Alliance officer removes Book's ident card from his pocket and runs it through a scanner. The officer passes the scanner to the Commander, who says,
COMMANDER
Get this man to the infirmary at once.
INT. HILL FOLK HOSPITAL - NIGHT - CONTINUOUS
Simon is doctoring the hill folk.
SIMON
You keep that bandage clean now, you
understand?
Quick shot of River kneeling down next to a little blonde girl sitting on a cot. Back to Simon and Doralee.
DORALEE
(re: River)
She's not quite right, is she?
SIMON
She's been through some trauma. She's
recovering, through.
DORALEE
She won't get a good conversation out of
Ruby, I can tell you that much. That
little girl's mute.
SIMON
Do you know the cause? Was she born deaf?
DORALEE
No, she was fine until two years ago when
she stopped talking.
(beat)
A place like this might be good for your
sister. Quiet. Safe. A place where
folks take care of each other.
SIMON
Mmm, yes, seems like a lovely little
community of kidnappers.
DORALEE
The Lord says, "Judge not."
SIMON
They took us off the street!
DORALEE
Sometimes life takes you places you
weren't expecting to go.
SIMON
"Life" didn't bring us here. Those
men did.
DORALEE
You were on a transport ship, right?
Taking a journey? It's the way of
life in my findings that journeys
end when and where they want to,
and that's where you make your home.
SIMON
This isn't our home.
DORALEE
If it isn't here... where is it?
INT. ALLIANCE CRUISER MAGELLAN
Jayne, Zoe and Mal are hovering outside the Alliance medical facility, waiting for news.
JAYNE
This place gives me an uncomfortableness.
ZOE
(to Mal)
So, what do you figure? Shepherd's got
some kind of connection with the Alliance?
MAL
I know what it looks like. Still, it
would surprise me if he did.
JAYNE
See, it's my whole problem with pickin'
up tourists. Ain't never what they
claim to be.
MAL
Seems like everyone's got a tale to tell.
INT. HILL FOLK HOSPITAL - NIGHT - CONTINUOUS
Simon closes the curtains on a hospital bed. He turns around, looks worried.
SIMON
River? River?
DORALEE
What's wrong?
SIMON
River's gone. So's the girl.
DORALEE
Ruby. I'll check out back.
Simon moves to the front door, opening it to see,
SIMON
River, don't... what is that?
RIVER
(holding a skirtful of berries)
For you.
SIMON
Oh.
RIVER
I picked them.
SIMON
(holding out a bowl)
Here. You'll stain your dress.
RIVER
You have to eat.
They pour the freshly-picked berries into the wooden bowl. River pops a berry into Simon's mouth. He smiles, chews.
SIMON
Hodgeberries.
(beat)
Do you remember when we found those giant
hodgeberry bushes on the Cambersons'
estate? And we thought they'd grown
wild, but...
(beat)
Long while ago.
RIVER
I took you away from there.
SIMON
No.
RIVER
I know I did. You don't think I do, but...
(beat)
I get confused. I remember everything.
I remember too much, and... some of it's
made up, and... some of it can't be
quantified, and... there's secrets.
SIMON
(softly)
It's okay.
RIVER
But I understand. You gave up everything
you had to find me. And you found me broken.
(beat)
It's hard for you. You gave up everything
you had.
SIMON
[Mei mei... - "Little sister..."] Everything
I have is right here.
RIVER
You need to eat. Keep up your strength.
We won't be here long. Daddy will come
and take us home. And I'll get better.
(beat)
I'll get better.
Simon sits down at the table, eating berries. River follows.
SIMON
These are better than the Cambersons' berries.
RIVER
They are. Except they're poison.
Simon spits out the berries, looks panicky.
RIVER
(laughing)
He believed her. Made a face.
SIMON
You are such a brat!
Doralee enters with Ruby.
DORALEE
(to Ruby)
You get to bed, now.
SIMON
We should probably think about doing
the same. It's been a big day, what
with the abduction, and all.
DORALEE
Well, y'all don't have to sleep here.
There's a house set aside for you.
We've been looking for a doctor for
a good while, so things are ready.
SIMON
Really?
RIVER
(re: Ruby)
Her sister got killed. Mother got crazy,
killed the sister. That one lived.
DORALEE
Ruby talked to you, honey?
(to Simon)
I-it's true what she's saying. Poor woman
went out of her mind. Tried to kill her
two girls. Ruby lived.
(to River)
Sweetheart... you are an angel. No one's
been able to get Ruby to speak even a peep.
(laughing)
It's a miracle, that's what it is.
RIVER
Ruby doesn't talk. Her voice got scared away.
(smiles)
I hear crickets.
DORALEE
I don't understand. If Ruby didn't talk,
how do you know...?
SIMON
Um, my sister's... she-she's very good at...
(beat)
What's wrong?
DORALEE
(shocked)
"And they shall be among the people. And
they shall speak truths and whisper secrets
and you will know them by their crafts."
SIMON
What are you talking about?
DORALEE
"Thou shalt not suffer a witch to live!"
Off Simon's confused face,
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. CAPITAL CITY PENITENTIARY - FLASHBACK - DAY
Gabriel Tam is waiting in a lobby. Simon is escorted in by a guard.
GABRIEL
Have you completely lost your mind?
SIMON
Pretty nearly.
GABRIEL
We got the wave at the Friedlich's. I had to
leave your mother at the dinner table.
SIMON
(snidely)
I'm sorry, dad. You know I would never have
tried to save River's life if I had known
there was a dinner party at risk.
GABRIEL
Don't you dare be flippant with me. I just
spent two thousand credits to get you out
of here, and I had to walk through that
door which goes on my permanent profile.
(beat)
Are you trying to destroy this family?
SIMON
I didn't realize it would be so easy.
(beat)
Dad, I-I didn't do anything.
GABRIEL
You were in a blackout zone!
SIMON
Talking! To someone who might be able
to help River. And I'm going right
back there.
GABRIEL
[Whispering in Chinese.] This is a slippery
slope, young man. You have no idea how
far down you can go, and you're not taking
us with you.
SIMON
Meaning what?
GABRIEL
I won't come for you again. You end up
here, or get mixed-up in something worse,
you're on your own. I will not come
for you.
(beat)
Now, are you coming home?
EXT. HILL FOLK VILLAGE - NIGHT - CONTINUOUS
Doralee is ringing a bell that's drawing all the hill folk out of their homes to gather in the town square.
SIMON
This is lunacy. You're supposed to be
the teacher here. What exactly is it
that you teach?
PATRON
What's going on, woman? Why are you
knocking us from our beds at this hour?
DORALEE
The new doctor's sister's a witch.
She read Ruby's mind. Saw things
she couldn't --
SIMON
No, River is not a witch!
(beat)
She's just a troubled girl.
PATRON
I'm sure that's true.
(to River)
You're not a witch, are you, [nyen
ching duh? - "youngster?"] I'm the
Patron here. Do you know what that
means?
RIVER
Yes. You're in charge. Ever since the
old Patron died.
PATRON
That's right.
RIVER
He was sick. But he was getting better.
You were alone in the room with him.
The Patron lunges forward and hits River.
PATRON
This girl reads minds and spins falsehoods.
She's a witch, and we must purge the devil
from her. With fire!
River screams. The crowd lunges forward to grab her.
EXT. ALLIANCE CRUISER MAGELLAN - DOCKING BAY - CONTINUOUS
The Serenity detaches from the Magellan and speeds away.
INT. SERENITY - INFIRMARY - CONTINUOUS
Book is lying on an examination table, all patched up.
MAL
You're gonna be fine, Shepherd. Alliance
patched you up.
BOOK
Alliance?
MAL
Yeah. They let us come, and they let us go.
What kind of ident card gets us that kind
of reception and send off?
BOOK
I am a Shepherd. Folks like a man of God.
MAL
No, they don't. Men of God make everyone
feel guilty and judged. That's not what
I saw. You like to tell me what really
happened?
BOOK
I surely would. And maybe someday I will.
(beat)
It's good to be home.
INT. SERENITY - COMMON AREA - CONTINUOUS
Jayne is polishing the coins they took off the Grange brothers. Zoe enters.
ZOE
Badger just hailed us. Gettin' impatient
for his share. Wants us to drop it to his
men on the Kowlan Fed Base.
JAYNE
That'd be a hell of a lot easier to do without
the two most wanted on board. Life would look
to be simpler us not carrying fugies.
ZOE
(to Mal)
He is right, you know.
MAL
Yeah. Simpler.
EXT. HILL FOLK VILLAGE - NIGHT - CONTINUOUS
The hill folk have built themselves a post and pyre right quick. The Patron is hauling River toward it, intent on burning her witch-ass. They tie her to the pole, hands behind her back.
SIMON
Take me instead. Take my life for hers.
PATRON
The witch must die. God commands it.
The Patron nods at some hill folk with torches. They move to light the pyre.
SIMON
No! Get away from her!
Simon runs forward, pulls the hill folk away from River. Simon punches both hill folk out.
SIMON
She has done nothing to you! If she dies
tonight, it won't be God's will that
killed her, it'll be you! Your lunacy!
Your ignorance!
Seeing he's made no impact on the unchanging sea of faces, Simon moves back and steps on the platform holding River.
STARK
That's not going to stop us, doctor.
RIVER
(to Simon)
Post-holer. Digging holes for posts.
Tender moment with Simon gazing up at River's smiling face. He rises one last step and wraps his arms around River.
SIMON
Light it.
RIVER.
Time to go.
Hold on them for a moment. Then we hear a RUSHING sound of engines overhead.
SERENITY appears over the clearing where the trial is taking place. The CARGO BAY DOORS open to reveal JAYNE in a harness. JAYNE cocks VERA and draws a bead on the hill folk.
MAL and ZOE enter from the back of the crowd, guns drawn. They speak loudly to be heard over the engine noise.
MAL
Well, look at this! Appears we got here
just in the nick of time. What does
that make us?
ZOE
Big damn heroes, sir.
MAL
Ain't we just. Sorry to interrupt, folks.
Y'all got something that belongs to us
and we'd like it back.
PATRON
This is a holy cleansing. You cannot
think to thwart God's will.
MAL
Y'all see the man hanging out of the spaceship
with the really big gun? Now I'm not saying
you weren't easy to find. It was kinda out
of our way, and he didn't want to come in
the first place. Man's lookin' to kill
some folk. So really it's his will y'all
should worry about thwarting.
(to Simon)
Gotta say, doctor, your talent for alienatin'
folk is near miraculous.
SIMON
Yes, I'm very proud.
MAL
Cut her down.
PATRON
That girl is a witch.
MAL
Yeah, but she's our witch.
(cocks gun)
So cut her the hell down.
BLACK OUT.
INT. SERENITY - SIMON'S ROOM
Close shot of Simon's bed. Someone's dumping a bagful of loot onto it. It's Jayne, hastily returning his ill-gotten gains. Jayne darts out of Simon's room into,
INT. SERENITY - CORRIDOR - CONTINUOUS
Jayne's beating his retreat when he sees Simon walking past.
JAYNE
(looking guilty)
Hey, there, doctor. Glad you're back
now on the ship.
SIMON
Thanks.
Simon keeps walking. Jayne bolts up the stairs.
INT. SERENITY - COMMON AREA - CONTINUOUS
Mal is standing outside the infirmary. Simon enters.
SIMON
I've moved him to his room.
MAL
How's he faring?
SIMON
He's gonna be fine. Yeah. They took
good care of him.
MAL
Good to know.
SIMON
So finally a decent wound on this ship,
and I miss out. I'm sorry.
MAL
Well, you were busy trying to get yourself
lit on fire. It happens.
SIMON
Captain... why did you come back for us?
MAL
You're on my crew.
SIMON
Yeah, but you don't even like me.
(beat)
Why'd you come back?
MAL
You're on my crew. Why we still talking
about this?
(walks off, over his shoulder)
Chow's in ten. No need to dress.
EXT. SPACE - SERENITY - CONTINUOUS
Serenity traveling through space.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Simon leads River through the doorway into the kitchen area, where the rest of the crew is already sitting.
MAL
So then Shepherd says to a Companion, "Well,
a good goat would do that."
The crew laughs.
River seats herself at the table. Simon pulls out Kaylee's chair as she's about to sit down. She smiles at him, hands Mal the basket of rolls.
MAL
Oh, good. Thank you.
The rolls get passed around the table. River steals the roll from Jayne's plate.
JAYNE
Hey! Wait, wait, wait...
River smiles, everyone laughs, Jayne grabs another rolls from the basket.
BLACK OUT.
Establishing shot. High-tech security fence surrounds the mansion.
INT. LARGE MANSION - NIGHT - CONTINUOUS
We're in a study or living room. Spacious, lushly appointed, a fire crackling in the fireplace.
Chyron reads:
TAM ESTATE, 11 YEARS AGO
Young Simon Tam sits on the couch doing his homework. Young River Tam is playing behind the couch.
YOUNG RIVER
(peeping up from behind couch)
We're in trouble.
(beat)
We got cut off!
YOUNG SIMON
Cut off from what?
YOUNG RIVER
Our platoon, Simon. We got outflanked
by the independent squad, and we're never
gonna make it back to our platoon.
(beat)
We need to resort to cannibalism.
YOUNG SIMON
That was fast. Don't we have rations
or anything?
YOUNG RIVER
They got lost. We're gonna have to eat
the men.
YOUNG SIMON
Aren't you supposed to be practicing for
your dance recital?
YOUNG RIVER
I learned it all.
(re: his homework)
That's wrong.
YOUNG SIMON
It's from the book, River.
YOUNG RIVER
No, the book is wrong. This whole
conclusion is fallacious.
Simon smiles, puts his homework away. Turns to River.
YOUNG SIMON
So... how'd the independents cut us off?
YOUNG RIVER
They were using dinosaurs.
YOUNG SIMON
(incredulous)
[Jien tah-duh guay! - "Like hell!"]
GABRIEL TAM enters the study.
GABRIEL
Language, young man.
YOUNG SIMON
Sorry, dad. The independents attacked
us with dinosaurs.
YOUNG RIVER
Simon lost his head in the heat of battle.
GABRIEL
(chuckling)
[Nah mei guan-shee. - "That has nothing to
do with it."] Because there were dinosaurs
involved, I think we'll let it slide.
YOUNG SIMON
Did you get my wave?
GABRIEL
I got it. Your text shorted. I got the
whole thing during a board meeting.
Thank you.
YOUNG SIMON
If I had a dedicated source box, it
wouldn't short out. I lost half my
essay.
GABRIEL
Yes, and you'd have access to any
[tyen-shiao duh - "heaven knows what"]
that filtered in from the cortex. I
absolutely forbid it!
YOUNG SIMON
(pleading)
Dad...
YOUNG RIVER
Dad...
GABRIEL
I will not have it in my house.
(beat)
But since your mother's already ordered you
one, I guess I should give up the fantasy
that this is my house!
YOUNG SIMON
Are you kidding?
GABRIEL
You will repay me by becoming a brilliant
doctor. That's the deal. Dedicated source
box -- brilliant doctor.
YOUNG RIVER
When do I...?
GABRIEL
(dismissive)
Many years.
YOUNG SIMON
Dad, this is so [da bianhua - "big change"]!
It's really gonna --
GABRIEL
I know. You think I'd let you work with
something second-rate?
YOUNG SIMON
Thank you.
GABRIEL
You're worth it.
(beat)
Now do you think it's possible for you two
geniuses to give your tired old dad a couple
minutes' quiet?
INT. SERENITY - COMMON AREA - CONTINUOUS
Back to the present. River is struggling and shouting, Simon is attempting to calm her.
RIVER
(collapses onto couch)
No! No, I don't wanna go back to the...
SIMON
It's okay. It --
RIVER
It's not okay!
(beat)
You can't just dig into me, shove twenty
needles in my eyes and ask me what I see!
SIMON
I... we won't go in. Look.
(shuts infirmary doors)
No test today.
RIVER
No rutting tests? Stupid son of a bitch,
dress me up like a gorramn doll!
SIMON
No tests, no shots...
(beat)
I'm, uh, I'm just gonna give you a smoother
that'll...
River stands, takes Simon's case of medical supplies, and tosses it.
SIMON
River!
Mal is walking down the steps to the infirmary as this happens. None too pleased.
RIVER
(to Mal)
You're not him?
(beat)
[Liou coe shway duh biao-tze huh hoe-tze
duh ur-tze.]
River wilts and sits back on the couch. Mal continues down the stairs.
MAL
So, she's added cussing and hurling about
of things to her repertoire. She really
is a prodigy.
SIMON
It's just a bad day.
MAL
No, a bad day is when someone's yellin'
spooks the cattle. Understand?
(beat)
You ever see cattle stampede when they got
no place to run? It's kind of like a...
a meat grinder. And it'll lose us half
the herd.
SIMON
She hasn't gone anywhere near the cattle.
MAL
No, but in case you hadn't noticed, her voice
kinda carries. We're two miles above ground
and they can probably hear her down there.
Soon as we unload, she can holler until our
ears bleed.
(to River)
Although I would take it as a kindness if
she didn't.
RIVER
The human body can be drained of blood in 8.6
seconds given adequate vacuuming systems.
MAL
(to Simon)
See, morbid and creepifying, I got no problem
with, long as she does it quiet-like.
SIMON
This is paranoid schizophrenia, Captain. Hand-crafted
by government scientists who thought my sister's
brain was a rutting playground. I have no idea
what'll set her off. If you have some expertise --
MAL
(firmly)
I'm not a doctor. And I'm not your gorramn
baby-sitter, either. Gag her, if you have to.
We got trade to be done.
Mal exits via the stairs. Simon sighs heavily.
EXT. PLANET - DAY
Establishing shot of Serenity landing on the planet's surface.
REVERSE camera to reveal three hill folk sitting in a copse of trees, all men. One of the men is skinning a rabbit hung from a tree.
STARK
You see that? Fancy vessel such as that
don't land here 'less they got something
to sell. And if it's something we need...
He RIPS the skin off the rabbit in one move.
STARK (CONT'D)
We take it.
BLACK OUT.
END OF TEASER
ACT ONE
EXT. JIANGYIN PLANET/SERENITY'S CARGO BAY DOORS - DAY
Simon is walking down the cargo bay ramp. The ramp's covered in cow pies. Simon's carefully picking his way around them, but Jayne herds some cattle past him, and Simon stumbles into some cow poo.
JAYNE
(amused)
'Bout time you broke in them pretty shoes.
(to cattle)
Yah! Get along!
Simon ignores Jayne, walks off the ramp.
MAL
You know, they walk just as easy if you
lead 'em.
JAYNE
I like smackin' 'em.
REVERSE camera to see the cattle trotting along a hastily-erected corral consisting of metal gates fastened together.
CUT TO:
Book tying off part of the corral, watching the cattle walk past.
BOOK
Hope this corral's strong enough to hold
them. "Shepherd's" a purely figurative
title, you know.
Follow Book with camera to reveal WASH and ZOE seated on top of the corral to the right, also watching the cattle.
ZOE
(chuckling)
Next time we smuggle stock, let's make
it something smaller.
WASH
Yeah, we should start dealing in those
black-market beagles.
CUT TO:
River sitting on the ground outside the corral, staring at a calf.
RIVER
Little soul, big world. Eat, sleep,
and eat... Many souls.
MAL
(to Jayne)
Cattle on the ship three weeks, she don't
go near 'em. Suddenly we're on Jiangyin
and she's got a driving need to commune
with the beast?
RIVER
They weren't cows inside. They were
waiting to be, but they forgot. Now
they see the sky and they remember
what they are.
MAL
(to Jayne)
Is it bad that what she said made perfect
sense to me?
(beat)
C'mon, now. Let's get you clear of
the work.
SIMON (O.S.)
What's going on?
REVERSE camera to show Simon approaching the corral where Mal, Jayne and River are standing.
SIMON (cont'd)
What are you doing?
MAL
I'm fixing to do some business. Can't be
herding these steers and your sister, too.
SIMON
She didn't mean any harm.
MAL
I never figured she did. But when a man
engages in clandestine dealings, he has
his preference for things being smooth.
Quick cut to the bushes shaking -- but there's no wind. Could it be hill folk baiting the schmuck?
MAL
She makes things not be smooth.
SIMON
(snippy)
Right. I'm very sorry if she tipped off
anyone about your cunningly concealed
herd of cows.
MAL
(guides Simon away from the corral)
I'm starting to think you got a little
too much time on your hands, doctor. I
think now I got a notion regarding that.
Why don't you take your sister for a
little walk.
SIMON
A walk?
MAL
Yeah. Someplace... away.
SIMON
Uh, probably best we stay close. Alliance
has us marked as fugitives.
MAL
Closest Alliance is the Cruiser Magellan.
Hours out from here. And I promise you,
they ain't coming to a backwater like Jiang.
SIMON
Still, I'm not sure it's such a wise suggestion.
MAL
Might not wanna mistake it for a suggestion.
(beat)
Don't worry, we won't leave without ya.
EXT. JIANGYIN - GENERAL STORE - DAY - CONTINUOUS
Establishing shot of dusty street, dilapidated but very much inhabited buildings.
INT. GENERAL STORE - DAY - CONTINUOUS
Inara and Kaylee are browsing. The store's light is dim and yellow, shelves are cluttered with cheap knick knacks.
INARA
Does it seem every supply store on every
'water planet has the same five rag dolls
and the same wood carvings of... what is
this? A duck?
KAYLEE
That's a swan.
(beat)
I like it.
INARA
You do?
KAYLEE
(stroking swan)
Looks like it was made with, you know,
longing. Made by a person really
longed to see a swan.
INARA
Perhaps they'd only heard of them
by rough description.
KAYLEE
(holding up a painted plate)
You think this would make a nice gift?
INARA
A gift? For whom?
KAYLEE
I just kinda like it.
(beat)
It's rich, you know?
INARA
Ooh. For Simon.
KAYLEE
I didn't say that.
INARA
(chuckling)
You don't do a very good job of hiding
your interest.
KAYLEE
He's just so [shuai - "handsome"]. You
just wanna take a bite out of him all
over, you know?
INARA
(softly)
Careful.
Inara indicates something behind Kaylee. Getting it, Kaylee turns to greet Simon and River, who have just entered the store.
KAYLEE
Morning, you two.
INARA
Don't usually see you two out and
about planet-side.
SIMON
Yeah, we're... we're trying something
different today.
(to River)
River, be careful with that... that's, um...
(to Kaylee)
What is that?
KAYLEE
It's a post-holer. You dig holes. For posts.
SIMON
(separating River from the post-holer)
It's, uh, it's dirty. And sharp.
(to River)
Let's come over here.
(picks up plate Kaylee was looking
at earlier)
Jiangyin prairie paradise. Good god.
They're asking money for this crap?
KAYLEE
(somewhat crestfallen)
Hard to believe ain't it? Glad you're out.
SIMON
Mm.
KAYLEE
Give you a chance to have a little fun.
SIMON
Fun. Right, yeah.
(runs to rescue knick knacks from River)
I, uh, I consider this fun. It's fun, being
forced to the ass-end of the galaxy. To get
to live on a piece of [luh-suh -"crappy"] wreck.
And to eat molded protein. And to be bullied
around by our [boo-tai jung tzhang duh] of a
captain. It's fun.
KAYLEE
(hurt)
[Luh-suh? - "Crappy?"]
SIMON
Sorry?
KAYLEE
Serenity ain't [luh-suh - "crappy"].
SIMON
No, I... I didn't mean --
KAYLEE
Yeah you did. You meant everything you
just said.
SIMON
Well, no. Uh, actually I was being ironic,
so in-in-in the strictest sense --
KAYLEE
You were being mean, is what.
(beat)
And if that's what you think of this life,
then you can't think much of them that
choose it, can you.
Kaylee exits the store. Inara follows, giving Simon a significant, "You screwed up," look as she exits. Simon sighs heavily, then turns around. River's nowhere to be seen.
SIMON
River?
EXT. JIANGYIN/SERENITY'S CARGO BAY DOOR - DAY - CONTINUOUS
Mal and Jayne are walking down the cow-pie-riddled cargo bay ramp.
MAL
This is the last time. Last time with cows.
Hear there was an idea regarding beagles?
They have smallish droppings?
REVERSE camera to reveal ZOE approaching Serenity from the corral.
ZOE
I believe so, sir. Also, your
disreputable men are here.
MAL
Better go take their money.
EXT. JIANGYIN - CORRAL - DAY - CONTINUOUS
Mal approaches the corral, where Jayne is keeping watch on the cattle. Two men are standing outside the corral.
MAL
Morning, gentlemen. You must be the Grange
brothers. Hope you're in the mood for
beefsteak.
JAYNE
Attractive animals, ain't they?
OLDER GRANGE
T'ain't well fed. Scrawny.
MAL
[Fei hua. - "Crap talk."]
Milk and hay, three times a day. Fed to
'em by beautiful women.
JAYNE
(gleefully)
That was somethin' to see.
YOUNGER GRANGE
They's branded.
MAL
Oh, you boys are hittin' all the sellin'
points. A fresh brand's a dead giveaway.
Claim 'em as your own.
OLDER GRANGE
Twenty a head.
MAL
That's an amusing figure, in light of we
already agreed on thirty with Badger.
OLDER GRANGE
That's afore we seen 'em. They're atrophied,
standin' around on a ship for near a month.
MAL
My comprehension is less muscle, more tender
the meat. Thirty.
BOOK
(aside, to Mal)
Problem?
MAL
(to Book)
No. 'Bout a minute from now, we'll agree
on twenty-five.
The Grange brothers startle at a rattling noise, their hands going to their guns.
BOOK
(to Mal)
Seem a mite jumpy to you?
EXT. JIANGYIN STREET - DAY - CONTINUOUS
River walks into an alley in the distance. REVERSE camera to show Simon, agitated, running out of the General Store looking for River. REVERSE camera to reveal a posse of lawmen walking down the steps of a building across the street, then crossing the street to walk into the building right past Simon, who looks down on the ground nervously.
SIMON
Morning, officers.
The last officer tips his hat brim at Simon's greeting. Once they're all inside, he bolts across the street after River.
EXT. CORRAL - DAY - CONTINUOUS
Grange brothers are still negotiating with Mal.
OLDER GRANGE
I'm thinking... maybe we walk away entirely.
MAL
I'm thinking, you do that, and we got
ourselves trouble.
(re: Inara and Kaylee returning
to ship)
Mornin', ladies.
(to Grange brothers)
Serious trouble. Of the you-owe-us variety.
OLDER GRANGE
We can go to twenty-five.
MAL
Well... we'd be takin' a loss, but you seem
like clean and virtuous boys. Done.
Older Grange brother is taking out his bag of cash, when suddenly, the lawmen we just saw in town burst out of the brush with their guns drawn.
HEAD COP
Marcus and Nathaniel Grange! You are wanted
in connection to the illegal killing of Rance
Durbin. You are bound by law to stand down!
MAL
(to Jayne)
You know, I'm starting to find this whole
planet very uninviting.
JAYNE
Yeah.
Off that,
EXT. JIANGYIN ALLEY - DAY - CONTINUOUS
Simon is walking down a dim, uninviting alley. At the end of alley is a green field with a platform set up surrounded by a crowd.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
Musicians are playing lively music, and people are dancing on the stage. River wanders up onto the stage, at first confused. Then she watches the steps, smiles, and joins in on the dance. Simon watches, awed.
EXT. CORRAL - DAY - CONTINUOUS
Close on gunbelts being dropped to the dirt.
JAYNE
(re: gunbelt)
Aww, careful with that!
MAL
It appears we have ourselves a situation.
HEAD COP
Who are you?
MAL
Just a bystander.
HEAD COP
This your beef?
MAL
No, sir.
(re: Grange brothers)
You're lookin' at the proper owners
right there.
HEAD COP
Mm-hmm.
(to Grange brothers)
I'd like to see some papers on that
cattle.
The Younger Grange brother punches one of the lawmen and steals his pistol. Before he can shoot, it's shot out of his hand by Zoe, positioned high up on the hill overlooking the corral. Shots are firing off pretty regularly now, chaos ensues.
OLDER GRANGE
(yelling)
Come on, hurry up!
Older Grange has a pistol by now and shooting off covering fire so he and his brother can get away. As a bullet zings by, Mal and Jayne drop to the ground, crawling forward toward their gunbelts and the sack of money.
JAYNE
Here we go.
MAL
Never goes smooth. How come it never
goes smooth?
INTERCUT WITH:
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances, Simon watches.
EXT. CORRAL - DAY - CONTINUOUS
The midst of a firefight. Mal reaches forward for the money, nearly gets his hand shot off for his trouble. He reaches again, grabs it, rolls back toward Jayne, narrowly avoiding a shot to the head.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances, the crowd recognizing her talent; Simon watches.
EXT. CORRAL - DAY - CONTINUOUS
Firefight. Shooting over the corral. Cattle moo and stir restlessly.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River begins dancing a solo.
EXT. CORRAL - DAY - CONTINUOUS
Firefight. Close on a lawman. Grange brothers still alive and kicking.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River's solo.
EXT. CORRAL - DAY - CONTINUOUS
Mal and Jayne crawling along the edge of the corral.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River's dancing becomes more acrobatic.
EXT. CORRAL - DAY - CONTINUOUS
Mal tackles a Grange brother, taking him down. The lawmen close in.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River dances.
EXT. CORRAL - DAY - CONTINUOUS
Lawmen are arresting the Grange brothers. Mal and Jayne walk past them, Mal looking stunned. REVERSE camera to reveal Shepherd Book is lying on the ground, blood spreading over his shirt.
He's been hit.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
River startles suddenly, losing the rhythm of the dance. Simon looks concerned.
EXT. CORRAL - DAY - CONTINUOUS
Close on Book's face. He's barely conscious.
EXT. JIANGYIN FESTIVAL - DAY - CONTINUOUS
As Simon watches River, men come up behind him and put a bag over his head, dragging him away from the festival. River, scared and startled, is shoved about by the dancers, the music ominous.
BLACK OUT.
END OF ACT ONE
ACT TWO
EXT. CORRAL - DAY
Shepherd Book is wounded on the ground, Mal leaning next to him. It's a bullet wound, just above his heart.
MAL
Hey. Stay with me, Shepherd.
BOOK
That's... that's quite a lot of
blood, isn't it?
MAL
(nodding)
Just means you ain't dead.
BOOK
Afraid I might be needing a preacher.
MAL
That's good. You lie there and be
ironical.
(to Jayne)
Stretcher.
Jayne doesn't move, watching the lawmen escort the Grange brothers away.
MAL
Jayne.
JAYNE
They goin'?
MAL
Of course. They got what they came
here for.
JAYNE
You get the cash?
INT. SERENITY - CARGO BAY - CONTINUOUS
Jayne and Mal are carrying Book in on a stretcher.
KAYLEE (O.S.)
What's going on?
WIDEN shot to include Kaylee.
KAYLEE (CONT'D)
Oh my god. Shepherd? Shepherd, can
you hear me?
INT. SERENITY - INFIRMARY - CONTINUOUS
Jayne and Mal put the stretcher on an examination table and remove the side supports.
JAYNE
(to Mal)
Don't look good.
Mal crosses to the intercom.
MAL
Wash, get down to the infirmary,
[ma-shong! - "on the double!"]
(to others)
We gotta try and stop this bleeding.
Zoe cuts Book's bloody shirt from him. Mal and Zoe do some battle triage.
KAYLEE
(tearfully)
Don't you worry, Shepherd. Cap and Zoe got
lots of experience with this kind of thing.
Seen a lot worse in the war.
(beat)
Shepherd?
(beat)
Oh, god, he ain't breathin'.
Book's back arches and he goes into convulsions. Zoe pulls the cap off a hypodermic needled with her teeth and hands it to Mal, who injects it into Book's arm. The convulsions stop.
MAL
He ain't dead. But he is bad off.
Now we gotta see what we can do to
help him.
WASH
(entering)
[Lao-tyen, boo.]
MAL
Wash, I want you to go to town. See if
you can't find that [jing tzahng mei
yong duh - "useless"] of a doctor.
KAYLEE
Hurry.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
The three hill folk we saw in the teaser have kidnapped Simon! They rush him along, still with the bag over his head.
STARK
Faster. Got to go faster. Want to get
there 'fore dark!
SIMON
Get where? Where are we going?
STARK
Shut up!
SIMON
If it's ransom you want, I... I can
arrange something.
STARK
No talking!
SIMON
Look, you don't understand. My
sister...
One of the kidnappers punches Simon in the face. Simon hits the ground.
INT. TAM ESTATE - FLASHBACK - NIGHT
Forward in time from the last flashback. Simon is an adult now.
REGAN
Your sister is fine, Simon.
SIMON
She's not fine. Didn't you look at
the letters? Look at the letters.
GABRIEL
Uh, I'm looking at letters.
SIMON
These phrases -- they don't sound
anything like her. Some of these
words -- they're misspelled.
(off their looks)
She started correcting my spelling
when she was three. She's trying to
tell us something. I think there's
a code.
REGAN
A code?
SIMON
Yes.
GABRIEL
(chuckling)
I always thought it was River who was
lost without her big brother. Now I'm
beginning to wonder if it isn't the
other way around.
SIMON
Did you have a good time at the
D'arbanville's ball this year?
GABRIEL
What are you...?
SIMON
River thought it was duller than
last year. But since we don't
know anybody named D'arbanville,
I'm having trouble judging.
(angrily)
Did you even read these?
GABRIEL
Well, of course I did.
REGAN
It's one of her silly games. You
two are always playing.
SIMON
She is trying to tell us something
that somebody doesn't want her
to say.
REGAN
Simon, this is paranoid. It's stress.
If they heard you talking like this at
the hospital, it could affect your
entire future.
SIMON
Who cares about my future?
GABRIEL
You should.
REGAN
You're a surgeon in one of the best
hospitals in Capital City. On your
way to a major position, possibly
even the Medical Elect. You're
going to throw all of that away?
Everything you've worked for your
whole life?
GABRIEL
Being a doctor means more to you than
just a position, I know that.
REGAN
A few months time, you'll turn around
and there she'll be. Now, nothing is
going to keep you two apart for long.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
The hill folk are herding Simon along.
SIMON
No. Oh, no.
RIVER
(appearing, triumphant)
Found you.
Simon breaks from the hill folk, running toward River.
STARK
Get him!
SIMON
River! No! Run!
RIVER
Found you!
SIMON
Go!
The hill folk quickly nab River and Simon both.
STARK
Bring her.
INT. SERENITY - CARGO BAY - CONTINUOUS
Wash pulls into the cargo bay on his four-wheel.
KAYLEE
Where's the doctor? Why isn't he
with you?
WASH
He wasn't in town. Wasn't anywhere.
KAYLEE
He was in town. We saw him there.
Him and River. I can show you --
WASH
Town's not that big, Kaylee. Believe
me when I say he wasn't there.
JAYNE
Knew it. Probably saw them cops,
turned tail.
MAL
(entering)
Doctor could be called a lot of things.
Coward wouldn't be one of 'em, though.
INARA
You don't think they were arrested,
do you?
WASH
Worse than that, probably. Looks
like maybe they got snatched.
INARA
Kidnapped?
WASH
I went by the sheriff's office. Seems
if we had checked the posted alerts
for this rock, we might've known it.
Settlers in the hills take people
sometimes. Usually tradesmen and
the like.
MAL
And now they got themselves a doctor.
And we don't.
(beat)
We're goin'.
Mal moves to the cargo bay controls, begins shutting the bay door.
KAYLEE
Wh-what are you doing? What about
Simon and River?
MAL
Forget them. We already lost two
people today. If I can help it,
we won't lose a third.
(to Wash)
Wash, get us in the air.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
Simon and River are being herded by the hill folk.
RIVER
We're lost... lost in the woods.
SIMON
It's going to be okay. They'll
find us. Once the Captain realizes
what happened, they'll come.
REVERSE camera to reveal the Serenity rising above the tree line and taking off into atmo. Simon looks stunned.
STARK
See there? No one's coming for you.
You just keep moving.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. SPACE - SERENITY
Establishing shot of Serenity cruising through space.
INT. SERENITY - INFIRMARY - CONTINUOUS
Zoe is removing latex gloves. Book is lying on the examination table, bandaged and awake.
BOOK
That bad?
ZOE
Battle wounds are nothing new to me,
preacher. I've seen men live with
a dozen holes in 'em this size.
BOOK
That right?
ZOE
Surely is. Knew a man whole had a
hole clean through his whole shoulder,
once. Used to keep a spare hankie
in there.
BOOK
Where's the doctor? Not back yet?
ZOE
(beat)
We don't make him hurry for the little
stuff. He'll be along.
BOOK
He could hurry... a little.
INT. SERENITY - BRIDGE - CONTINUOUS
Mal and Wash are hunched over a terminal.
WASH
Well, there's Greenleaf. They'd have
med help there.
MAL
Too far -- more than ten hours. Man's
worse off than that.
INARA
(entering)
You know where you can find what you need.
MAL
Don't recall inviting you onto the bridge.
INARA
You didn't. Mal, you know where you can
find a doctor. You know exactly.
MAL
Inara, he was dumb enough to get himself
grabbed in broad daylight. Don't have
time to be beatin' the trees looking for
him now. No assurance we'd find him,
or he wouldn't need a doctor himself.
INARA
I'm not talking about Simon. I'm talking
about medical facilities.
MAL
That's not an option, nor is it a discussion
I much want to have at the moment.
INARA
It doesn't matter what you want. He's dying,
and we need a doctor now.
EXT. JIANGYIN FOREST - DAY - CONTINUOUS
Simon and River are still being herded through the forest by the hill folk -- they're crossing a makeshift bridge into,
EXT. HILL FOLK VILLAGE - DAY - CONTINUOUS
STARK
Look what we got! Got ourselves a doctor.
A real doctor.
(to Simon)
Stand up straight.
WOMAN (O.S.)
They brought home a doctor.
Thank the Lord.
Hill folk gather around, staring at Simon curiously.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
Jayne is tossing Simon's room, stealing all the valuables he can find. He comes across a journal of Simon's, opens it up, reads to himself out loud:
JAYNE
(mock reading)
"Dear Diary,
Today I was pompous and my sister was crazy."
(flips page)
"Today, we were kidnapped by hill folk never
to be seen again. It was the best day ever."
Jayne tosses aside the journal and continues searching Simon's belongings. He finds some money, pockets it.
JAYNE (CONT'D)
Now we're talkin'.
Jayne pulls out a fancy maroon shirt and shakes it out, holding it up as if sizing it.
JAYNE (CONT'D)
Amazing we kept him this long.
INT. SERENITY - INFIRMARY - CONTINUOUS
Zoe is sitting with Book in the infirmary. Kaylee enters hesitantly.
KAYLEE
(re: holding Book's hand)
Can I?
ZOE
Sure. He's out, though.
KAYLEE
He did this for me, once.
(beat)
How's he doin'?
ZOE
I cleaned it out, wrapped it up. Best I could do.
(off Kaylee's look)
I don't know.
KAYLEE
Well, we're headed for help... right?
ZOE
Captain will come up with a plan.
KAYLEE
That's good. Right?
ZOE
Possibly you're not recalling some of his
previous plans.
This barely gets a smile out of Kaylee. Beat.
KAYLEE
We left them back there.
ZOE
Yeah.
KAYLEE
Don't seem right.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH
You sure this is where we wanna be?
MAL
Oh, I'm fairly certain it ain't.
EXT. SPACE - CONTINUOUS
Shot of Serenity approaching a huge ship, presumably the Alliance cruiser Magellan.
INT. SERENITY - BRIDGE - CONTINUOUS
MAL
Be sure to ask nicely.
WASH
Alliance Cruiser Magellan, this is Firefly
Transport Serenity, requesting permission
for docking.
ALLIANCE OFFICER (V.O.)
Firefly Transport Serenity, stand by for
docking orders.
INT. HILL FOLK VILLAGE - HOSPITAL - DAY
Stark is showing Simon and River into the makeshift hospital.
STARK
In here.
(beat)
I don't figure it's as fancy as you're used to,
but it's what we got.
(to Doralee)
I got your doctor.
Doralee, a young, soft-voiced black woman, rises from tending a sick child.
DORALEE
Oh, praise the Lord.
STARK
Doralee here'll show you what's what.
(exits)
DORALEE
(to Simon)
What's your name?
RIVER
Simon.
DORALEE
Well, hello there. Who are you?
SIMON
This is... River.
(guides River to a bench)
River... just, uh, just sit down. Over there.
(to Doralee)
Has there been, uh... is there a sickness here?
DORALEE
Not especial. Just people get sick or injured.
Mostly people heal on their own, but sometimes...
SIMON
Sometimes, you need a doctor.
(beat)
Bring me light, and any supplies you have.
EXT. ALLIANCE CRUISER MAGELLAN DOCKING STATION - CONTINUOUS
Serenity is moving in to dock.
INT. SERENITY - CARGO BAY - CONTINUOUS
Mal and Jayne and carrying Book on a stretcher. Zoe is in the lead, opening the cargo bay doors.
ZOE
You sanguine about the kind of reception
we're up to receive on an Alliance ship, Cap?
MAL
Absolutely.
(beat)
What's "sanguine" mean?
ZOE
"Sanguine." Hopeful. Plus, point of
interest, it also means "bloody."
MAL
Well, that pretty much covers all the
options, don't it?
Zoe opens the cargo bay doors. Alliance soldiers enter, armed and wary. An Alliance Commander steps through last.
MAL
We're requesting aid, no other purpose.
ZOE
We got papers.
COMMANDER
(taking the papers)
What's your business?
MAL
We're a supply ship, freelance. Had an
accident this morning, crewman got hurt.
ZOE
We need medical help.
MAL
Fast'd be better than slow.
COMMANDER
Official seal's out of date Captain...
Harbatkin?
MAL
We ain't been through a checkpoint in
a while, sir. You gonna see to my man?
COMMANDER
How did this happen?
ZOE
He was --
MAL
Bystander in a gunfight. Back on Jiangyin.
You can check. Not he nor any of ours
were the aggressors.
COMMANDER
We aren't an emergency facility, Captain.
Our services aren't available simply
to anyone.
BOOK
Com... mander... my... ident card.
An Alliance officer removes Book's ident card from his pocket and runs it through a scanner. The officer passes the scanner to the Commander, who says,
COMMANDER
Get this man to the infirmary at once.
INT. HILL FOLK HOSPITAL - NIGHT - CONTINUOUS
Simon is doctoring the hill folk.
SIMON
You keep that bandage clean now, you
understand?
Quick shot of River kneeling down next to a little blonde girl sitting on a cot. Back to Simon and Doralee.
DORALEE
(re: River)
She's not quite right, is she?
SIMON
She's been through some trauma. She's
recovering, through.
DORALEE
She won't get a good conversation out of
Ruby, I can tell you that much. That
little girl's mute.
SIMON
Do you know the cause? Was she born deaf?
DORALEE
No, she was fine until two years ago when
she stopped talking.
(beat)
A place like this might be good for your
sister. Quiet. Safe. A place where
folks take care of each other.
SIMON
Mmm, yes, seems like a lovely little
community of kidnappers.
DORALEE
The Lord says, "Judge not."
SIMON
They took us off the street!
DORALEE
Sometimes life takes you places you
weren't expecting to go.
SIMON
"Life" didn't bring us here. Those
men did.
DORALEE
You were on a transport ship, right?
Taking a journey? It's the way of
life in my findings that journeys
end when and where they want to,
and that's where you make your home.
SIMON
This isn't our home.
DORALEE
If it isn't here... where is it?
INT. ALLIANCE CRUISER MAGELLAN
Jayne, Zoe and Mal are hovering outside the Alliance medical facility, waiting for news.
JAYNE
This place gives me an uncomfortableness.
ZOE
(to Mal)
So, what do you figure? Shepherd's got
some kind of connection with the Alliance?
MAL
I know what it looks like. Still, it
would surprise me if he did.
JAYNE
See, it's my whole problem with pickin'
up tourists. Ain't never what they
claim to be.
MAL
Seems like everyone's got a tale to tell.
INT. HILL FOLK HOSPITAL - NIGHT - CONTINUOUS
Simon closes the curtains on a hospital bed. He turns around, looks worried.
SIMON
River? River?
DORALEE
What's wrong?
SIMON
River's gone. So's the girl.
DORALEE
Ruby. I'll check out back.
Simon moves to the front door, opening it to see,
SIMON
River, don't... what is that?
RIVER
(holding a skirtful of berries)
For you.
SIMON
Oh.
RIVER
I picked them.
SIMON
(holding out a bowl)
Here. You'll stain your dress.
RIVER
You have to eat.
They pour the freshly-picked berries into the wooden bowl. River pops a berry into Simon's mouth. He smiles, chews.
SIMON
Hodgeberries.
(beat)
Do you remember when we found those giant
hodgeberry bushes on the Cambersons'
estate? And we thought they'd grown
wild, but...
(beat)
Long while ago.
RIVER
I took you away from there.
SIMON
No.
RIVER
I know I did. You don't think I do, but...
(beat)
I get confused. I remember everything.
I remember too much, and... some of it's
made up, and... some of it can't be
quantified, and... there's secrets.
SIMON
(softly)
It's okay.
RIVER
But I understand. You gave up everything
you had to find me. And you found me broken.
(beat)
It's hard for you. You gave up everything
you had.
SIMON
[Mei mei... - "Little sister..."] Everything
I have is right here.
RIVER
You need to eat. Keep up your strength.
We won't be here long. Daddy will come
and take us home. And I'll get better.
(beat)
I'll get better.
Simon sits down at the table, eating berries. River follows.
SIMON
These are better than the Cambersons' berries.
RIVER
They are. Except they're poison.
Simon spits out the berries, looks panicky.
RIVER
(laughing)
He believed her. Made a face.
SIMON
You are such a brat!
Doralee enters with Ruby.
DORALEE
(to Ruby)
You get to bed, now.
SIMON
We should probably think about doing
the same. It's been a big day, what
with the abduction, and all.
DORALEE
Well, y'all don't have to sleep here.
There's a house set aside for you.
We've been looking for a doctor for
a good while, so things are ready.
SIMON
Really?
RIVER
(re: Ruby)
Her sister got killed. Mother got crazy,
killed the sister. That one lived.
DORALEE
Ruby talked to you, honey?
(to Simon)
I-it's true what she's saying. Poor woman
went out of her mind. Tried to kill her
two girls. Ruby lived.
(to River)
Sweetheart... you are an angel. No one's
been able to get Ruby to speak even a peep.
(laughing)
It's a miracle, that's what it is.
RIVER
Ruby doesn't talk. Her voice got scared away.
(smiles)
I hear crickets.
DORALEE
I don't understand. If Ruby didn't talk,
how do you know...?
SIMON
Um, my sister's... she-she's very good at...
(beat)
What's wrong?
DORALEE
(shocked)
"And they shall be among the people. And
they shall speak truths and whisper secrets
and you will know them by their crafts."
SIMON
What are you talking about?
DORALEE
"Thou shalt not suffer a witch to live!"
Off Simon's confused face,
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. CAPITAL CITY PENITENTIARY - FLASHBACK - DAY
Gabriel Tam is waiting in a lobby. Simon is escorted in by a guard.
GABRIEL
Have you completely lost your mind?
SIMON
Pretty nearly.
GABRIEL
We got the wave at the Friedlich's. I had to
leave your mother at the dinner table.
SIMON
(snidely)
I'm sorry, dad. You know I would never have
tried to save River's life if I had known
there was a dinner party at risk.
GABRIEL
Don't you dare be flippant with me. I just
spent two thousand credits to get you out
of here, and I had to walk through that
door which goes on my permanent profile.
(beat)
Are you trying to destroy this family?
SIMON
I didn't realize it would be so easy.
(beat)
Dad, I-I didn't do anything.
GABRIEL
You were in a blackout zone!
SIMON
Talking! To someone who might be able
to help River. And I'm going right
back there.
GABRIEL
[Whispering in Chinese.] This is a slippery
slope, young man. You have no idea how
far down you can go, and you're not taking
us with you.
SIMON
Meaning what?
GABRIEL
I won't come for you again. You end up
here, or get mixed-up in something worse,
you're on your own. I will not come
for you.
(beat)
Now, are you coming home?
EXT. HILL FOLK VILLAGE - NIGHT - CONTINUOUS
Doralee is ringing a bell that's drawing all the hill folk out of their homes to gather in the town square.
SIMON
This is lunacy. You're supposed to be
the teacher here. What exactly is it
that you teach?
PATRON
What's going on, woman? Why are you
knocking us from our beds at this hour?
DORALEE
The new doctor's sister's a witch.
She read Ruby's mind. Saw things
she couldn't --
SIMON
No, River is not a witch!
(beat)
She's just a troubled girl.
PATRON
I'm sure that's true.
(to River)
You're not a witch, are you, [nyen
ching duh? - "youngster?"] I'm the
Patron here. Do you know what that
means?
RIVER
Yes. You're in charge. Ever since the
old Patron died.
PATRON
That's right.
RIVER
He was sick. But he was getting better.
You were alone in the room with him.
The Patron lunges forward and hits River.
PATRON
This girl reads minds and spins falsehoods.
She's a witch, and we must purge the devil
from her. With fire!
River screams. The crowd lunges forward to grab her.
EXT. ALLIANCE CRUISER MAGELLAN - DOCKING BAY - CONTINUOUS
The Serenity detaches from the Magellan and speeds away.
INT. SERENITY - INFIRMARY - CONTINUOUS
Book is lying on an examination table, all patched up.
MAL
You're gonna be fine, Shepherd. Alliance
patched you up.
BOOK
Alliance?
MAL
Yeah. They let us come, and they let us go.
What kind of ident card gets us that kind
of reception and send off?
BOOK
I am a Shepherd. Folks like a man of God.
MAL
No, they don't. Men of God make everyone
feel guilty and judged. That's not what
I saw. You like to tell me what really
happened?
BOOK
I surely would. And maybe someday I will.
(beat)
It's good to be home.
INT. SERENITY - COMMON AREA - CONTINUOUS
Jayne is polishing the coins they took off the Grange brothers. Zoe enters.
ZOE
Badger just hailed us. Gettin' impatient
for his share. Wants us to drop it to his
men on the Kowlan Fed Base.
JAYNE
That'd be a hell of a lot easier to do without
the two most wanted on board. Life would look
to be simpler us not carrying fugies.
ZOE
(to Mal)
He is right, you know.
MAL
Yeah. Simpler.
EXT. HILL FOLK VILLAGE - NIGHT - CONTINUOUS
The hill folk have built themselves a post and pyre right quick. The Patron is hauling River toward it, intent on burning her witch-ass. They tie her to the pole, hands behind her back.
SIMON
Take me instead. Take my life for hers.
PATRON
The witch must die. God commands it.
The Patron nods at some hill folk with torches. They move to light the pyre.
SIMON
No! Get away from her!
Simon runs forward, pulls the hill folk away from River. Simon punches both hill folk out.
SIMON
She has done nothing to you! If she dies
tonight, it won't be God's will that
killed her, it'll be you! Your lunacy!
Your ignorance!
Seeing he's made no impact on the unchanging sea of faces, Simon moves back and steps on the platform holding River.
STARK
That's not going to stop us, doctor.
RIVER
(to Simon)
Post-holer. Digging holes for posts.
Tender moment with Simon gazing up at River's smiling face. He rises one last step and wraps his arms around River.
SIMON
Light it.
RIVER.
Time to go.
Hold on them for a moment. Then we hear a RUSHING sound of engines overhead.
SERENITY appears over the clearing where the trial is taking place. The CARGO BAY DOORS open to reveal JAYNE in a harness. JAYNE cocks VERA and draws a bead on the hill folk.
MAL and ZOE enter from the back of the crowd, guns drawn. They speak loudly to be heard over the engine noise.
MAL
Well, look at this! Appears we got here
just in the nick of time. What does
that make us?
ZOE
Big damn heroes, sir.
MAL
Ain't we just. Sorry to interrupt, folks.
Y'all got something that belongs to us
and we'd like it back.
PATRON
This is a holy cleansing. You cannot
think to thwart God's will.
MAL
Y'all see the man hanging out of the spaceship
with the really big gun? Now I'm not saying
you weren't easy to find. It was kinda out
of our way, and he didn't want to come in
the first place. Man's lookin' to kill
some folk. So really it's his will y'all
should worry about thwarting.
(to Simon)
Gotta say, doctor, your talent for alienatin'
folk is near miraculous.
SIMON
Yes, I'm very proud.
MAL
Cut her down.
PATRON
That girl is a witch.
MAL
Yeah, but she's our witch.
(cocks gun)
So cut her the hell down.
BLACK OUT.
INT. SERENITY - SIMON'S ROOM
Close shot of Simon's bed. Someone's dumping a bagful of loot onto it. It's Jayne, hastily returning his ill-gotten gains. Jayne darts out of Simon's room into,
INT. SERENITY - CORRIDOR - CONTINUOUS
Jayne's beating his retreat when he sees Simon walking past.
JAYNE
(looking guilty)
Hey, there, doctor. Glad you're back
now on the ship.
SIMON
Thanks.
Simon keeps walking. Jayne bolts up the stairs.
INT. SERENITY - COMMON AREA - CONTINUOUS
Mal is standing outside the infirmary. Simon enters.
SIMON
I've moved him to his room.
MAL
How's he faring?
SIMON
He's gonna be fine. Yeah. They took
good care of him.
MAL
Good to know.
SIMON
So finally a decent wound on this ship,
and I miss out. I'm sorry.
MAL
Well, you were busy trying to get yourself
lit on fire. It happens.
SIMON
Captain... why did you come back for us?
MAL
You're on my crew.
SIMON
Yeah, but you don't even like me.
(beat)
Why'd you come back?
MAL
You're on my crew. Why we still talking
about this?
(walks off, over his shoulder)
Chow's in ten. No need to dress.
EXT. SPACE - SERENITY - CONTINUOUS
Serenity traveling through space.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Simon leads River through the doorway into the kitchen area, where the rest of the crew is already sitting.
MAL
So then Shepherd says to a Companion, "Well,
a good goat would do that."
The crew laughs.
River seats herself at the table. Simon pulls out Kaylee's chair as she's about to sit down. She smiles at him, hands Mal the basket of rolls.
MAL
Oh, good. Thank you.
The rolls get passed around the table. River steals the roll from Jayne's plate.
JAYNE
Hey! Wait, wait, wait...
River smiles, everyone laughs, Jayne grabs another rolls from the basket.
BLACK OUT.
Ariel
EXT. SPACE
Serenity in flight, music.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
JAYNE cleans a gun, INARA sits on a couch next to KAYLEE they are playing a game (Mah Jong?), SIMON dishes much into a bowl for RIVER who stands next to him
RIVER
I don't want any.
SIMON
River, you have to eat. It's good.
It tastes like...
(uses chopsticks to eat some)
... It's good.
JAYNE
Smells like crotch.
KAYLEE
Jayne!
JAYNE
Well, it does.
WASH and ZOE enter through the corridor, conversation in progress
WASH
We don't even have to go someplace fancy.
We can just go to the park or something.
Feed the pigeons.
ZOE
Sure.
(puts arms around WASH)
Feed the pigeons. Probably get the
firing squad for littering.
(walks into room)
WASH
Come on, it's not that bad.
ZOE
It is. It's a Core planet, it's spotless.
It's got sensors, and where there ain't
sensors, there's feds. All Central
planets are the same.
WASH
Could you please tell my wife the
fun she's missing out on?
INARA
(laughs)
Ariel's quite a nice place, actually.
There are some beautiful museums, not
to mention some of the finest restaurants
in the Core.
WASH
But ... not boring, like she made it
sound. There's a .. .. Um, ah, um.
(looks to SIMON for help)
SIMON
There's hiking.
WASH
Yeah!
SIMON
And you can go swimming in a
bioluminescent lake.
WASH nods encouragingly.
ZOE
I don't care if it's got sunsets
twenty-four hours a day. I ain't
setting foot on that planet.
MAL
(walking into room)
No one is setting foot on that fancy
rock. I don't want anyone leaving the
ship. Come to think of it, I don't want
anyone looking out the windows or talking
loud. We're here to drop off Inara,
that's it.
(dishes mush into bowl)
JAYNE
(assembling his gun)
What's the point of coming to the Core
if I can't even step off the boat?
MAL
You could have got off with Shepherd
Book at the Bathgate Abbey. Could
have been meditating on the wonders of
your rock garden by now.
JAYNE
Well it beats just sitting.
WASH
It is just sitting.
We don't see KAYLEE and INARA; RIVER is looking at JAYNE as he licks his knife.
KAYLEE (V.O)
(to INARA)
So, how long you gonna be planetside?
INARA
Shouldn't be more than a day or two.
WASH
Big stop just to renew your license to
companion. Can I use companion as
a verb?
INARA
(laughs, plays game)
It's Guild law. All Companions are
required to undergo a physical
examination once a year.
JAYNE hocks and spits on his gun.
SIMON
(pauses eating in disgust)
Could you not do that while we're... ever?
JAYNE spits on his gun, looking straight at SIMON. SIMON stares at JAYNE, appalled, then looks away and starts to get up from the table.
WASH
(to INARA)
So, two days in a hospital? That's
awful. Don't you just hate doctors?
SIMON
(standing right here)
Hey.
RIVER walks to the cutlery bin.
WASH
I mean, present company excluded.
RIVER takes out a BIG knife, no one notices. SIMON sits.
JAYNE
Let's not be excluding people.
(smirks at SIMON)
That'd be rude.
RIVER walks up to JAYNE, we can see a flash of reflected light on his smiling face just before RIVER slashes him across the arm with the BIG knife.
JAYNE
(in pain)
Sonofa GAH!!
WASH
What the hell?!
KAYLEE and INARA jump up from the game table. JAYNE's face contorts with anger and he backhands RIVER across the face. RIVER falls to the deck, the knife is knocked out of her hand. JAYNE looks down at the bloody gash across his shirt. SIMON runs to RIVER.
SIMON
River! NO!
KAYLEE
Oh my god!
INARA
He's bleeding.
ZOE
That's deep.
KAYLEE
Are you okay?
SIMON helps RIVER sit up, she's bleeding from the mouth. INARA, KAYLEE and MAL crowd around JAYNE who is examining his wound.
SIMON
River?
JAYNE
(in shock and pain)
Oh, uh.
RIVER
He looks better in red.
Everyone stands around in confusion and shock. MAL looks between RIVER, who seems surprised by the fuss, and JAYNE, who is seething with anger.
INT. SERENITY - INFIRMARY - CONTINUOUS
JAYNE reclines on a gurney, bare-chested, while SIMON stitches his wound. MAL stands back.
JAYNE
(gasping in pain)
Gorram freak's completely off her axel.
SIMON
I'm sorry about this. I don't know what--
JAYNE
(to SIMON)
Shut up, I ain't talking to you.
(to MAL)
She's gotta go. Both of them's gotta go.
Ariel's as good a place as any to leave
'em. Might even pick us up a reward
for our trouble.
MAL
No one's getting left.
JAYNE
She belongs in a bughouse. You don't
pitch her off this boat right now, I
swear to you...
MAL
What? What are you swearing, Jayne?
JAYNE
They don't get gone, you better start
locking up your room at night. Next
time little sister gets in a murdering
mood, might be you she comes calling
on. Maybe Kaylee. Or Inara. You
let them stay, we're gonna find out.
MAL
(leans in very close to JAYNE)
Finish your work, doctor.
(SIMON turns away)
This is my boat. They're part of my
crew. No one's letting left. Best
you get used to that.
JAYNE looks at MAL, swallows visibly, looks very unhappy as he gets up from gurney, pushes bloody shirt at SIMON, who clutches it to his chest.
JAYNE
(to Simon)
You owe me a shirt.
(Leaves room)
MAL
(walks over to SIMON)
She's to stay confined to her room,
at all times, no exceptions.
(SIMON nods, unhappily)
Take her to the kitchen, the infirmary,
whatever, you ask me first, understand?
SIMON
I do.
MAL
When I took you and your sister in, the
deal was you keep her in check. You
can't hold up your end, we're going
to have to revisit the deal.
SIMON nods, looks down. MAL looks away.
MAL
She's getting worse, isn't she?
SIMON
Yes.
EXT. ARIEL - DAY
Serenity is landing in a futuristic city, full of gleaming spires and flying cars.
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and INARA walk across a catwalk. JAYNE and MAL are below.
KAYLEE
Just look at the bright side. Maybe
you'll meet a young, handsome doctor
and he'll ask you out and...
(beat)
What's the Companion policy on dating?
INARA
(laughing)
It's ...complicated.
KAYLEE
Mmmm. Well, that figures.
INARA
Stay out of trouble.
INARA and KAYLEE hug and kiss cheeks.
KAYLEE
You, too. Bye.
INARA walks through a corridor. KAYLEE walks down the stairs.
INT. SERENITY - CARGO BAY - LATER
Cargo bay floor. JAYNE and MAL play horseshoes. MAL is playing blue, JAYNE, red.
JAYNE
Ah!
(he's thrown a ringer)
How're we going to find a job if we
don't leave the ship?
MAL
(lines up throw)
It's Alliance territory. Ain't any
jobs worth having.
WASH sits on some barrels, ZOE standing beside him
WASH
Nor the last three places we've been.
JAYNE
(makes a throw, missing)
My pop always said, 'anyone who can't
find work ain't looking hard enough'.
(walks over to gather up horseshoes)
We ain't even looking at all.
KAYLEE walks down to the Cargo bay floor. SIMON enters.
SIMON
You can stop looking. There is a client.
(beat)
Me.
ZOE and WASH, JAYNE and MAL look at him as music twangs.
SIMON
I have a job for you.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off. Crew minus Inara and Book are all staring at Simon.
MAL
You've got a job for us?
SIMON
One that will pay for itself ten
times over.
Everyone circles close to SIMON.
JAYNE
Aw, forget it. We ain't that desperate.
SIMON
(holds out a vial)
You know what this is? It's a common
immune booster called isoprovaline.
Street value for a dosage this size,
fifty platinum.
JAYNE looks intrigued; KAYLEE and MAL exchange looks.
SIMON
Maybe twenty credits.
ZOE takes the first vial; SIMON holds up another vial.
SIMON
Propoxine, maybe eighty.
JAYNE takes the vial; SIMON gives another to WASH.
SIMON
Hydrozepam, two hundred. And all of
these are just from the medkit I had
with me when I came on board. At a
hospital like the one in Ariel City,
they'll have shelves of that stuff.
Whatever the take, it's more than
enough payment for what I have
in mind.
WASH
So, the medvault isn't the job?
SIMON
That's the payment. I tell you how
to get in, get out, and what's worth
taking; if you help me get River into
the hospital's diagnostic ward.
MAL
What's in the diagnostic ward?
SIMON
A 3-D neuroimager. If I can get River
in there, I might be able to figure
out what they did to her at the Academy.
MAL
So we get you and your sister into the
whatchathing and you tell us how to
clean out the hospital.
SIMON
Yes.
KAYLEE
Not to be negative, but, don't the
hospital need that medicine?
ZOE
Government run facility. They'd be
restocked in a matter of hours.
SIMON
She's right. They'll never miss it.
MAL
Plus, folks on the rim sure could use it.
WASH
You know, it's all very sweet; stealing
from the rich, selling to the poor, but
you're talking about breaking into a
highly secure Alliance facility.
How do you on plan getting around
security?
SIMON
It's not easy; but it can be done.
(SIMON reaches over and takes the
vials from the others).
You see, like all Core hospitals,
St. Lucy's has its own dedicated
security force.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The others stand and sit around a table looking at schematics while SIMON walks around.
SIMON
(continuing his speech.)
A small battery of local Alliance
Federals substationed here.
(he points at a computer screen,
the others look)
Now, every floor, every doorway is
equipped with sensors, and at all
points of entry - patient ident scans.
However, once clear of those checkpoints,
movement within the facility itself
should be relatively unhindered.
(Everyone seems rather nonplussed
at SIMON the planner.)
Now, the standard layout should put
the medvault somewhere...
MAL
(interrupting)
Now, let's go back to the ident scans.
You and your sister are tagged fugitives.
How do you figure we're going to get
you in the building?
SIMON
Through the front door.
(MAL scoffs)
Believe me, Captain, getting the two of
us in is going to be easy. The rest of
you, that is going to be the real trick.
We'll need to procure a few items off
ship. I've made a list. Now, given my
status as a fugitive, someone else will
have to --
KAYLEE, JAYNE, and WASH all preemptively raise their hands, grinning. ZOE smiles over at MAL.
SIMON
We have some volunteers. Good. Now,
before we ever make it to the front door
we're going to have to breach the perimeter.
Only official vehicles are allowed in, so,
we'll need one.
MAL lifts an eyebrow.
EXT. ARIEL CITY - JUNKYARD - DAY - CONTINUOUS
A junkyard. KAYLEE is looking at engine parts.
SIMON (V.O.)
(continuing his speech)
Now, obviously we can't steal what we need.
Any illegal activity in the planning stages
could end this thing before it starts. St.
Lucy's Hospital contracts with the local
municipal dumpyard for all its large
disposals.
KAYLEE gathers up spare parts.
KAYLEE
Figures. First time on a Core and what
do I get to do? Look through trash.
(walks over to WASH, who is looking
through trash)
Couldn't he send me shopping at the
Triplex, or Oooh!
(picks up a piece of pipe)
Synchronizers!
SIMON (V.O.)
Big hospitals mean big waste, so we
shouldn't have any trouble finding
what we're looking for.
WASH walks around a corner and throws a piece of junk, hitting a small ship. He gestures to KAYLEE, pleased at his discovery.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON walks around while the others sit at the table.
SIMON
We'll have to look like we belong.
EXT. ARIEL CITY - DAY - CONTINUOUS
JAYNE, off ship, signing off at a Telefonix console. He waits furtively, watching the crowd pass by.
SIMON (V.O.)
All we have to do is slip a couple of
bills into the right hands.
A PARTICULARLY DRESSED MAN in a beret drops two duffel bags near JAYNE. JAYNE stands and picks up the bags as he walks by. Successful trade off.
SIMON (V.O.)
That gets us uniforms, ID badges
and keycards.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
JAYNE dumps contents of duffel bags; uniforms, medical equipment.
SIMON (V.O.)
A little creative forgery and we've
got ourselves a working alias.
JAYNE takes out a knife and starts cutting pictures of the crew.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON is still talking to the group, detailing his plan.
SIMON
Now, all of these items are easy to
obtain. They'll get us up to the
door. Now, in order to get us in...
INT. SERENITY - INFIRMARY - CONTINUOUS
SIMON sits, ZOE, MAL, and JAYNE stand in front of him.
MAL
The patients were cynical and not
responding and we couldn't bring
them back.
SIMON
They were cyanotic.
MAL
They were cyanotic and not responding --
SIMON
(with MAL)
Not responsive.
MAL
Responsive.
SIMON
(coaching)
And we were unable to ...
MAL
(together)
Res.. Res...
ZOE
(together)
Resuscitate them.
ZOE (CONT'D)
Yes!
JAYNE looks confused.
SIMON
Resuscitate them.
MAL & ZOE
(together)
Resuscitate them.
SIMON
Good.
MAL
They were cyanotic.
SIMON
(to ZOE)
What methods did you use?
ZOE
We tried pulmonary stimulators
and-and cardiac... We ...
SIMON
Infusers.
ZOE
Infusers... Infusers. Pulmonary
stimulators and...
All together now, ZOE, MAL, JAYNE, and SIMON,
ALL
...and cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
JAYNE
Oh! Uh, we forgot 'em.
SIMON
Let's try that again.
MAL
Yeah.
INT. SERENITY - CARGO BAY - CONTINUOUS
WASH is working with circuit boards. KAYLEE is welding.
INT. SERENITY - INFIRMARY - CONTINUOUS
Back to the practicing.
MAL
Pupils were fixed and dilapidated --
SIMON
Dilated.
MAL
Dilated! Dilated!
(pounds table, swearing in Chinese)
[Ching-wah tsao duh liou mahng! -
"Frog-riding bastard!"]
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and WASH (in tank top) work on the salvaged ship.
INT. SERENITY - INFIRMARY - CONTINUOUS
Throughout this scene there are several different cuts of the speech, giving the impression that this is being done many, many times. MAL stands, sits, walks around; SIMON looks on, gesticulates, coaches, looks long suffering; ZOE paces, sits; JAYNE watches, sits, stand, writes.
MAL
We got there and the patients were
cyanotic... Not responding.. Non
responsive... And we tried to reviv...
Resuscitate them.. And, despite our
best efforts.. Ah, they kicked...
Despite our best efforts. Ah, they...
SIMON
(to ZOE)
Which methods did you use?
ZOE
We tried pulmonary stimulators and
cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
(sees what JAYNE has been writing)
What is that?
(takes away what is presumably a
crib sheet, balls it up)
JAYNE
(looks up)
We applied, we applied the cortical
electrodes. We used them electromagnetic...
Reacted from... We were unable to a ...
We applied the cortical electrodes but
were unable to get a neural reaction
from either... Unable to get a neural...
(pounds table, swears in Chinese)
MAL
Response.
JAYNE
Response... Hell, I don't know.
If I had wanted schooling, I'da
gone to school. I'll get it.
ZOE stands in a prayerful pose.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON walks into the cargo bay, standing between KAYLEE and WASH.
SIMON
That's amazing! You two did an
incredible job.
All three walk toward a fully restored ambulance ship.
KAYLEE
And now, for the finishing touch.
KAYLEE presses a button, opening the shuttle door. Out steps a uniformed ZOE, MAL, and JAYNE, all looking very medical, indeed.
SIMON
(smiling)
If I didn't know better I'd say you
were ready to save some lives.
MAL
Now all we need is a couple of patients.
SIMON
(losing his smile)
Corpses, actually. For this to work
River and I will have to be dead.
JAYNE
(smiling)
Huh. I'm starting to like this plan.
(chuckles)
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
SIMON and RIVER sit on the bunk.
SIMON
We're going to be asleep. Captain
Reynolds and the others will have
to pretend we're dead to sneak us
into the hospital. But once we're
inside, we'll wake up. Everything
will be fine. You understand?
RIVER
You're going to suspend cerebral,
cardiac, and pulmonary activity
in order to induce a proto-comatose
state.
SIMON
(nodding)
That's right.
RIVER
I don't wanna do it.
SIMON
I know.
RIVER
(getting upset)
I don't wanna go to that place.
I don't want to die.
SIMON
No, now, no one is going to die.
It's okay. The others will take
care of us while we're asleep,
and when we get back --
River begins moaning in fright.
SIMON (CONT'D)
Shh, shh. River, it's okay. It's
okay. This, this could be what
we've been hoping for. When this
is over, I'll be able to help you.
I'll be able to make the nightmares
go away. Okay?
RIVER
(nods, whispers)
Okay.
SIMON
Okay.
(takes a deep breath)
Lie back.
RIVER reclines on the pillows. SIMON fills a syringe and prepares to inject RIVER as she looks on.
SIMON
It's time to go to sleep.
RIVER nods, crying silently.
EXT. ARIEL CITY - NIGHT - CONTINUOUS
Establishing shot.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
The salvaged ambulance ship, the faces of the crew are light by interior panels; JAYNE's lips are moving, there are beeps and rattles and other background noise.
MAL
We speak only when spoken to, we avoid
all unnecessary contact, and we stay
together until we reach the morgue.
Understood?
ZOE
Yes, sir.
JAYNE
(mumbling)
We applied the cortical electrode...
MAL
Jayne?
JAYNE
(mumbling)
...were unable to get a neural response.
(louder)
Yeah, yeah, I got it.
MAL
Are we gonna have a problem?
JAYNE
I know what I gotta do.
MAL
That's not what I'm talking about. A
m I gonna have a problem with you
and Simon?
JAYNE
That's up to him.
MAL
Look, you got a little stabbed the other
day. That's bound to make anyone a mite
ornery, so I figure --
JAYNE
(interrupting)
It's a good plan.
MAL
What?
JAYNE
The doc did good coming up with that
job, don't mean I like him any better.
Nothing buys bygones quicker than cash.
Maybe I'll give him a tattoo while he's out.
MAL
Let him do his thing, and then you
get him out. No messing with him
for laughs.
JAYNE
Don't worry about me, as long as
I get paid I'm happy.
(mumbling)
We applied the cortical electrodes
and were unable to get a neural
response. We applied the cortical
electrodes...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT - CONTINUOUS
The ambulance lands outside the hospital. The door opens. MAL and JAYNE, and ZOE and WASH each load a casket onto a gurney.
WASH
We've only got a few hours left
before the morning shift.
MAL
Won't be an hour.
WASH returns to the ambulance; ZOE, JAYNE, and MAL wheel the gurneys past some guards, into the hospital.
INT. ST. LUCY'S HOSPITAL - EMERGENCY ROOM - NIGHT
Inside the hospital, very sterile and white; people milling about. MAL walks up to a nurses' station, where a Receiving Doctor is standing there in her scrubs.
RECEIVING DOCTOR
What do you got?
MAL
Got a couple of DOAs, by the time
we got there...
RECEIVING DOCTOR
(interrupting, uninterested)
Take them down to the morgue.
MAL looks back at ZOE, ZOE starts to push the gurney forward.
JAYNE
We applied the cortical electrodes
but were unable to get a neural
reaction from either patient.
The RECEIVING DOCTOR looks at JAYNE for a second, then looks down, still uninterested. MAL grimaces at JAYNE. They head toward the morgue.
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT - CONTINUOUS
White, bright, a few bodies on gurneys, draped with blue mesh cloth.
They open the caskets, move RIVER and SIMON to gurneys. MAL injects RIVER in the left arm.
MAL
That should bring them out of it
in a few minutes. Once they're up,
get them to the imaging suite.
(injects SIMON in the right arm)
Let Simon do his thing, and haul
it back to the rendezvous. Fifty
minutes.
MAL and ZOE take the empty caskets out of the room.
JAYNE
Got it. I'll just sit right here.
JAYNE sits back, looking around uneasily. Sighs, stands, and leaves the room. JAYNE goes to a terminal and swipes a card, pressing the screen to reveal the Telefonix logo; he's making a call. A man in an Alliance uniform comes on screen.
AGENT MCGINNIS
(Chinese greeting)
[Ni hao. - "How are you?"]
JAYNE
I'm in.
AGENT MCGINNIS
Do you have the fugitives?
JAYNE
You got my reward?
AGENT MCGINNIS
Yes, just like we talked about.
JAYNE
Then I got your fugitives.
AGENT MCGINNIS
Good. We'll see you shortly.
Congratulations, you're about
to become a very rich man.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT
JAYNE walks into the morgue, looks into an empty holding drawer. Behind him, RIVER sits up.
RIVER
(smiling)
Copper for a kiss.
JAYNE
(spinning, startled)
Jesus! What did you say?
RIVER looks confused. SIMON starts to cough convulsively, thrashing.
JAYNE
(to SIMON)
What the hell's the matter with you?
SIMON
(coughing)
Nothing. Just the after effects of
the drugs. I'll be fine. Just give
me a second.
JAYNE
Well, your sister seems okay.
Over SIMON's coughing we can hear retching and splashing, RIVER is vomiting. Jayne shoves some white clothes at Simon.
JAYNE
You've got to get dressed. We
gotta move.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets off of an elevator, moving down the hall.
MAL
Two lefts, two rights, and we're there.
You see anyone, smile.
ZOE
I don't think anyone smiles in hospitals.
MAL
Of course they do, it's the Core.
Everyone's rich and happy here,
why wouldn't they smile?
POMPOUS DOCTOR
(coming up behind them)
Excuse me.
(they keep walking)
Excuse me.
MAL
(smiling)
Hi.
POMPOUS DOCTOR
Where're you taking those bodies?
MAL
(pointing)
Just downstairs to the morgue.
POMPOUS DOCTOR
(pointing in opposite direction)
Downstairs is that way.
MAL
(looking)
Right. Must've gotten turned around.
DOCTOR
(snorting)
Let me see your badge.
The DOCTOR looks at MAL's badge; looks at ZOE's badge.
INT. ST. LUCY'S HOSPITAL - RECOVERY WARD - CONTINUOUS
JAYNE walks with SIMON, dressed as a doctor or orderly, as SIMON pushes RIVER, who is in a hospital gown in a wheelchair. They are passing through a recovery area, doctors, nurses, patients in beds.
RIVER
They're doing it backwards; walking
up the down slide.
JAYNE
(whispering, to SIMON)
Keep her quiet.
SIMON
(whispering, to RIVER)
This is the recovery ward. This is
where patients come to get better.
RIVER
They're going to die.
SIMON
No one is going to die.
RIVER
(pointing to a bed)
He is.
SIMON
(pushes down RIVER's hand)
No he's not. That man standing next
to him is his doctor. He's going
to help him.
RIVER
He's not going to help him right.
SIMON
River, the doctors here are the
best in the system. This is one
of the top hospitals in the Core,
or anywhere else.
RIVER
Where you should be.
RIVER looks at the patient she indicated as monitors start to beep wildly. She starts to rise from her wheelchair, and SIMON and JAYNE hold her down.
RIVER
You have to help him.
SIMON
River, we don't have time.
RIVER
(fighting JAYNE's grip)
He's killing him!
CRASH TEAM NURSE
(in the b.g.)
Code Blue.
SIMON
Stay here. Don't move.
SIMON runs toward patient in distress; JAYNE looks on angrily. SIMON breaks through the crowd at the bed.
SIMON
What do we have?
(starts examining patient)
YOUNG INTERN
Forty-two year old double-bypass
post-op, prognosis was positive.
CRASH TEAM NURSE
BP's 60/20, pulse is thready.
YOUNG INTERN
Who are you?
CRASH TEAM NURSE
He's crashing.
SIMON
Get the cart.
CRASH TEAM NURSE
We have flatline.
YOUNG INTERN
We've got to crack it.
SIMON
We're not cracking a post-op.
CRASH TEAM NURSE
He's non-responsive, should I c
all the code team?
SIMON
Get the infusers and point-four
of atropine.
(to YOUNG INTERN)
What did you give him?
YOUNG INTERN
Just twenty of alprazoline push.
SIMON sighs disgustedly, holds syringe in his teeth, takes defib paddles.
SIMON
Clear.
(looks at monitor)
Clear.
(monitor shows a heartbeat)
CRASH TEAM NURSE
(in b.g.)
We've got rhythm.
YOUNG INTERN
He's going tachy.
SIMON
Yeah, but his heart's beating.
SIMON injects the atropine, monitors stabilize, NURSE and YOUNG INTERN look on.
YOUNG INTERN
He's okay.
RIVER smiles; JAYNE's expression is difficult to read.
SIMON
(confronts YOUNG INTERN)
Explain to me how you justify
administering a vasoconstrictor
to this patient.
YOUNG INTERN
Alprazoline is a pain killer, not a vaso --
SIMON
(interrupting)
Unless you combine it with dilaftin.
Which any first-year should know is
the standard prep medication your patient
was taking before surgery. Your patient
should be dead.
SIMON walks back to JAYNE and RIVER.
SIMON
Let's go.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
Back to MAL and ZOE and their problem DOCTOR.
POMPOUS DOCTOR
Walk with me a minute.
MAL
Where're we going?
ZOE looks around, starts to walk away.
POMPOUS DOCTOR
You see this badge?
(turns to face MAL, points to his badge)
It says 'doctor'. I say walk, you walk.
MAL
Yeah, but, where're we going?
POMPOUS DOCTOR
You must be new.
(ZOE walks up behind him)
Don't get comfortable, your type never
lasts long around here. When your
supervisor hears about the rude and
disrespect--ARGH!!!
The DOCTOR falls to the ground, revealing the defib paddles that ZOE is holding. MAL looks from the fallen DOCTOR to ZOE.
ZOE
(shrugging)
Clear.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
A large, empty room with a machine in the centre of the room, the function of which is not apparent, yet remains vaguely threatening. JAYNE, SIMON, and ZOE enter. JAYNE shuts the doors behind them.
SIMON
(to RIVER)
Ready?
RIVER looks apprehensive, but nods.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets down the hall and stop in front of the door to the medvault.
MAL
Twelve-oh-five. Here it is.
(swipes his keycard, no go)
Zoe.
ZOE takes MAL's place. She swipes her keycard, nothing happens.
ZOE
Must've been demagged.
MAL opens a casket, revealing the unconscious POMPOUS DOCTOR. MAL grabs his keycard and swipes it. The door opens, MAL and ZOE stand in the opening.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON is gently lowering RIVER into the machine. SIMON goes to the controls, pressing some buttons. A humming fills the room, JAYNE backs away from the machine. RIVER closes her eyes stoically.
INT. ST. LUCY'S HOSPITAL - MEDVAULT - CONTINUOUS
ZOE and MAL enter the medvault, pushing the gurneys before them. They open the caskets, MAL deposits the unconscious DOCTOR on the floor. ZOE starts scanning bottles, picking up the ones she wants and putting them in her casket. MAL pushes back his uniform sleeve, revealing a list of names written on his wrist. ZOE and MAL work quickly and silently until their caskets are full. They close the caskets and start to move out.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON types instructions into the computer. A series of holographic images appear over RIVER - her skeletal system, her circulatory system, paring down until only her brain remains, hovering over her head.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the full caskets into the hallway.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
The computer screen informs us that it is downloading data. SIMON stands by RIVER's head, taking the holographic image between his fingers as if it were a picture and studying the changing angles.
SIMON
They opened up her skull.
(JAYNE walks over to look)
That's a scalpel scar. They... they
opened up her skull and they cut
into her brain.
JAYNE
(looks troubled)
Why?
SIMON
The only reason to make an incision in
someone's brain is to... lobotomize
them. To go in and remove damaged tissue.
Why...
(deep breath)
...anyone would cut into a healthy
brain is... They did it over and over...
(studies the scan)
They stripped her amygdala.
JAYNE
Her what?
SIMON
You know, ah, you know how you get
scared or worried or nervous, but
you don't want to be scared or
worried or nervous, so you push it
to the back of your mind? You
try not to think about it.
(cut to JAYNE's unreadable face)
Your amygdala is what lets you do that.
It's like a filter in your brain that
keeps your feelings in check.
JAYNE reaches toward the image of RIVER's brain. SIMON stays his hand. JAYNE angrily jerks out of SIMON's grip.
SIMON
She feels everything; she can't not.
JAYNE
(looking around)
Well, that's fascinating; let's get moving.
SIMON
We still have twenty minutes.
JAYNE
Oh, plan changed while you were out.
We're meeting out the back way in five.
RIVER's brain hovers eerily above her head, phantom words scroll out beside the image.
SIMON
Well, I, I could use another couple
minutes. I-I'm sure if we get in
touch with Captain Reynolds--
RIVER opens her eyes; SIMON walks toward the computer.
JAYNE
Captain gave his orders, we play it
by the book.
River SCREAMS.
JAYNE covers RIVER's mouth; SIMON shuts down the machine, grabs the information and comes over to RIVER. SIMON pushes JAYNE's hand away and gently cradles RIVER's face.
SIMON
River, River, shh, shh, it's okay.
It's okay
JAYNE
Get her in the chair, let's go.
SIMON
Shh, shh, shh.
RIVER
No, no, no, they come out of the black.
They come when you call.
JAYNE watches SIMON try to comfort RIVER.
SIMON
River, it's okay. It's over. We're leaving.
RIVER
Your toes are in the sand.
JAYNE
And you head's up your--
SIMON
(interrupting)
Hey! Back off.
JAYNE
You just make sure she keeps her mouth
shut. Don't need her screeching while
we're trying to make a quiet getaway.
JAYNE opens the door while SIMON tries to calm RIVER while getting her up.
INT. ST. LUCY'S HOSPITAL - CORRIDOR
A crowded hallway. A subdued RIVER is being pushed by SIMON while JAYNE hurries them along.
SIMON
You should have let me know when
the plan changed.
JAYNE
I told you when you needed to know.
What are you griping about? You
got what you came for.
INT. ARIEL CITY HOSPTIAL - CORRIDOR - MOMENTS LATER
A deserted hallway. JAYNE walks ahead of SIMON and RIVER.
RIVER
(distressed)
No, no, I can't go back. I don't
wanna go back.
JAYNE opens a door at the end of the hall.
SIMON
Shh, shh. It's okay. We're just
going back to the ship. We're
almost home.
RIVER and SIMON go through the door JAYNE is holding to,
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
AGENT MCGINNIS
Federal Marshals! Don't move!
(a shotgun action is heard)
River and Simon Tam, by the authority
of the Union of Allied Planets, you
are hereby bound by law.
The feds close in on RIVER and SIMON.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
Right back where we left off.
AGENT MCGINNIS
(to minions)
Take them to Processing.
Minions grab SIMON and RIVER, cuffing their hands behind their backs. A minion grabs and cuffs JAYNE, who looks shocked. RIVER and SIMON are led away.
JAYNE
(whispering, to AGENT MCGINNIS)
So, you gonna take me away for
questioning now? How you wanna
play it?
AGENT MCGINNIS
You're under arrest for aiding
and abetting Federal fugitives.
Better get a lawyer.
JAYNE
You're kidding, right? What
about my rutting money?
AGENT MCGINNIS
You mean my money? For apprehending
the three fugitives? I expect I'll
be getting it soon.
JAYNE lunges for AGENT MCGINNIS, and is shot in the chest by a minion and falls to the ground, groaning.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
WASH is cooling his heels, sitting by the ambulance. ZOE and MAL come out of the hospital, pushing the loaded caskets.
WASH
(helping ZOE pick up a casket)
How much did we get?
MAL
Enough to keep us flying.
ZOE
Can we fly somewhere with a beach?
WASH
Maybe a naked beach?
ZOE
Ooh.
WASH
Ahh.
ZOE and WASH have themselves some smoochies.
MAL
Cut it out. Job's not done until
we're back on Serenity.
ZOE
Sorry, sir. Didn't mean to enjoy
the moment.
MAL
(looking worried)
Where are the others?
Now ZOE looks worried; WASH is still smiling.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Federal Processing room. Minions push SIMON and JAYNE onto a bench; RIVER sits quietly beside them without being forced.
SIMON
(whispering, to JAYNE)
If those officers hadn't been armed,
I think you'd have had a chance.
JAYNE
A guy shoves me, I shove him. Not like
I was trying to mount a rescue.
SIMON
Still. I appreciate you trying.
JAYNE
You know what I'd appreciate? You stop
flapping that pretty mouth at me. I'm
trying to figure a way out of here; can't
do it with you yammering.
RIVER
They took Christmas away.
JAYNE and SIMON look over at her.
JAYNE
What the hell now?
RIVER
Came downstairs for the shiny presents.
They took the tree and the stockings.
Nothing left but coal.
JAYNE
(to SIMON)
Will you shut her up!
RIVER
(smiling)
Don't look in the closet, either.
It's greedy. It's not in the
spirit of the holiday.
JAYNE
(rolls his eyes)
You shut the hell up, right now, or
so help me, I will shut you up.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
MAL
Time?
ZOE
Ten minutes past rendezvous.
MAL
Something's happened.
WASH
(entering the ship)
Kaylee, are you linked?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE is on the radio.
KAYLEE
Uh...
(punches some keys)
I am now. What do you need?
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH
Find out if there's any kind of
security alert in the hospital.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Hang on.
(punches more keys)
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
ZOE
Could be they're just late.
MAL
Not this late. Jayne would have
sent up a flag.
KAYLEE (V.O.)
Nothing from hospital security,
nothing on the local pipeline,
either.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Although I am getting some weird
chatter from the official two-six-two. Sounds like...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
KAYLEE (V.O.)
... They're talking about ducks.
ZOE
Code.
MAL
Feds got 'em.
(to WASH)
Have her bring up a hospital schematic
on the Cortex. Find me a way into that
security substation.
ZOE hands MAL a communicator and they put on the earpieces.
WASH
Wait a minute, you don't even know
for sure if they're in there.
MAL
Gonna find out.
(testing his com)
Check.
ZOE
Coming in clear.
ZOE hands MAL a gun. Straps another gun to her ankle.
WASH
So, you're just going to walk in
through the front door?
MAL
No.
(chuckles)
You're gonna find me a way around back.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
AGENT MCGINNIS
Get up.
RIVER and JAYNE stand up, SIMON remains seated. AGENT MCGINNIS pushes JAYNE back down. JAYNE is not happy.
SIMON
What's going to happen to us?
AGENT MCGINIS
I said, get up.
AGENT MCGINNIS pulls at SIMON's jacket, SIMON shrugs him off and stands up on his own. SIMON and FED are standing face to face.
SIMON
Agent McGinnis, I'm certain you're
working under a superior who is
keeping close tabs on this case.
I'm certain of that because important
people don't do field work. I'm
also quite certain your superior
wants me and my sister alive. Now,
I'm not going to move from this spot
until one of two things happens.
You answer my very simple question;
or you shoot me.
AGENT MCGINNIS
(very precisely)
We are transferring you into a
holding area, until you can be
retrieved.
SIMON
Retrieved? By whom?
RIVER looks distressed; JAYNE looks angry.
AGENT MCGINNIS
People who want you alive. People not me.
(to minions)
Take them.
Two minions come and take RIVER, SIMON, and JAYNE into,
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE is led in first. He strikes out with his elbow, hitting the guard in the face; the second guard gets kicked in the stomach. JAYNE pins the first guard to the wall with his shoulder while SIMON does the same to the second guard. Both SIMON and the second guard fall to the ground, dazed. JAYNE knocks the first guard to the ground and cracks skull. JAYNE rolls away and brings his bound hands under his legs, his hands are still bound, but are now in front. RIVER looks on. JAYNE climbs on top of the first guard and starts throttling him. RIVER looks away, crying. The first guard manages to roll over until he is on top of JAYNE. The second guard starts to rouse, and SIMON presses a knee into his chest, holding him down. The first guard punches JAYNE a few times; then JAYNE regains top position, hauling the first guard to his feet. SIMON still holds the second guard immobile.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
A smiling MAL and ZOE walk through a crowded hall.
MAL
(into his radio)
Uh, Wash, we need a little direction here.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH is on the radio.
WASH
(to MAL)
Working on it.
(to KAYLEE)
Kaylee, what do you got?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Tell them to hand a left when they
reach cryo. They'll see a door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
MAL and ZOE rush toward a door.
WASH (V.O.)
Okay, go through that door, and down
to green level.
ZOE and MAL hurry down a stairwell.
MAL
This is exactly what I didn't want.
I wanted simple. I wanted in-and-out.
I wanted easy money.
ZOE
Things always get a little more
complicated, don't they, sir?
MAL
Just once I'd like things to go
according to the gorram plan.
WASH (V.O.)
Uh, guys, you might wanna hurry.
MAL
(into radio)
Oh, is there a problem?
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
An Alliance ship touches down near the ambulance. WASH is looking at it through the window.
WASH
I think that reinforcements just arrived.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE and the first guard are still grappling, but JAYNE manages to snap the guard's neck. SIMON and RIVER look on, appalled. JAYNE staggers to the dead guard and takes the handcuff keys; unlocking himself, then SIMON, then RIVER. SIMON picks up the second guard's gun and hands it to JAYNE. SIMON grabs RIVER and they leave the cell, heading to the left. JAYNE heads to the right.
SIMON
What are you doing?
JAYNE
Going out the way we came in.
SIMON
There are at least four armed
feds out there.
JAYNE
Six. I know.
SIMON
(pointing to the left)
We run.
RIVER is watching the back and forth.
JAYNE
You got no idea where that goes.
SIMON
We'll find our way.
JAYNE
I ain't chancing that. I can
handle the feds.
RIVER
(shaking her head)
Doesn't matter.
(JAYNE and SIMON look at RIVER)
They're here.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
The Processing room. A minion motions to FED who looks over.
AGENT MCGINNIS
Gentlemen, that was prompt. We're
almost finished here. The prisoners
will be out in a minute. Let me get the
paperwork together for you.
(to minion)
Bobby, bring that here.
REVERSE camera to REVEAL that AGENT MCGINNIS is talking to two men in dark suits. We can see that one of them is wearing blue gloves, BLUE GLOVE #1. BLUE GLOVE #2 hangs back.
AGENT MCGINNIS
Not that it will mean much.
(sits)
The men were tight lipped, the girl
was just spewing gibberish. We got
it all down.
BLUE GLOVE #1
(looks concerned)
You spoke to the prisoners?
AGENT MCGINNIS
Well, yeah. Had to process 'em.
There was no interrogation, if
that's what you mean.
(BLUE GLOVE #2 comes forward)
Didn't do your job for you.
BLUE GLOVE #2
Did your men also speak with them?
He is holding something that looks like a pen, but elongates with a snap to reveal an ominous glowing blue cylinder that extends from either side of his fist. A high-pitched hum emanates from it.
AGENT MCGINNIS
As much as they had to.
AGENT MCGINNIS looks uncomfortable. He brings a hand to his nose, which is dripping a small amount of blood. The BLUE GLOVES are smiling genially. AGENT MCGINNIS starts choking and gagging. The cuticles on his fingernails are leaking blood. Blood pours from his, nose, eyes, mouth - he is in acute distress.
Is he gonna survive the supersonic boomstick? Not so much, we're thinking.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. ST. LUCY'S HOSPITAL - CORRIDOR
Hallway outside of holding cell. Distant screams can be heard. SIMON, RIVER and JAYNE look around uneasily.
JAYNE
What the hell is that?
RIVER whimpers.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Processing room, now something of an abattoir. All the minions lie dead, covered with blood. The BLUE GLOVES walk calmly to the door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
RIVER
(terrified)
Two by two. Gloves of blue. Two by two.
(JAYNE and SIMON look at her)
Gloves... blue... two.
RIVER turns and runs crying down the hallway, SIMON runs after her. JAYNE looks up the stairwell for a moment, then follows.
The BLUE GLOVES walk through a door into the hallway our three heroes have just deserted.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
RIVER pushes open a heavy metal door, she runs across an empty room. SIMON and JAYNE are behind her.
JAYNE
(to SIMON)
Where the hell's she going?
SIMON
There must be some sort of exit this way.
JAYNE
I don't see no exit.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
BLUE GLOVE #1
(checking the first guard)
Dead.
BLUE GLOVE #2
(checking the second guard)
This one's alive.
He reaches into his pocket to remove the supersonic boomstick.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
Back to the empty room with RIVER, SIMON, and JAYNE
JAYNE
I got no intention to run around like
a rat in a maze 'til we're dead.
Now, we're going back.
Someone screams in the distance. JAYNE looks back, gasps, and follows RIVER and SIMON.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
The BLUE GLOVES step over the second guard, who is now very much not alive. They head down the hallway after the fugitives.
INT. ST. LUCY'S HOSPITAL - STAIRCASE - CONTINUOUS
RIVER runs down it.
RIVER
Almost there.
(another flight, we can see SIMON
and JAYNE behind her)
Almost there.
(reaches the bottom)
Almost there.
(stops in front of a blue door)
There.
JAYNE
(tries the door, locked)
Stand back.
SIMON
(moves RIVER back)
C'mere.
JAYNE
(shoots at door, rather
unsatisfyingly)
[Shee-niou - "shit urine"],
high-tech Alliance crap.
JAYNE uses the gun butt to beat at the lock.
INTERCUT WITH:
There are a series of cuts between the blue door and the BLUE GLOVES. The BLUE GLOVES open the heavy door. SIMON and RIVER watch JAYNE beat at the blue door. The BLUE GLOVES walk across the empty room. JAYNE throws himself at the blue door. The BLUE GLOVES are getting closer. JAYNE keeps beating at the blue door, and a sudden blast blows through the lock. SIMON shields RIVER, JAYNE moves back, training his gun on the door. The door is kicked open, and there stands MAL and ZOE. JAYNE gasps; MAL beckons with a tilt of his head. The BLUE GLOVES reach the top of the stairs and look down to see an empty room and an open blue door.
INT. SERENITY - CARGO BAY - CONTINUOUS
The cargo bay doors open, daylight hits INARA as she steps off her shuttle, and KAYLEE as she walks down the stairs.
KAYLEE
Oh, hey, there, Inara. How was
your check-up?
INARA
Same as last year... What's going
on here?
KAYLEE
(breezy) Oh, let's see..
(counting on her fingers)
We killed Simon and River...
(INARA looks aghast)
...Stole a bunch of medicine, and
now Zoe and the Captain are off
springing the others that got
snatched by the feds.
(a vehicle approaches)
Oh, here they are now.
The ambulance pulls into the bay. KAYLEE walks down the next set of stairs to push the button that closes the cargo bay door. MAL climbs out of the ambulance, goes to the cockpit window.
MAL
(to WASH)
Tell me we weren't followed.
WASH
Nothing in our rearview the whole
way back.
MAL
All right. Take us out of the world,
as quick as you can.
WASH
(climbing out of the ambulance)
We'll be out of atmo in five minutes.
MAL
(to INARA)
Hey. How was your thing?
INARA
As advertised: lots of needles and
cold exam tables.
(beat)
I heard you had some excitement.
MAL
Oh, nothing much. Lots of running
around. A little gunplay.
(walks toward JAYNE and KAYLEE)
A couple of needles.
JAYNE
Next time we come to the Core, I'm
staying with the Preacher.
MAL
(slaps JAYNE on the shoulder)
Oh, you hadn't come you wouldn't be
getting your big payday.
JAYNE looks a little confused. SIMON and RIVER walk up.
MAL
(to SIMON)
So...
(pulls KAYLEE into a back-to-front hug)
Did you get what you needed?
SIMON
I think I did. I have the information
I downloaded off the imager, I just
have to go over it and then... Ah,
I'm hopeful.
(looks at RIVER, who smiles)
KAYLEE
(to JAYNE)
What happened to your face?
JAYNE - Huh?
KAYLEE motions to her eyebrow 'ow'. JAYNE reaches a hand halfway to the cut on his face before shrugging.
JAYNE
Oh, uh, nothing.
SIMON
He was amazing. I can't even begin
to tell you.
SIMON slaps JAYNE's shoulder, JAYNE looks a little sick.
SIMON
We wouldn't be standing here if
it weren't for him.
(sincerely)
Thank you.
JAYNE
Well, hey, you're part of my crew.
SIMON pats JAYNE's shoulder before letting go.
MAL
I think I might cry.
(SIMON and KAYLEE laugh)
All right, Jayne, help me with the cargo.
Everyone, make yourself useful, you've got
jobs to do, go do 'em.
Everyone walks away, leaving JAYNE and MAL alone by the ambulance.
JAYNE
(opening a casket)
This's gotta be our best take ever.
MAL
Well, Doc had a good notion. The
boy's got a decent criminal mind.
JAYNE grunts as he moves some cargo out of the way and then walks toward MAL.
JAYNE
So, what're you buying with your cut?
MAL swings and hit JAYNE in the face. JAYNE falls to the floor. MAL looks down at JAYNE and the wrench he was holding drops to the deck. He looks quietly pissed as all hell.
EXT. ARIEL CITY - DAY
Serenity lifts off from Ariel City.
INTERCUT WITH:
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE wakes on the floor of the cargo bay. There is a radio on the floor beside him. A door with a small diamond-shaped window is closing him in.
JAYNE
Hey! What the hell are you doing?
A finger taps on the window, then points down to the radio. JAYNE picks the radio up.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL is pacing outside the door, talking into his own radio.
MAL
The job's done. Figured it was
time for a little chat.
JAYNE pounds on the door controls to no avail. MAL hits the button that opens the exterior bay door.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE looks behind him as the noise of the engine, the sunshine, and the wind, flood the room.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Seems to me we had a solid plan.
Smooth, you might say. But what
I can't figure out, is what you
were doing 'round the back exit.
MAL leans against the door, we can see JAYNE's face through the window.
JAYNE (V.O.)
(on radio)
What? I couldn't go out the front,
I had to improvise. Open the
damn door.
MAL
You called the feds.
JAYNE (V.O.)
(on radio)
What? I got pinched!
MAL
Which is what happens when you
call the feds.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE
(clinging to the door)
No. I would never do that, my hand
to god, may he strike me down as
I'm standing here.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Well, you won't be standing there long.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
MAL (V.O.)
(over the radio)
The minute we break atmo,
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
You'll be a lot thinner once you
get sucked out that hole.
(gestures to opening bay door)
JAYNE
(door alarm goes off)
Oh, come on, Mal.
SERENITY
(faintly heard over the wind)
Leaving atmo in two minutes.
JAYNE
That ain't no way for a man to die.
SERENITY
(louder inside the ship)
Secure cargo bay door at once.
JAYNE (V.O.)
You wanna kill me, shoot me. Just
let me in.
MAL
You know, I hear tell they used to
keelhaul traitors back in the day.
I don't have a keel to haul you on, so...
JAYNE (V.O.)
Oh. Okay. I'm sorry, all right?
MAL
Sorry for what, Jayne?
MAL looks JAYNE in the face, through the window.
MAL
I thought you'd never do such a thing?
JAYNE (V.O.)
The money was too good.
(MAL looks in at JAYNE.)
I got stupid.
(through the radio) I'm sorry, okay?
Be reasonable. What're you taking
this so personal for? It ain't like I
ratted you out to the feds.
MAL
(angry)
Oh, but you did. You turn on any
of my crew, you turn on me. But
since that's a concept you can't
seem to wrap your head around, then
you got no place here.
(through the radio)
You did it to me, Jayne. And
that's a fact.
MAL walks away while JAYNE watches him through the window.
JAYNE (V.O.)
What're you gonna tell the others?
MAL
About what?
JAYNE (V.O.)
About why I'm dead.
MAL
(through the radio)
I hadn't thought about it.
JAYNE
(V.O.)
Make something up. Don't tell 'em
what I did.
MAL stands still for a moment, looking at JAYNE. Then he presses the button that closes the outer bay door. The door closes.
MAL
(looking through the window)
The next time you decide to stab me
in the back...
(through the radio)
...Have the guts to do it to my face.
MAL leaves the radio on the window, and walks up the stairs. JAYNE looks after him, shaken.
JAYNE
(through the radio)
Can I come in?
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
RIVER is drawing Russian nesting dolls. SIMON walks in, holding a syringe.
SIMON
Hi.
(RIVER looks up)
What are you doing?
RIVER
Drawing.
SIMON sits beside her, watching her draw.
SIMON
That's really good.
RIVER
(looking at the syringe)
What are you doing?
SIMON
Oh, I, ah, brought some medicine. Do
you remember why we went to the hospital?
RIVER
(sitting up)
Time to go to sleep again.
SIMON
(softly)
No, [mei mei - "little sister"].
(SIMON reaches down and takes
RIVER's hand)
It's time to wake up.
SIMON uncaps the syringe and looks down. RIVER watches him.
BLACK OUT.
Serenity in flight, music.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
JAYNE cleans a gun, INARA sits on a couch next to KAYLEE they are playing a game (Mah Jong?), SIMON dishes much into a bowl for RIVER who stands next to him
RIVER
I don't want any.
SIMON
River, you have to eat. It's good.
It tastes like...
(uses chopsticks to eat some)
... It's good.
JAYNE
Smells like crotch.
KAYLEE
Jayne!
JAYNE
Well, it does.
WASH and ZOE enter through the corridor, conversation in progress
WASH
We don't even have to go someplace fancy.
We can just go to the park or something.
Feed the pigeons.
ZOE
Sure.
(puts arms around WASH)
Feed the pigeons. Probably get the
firing squad for littering.
(walks into room)
WASH
Come on, it's not that bad.
ZOE
It is. It's a Core planet, it's spotless.
It's got sensors, and where there ain't
sensors, there's feds. All Central
planets are the same.
WASH
Could you please tell my wife the
fun she's missing out on?
INARA
(laughs)
Ariel's quite a nice place, actually.
There are some beautiful museums, not
to mention some of the finest restaurants
in the Core.
WASH
But ... not boring, like she made it
sound. There's a .. .. Um, ah, um.
(looks to SIMON for help)
SIMON
There's hiking.
WASH
Yeah!
SIMON
And you can go swimming in a
bioluminescent lake.
WASH nods encouragingly.
ZOE
I don't care if it's got sunsets
twenty-four hours a day. I ain't
setting foot on that planet.
MAL
(walking into room)
No one is setting foot on that fancy
rock. I don't want anyone leaving the
ship. Come to think of it, I don't want
anyone looking out the windows or talking
loud. We're here to drop off Inara,
that's it.
(dishes mush into bowl)
JAYNE
(assembling his gun)
What's the point of coming to the Core
if I can't even step off the boat?
MAL
You could have got off with Shepherd
Book at the Bathgate Abbey. Could
have been meditating on the wonders of
your rock garden by now.
JAYNE
Well it beats just sitting.
WASH
It is just sitting.
We don't see KAYLEE and INARA; RIVER is looking at JAYNE as he licks his knife.
KAYLEE (V.O)
(to INARA)
So, how long you gonna be planetside?
INARA
Shouldn't be more than a day or two.
WASH
Big stop just to renew your license to
companion. Can I use companion as
a verb?
INARA
(laughs, plays game)
It's Guild law. All Companions are
required to undergo a physical
examination once a year.
JAYNE hocks and spits on his gun.
SIMON
(pauses eating in disgust)
Could you not do that while we're... ever?
JAYNE spits on his gun, looking straight at SIMON. SIMON stares at JAYNE, appalled, then looks away and starts to get up from the table.
WASH
(to INARA)
So, two days in a hospital? That's
awful. Don't you just hate doctors?
SIMON
(standing right here)
Hey.
RIVER walks to the cutlery bin.
WASH
I mean, present company excluded.
RIVER takes out a BIG knife, no one notices. SIMON sits.
JAYNE
Let's not be excluding people.
(smirks at SIMON)
That'd be rude.
RIVER walks up to JAYNE, we can see a flash of reflected light on his smiling face just before RIVER slashes him across the arm with the BIG knife.
JAYNE
(in pain)
Sonofa GAH!!
WASH
What the hell?!
KAYLEE and INARA jump up from the game table. JAYNE's face contorts with anger and he backhands RIVER across the face. RIVER falls to the deck, the knife is knocked out of her hand. JAYNE looks down at the bloody gash across his shirt. SIMON runs to RIVER.
SIMON
River! NO!
KAYLEE
Oh my god!
INARA
He's bleeding.
ZOE
That's deep.
KAYLEE
Are you okay?
SIMON helps RIVER sit up, she's bleeding from the mouth. INARA, KAYLEE and MAL crowd around JAYNE who is examining his wound.
SIMON
River?
JAYNE
(in shock and pain)
Oh, uh.
RIVER
He looks better in red.
Everyone stands around in confusion and shock. MAL looks between RIVER, who seems surprised by the fuss, and JAYNE, who is seething with anger.
INT. SERENITY - INFIRMARY - CONTINUOUS
JAYNE reclines on a gurney, bare-chested, while SIMON stitches his wound. MAL stands back.
JAYNE
(gasping in pain)
Gorram freak's completely off her axel.
SIMON
I'm sorry about this. I don't know what--
JAYNE
(to SIMON)
Shut up, I ain't talking to you.
(to MAL)
She's gotta go. Both of them's gotta go.
Ariel's as good a place as any to leave
'em. Might even pick us up a reward
for our trouble.
MAL
No one's getting left.
JAYNE
She belongs in a bughouse. You don't
pitch her off this boat right now, I
swear to you...
MAL
What? What are you swearing, Jayne?
JAYNE
They don't get gone, you better start
locking up your room at night. Next
time little sister gets in a murdering
mood, might be you she comes calling
on. Maybe Kaylee. Or Inara. You
let them stay, we're gonna find out.
MAL
(leans in very close to JAYNE)
Finish your work, doctor.
(SIMON turns away)
This is my boat. They're part of my
crew. No one's letting left. Best
you get used to that.
JAYNE looks at MAL, swallows visibly, looks very unhappy as he gets up from gurney, pushes bloody shirt at SIMON, who clutches it to his chest.
JAYNE
(to Simon)
You owe me a shirt.
(Leaves room)
MAL
(walks over to SIMON)
She's to stay confined to her room,
at all times, no exceptions.
(SIMON nods, unhappily)
Take her to the kitchen, the infirmary,
whatever, you ask me first, understand?
SIMON
I do.
MAL
When I took you and your sister in, the
deal was you keep her in check. You
can't hold up your end, we're going
to have to revisit the deal.
SIMON nods, looks down. MAL looks away.
MAL
She's getting worse, isn't she?
SIMON
Yes.
EXT. ARIEL - DAY
Serenity is landing in a futuristic city, full of gleaming spires and flying cars.
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and INARA walk across a catwalk. JAYNE and MAL are below.
KAYLEE
Just look at the bright side. Maybe
you'll meet a young, handsome doctor
and he'll ask you out and...
(beat)
What's the Companion policy on dating?
INARA
(laughing)
It's ...complicated.
KAYLEE
Mmmm. Well, that figures.
INARA
Stay out of trouble.
INARA and KAYLEE hug and kiss cheeks.
KAYLEE
You, too. Bye.
INARA walks through a corridor. KAYLEE walks down the stairs.
INT. SERENITY - CARGO BAY - LATER
Cargo bay floor. JAYNE and MAL play horseshoes. MAL is playing blue, JAYNE, red.
JAYNE
Ah!
(he's thrown a ringer)
How're we going to find a job if we
don't leave the ship?
MAL
(lines up throw)
It's Alliance territory. Ain't any
jobs worth having.
WASH sits on some barrels, ZOE standing beside him
WASH
Nor the last three places we've been.
JAYNE
(makes a throw, missing)
My pop always said, 'anyone who can't
find work ain't looking hard enough'.
(walks over to gather up horseshoes)
We ain't even looking at all.
KAYLEE walks down to the Cargo bay floor. SIMON enters.
SIMON
You can stop looking. There is a client.
(beat)
Me.
ZOE and WASH, JAYNE and MAL look at him as music twangs.
SIMON
I have a job for you.
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
Right where we left off. Crew minus Inara and Book are all staring at Simon.
MAL
You've got a job for us?
SIMON
One that will pay for itself ten
times over.
Everyone circles close to SIMON.
JAYNE
Aw, forget it. We ain't that desperate.
SIMON
(holds out a vial)
You know what this is? It's a common
immune booster called isoprovaline.
Street value for a dosage this size,
fifty platinum.
JAYNE looks intrigued; KAYLEE and MAL exchange looks.
SIMON
Maybe twenty credits.
ZOE takes the first vial; SIMON holds up another vial.
SIMON
Propoxine, maybe eighty.
JAYNE takes the vial; SIMON gives another to WASH.
SIMON
Hydrozepam, two hundred. And all of
these are just from the medkit I had
with me when I came on board. At a
hospital like the one in Ariel City,
they'll have shelves of that stuff.
Whatever the take, it's more than
enough payment for what I have
in mind.
WASH
So, the medvault isn't the job?
SIMON
That's the payment. I tell you how
to get in, get out, and what's worth
taking; if you help me get River into
the hospital's diagnostic ward.
MAL
What's in the diagnostic ward?
SIMON
A 3-D neuroimager. If I can get River
in there, I might be able to figure
out what they did to her at the Academy.
MAL
So we get you and your sister into the
whatchathing and you tell us how to
clean out the hospital.
SIMON
Yes.
KAYLEE
Not to be negative, but, don't the
hospital need that medicine?
ZOE
Government run facility. They'd be
restocked in a matter of hours.
SIMON
She's right. They'll never miss it.
MAL
Plus, folks on the rim sure could use it.
WASH
You know, it's all very sweet; stealing
from the rich, selling to the poor, but
you're talking about breaking into a
highly secure Alliance facility.
How do you on plan getting around
security?
SIMON
It's not easy; but it can be done.
(SIMON reaches over and takes the
vials from the others).
You see, like all Core hospitals,
St. Lucy's has its own dedicated
security force.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The others stand and sit around a table looking at schematics while SIMON walks around.
SIMON
(continuing his speech.)
A small battery of local Alliance
Federals substationed here.
(he points at a computer screen,
the others look)
Now, every floor, every doorway is
equipped with sensors, and at all
points of entry - patient ident scans.
However, once clear of those checkpoints,
movement within the facility itself
should be relatively unhindered.
(Everyone seems rather nonplussed
at SIMON the planner.)
Now, the standard layout should put
the medvault somewhere...
MAL
(interrupting)
Now, let's go back to the ident scans.
You and your sister are tagged fugitives.
How do you figure we're going to get
you in the building?
SIMON
Through the front door.
(MAL scoffs)
Believe me, Captain, getting the two of
us in is going to be easy. The rest of
you, that is going to be the real trick.
We'll need to procure a few items off
ship. I've made a list. Now, given my
status as a fugitive, someone else will
have to --
KAYLEE, JAYNE, and WASH all preemptively raise their hands, grinning. ZOE smiles over at MAL.
SIMON
We have some volunteers. Good. Now,
before we ever make it to the front door
we're going to have to breach the perimeter.
Only official vehicles are allowed in, so,
we'll need one.
MAL lifts an eyebrow.
EXT. ARIEL CITY - JUNKYARD - DAY - CONTINUOUS
A junkyard. KAYLEE is looking at engine parts.
SIMON (V.O.)
(continuing his speech)
Now, obviously we can't steal what we need.
Any illegal activity in the planning stages
could end this thing before it starts. St.
Lucy's Hospital contracts with the local
municipal dumpyard for all its large
disposals.
KAYLEE gathers up spare parts.
KAYLEE
Figures. First time on a Core and what
do I get to do? Look through trash.
(walks over to WASH, who is looking
through trash)
Couldn't he send me shopping at the
Triplex, or Oooh!
(picks up a piece of pipe)
Synchronizers!
SIMON (V.O.)
Big hospitals mean big waste, so we
shouldn't have any trouble finding
what we're looking for.
WASH walks around a corner and throws a piece of junk, hitting a small ship. He gestures to KAYLEE, pleased at his discovery.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON walks around while the others sit at the table.
SIMON
We'll have to look like we belong.
EXT. ARIEL CITY - DAY - CONTINUOUS
JAYNE, off ship, signing off at a Telefonix console. He waits furtively, watching the crowd pass by.
SIMON (V.O.)
All we have to do is slip a couple of
bills into the right hands.
A PARTICULARLY DRESSED MAN in a beret drops two duffel bags near JAYNE. JAYNE stands and picks up the bags as he walks by. Successful trade off.
SIMON (V.O.)
That gets us uniforms, ID badges
and keycards.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
JAYNE dumps contents of duffel bags; uniforms, medical equipment.
SIMON (V.O.)
A little creative forgery and we've
got ourselves a working alias.
JAYNE takes out a knife and starts cutting pictures of the crew.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
SIMON is still talking to the group, detailing his plan.
SIMON
Now, all of these items are easy to
obtain. They'll get us up to the
door. Now, in order to get us in...
INT. SERENITY - INFIRMARY - CONTINUOUS
SIMON sits, ZOE, MAL, and JAYNE stand in front of him.
MAL
The patients were cynical and not
responding and we couldn't bring
them back.
SIMON
They were cyanotic.
MAL
They were cyanotic and not responding --
SIMON
(with MAL)
Not responsive.
MAL
Responsive.
SIMON
(coaching)
And we were unable to ...
MAL
(together)
Res.. Res...
ZOE
(together)
Resuscitate them.
ZOE (CONT'D)
Yes!
JAYNE looks confused.
SIMON
Resuscitate them.
MAL & ZOE
(together)
Resuscitate them.
SIMON
Good.
MAL
They were cyanotic.
SIMON
(to ZOE)
What methods did you use?
ZOE
We tried pulmonary stimulators
and-and cardiac... We ...
SIMON
Infusers.
ZOE
Infusers... Infusers. Pulmonary
stimulators and...
All together now, ZOE, MAL, JAYNE, and SIMON,
ALL
...and cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
JAYNE
Oh! Uh, we forgot 'em.
SIMON
Let's try that again.
MAL
Yeah.
INT. SERENITY - CARGO BAY - CONTINUOUS
WASH is working with circuit boards. KAYLEE is welding.
INT. SERENITY - INFIRMARY - CONTINUOUS
Back to the practicing.
MAL
Pupils were fixed and dilapidated --
SIMON
Dilated.
MAL
Dilated! Dilated!
(pounds table, swearing in Chinese)
[Ching-wah tsao duh liou mahng! -
"Frog-riding bastard!"]
INT. SERENITY - CARGO BAY - CONTINUOUS
KAYLEE and WASH (in tank top) work on the salvaged ship.
INT. SERENITY - INFIRMARY - CONTINUOUS
Throughout this scene there are several different cuts of the speech, giving the impression that this is being done many, many times. MAL stands, sits, walks around; SIMON looks on, gesticulates, coaches, looks long suffering; ZOE paces, sits; JAYNE watches, sits, stand, writes.
MAL
We got there and the patients were
cyanotic... Not responding.. Non
responsive... And we tried to reviv...
Resuscitate them.. And, despite our
best efforts.. Ah, they kicked...
Despite our best efforts. Ah, they...
SIMON
(to ZOE)
Which methods did you use?
ZOE
We tried pulmonary stimulators and
cardiac infusers.
SIMON
(to JAYNE)
What about cortical electrodes?
(sees what JAYNE has been writing)
What is that?
(takes away what is presumably a
crib sheet, balls it up)
JAYNE
(looks up)
We applied, we applied the cortical
electrodes. We used them electromagnetic...
Reacted from... We were unable to a ...
We applied the cortical electrodes but
were unable to get a neural reaction
from either... Unable to get a neural...
(pounds table, swears in Chinese)
MAL
Response.
JAYNE
Response... Hell, I don't know.
If I had wanted schooling, I'da
gone to school. I'll get it.
ZOE stands in a prayerful pose.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON walks into the cargo bay, standing between KAYLEE and WASH.
SIMON
That's amazing! You two did an
incredible job.
All three walk toward a fully restored ambulance ship.
KAYLEE
And now, for the finishing touch.
KAYLEE presses a button, opening the shuttle door. Out steps a uniformed ZOE, MAL, and JAYNE, all looking very medical, indeed.
SIMON
(smiling)
If I didn't know better I'd say you
were ready to save some lives.
MAL
Now all we need is a couple of patients.
SIMON
(losing his smile)
Corpses, actually. For this to work
River and I will have to be dead.
JAYNE
(smiling)
Huh. I'm starting to like this plan.
(chuckles)
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
SIMON and RIVER sit on the bunk.
SIMON
We're going to be asleep. Captain
Reynolds and the others will have
to pretend we're dead to sneak us
into the hospital. But once we're
inside, we'll wake up. Everything
will be fine. You understand?
RIVER
You're going to suspend cerebral,
cardiac, and pulmonary activity
in order to induce a proto-comatose
state.
SIMON
(nodding)
That's right.
RIVER
I don't wanna do it.
SIMON
I know.
RIVER
(getting upset)
I don't wanna go to that place.
I don't want to die.
SIMON
No, now, no one is going to die.
It's okay. The others will take
care of us while we're asleep,
and when we get back --
River begins moaning in fright.
SIMON (CONT'D)
Shh, shh. River, it's okay. It's
okay. This, this could be what
we've been hoping for. When this
is over, I'll be able to help you.
I'll be able to make the nightmares
go away. Okay?
RIVER
(nods, whispers)
Okay.
SIMON
Okay.
(takes a deep breath)
Lie back.
RIVER reclines on the pillows. SIMON fills a syringe and prepares to inject RIVER as she looks on.
SIMON
It's time to go to sleep.
RIVER nods, crying silently.
EXT. ARIEL CITY - NIGHT - CONTINUOUS
Establishing shot.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
The salvaged ambulance ship, the faces of the crew are light by interior panels; JAYNE's lips are moving, there are beeps and rattles and other background noise.
MAL
We speak only when spoken to, we avoid
all unnecessary contact, and we stay
together until we reach the morgue.
Understood?
ZOE
Yes, sir.
JAYNE
(mumbling)
We applied the cortical electrode...
MAL
Jayne?
JAYNE
(mumbling)
...were unable to get a neural response.
(louder)
Yeah, yeah, I got it.
MAL
Are we gonna have a problem?
JAYNE
I know what I gotta do.
MAL
That's not what I'm talking about. A
m I gonna have a problem with you
and Simon?
JAYNE
That's up to him.
MAL
Look, you got a little stabbed the other
day. That's bound to make anyone a mite
ornery, so I figure --
JAYNE
(interrupting)
It's a good plan.
MAL
What?
JAYNE
The doc did good coming up with that
job, don't mean I like him any better.
Nothing buys bygones quicker than cash.
Maybe I'll give him a tattoo while he's out.
MAL
Let him do his thing, and then you
get him out. No messing with him
for laughs.
JAYNE
Don't worry about me, as long as
I get paid I'm happy.
(mumbling)
We applied the cortical electrodes
and were unable to get a neural
response. We applied the cortical
electrodes...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT - CONTINUOUS
The ambulance lands outside the hospital. The door opens. MAL and JAYNE, and ZOE and WASH each load a casket onto a gurney.
WASH
We've only got a few hours left
before the morning shift.
MAL
Won't be an hour.
WASH returns to the ambulance; ZOE, JAYNE, and MAL wheel the gurneys past some guards, into the hospital.
INT. ST. LUCY'S HOSPITAL - EMERGENCY ROOM - NIGHT
Inside the hospital, very sterile and white; people milling about. MAL walks up to a nurses' station, where a Receiving Doctor is standing there in her scrubs.
RECEIVING DOCTOR
What do you got?
MAL
Got a couple of DOAs, by the time
we got there...
RECEIVING DOCTOR
(interrupting, uninterested)
Take them down to the morgue.
MAL looks back at ZOE, ZOE starts to push the gurney forward.
JAYNE
We applied the cortical electrodes
but were unable to get a neural
reaction from either patient.
The RECEIVING DOCTOR looks at JAYNE for a second, then looks down, still uninterested. MAL grimaces at JAYNE. They head toward the morgue.
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT - CONTINUOUS
White, bright, a few bodies on gurneys, draped with blue mesh cloth.
They open the caskets, move RIVER and SIMON to gurneys. MAL injects RIVER in the left arm.
MAL
That should bring them out of it
in a few minutes. Once they're up,
get them to the imaging suite.
(injects SIMON in the right arm)
Let Simon do his thing, and haul
it back to the rendezvous. Fifty
minutes.
MAL and ZOE take the empty caskets out of the room.
JAYNE
Got it. I'll just sit right here.
JAYNE sits back, looking around uneasily. Sighs, stands, and leaves the room. JAYNE goes to a terminal and swipes a card, pressing the screen to reveal the Telefonix logo; he's making a call. A man in an Alliance uniform comes on screen.
AGENT MCGINNIS
(Chinese greeting)
[Ni hao. - "How are you?"]
JAYNE
I'm in.
AGENT MCGINNIS
Do you have the fugitives?
JAYNE
You got my reward?
AGENT MCGINNIS
Yes, just like we talked about.
JAYNE
Then I got your fugitives.
AGENT MCGINNIS
Good. We'll see you shortly.
Congratulations, you're about
to become a very rich man.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. ST. LUCY'S HOSPITAL - MORGUE - NIGHT
JAYNE walks into the morgue, looks into an empty holding drawer. Behind him, RIVER sits up.
RIVER
(smiling)
Copper for a kiss.
JAYNE
(spinning, startled)
Jesus! What did you say?
RIVER looks confused. SIMON starts to cough convulsively, thrashing.
JAYNE
(to SIMON)
What the hell's the matter with you?
SIMON
(coughing)
Nothing. Just the after effects of
the drugs. I'll be fine. Just give
me a second.
JAYNE
Well, your sister seems okay.
Over SIMON's coughing we can hear retching and splashing, RIVER is vomiting. Jayne shoves some white clothes at Simon.
JAYNE
You've got to get dressed. We
gotta move.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets off of an elevator, moving down the hall.
MAL
Two lefts, two rights, and we're there.
You see anyone, smile.
ZOE
I don't think anyone smiles in hospitals.
MAL
Of course they do, it's the Core.
Everyone's rich and happy here,
why wouldn't they smile?
POMPOUS DOCTOR
(coming up behind them)
Excuse me.
(they keep walking)
Excuse me.
MAL
(smiling)
Hi.
POMPOUS DOCTOR
Where're you taking those bodies?
MAL
(pointing)
Just downstairs to the morgue.
POMPOUS DOCTOR
(pointing in opposite direction)
Downstairs is that way.
MAL
(looking)
Right. Must've gotten turned around.
DOCTOR
(snorting)
Let me see your badge.
The DOCTOR looks at MAL's badge; looks at ZOE's badge.
INT. ST. LUCY'S HOSPITAL - RECOVERY WARD - CONTINUOUS
JAYNE walks with SIMON, dressed as a doctor or orderly, as SIMON pushes RIVER, who is in a hospital gown in a wheelchair. They are passing through a recovery area, doctors, nurses, patients in beds.
RIVER
They're doing it backwards; walking
up the down slide.
JAYNE
(whispering, to SIMON)
Keep her quiet.
SIMON
(whispering, to RIVER)
This is the recovery ward. This is
where patients come to get better.
RIVER
They're going to die.
SIMON
No one is going to die.
RIVER
(pointing to a bed)
He is.
SIMON
(pushes down RIVER's hand)
No he's not. That man standing next
to him is his doctor. He's going
to help him.
RIVER
He's not going to help him right.
SIMON
River, the doctors here are the
best in the system. This is one
of the top hospitals in the Core,
or anywhere else.
RIVER
Where you should be.
RIVER looks at the patient she indicated as monitors start to beep wildly. She starts to rise from her wheelchair, and SIMON and JAYNE hold her down.
RIVER
You have to help him.
SIMON
River, we don't have time.
RIVER
(fighting JAYNE's grip)
He's killing him!
CRASH TEAM NURSE
(in the b.g.)
Code Blue.
SIMON
Stay here. Don't move.
SIMON runs toward patient in distress; JAYNE looks on angrily. SIMON breaks through the crowd at the bed.
SIMON
What do we have?
(starts examining patient)
YOUNG INTERN
Forty-two year old double-bypass
post-op, prognosis was positive.
CRASH TEAM NURSE
BP's 60/20, pulse is thready.
YOUNG INTERN
Who are you?
CRASH TEAM NURSE
He's crashing.
SIMON
Get the cart.
CRASH TEAM NURSE
We have flatline.
YOUNG INTERN
We've got to crack it.
SIMON
We're not cracking a post-op.
CRASH TEAM NURSE
He's non-responsive, should I c
all the code team?
SIMON
Get the infusers and point-four
of atropine.
(to YOUNG INTERN)
What did you give him?
YOUNG INTERN
Just twenty of alprazoline push.
SIMON sighs disgustedly, holds syringe in his teeth, takes defib paddles.
SIMON
Clear.
(looks at monitor)
Clear.
(monitor shows a heartbeat)
CRASH TEAM NURSE
(in b.g.)
We've got rhythm.
YOUNG INTERN
He's going tachy.
SIMON
Yeah, but his heart's beating.
SIMON injects the atropine, monitors stabilize, NURSE and YOUNG INTERN look on.
YOUNG INTERN
He's okay.
RIVER smiles; JAYNE's expression is difficult to read.
SIMON
(confronts YOUNG INTERN)
Explain to me how you justify
administering a vasoconstrictor
to this patient.
YOUNG INTERN
Alprazoline is a pain killer, not a vaso --
SIMON
(interrupting)
Unless you combine it with dilaftin.
Which any first-year should know is
the standard prep medication your patient
was taking before surgery. Your patient
should be dead.
SIMON walks back to JAYNE and RIVER.
SIMON
Let's go.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
Back to MAL and ZOE and their problem DOCTOR.
POMPOUS DOCTOR
Walk with me a minute.
MAL
Where're we going?
ZOE looks around, starts to walk away.
POMPOUS DOCTOR
You see this badge?
(turns to face MAL, points to his badge)
It says 'doctor'. I say walk, you walk.
MAL
Yeah, but, where're we going?
POMPOUS DOCTOR
You must be new.
(ZOE walks up behind him)
Don't get comfortable, your type never
lasts long around here. When your
supervisor hears about the rude and
disrespect--ARGH!!!
The DOCTOR falls to the ground, revealing the defib paddles that ZOE is holding. MAL looks from the fallen DOCTOR to ZOE.
ZOE
(shrugging)
Clear.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
A large, empty room with a machine in the centre of the room, the function of which is not apparent, yet remains vaguely threatening. JAYNE, SIMON, and ZOE enter. JAYNE shuts the doors behind them.
SIMON
(to RIVER)
Ready?
RIVER looks apprehensive, but nods.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the caskets down the hall and stop in front of the door to the medvault.
MAL
Twelve-oh-five. Here it is.
(swipes his keycard, no go)
Zoe.
ZOE takes MAL's place. She swipes her keycard, nothing happens.
ZOE
Must've been demagged.
MAL opens a casket, revealing the unconscious POMPOUS DOCTOR. MAL grabs his keycard and swipes it. The door opens, MAL and ZOE stand in the opening.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON is gently lowering RIVER into the machine. SIMON goes to the controls, pressing some buttons. A humming fills the room, JAYNE backs away from the machine. RIVER closes her eyes stoically.
INT. ST. LUCY'S HOSPITAL - MEDVAULT - CONTINUOUS
ZOE and MAL enter the medvault, pushing the gurneys before them. They open the caskets, MAL deposits the unconscious DOCTOR on the floor. ZOE starts scanning bottles, picking up the ones she wants and putting them in her casket. MAL pushes back his uniform sleeve, revealing a list of names written on his wrist. ZOE and MAL work quickly and silently until their caskets are full. They close the caskets and start to move out.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
SIMON types instructions into the computer. A series of holographic images appear over RIVER - her skeletal system, her circulatory system, paring down until only her brain remains, hovering over her head.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
ZOE and MAL push the full caskets into the hallway.
INT. ST. LUCY'S HOSPITAL - NEUROIMAGING ROOM - CONTINUOUS
The computer screen informs us that it is downloading data. SIMON stands by RIVER's head, taking the holographic image between his fingers as if it were a picture and studying the changing angles.
SIMON
They opened up her skull.
(JAYNE walks over to look)
That's a scalpel scar. They... they
opened up her skull and they cut
into her brain.
JAYNE
(looks troubled)
Why?
SIMON
The only reason to make an incision in
someone's brain is to... lobotomize
them. To go in and remove damaged tissue.
Why...
(deep breath)
...anyone would cut into a healthy
brain is... They did it over and over...
(studies the scan)
They stripped her amygdala.
JAYNE
Her what?
SIMON
You know, ah, you know how you get
scared or worried or nervous, but
you don't want to be scared or
worried or nervous, so you push it
to the back of your mind? You
try not to think about it.
(cut to JAYNE's unreadable face)
Your amygdala is what lets you do that.
It's like a filter in your brain that
keeps your feelings in check.
JAYNE reaches toward the image of RIVER's brain. SIMON stays his hand. JAYNE angrily jerks out of SIMON's grip.
SIMON
She feels everything; she can't not.
JAYNE
(looking around)
Well, that's fascinating; let's get moving.
SIMON
We still have twenty minutes.
JAYNE
Oh, plan changed while you were out.
We're meeting out the back way in five.
RIVER's brain hovers eerily above her head, phantom words scroll out beside the image.
SIMON
Well, I, I could use another couple
minutes. I-I'm sure if we get in
touch with Captain Reynolds--
RIVER opens her eyes; SIMON walks toward the computer.
JAYNE
Captain gave his orders, we play it
by the book.
River SCREAMS.
JAYNE covers RIVER's mouth; SIMON shuts down the machine, grabs the information and comes over to RIVER. SIMON pushes JAYNE's hand away and gently cradles RIVER's face.
SIMON
River, River, shh, shh, it's okay.
It's okay
JAYNE
Get her in the chair, let's go.
SIMON
Shh, shh, shh.
RIVER
No, no, no, they come out of the black.
They come when you call.
JAYNE watches SIMON try to comfort RIVER.
SIMON
River, it's okay. It's over. We're leaving.
RIVER
Your toes are in the sand.
JAYNE
And you head's up your--
SIMON
(interrupting)
Hey! Back off.
JAYNE
You just make sure she keeps her mouth
shut. Don't need her screeching while
we're trying to make a quiet getaway.
JAYNE opens the door while SIMON tries to calm RIVER while getting her up.
INT. ST. LUCY'S HOSPITAL - CORRIDOR
A crowded hallway. A subdued RIVER is being pushed by SIMON while JAYNE hurries them along.
SIMON
You should have let me know when
the plan changed.
JAYNE
I told you when you needed to know.
What are you griping about? You
got what you came for.
INT. ARIEL CITY HOSPTIAL - CORRIDOR - MOMENTS LATER
A deserted hallway. JAYNE walks ahead of SIMON and RIVER.
RIVER
(distressed)
No, no, I can't go back. I don't
wanna go back.
JAYNE opens a door at the end of the hall.
SIMON
Shh, shh. It's okay. We're just
going back to the ship. We're
almost home.
RIVER and SIMON go through the door JAYNE is holding to,
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
AGENT MCGINNIS
Federal Marshals! Don't move!
(a shotgun action is heard)
River and Simon Tam, by the authority
of the Union of Allied Planets, you
are hereby bound by law.
The feds close in on RIVER and SIMON.
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. ST. LUCY'S HOSPITAL - REAR EXIT - NIGHT
Right back where we left off.
AGENT MCGINNIS
(to minions)
Take them to Processing.
Minions grab SIMON and RIVER, cuffing their hands behind their backs. A minion grabs and cuffs JAYNE, who looks shocked. RIVER and SIMON are led away.
JAYNE
(whispering, to AGENT MCGINNIS)
So, you gonna take me away for
questioning now? How you wanna
play it?
AGENT MCGINNIS
You're under arrest for aiding
and abetting Federal fugitives.
Better get a lawyer.
JAYNE
You're kidding, right? What
about my rutting money?
AGENT MCGINNIS
You mean my money? For apprehending
the three fugitives? I expect I'll
be getting it soon.
JAYNE lunges for AGENT MCGINNIS, and is shot in the chest by a minion and falls to the ground, groaning.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
WASH is cooling his heels, sitting by the ambulance. ZOE and MAL come out of the hospital, pushing the loaded caskets.
WASH
(helping ZOE pick up a casket)
How much did we get?
MAL
Enough to keep us flying.
ZOE
Can we fly somewhere with a beach?
WASH
Maybe a naked beach?
ZOE
Ooh.
WASH
Ahh.
ZOE and WASH have themselves some smoochies.
MAL
Cut it out. Job's not done until
we're back on Serenity.
ZOE
Sorry, sir. Didn't mean to enjoy
the moment.
MAL
(looking worried)
Where are the others?
Now ZOE looks worried; WASH is still smiling.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Federal Processing room. Minions push SIMON and JAYNE onto a bench; RIVER sits quietly beside them without being forced.
SIMON
(whispering, to JAYNE)
If those officers hadn't been armed,
I think you'd have had a chance.
JAYNE
A guy shoves me, I shove him. Not like
I was trying to mount a rescue.
SIMON
Still. I appreciate you trying.
JAYNE
You know what I'd appreciate? You stop
flapping that pretty mouth at me. I'm
trying to figure a way out of here; can't
do it with you yammering.
RIVER
They took Christmas away.
JAYNE and SIMON look over at her.
JAYNE
What the hell now?
RIVER
Came downstairs for the shiny presents.
They took the tree and the stockings.
Nothing left but coal.
JAYNE
(to SIMON)
Will you shut her up!
RIVER
(smiling)
Don't look in the closet, either.
It's greedy. It's not in the
spirit of the holiday.
JAYNE
(rolls his eyes)
You shut the hell up, right now, or
so help me, I will shut you up.
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
MAL
Time?
ZOE
Ten minutes past rendezvous.
MAL
Something's happened.
WASH
(entering the ship)
Kaylee, are you linked?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE is on the radio.
KAYLEE
Uh...
(punches some keys)
I am now. What do you need?
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH
Find out if there's any kind of
security alert in the hospital.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Hang on.
(punches more keys)
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
ZOE
Could be they're just late.
MAL
Not this late. Jayne would have
sent up a flag.
KAYLEE (V.O.)
Nothing from hospital security,
nothing on the local pipeline,
either.
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Although I am getting some weird
chatter from the official two-six-two. Sounds like...
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
KAYLEE (V.O.)
... They're talking about ducks.
ZOE
Code.
MAL
Feds got 'em.
(to WASH)
Have her bring up a hospital schematic
on the Cortex. Find me a way into that
security substation.
ZOE hands MAL a communicator and they put on the earpieces.
WASH
Wait a minute, you don't even know
for sure if they're in there.
MAL
Gonna find out.
(testing his com)
Check.
ZOE
Coming in clear.
ZOE hands MAL a gun. Straps another gun to her ankle.
WASH
So, you're just going to walk in
through the front door?
MAL
No.
(chuckles)
You're gonna find me a way around back.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
AGENT MCGINNIS
Get up.
RIVER and JAYNE stand up, SIMON remains seated. AGENT MCGINNIS pushes JAYNE back down. JAYNE is not happy.
SIMON
What's going to happen to us?
AGENT MCGINIS
I said, get up.
AGENT MCGINNIS pulls at SIMON's jacket, SIMON shrugs him off and stands up on his own. SIMON and FED are standing face to face.
SIMON
Agent McGinnis, I'm certain you're
working under a superior who is
keeping close tabs on this case.
I'm certain of that because important
people don't do field work. I'm
also quite certain your superior
wants me and my sister alive. Now,
I'm not going to move from this spot
until one of two things happens.
You answer my very simple question;
or you shoot me.
AGENT MCGINNIS
(very precisely)
We are transferring you into a
holding area, until you can be
retrieved.
SIMON
Retrieved? By whom?
RIVER looks distressed; JAYNE looks angry.
AGENT MCGINNIS
People who want you alive. People not me.
(to minions)
Take them.
Two minions come and take RIVER, SIMON, and JAYNE into,
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE is led in first. He strikes out with his elbow, hitting the guard in the face; the second guard gets kicked in the stomach. JAYNE pins the first guard to the wall with his shoulder while SIMON does the same to the second guard. Both SIMON and the second guard fall to the ground, dazed. JAYNE knocks the first guard to the ground and cracks skull. JAYNE rolls away and brings his bound hands under his legs, his hands are still bound, but are now in front. RIVER looks on. JAYNE climbs on top of the first guard and starts throttling him. RIVER looks away, crying. The first guard manages to roll over until he is on top of JAYNE. The second guard starts to rouse, and SIMON presses a knee into his chest, holding him down. The first guard punches JAYNE a few times; then JAYNE regains top position, hauling the first guard to his feet. SIMON still holds the second guard immobile.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
A smiling MAL and ZOE walk through a crowded hall.
MAL
(into his radio)
Uh, Wash, we need a little direction here.
INT. AMBULANCE SHIP - NIGHT - CONTINUOUS
WASH is on the radio.
WASH
(to MAL)
Working on it.
(to KAYLEE)
Kaylee, what do you got?
INT. SERENITY - BRIDGE - CONTINUOUS
KAYLEE
Tell them to hand a left when they
reach cryo. They'll see a door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
MAL and ZOE rush toward a door.
WASH (V.O.)
Okay, go through that door, and down
to green level.
ZOE and MAL hurry down a stairwell.
MAL
This is exactly what I didn't want.
I wanted simple. I wanted in-and-out.
I wanted easy money.
ZOE
Things always get a little more
complicated, don't they, sir?
MAL
Just once I'd like things to go
according to the gorram plan.
WASH (V.O.)
Uh, guys, you might wanna hurry.
MAL
(into radio)
Oh, is there a problem?
EXT. ST. LUCY'S HOSPITAL - LANDING PAD - NIGHT
An Alliance ship touches down near the ambulance. WASH is looking at it through the window.
WASH
I think that reinforcements just arrived.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
JAYNE and the first guard are still grappling, but JAYNE manages to snap the guard's neck. SIMON and RIVER look on, appalled. JAYNE staggers to the dead guard and takes the handcuff keys; unlocking himself, then SIMON, then RIVER. SIMON picks up the second guard's gun and hands it to JAYNE. SIMON grabs RIVER and they leave the cell, heading to the left. JAYNE heads to the right.
SIMON
What are you doing?
JAYNE
Going out the way we came in.
SIMON
There are at least four armed
feds out there.
JAYNE
Six. I know.
SIMON
(pointing to the left)
We run.
RIVER is watching the back and forth.
JAYNE
You got no idea where that goes.
SIMON
We'll find our way.
JAYNE
I ain't chancing that. I can
handle the feds.
RIVER
(shaking her head)
Doesn't matter.
(JAYNE and SIMON look at RIVER)
They're here.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
The Processing room. A minion motions to FED who looks over.
AGENT MCGINNIS
Gentlemen, that was prompt. We're
almost finished here. The prisoners
will be out in a minute. Let me get the
paperwork together for you.
(to minion)
Bobby, bring that here.
REVERSE camera to REVEAL that AGENT MCGINNIS is talking to two men in dark suits. We can see that one of them is wearing blue gloves, BLUE GLOVE #1. BLUE GLOVE #2 hangs back.
AGENT MCGINNIS
Not that it will mean much.
(sits)
The men were tight lipped, the girl
was just spewing gibberish. We got
it all down.
BLUE GLOVE #1
(looks concerned)
You spoke to the prisoners?
AGENT MCGINNIS
Well, yeah. Had to process 'em.
There was no interrogation, if
that's what you mean.
(BLUE GLOVE #2 comes forward)
Didn't do your job for you.
BLUE GLOVE #2
Did your men also speak with them?
He is holding something that looks like a pen, but elongates with a snap to reveal an ominous glowing blue cylinder that extends from either side of his fist. A high-pitched hum emanates from it.
AGENT MCGINNIS
As much as they had to.
AGENT MCGINNIS looks uncomfortable. He brings a hand to his nose, which is dripping a small amount of blood. The BLUE GLOVES are smiling genially. AGENT MCGINNIS starts choking and gagging. The cuticles on his fingernails are leaking blood. Blood pours from his, nose, eyes, mouth - he is in acute distress.
Is he gonna survive the supersonic boomstick? Not so much, we're thinking.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. ST. LUCY'S HOSPITAL - CORRIDOR
Hallway outside of holding cell. Distant screams can be heard. SIMON, RIVER and JAYNE look around uneasily.
JAYNE
What the hell is that?
RIVER whimpers.
INT. ST. LUCY'S HOSPITAL - SECURITY SUBSTATION - CONTINUOUS
Processing room, now something of an abattoir. All the minions lie dead, covered with blood. The BLUE GLOVES walk calmly to the door.
INT. ST. LUCY'S HOSPITAL - CORRIDOR - CONTINUOUS
RIVER
(terrified)
Two by two. Gloves of blue. Two by two.
(JAYNE and SIMON look at her)
Gloves... blue... two.
RIVER turns and runs crying down the hallway, SIMON runs after her. JAYNE looks up the stairwell for a moment, then follows.
The BLUE GLOVES walk through a door into the hallway our three heroes have just deserted.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
RIVER pushes open a heavy metal door, she runs across an empty room. SIMON and JAYNE are behind her.
JAYNE
(to SIMON)
Where the hell's she going?
SIMON
There must be some sort of exit this way.
JAYNE
I don't see no exit.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
BLUE GLOVE #1
(checking the first guard)
Dead.
BLUE GLOVE #2
(checking the second guard)
This one's alive.
He reaches into his pocket to remove the supersonic boomstick.
INT. ST. LUCY'S HOSPITAL - EMPTY ROOM - CONTINUOUS
Back to the empty room with RIVER, SIMON, and JAYNE
JAYNE
I got no intention to run around like
a rat in a maze 'til we're dead.
Now, we're going back.
Someone screams in the distance. JAYNE looks back, gasps, and follows RIVER and SIMON.
INT. ST. LUCY'S HOSPITAL - HOLDING CELL - CONTINUOUS
The BLUE GLOVES step over the second guard, who is now very much not alive. They head down the hallway after the fugitives.
INT. ST. LUCY'S HOSPITAL - STAIRCASE - CONTINUOUS
RIVER runs down it.
RIVER
Almost there.
(another flight, we can see SIMON
and JAYNE behind her)
Almost there.
(reaches the bottom)
Almost there.
(stops in front of a blue door)
There.
JAYNE
(tries the door, locked)
Stand back.
SIMON
(moves RIVER back)
C'mere.
JAYNE
(shoots at door, rather
unsatisfyingly)
[Shee-niou - "shit urine"],
high-tech Alliance crap.
JAYNE uses the gun butt to beat at the lock.
INTERCUT WITH:
There are a series of cuts between the blue door and the BLUE GLOVES. The BLUE GLOVES open the heavy door. SIMON and RIVER watch JAYNE beat at the blue door. The BLUE GLOVES walk across the empty room. JAYNE throws himself at the blue door. The BLUE GLOVES are getting closer. JAYNE keeps beating at the blue door, and a sudden blast blows through the lock. SIMON shields RIVER, JAYNE moves back, training his gun on the door. The door is kicked open, and there stands MAL and ZOE. JAYNE gasps; MAL beckons with a tilt of his head. The BLUE GLOVES reach the top of the stairs and look down to see an empty room and an open blue door.
INT. SERENITY - CARGO BAY - CONTINUOUS
The cargo bay doors open, daylight hits INARA as she steps off her shuttle, and KAYLEE as she walks down the stairs.
KAYLEE
Oh, hey, there, Inara. How was
your check-up?
INARA
Same as last year... What's going
on here?
KAYLEE
(breezy) Oh, let's see..
(counting on her fingers)
We killed Simon and River...
(INARA looks aghast)
...Stole a bunch of medicine, and
now Zoe and the Captain are off
springing the others that got
snatched by the feds.
(a vehicle approaches)
Oh, here they are now.
The ambulance pulls into the bay. KAYLEE walks down the next set of stairs to push the button that closes the cargo bay door. MAL climbs out of the ambulance, goes to the cockpit window.
MAL
(to WASH)
Tell me we weren't followed.
WASH
Nothing in our rearview the whole
way back.
MAL
All right. Take us out of the world,
as quick as you can.
WASH
(climbing out of the ambulance)
We'll be out of atmo in five minutes.
MAL
(to INARA)
Hey. How was your thing?
INARA
As advertised: lots of needles and
cold exam tables.
(beat)
I heard you had some excitement.
MAL
Oh, nothing much. Lots of running
around. A little gunplay.
(walks toward JAYNE and KAYLEE)
A couple of needles.
JAYNE
Next time we come to the Core, I'm
staying with the Preacher.
MAL
(slaps JAYNE on the shoulder)
Oh, you hadn't come you wouldn't be
getting your big payday.
JAYNE looks a little confused. SIMON and RIVER walk up.
MAL
(to SIMON)
So...
(pulls KAYLEE into a back-to-front hug)
Did you get what you needed?
SIMON
I think I did. I have the information
I downloaded off the imager, I just
have to go over it and then... Ah,
I'm hopeful.
(looks at RIVER, who smiles)
KAYLEE
(to JAYNE)
What happened to your face?
JAYNE - Huh?
KAYLEE motions to her eyebrow 'ow'. JAYNE reaches a hand halfway to the cut on his face before shrugging.
JAYNE
Oh, uh, nothing.
SIMON
He was amazing. I can't even begin
to tell you.
SIMON slaps JAYNE's shoulder, JAYNE looks a little sick.
SIMON
We wouldn't be standing here if
it weren't for him.
(sincerely)
Thank you.
JAYNE
Well, hey, you're part of my crew.
SIMON pats JAYNE's shoulder before letting go.
MAL
I think I might cry.
(SIMON and KAYLEE laugh)
All right, Jayne, help me with the cargo.
Everyone, make yourself useful, you've got
jobs to do, go do 'em.
Everyone walks away, leaving JAYNE and MAL alone by the ambulance.
JAYNE
(opening a casket)
This's gotta be our best take ever.
MAL
Well, Doc had a good notion. The
boy's got a decent criminal mind.
JAYNE grunts as he moves some cargo out of the way and then walks toward MAL.
JAYNE
So, what're you buying with your cut?
MAL swings and hit JAYNE in the face. JAYNE falls to the floor. MAL looks down at JAYNE and the wrench he was holding drops to the deck. He looks quietly pissed as all hell.
EXT. ARIEL CITY - DAY
Serenity lifts off from Ariel City.
INTERCUT WITH:
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE wakes on the floor of the cargo bay. There is a radio on the floor beside him. A door with a small diamond-shaped window is closing him in.
JAYNE
Hey! What the hell are you doing?
A finger taps on the window, then points down to the radio. JAYNE picks the radio up.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL is pacing outside the door, talking into his own radio.
MAL
The job's done. Figured it was
time for a little chat.
JAYNE pounds on the door controls to no avail. MAL hits the button that opens the exterior bay door.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE looks behind him as the noise of the engine, the sunshine, and the wind, flood the room.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Seems to me we had a solid plan.
Smooth, you might say. But what
I can't figure out, is what you
were doing 'round the back exit.
MAL leans against the door, we can see JAYNE's face through the window.
JAYNE (V.O.)
(on radio)
What? I couldn't go out the front,
I had to improvise. Open the
damn door.
MAL
You called the feds.
JAYNE (V.O.)
(on radio)
What? I got pinched!
MAL
Which is what happens when you
call the feds.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
JAYNE
(clinging to the door)
No. I would never do that, my hand
to god, may he strike me down as
I'm standing here.
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
Well, you won't be standing there long.
INT. SERENITY - OUTER CARGO BAY - CONTINUOUS
MAL (V.O.)
(over the radio)
The minute we break atmo,
INT. SERENITY - INNER CARGO BAY - CONTINUOUS
MAL
You'll be a lot thinner once you
get sucked out that hole.
(gestures to opening bay door)
JAYNE
(door alarm goes off)
Oh, come on, Mal.
SERENITY
(faintly heard over the wind)
Leaving atmo in two minutes.
JAYNE
That ain't no way for a man to die.
SERENITY
(louder inside the ship)
Secure cargo bay door at once.
JAYNE (V.O.)
You wanna kill me, shoot me. Just
let me in.
MAL
You know, I hear tell they used to
keelhaul traitors back in the day.
I don't have a keel to haul you on, so...
JAYNE (V.O.)
Oh. Okay. I'm sorry, all right?
MAL
Sorry for what, Jayne?
MAL looks JAYNE in the face, through the window.
MAL
I thought you'd never do such a thing?
JAYNE (V.O.)
The money was too good.
(MAL looks in at JAYNE.)
I got stupid.
(through the radio) I'm sorry, okay?
Be reasonable. What're you taking
this so personal for? It ain't like I
ratted you out to the feds.
MAL
(angry)
Oh, but you did. You turn on any
of my crew, you turn on me. But
since that's a concept you can't
seem to wrap your head around, then
you got no place here.
(through the radio)
You did it to me, Jayne. And
that's a fact.
MAL walks away while JAYNE watches him through the window.
JAYNE (V.O.)
What're you gonna tell the others?
MAL
About what?
JAYNE (V.O.)
About why I'm dead.
MAL
(through the radio)
I hadn't thought about it.
JAYNE
(V.O.)
Make something up. Don't tell 'em
what I did.
MAL stands still for a moment, looking at JAYNE. Then he presses the button that closes the outer bay door. The door closes.
MAL
(looking through the window)
The next time you decide to stab me
in the back...
(through the radio)
...Have the guts to do it to my face.
MAL leaves the radio on the window, and walks up the stairs. JAYNE looks after him, shaken.
JAYNE
(through the radio)
Can I come in?
INT. SERENITY - RIVER'S ROOM - CONTINUOUS
RIVER is drawing Russian nesting dolls. SIMON walks in, holding a syringe.
SIMON
Hi.
(RIVER looks up)
What are you doing?
RIVER
Drawing.
SIMON sits beside her, watching her draw.
SIMON
That's really good.
RIVER
(looking at the syringe)
What are you doing?
SIMON
Oh, I, ah, brought some medicine. Do
you remember why we went to the hospital?
RIVER
(sitting up)
Time to go to sleep again.
SIMON
(softly)
No, [mei mei - "little sister"].
(SIMON reaches down and takes
RIVER's hand)
It's time to wake up.
SIMON uncaps the syringe and looks down. RIVER watches him.
BLACK OUT.
War Stories
INT. SERENITY - INFIRMARY
Simon is analyzing data on a vid screen. Book is moving about the infirmary behind him.
BOOK
Did you ever read the works of
Shan Yu?
SIMON
Shan Yu, the psychotic dictator?
BOOK
Yep. Fancied himself quite the
warrior-poet. Wrote volumes on
war, torture... the limits of
human endurance.
SIMON
(mildly)
That's nice.
BOOK
He said... "Live with a man forty
years. Share his house, his meals,
speak on every subject. Then tie
him up and hold him over the volcano's
edge, and on that day, you will
finally meet the man."
SIMON
What if you don't live near a volcano?
BOOK
I expect he was being poetical.
SIMON
Sadistic crap legitimized by
florid prose.
(beat)
Tell me you're not a fan.
BOOK
I'm just wondering if they were.
The people who did this to your sister.
SIMON
The government did this to her.
BOOK
The government is a body of people,
usually notably ungoverned.
SIMON
Now you're quoting the Captain.
BOOK
I'm just wondering if they put her
through this just to see how much
she could take. To truly "meet her"
as Shan Yu would have said.
SIMON
No, the more I see, the more I think
their purpose was very specific. Look
at this --
(shows Book an analysis of
River's brain)
-- the pattern. Besides, if all they
cared about was hurting River, they
wouldn't still be after her.
BOOK
But she's doing better.
SIMON
I've tried a couple different medications.
She's sleeping better, but nothing really
stable. I'll keep trying. Certainly got
enough drugs on hand.
BOOK
Yes, I'd forgotten you're moonlighting
as a criminal mastermind now. Got your
next heist planned?
SIMON
No. But I'm thinking about growing
a big black mustache.
(beat; deadpan)
I'm a traditionalist.
EXT. SPACE - CONTINUOUS
Shot of Serenity sliding past the camera toward a reddish-orange planet.
Quick pan around the planet's asteroid belt to REVEAL a space station on the other side of the planet.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
A TORTURER is whipping a TORTURE VICTIM, who is immobilized and whimpering in great pain. NISKA looks on calmly.
NISKA
Hold please.
The TORTURER stops whipping.
NISKA (cont'd)
(to Torture Victim)
So now we are past the preliminaries --
the little questions: why you skim from
protection fund? How you could betray
my trust. This we are past. Now we
get to the real questions about who
you truly are.
(brandishes knife)
VIKTOR
(entering quietly)
I'm sorry, sir.
NISKA
(annoyed)
I get to heart of matter and always
interruptions!
VIKTOR
One of our long-ranges picked up a read
on the other side of the world. It
might be Serenity. Malcolm Reynolds'
ship.
NISKA
(excited)
Oh. Oh, this is exciting news. Send
a team. Bring him here to me.
VIKTOR
Yes, sir.
(exits)
NISKA
(to Torture Victim)
Now, we get to spend some time finding
out about your true self. Tell me...
(stabs Torture Victim o.s.)
...are you familiar with the works of
Shan Yu?
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
KAYLEE is chasing RIVER through the Cargo Bay. They are laughing and whooping like children.
MAL AND INARA
stand up on the catwalk.
INT. SERENITY - CATWALK - CONTINUOUS
MAL
I said yes, already. Where's the
outstanding issue?
INARA
The Councilor is an important political
figure and a very private person...
MAL
So he visits you here instead of you
going to his place. Fine. What, is
the ship not clean enough?
MAL runs his hand along the catwalk railing like he's wearing white gloves and testing for dust.
INARA
I just want the Councilor to feel
comfortable, and when I say
comfortable, I mean totally alone.
MAL looks a little confused, then his gaze is drawn to Kaylee and River, still laughing and running in the cargo bay.
MAL
Ah, the pitter patter of tiny feet
in huge combat boots.
(to Kaylee and River)
Shut up!
(to Inara)
There's nobody sets foot on my boat
that I don't meet 'em.
(beat)
Don't worry, I'm not gonna start any
sword fights. I'm over that phase.
INARA
Well, I'd appreciate it if you could
keep the others from ogling.
KAYLEE follows RIVER up the ladder into the catwalks.
MAL
One of you is gonna fall and die,
and I'm not cleaning it up!
KAYLEE
She took my apple!
INARA
Jayne bought a crate of them.
KAYLEE
And this one's mine.
RIVER
Not anymore!
KAYLEE chases RIVER through a corridor and into
INT. SERENITY - KITCHEN AREA - CONTINUOUS
where she playfully wrestles the apple from River's hands.
KAYLEE
Okay.
(holds apple aloft)
No power in the 'verse can stop me.
Smiling, ZOE enters and sits down at the kitchen table, where WASH is already sitting, chomping on an apple.
ZOE
These really are the genuine article.
I could get used to being rich.
WASH
It's Jayne being so generous with his
cut that confuses and frightens me.
ZOE
It does kind of freeze the blood.
KAYLEE
Zoe, how come you always cut your apples?
WASH
(to Zoe)
You do?
KAYLEE
Her and the Captain both. Whenever
we get fresh fruit, they never just
munch on 'em.
ZOE
Know what a Grizwald is?
JAYNE
(entering)
It's a grenade.
ZOE
About the size of a battery. Responds to
pressure. Our platoon was stuck in a
trench outside of New Kasmir during the
winter campaign. More'n a week, completely
cut off, and the Alliance entrenched not
ten yards away. We even got to talkin'
to 'em, yelling across insults and jokes
and such, 'cause no ammo to speak of, no
orders, so what are you gonna do? We
mentioned that we were out of rations, and
ten minutes later, a bunch of apples rained
into the trench.
WASH
(interrupting, to River
and Kaylee)
And they grew into a big tree, and they
all climbed up the tree into a magical
land with unicorns and a harp.
JAYNE approaches the table, opens his switchblade, and stabs it into one of the apples sitting in a bowl on the table. WASH startles. JAYNE retrieves his apple and moves toward the other end of the table.
KAYLEE
(beat)
Blew off their heads, huh?
ZOE
Cap said wait, but they were so hungry.
(beat)
Don't make much noise. Just little
pops and there's three guys that kind
of just end at the ribcage.
WASH
(to River and Kaylee)
But these apples are healthsome, good.
JAYNE
Yeah, grenades cost extra.
Mal enters, picking up an apple from the bowl on the table. Starts cutting it with a knife he picks up from a counter.
MAL
We are about 20,000 miles from our last
drop, people, then we can take a break
and think about spending some of this
money.
Everyone responds with happy, affirmative, "Yeahs" and "All rights".
WASH
(sotto voce)
Could've made more.
MAL
That wasn't a bad idea, Wash, but
eliminating the middle man is never
simple as it sounds.
WASH
(surprised)
You heard about...?
MAL
About fifty percent of the human race
is middle men and they don't take kindly
to being eliminated. This quadrant,
we play nice. We got enemies enough
as it is.
EXT. PLANET - SERENITY - DAY
Serenity is landing on a sandy, desert planet.
INT. SERENITY - BRIDGE - CONTINUOUS
Wash is piloting. Zoe is sitting in the bridge near him. Yep, there's some tension.
WASH
So... when you said that you didn't
get a chance to tell the Captain
my idea...
ZOE
Mm-hmm?
WASH
What you actually meant was...
you told him my idea, he rejected
it out of hand, and you didn't
argue the point or even give it
another thought.
ZOE
I gave, honey, I-I --
WASH
And then came the lying to me
about it, which for me is sort of
the highlight of this little
adventure.
ZOE
Is there any way I'm gonna get
out of this with honor and dignity?
WASH
You're pretty much down to ritual
suicide, lambie-toes.
ZOE
I didn't want to upset you.
WASH
What did you think of it?
ZOE
Of what?
WASH
My idea. Call the local MDs. Forget
the fence, go straight to the source.
Better prices, and we know the drugs
get to the right people.
ZOE
(beat)
The Captain thinks it'll get back
to someone. Just cause trouble.
WASH
(angrily, in Chinese)
[Tai-kong suo-yo duh shing-chiouh
doh sai-jin wuh dhu pee-goo.]
Was I ever not asking what the
Captain thought!
ZOE
Well, I tend to agree with him.
WASH
Tend to, or have to?
(beat)
I love the fact that you two are old
army buddies -- you have wacky stories
that have ribcages in them, but could
you have an opinion of your own, please?
ZOE
You're losing the high ground here,
sweetcakes.
WASH
I'm sure you and Mal will take that
hill and fortify it with --
ZOE
(interrupting)
I thought your plan was too risky.
I thought.
WASH
Then tell me. I am a large,
semi-muscular man. I can take it.
Don't hide behind Mal 'cause you know
he'll shoot it down for you.
Tell me.
ZOE
Right. Because what this marriage
needs is one more shouting match.
WASH
No, what this marriage needs is one
less husband.
(beat)
Right now it's kind of crowded.
WASH leaves the bridge. CLOSE IN on Zoe as she stands there, not knowing what the hell she's supposed to do.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
The door slides open and Simon enters, seeing River sitting on a bunk.
SIMON
Whoa! [Mei-mei... - "little sister"...]
SIMON covers a shivering RIVER with a blanket.
SIMON
How you doing?
RIVER
I threw up.
SIMON
I'm sorry. It's a side effect. We
just have to find the right treatment
for you. How do you feel now?
RIVER
Going... Going back like... apple bits,
coming back up. Chaos.
SIMON
But you felt okay this morning?
RIVER
Played with Kaylee.
(smiles)
Sun came out, and I walked on my feet
and heard with my ears. I ate the bits,
the bits stayed down, and I work. I
function like I'm a girl.
(upset)
I hate it because I know it'll go away.
The sun goes dark and chaos has come
again. Bits. Fluids. What am I?!
SIMON
(hugs her)
You are my beautiful sister.
RIVER
(sniffling)
I threw up on your bed.
SIMON
(fuckity)
Yep. Definitely my sister.
INT. SERENITY - COMMON AREA - CONTINUOUS
BOOK is reading a book, idly watching JAYNE and KAYLEE peeking around the doorway into the Cargo Bay.
BOOK
Didn't Inara express a wish for privacy?
KAYLEE
Oh... we've gotta see who she's got.
Bet he's handsome. Think he's gonna
bring her flowers.
JAYNE says nothing, simply taking a big bite out of his apple.
INT. SERENITY - CARGO BAY - CONTINUOUS
MAL AND INARA
are awaiting the Councilor's arrival. A large man steps into the Cargo Bay.
INT. SERENITY - COMMON AREA - CONTINUOUS
Back to an excited Kaylee.
KAYLEE
Oh! There he is!
BOOK looks up from his reading, standing up to join them at the doorway.
INT. SERENITY - CARGO BAY - CONTINUOUS
Back to,
MAL AND INARA
MAL
Well, he looks the respectable sort.
MAL approaches the large man, hand out.
MAL (cont'd)
Welcome aboard. I'm Captain Malcolm Rey...
The man completely ignores Mal. MAL stands there, surprised, hand still outstretched for a handshake.
THE MAN finishes casing the joint, and actives a comm.
MAN
We're all clear here, Councilor.
THE COUNCILOR enters the Cargo Bay. She's a very well-heeled and good-looking woman. Inara smiles and guides the Councilor upstairs. The crew? Pretty much stunned.
MAL
Huh.
BOOK
Oh, my.
KAYLEE
Oh, gosh, I... I-I knew she took females
as clients... I just...
(beat)
They look so glamorous together.
JAYNE
(hella turned-on)
I'll be in my bunk.
EXT. PLANET - SERENITY - DAY
Establishing shot of Serenity. Wind's picking up outside the ship.
INT. SHUTTLE - CONTINUOUS
Zoe is preparing one of Serenity's shuttles for take-off.
MAL
Lucrative as this stuff is, I'll be
glad to see the last of it. Kinda
makes us a target for every--
ZOE
(interrupting)
Was River in here messing around? The
ignition sequence is all turned about.
I can't even...
WASH
(entering)
I can.
MAL
Well get it set, would you, Wash?
We gotta get moving.
WASH
Here's a funny twist: no.
MAL
No what?
WASH
No, sir.
ZOE
Change the sequence?
WASH
Didn't want you taking off without me.
In fact, didn't want you taking off
at all. Thought I might take this run
instead. Me and the Captain.
MAL
The Captain who's standing right here
telling you that's not gonna happen?
WASH
Well, it's a dangerous mission, sir.
I can't stand the thought of something
happening that might cause you two to
come back with another thrilling
tale of bonding and adventure. I
just can't take that right now.
MAL
Okay, um, I'm lost. Uh, I'm angry,
and I'm armed, so if you two have
something that you need to work out --
ZOE
It's all right, sir. We've deal with
Bolles before. Shouldn't be a problem.
(beat; to Wash)
And I wouldn't mind sitting this one out.
MAL
(unamused)
Oh, this is a fine [fang-tzang fong-kwong
duh zie] but I don't have time to unwind
it. Wash.
(beat)
Get her started. Zoe, ship is yours.
ZOE exits.
WASH
Bye, hon! We promise not to stop for
beers with the fellas!
WASH sits down, starts the engines.
WASH
(to Mal)
So, are we gonna sing army songs,
or something?
MAL is beyond annoyed at this point.
EXT. PLANET - SERENITY - DAY
A shuttle detaches and flies away from Serenity.
INT. INARA'S SHUTTLE - CONTINUOUS
The COUNCILOR is lying face-down on the bed, nude, covered from the hips down by a sheet. INARA is giving her a back massage.
COUNCILOR
(relaxed)
Mmm. That feels amazing.
(beat; Inara smiles)
Oh, right there. That's perfect.
I should have done this weeks ago.
INARA
I wouldn't have been here weeks ago.
COUNCILOR
And that would have been a shame.
INARA
For me as well.
(beat)
You have such beautiful skin.
The COUNCILOR sits up a bit on her elbows and looks over her shoulder at INARA.
COUNCILOR
There's no need for the show, Inara.
I just need to relax with someone
who's making no demands on me.
INARA
Most of my clientele is male.
Do you know that?
COUNCILOR
No.
INARA
(caressing Councilor)
If I choose a woman, she tends to
be extraordinary in some way. And
the fact is, I occasionally have the
exact same need you do. One cannot
always be one's self in the company
of men.
COUNCILOR
(smiling)
Never, actually.
INARA
So no show. Let's just... enjoy ourselves.
COUNCILOR
You are so lovely.
INARA and the COUNCILOR both lean forward and kiss -- by the sounds of it, it's sweet and passionate, although it's mostly blocked by the long fall of Inara's hair.
EXT. PLANET - SHUTTLE - DAY - CONTINUOUS
Establishing shot of Serenity's shuttle as it zooms across the desert toward the meet.
INT. SHUTTLE - CONTINUOUS
Wash is in the driver's seat, Mal riding shotgun, and it's damn bright inside that shuttle -- making Mal and Wash all squinty.
MAL
Look, this thing with you and Zoe...
WASH
Really not looking to talk on that topic.
MAL
Hey. I let that [niou-se - "urine-shit"]
trick of yours slide because this is a milk
run. But when I go on a mission, I'm
taking Zoe and that's the drill. You
know that. I mean, what happens if we
get into a situation here?
WASH
Hey, I've been in a firefight before!
(off Mal's look)
Well, I was in a fire.
(beat)
Actually, I was fired from a fry-cook
opportunity.
(beat)
I can handle myself.
MAL
And you understand what Zoe's job entails?
WASH
I'll learn as I go.
CUT TO:
EXT. PLANET - DAY - CONTINUOUS
MAL walks easily across the sand, WASH trailing behind him, hauling a heavy plastic box and breathing a little heavy. Three armed bandity guys approach from the other direction, the one in front presumably BOLLES.
WASH
So now I'm learning about carrying.
MAL and WASH finally meet up with the BOLLES and his guys, stopping a few feet apart. WASH puts down the heavy plastic box and flips back the lid, revealing a big pile of drugs. BOLLES looks impressed.
BOLLES
Nice to know you're still trustworthy.
MAL
I'm not so trustworthy I don't want to
see the money you promised me.
BOLLES holds up his hand. Bolles' guy puts a bag of coin into it. BOLLES tosses it to Mal, who opens up the bag to take a look.
BOLLES hooks his thumbs into his belt, feelin' chatty.
BOLLES
Man, can't believe you guys knocked
over an Alliance hospital. The pair
you have.
WASH smiles. MAL's still all business.
MAL
Yeah, the stuff legends are made of...
MAL looks up and sees a red dot on BOLLES' forehead.
It's a laser sight.
MAL (cont'd)
[Tzao-gao! - "Oh, shit!"]
A SHOT is fired. It hits BOLLES square between the eyes and he goes down, dead.
MAL hits the dirt, wrapping his arm around Wash's middle and taking Wash down with him.
BOLLES' two guys are quickly taken out by sniper fire. While MAL and WASH stay down, several snipers rise from their cover and surround them.
WASH
Now I'm learning about scary.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. SERENITY - COMMON AREA
BOOK is lifting a weighted barbell. JAYNE stands by the bench with a towel over his shoulder, spotting him. JAYNE's attention is suddenly caught by the sound of laughter.
INARA AND THE COUNCILOR
are coming down the catwalk stairs, all smiles.
While JAYNE watches Inara and the Councilor hug and kiss good-bye, hella turned-on again, BOOK struggles with the barbell he's lifting, groaning faintly with effort.
The COUNCILOR and her GUARD exit Serenity. INARA closes the Cargo Bay doors and turns to see JAYNE leering. She rolls her eyes and heads back upstairs.
JAYNE finally reaches out with one hand and helps Book return the barbell to its rest.
JAYNE
I'll be in my bunk.
(starts to exit)
ZOE
(entering)
Jayne, grab your weapon.
JAYNE
Why? What's goin' on?
ZOE
Maybe nothing. Maybe trouble.
JAYNE
The drop?
ZOE
They're late. They should've been back
more'n an hour ago.
(beat)
We go by ground. We'll take the mule.
BOOK
I'll go with you.
ZOE
No offense, Shepherd, but I sure as
hell hope they don't need a preacher.
BOOK
Three sets of eyes are better than two.
Might see something you don't.
ZOE considers this.
ZOE
Let's move.
JAYNE and BOOK follow Zoe.
CUT TO:
EXT. PLANET - DAY - CONTINUOUS
ZOE, JAYNE and BOOK are at the drop site, examining the bodies of BOLLES and his men, flipping them over to identify them.
JAYNE
None of 'em's ours.
BOOK
This is precision work: sharpshooters.
From the look of these wounds, I'd say
a 54-R sniper rifle, laser sights.
JAYNE
You do a lot of shooting at the abbey
there, Shepherd?
BOOK
(dryly)
Rabbits.
JAYNE
For stew, sure.
JAYNE harvests some guns off the corpses and sticks them in his gun belt. ZOE's off tracking.
ZOE
Whoever did this, they weren't after
the goods.
CLOSE on the spilled container of drugs Wash was carrying. JAYNE looks up, starts walking toward the camera. ZOE and BOOK follow.
JAYNE
We ain't gonna find 'em here. They're
off planet already.
(re: black streak in the sand)
Only one type of transport I know makes
a mark like this.
ZOE
Fast burn rocket shuttle.
BOOK
Craft like that not commonly part of
a ship. More likely we're looking at --
ZOE
Space station.
BOOK
Yeah.
ZOE
(beat)
I know who's got 'em.
EXT. SPACE - SPACE STATION - CONTINUOUS
Establishing shot of the space station, bustling, axes turning to generate gravity.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
WASH and MAL, blindfolded and with their hands bound behind their backs, are herded into a dark room by two guards. The two guards shut the door behind them. While throughout this scene WASH just stands there and panics, MAL is slowly casing the joint, blindly feeling his way around the room to assess its dimensions and dangers.
MAL
You okay?
WASH
(panicky)
I think I've been kidnapped.
MAL
Yeah.
WASH
You see where we are?
MAL
No.
WASH
Mal, what the hell is going on?
MAL
Ain't rightly sure.
WASH
But you've got some theories.
MAL
Still working it through.
WASH
I don't want you to spare me, Mal. If
you think you know what's happening,
then you tell me. You wouldn't spare
Zoe if she were in this situation with
you, would you? You would be planning,
and plotting and... possibly scheming.
So whatever Zoe would do in this instance
is what I wanna do. Do you know why?
No matter how ugly it gets, you two
always come back with the stories.
So... I'm Zoe. Now, what do I do?
MAL
Probably not talk quite so much.
WASH
Right. Less talking.
(beat; still panicky)
She's terse. I can be terse.
(beat)
Once in flight school, I was laconic.
WASH keeps the silence for a couple of seconds, then blurts,
WASH (cont'd)
If I'm not gonna talk then you have
to. What else?
MAL
We just gotta keep our heads.
WASH
Right. "Keep our heads." That way
we'll be able to... you know... keep
our heads.
(beat)
You and Zoe have been in plenty of
situations like this before, right?
MAL
(lying)
Many a time.
WASH
Many a time, you and Zoe...
MAL
Once we know who it was took us --
WASH
Zoe and you together in a tricky...
(hey, wait)
Mal, she's my wife!
MAL
Huh?
WASH
What gives you the right to put her in
a dangerous situation like this?!
MAL
I didn't.
WASH
You did!
MAL
She ain't here, Wash.
WASH
No, but she would have been!
MAL
Okay.
WASH
I mean, I'm the one she swore to love,
honor and obey.
MAL
Listen...
(beat)
She swore to obey?
WASH
Well, no, not...
(beat)
But that's just my point! You she obeys!
She obeys you! There's obeying going on
right under my nose!
MAL
Look, Zoe and I have a history. She trusts me.
WASH
What's that supposed to mean?
MAL
Don't mean a thing, but you're making
out like she blindly follows my every
word. That ain't true!
WASH
Sure it is!
MAL
Not so. There's plenty orders of mine that she didn't obey.
WASH
Name one!
MAL
She married you!
The door screeches open, breaking the tense moment. NISKA enters with VIKTOR. NISKA goes to MAL, takes off the blindfold. NISKA grins in MAL's face. MAL is... kinda unpleasantly surprised.
MAL
[Tah-mah-duh huun-dan. - "Mother-humping
son of a bitch."]
WASH
What?
INT. SERENITY - CARGO BAY - CONTINUOUS
The crew, minus Mal and Wash, are gathered, handing ZOE their money.
KAYLEE
Here's all I got left.
ZOE
Thanks.
(yells)
Jayne!
BOOK
How do you know he won't just grab
you as well?
ZOE
Don't think that's like to happen. I
walk in there unarmed, make the offer.
This guy has his own code, twisted as
it may be. Very excited about
reputation. He'll see reason.
INARA
Reason? He's a gangster. The money
he paid you for that other job -- it
was already returned to him.
JAYNE
(entering)
Could be he's harboring some resentment
at us for putting his man through our engine.
ZOE
(beat)
Wait a reasonable amount of time, but
if you don't hear back, I want you to
take Serenity and get out of this
quadrant. This don't play out right,
there's no guarantee he won't come
looking for the rest of you.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
MAL and WASH are tied back-to-back, both being electrocuted via electrodes on their chests. MAL and WASH are not yet screaming, but they're in some serious pain. (Their conversation throughout this scene is accompanied by heavy breathing, slurring of words, and groans of pain.) NISKA looks on with delight while the TORTURER mans the electricity. Electricity shuts off.
MAL
I'm not... gonna say it... again.
Shipboard romances complicate things.
WASH
For who? For you?
MAL
For everyone.
WASH
Well, what about lov--
There go the electrodes again, painfully zapping MAL and WASH. And off again.
MAL
I ain't against it as a rule... but in
situations such as ours, it tends to
cause problems. It splits loyalties.
WASH
Know what I think?
MAL
What?
There go the electrodes again, zapping MAL and WASH. WASH is starting to falter a little, sagging when the electricity shuts off.
MAL
What, Wash? What do you think?
Because I'm interested.
WASH
(weakly)
This "policy" you got against shipboard
relationships -- that's just you projecting
your own intimacy issues on everyone else.
And NISKA signals for the electrodes again. WASH and MAL shake and writhe in pain until the electricity goes off.
MAL
'Course, could be a lot simpler than
that. Could be I just don't think
you're good enough for Zoe.
WASH
And I don't give a good gorram what
you think.
MAL
Oh, don't you? Zoe and I, we got a
history, and I figure you gotta be
asking yourself some fundamental questions
as to the nature of that history.
WASH
You never slept with my wife.
MAL
Oh? That a fact? You know that for
sure, do you? You ever ask her?
And the electrodes go off again, making WASH and MAL shake in pain. When the electricity shuts off, WASH's head is hanging.
MAL
Hey. We been together for a long
time before you came along, Wash.
And she's a damn fine-looking woman.
(laughs)
WASH
(weakly)
Never happened. Know how I know?
MAL
How? Tell me.
WASH
This whole Captain thing isn't Zoe's
trouble. It's the-guy-she-never-slept-with
thing. Hell, Mal, I wish you had slept
with her. Then at least she'd be over it.
MAL
Oh, you want me to sleep with her?
Would that make you feel better?
WASH
It might.
MAL
Oh, I'd imagine it would do wonders
for her, too.
WASH
Screw you!
MAL
Get in line.
And there go the electrodes again. When the electrodes shut off, Wash slumps down, nearly unconscious, and pretty damn dazed.
MAL
Okay, Wash, I'm gonna do it.
(alarmed)
Wash! Wash, listen. First thing we do
when we get back...
(panicky)
Listen to me!
(beat)
First thing when we get back, I'm gonna...
I'm gonna take your wife into my bed.
WASH
(weakly)
Yeah?
MAL
(relieved Wash is awake)
I'm gonna get me a piece of --
And we're back to the torture.
EXT. SPACE STATION - SHUTTLE - CONTINUOUS
One of Serenity's shuttles approaches the space station and docks.
INT. SHUTTLE - CONTINUOUS
ZOE docks and powers down the shuttle.
INT. SPACE STATION - DOCKING BAY DOORS - CONTINUOUS
ZOE walks through the double doors with her hands raised, holding the bag of ransom money. Five or six armed guards meet her and pat her down.
ZOE
I'm unarmed.
(beat)
I wanna talk to Niska.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
VIKTOR approaches a smiling NISKA and whispers of Zoe's arrival.
NISKA
Ah.
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE is escorted by four armed guards through the space station. She passes by a large, circular shaft filled with machines assembling parts (like something out of Empire Strikes Back in Cloud City).
A guard opens Niska's office door with a keycard. They pass through the office to another room, and ZOE steps into
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
At the center of the room are MAL and WASH, tied-up and looking terrible. NISKA grins off to the left. ZOE walks into the room, her expression impassive.
WASH
(weakly)
No, no, no, no... Run, run...
ZOE approaches NISKA.
ZOE
It's five times what you paid us for
the train job.
NISKA
Yes. You have had, you say it, good
times... I see that.
ZOE
Should be more than enough to buy
back my men.
NISKA
This is your opinion, is it?
ZOE
It is.
NISKA
They are perhaps damaged now. Are they
worth so much to you?
ZOE
Yes.
NISKA
And to me, they are worth more. I think
this is not enough. Not enough for two.
But sufficient, perhaps for one.
(beat, smiling)
Ah... you now have --
ZOE
(immediately)
Him.
ZOE points to WASH.
ZOE
(to Niska)
I'm sorry. You were going to ask me to
choose, right? Did you want to finish?
OFF NISKA with his mouth still open.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. SPACE STATION - NISKA'S TORTURE CHAMBER
Almost where we left off. WASH is released from his bonds and falls to the floor. ZOE moves to help him up.
NISKA
He is yours. We are ended now.
ZOE drapes WASH's arm over her shoulders and supports his weight. WASH can barely walk.
WASH
Mal...
WASH looks over his shoulder at MAL. MAL shakes his head.
ZOE
Shh. Just keep walking.
NISKA waits until WASH and ZOE are at the doorway to say:
NISKA
A moment, please.
ZOE and WASH carefully turn. ZOE props WASH up against the door frame.
NISKA (cont'd)
This money, it is too much.
NISKA speaks in Czech to TORTURER.
NISKA (cont'd)
You should have some small refund.
The TORTURER takes a BIG KNIFE and CUTS OFF MAL's left ear. ZOE watches impassively. WASH turns his head.
MAL SCREAMS.
NISKA takes MAL's ear and wraps it in a white cloth. He hands it to ZOE.
NISKA
Now we are ended.
Without a word or a blink, ZOE takes the cloth holding Mal's ear and tucks it into her vest. Then, as MAL SCREAMS, she supports WASH as they walk away from the torture chamber.
INT. SHUTTLE - CONTINUOUS
ZOE helps WASH into the shuttle. WASH goes down on his knees. ZOE joins him on the floor, comforting him as best she can.
WASH
He's insane.
ZOE
I know it.
WASH
I mean, you've told the damn stories.
Saved you in the war.
(beat)
I-I didn't know...
ZOE
You mean Mal?
WASH
He's crazy. He wouldn't break, Zoe.
(beat)
He kept me from...
ZOE
It's okay.
WASH
I wouldn't have made it.
ZOE
Shh...
WASH
Niska's gonna kill him.
ZOE
He's gonna make it last as long as
possible. Days, if he can.
WASH is struck by this. He stands up with great effort.
WASH
Bastard's not gonna get days.
WASH moves to the pilot's seat and fires up the shuttle.
INT. SERENITY - CATWALKS - CONTINUOUS
WASH and ZOE are exiting the shuttle and entering Serenity. BOOK, INARA, KAYLEE and SIMON run toward them.
BOOK
Thank God, you're safe.
KAYLEE
You okay? What happened?
SIMON
Let me take a look. How bad it is?
WASH
I'm fine.
WASH brushes past Simon.
INARA
Where's Mal?
ZOE
Niska wouldn't let him go.
INARA
Is he alive?
ZOE
For now.
(to Simon)
Take that to the infirmary. Put it on ice.
ZOE hands Simon the white cloth containing MAL's ear and follows WASH.
KAYLEE
Wh-wh-what is that?
SIMON unwraps the cloth to reveal MAL's ear. INARA and KAYLEE gasp.
SIMON
It's his ear.
BOOK
[Huh choo-shang tza-jiao duh tzang-huo -
"Animal-fucking bastard."]
ZOE
We're getting him back.
JAYNE
What are we gonna do, clone him?
SIMON
Well, it's a clean cut. With the right
equipment, I should be able to reattach it.
(beat)
That's assuming there's a head.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
CLOSE on MAL, still being tortured. Still holding out.
NISKA
Do you know the writings of Shan Yu?
MAL
(groaning)
We're starting a book club? What? Are
you trying to tor --
(cries out)
...trying to torture me?
NISKA laughs.
NISKA
Yes, today we meet you. Yes, and you
are quite a man. An extraordinary man.
Yes, but these are not times for
extraordinary men. Business is not
war. Heroics are unseemly. They
complicate.
NISKA crosses the room and takes out a black device.
NISKA (cont'd)
For you, I have, uh... special machine...
NISKA pets the black device.
NISKA (cont'd)
Very precious.
MAL
(with effort)
And they say people don't look like their pets.
NISKA
(chuckles)
Let us see if we can meet the real you.
The TORTURER smiles a bit evilly and a metallic whirring sound starts up. The TORTURER attaches the device to Mal's chest and it crawls and claws inside, almost like a metallic spider.
MAL SCREAMS, long and loud.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
WASH and ZOE are loading up enough weapons for a small army. ZOE finishes loading a gun and hands it to WASH.
ZOE
Here. Six shots, and then just drop it.
Keep moving.
JAYNE
(from doorway)
This here's suicide. You do know that,
don't you?
(beat)
You really think you can mount a two-man
frontal assault on Niska's skyplex and live?
WASH
Technically, it's a one-man/one-woman
assault. A unisex.
(to Zoe)
Grenades?
ZOE
Oh, yes. Thank you, dear.
(to Jayne)
He won't be expecting it.
JAYNE
Right. 'Cause they ain't insane.
KAYLEE
(entering)
Uh, I just got a wave from Inara. No
luck with the Councilor.
(to Jayne)
What are they doin'?
JAYNE
Fixin' to get themselves killed.
ZOE
We're gonna go get the Captain.
KAYLEE
Oh. Good!
(to Jayne)
Can they do that?
JAYNE
No.
WASH
You know, there's a certain motto.
A creed among folks like us. You
may have heard it: "Leave no man behind."
WASH finishes loading a tiny pistol and cocks it. Oh, the ironical sight gag.
JAYNE
Suicide.
INT. SERENITY - CORRIDOR - CONTINOUS
WASH and ZOE are fully armed and leaving the kitchen area.
ZOE
Got a good look of the layout on my
way in last time. You let me lead.
Cover my... back.
ZOE and WASH catch sight of BOOK, SIMON and KAYLEE arming up near a locker holding more weapons.
ZOE
What's this?
SIMON
We're going with you.
KAYLEE
If it were any one of us, Cap'n
wouldn't hesitate.
BOOK
(handing off a handgun)
Here you go.
(removing a semi-automatic
from locker)
This should do.
ZOE
Preacher, don't the Bible have some
pretty specific things to say about
killing?
BOOK
Quite specific.
(beat)
It is, however, somewhat fuzzier on
the subject of kneecaps.
ZOE
If you're looking for me to talk you
out of it --
Everyone looks up at the sound of a gun cocking. JAYNE is standing at the top of the stairs with Vera. When he sees everyone looking, he glances down at his zipper.
JAYNE
What?
ZOE looks at WASH.
ZOE
Let's go get the Captain.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
The TORTURER pokes a motionless Mal in the shoulder a few times, then turns to NISKA.
TORTURER
Yep. He's dead.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. SPACE STATION - NISKA'S TORTURE CHAMBER
MAL is lying on his back, chest bloody. There is an electronic whine and the TORTURER applies a defibrillator to MAL's chest. Eventually, MAL's eyes pop open and he breathes.
NISKA
(sing-song)
Mr. Reynolds?
(beat)
You died, Mr. Reynolds.
MAL
Seemed like the thing to do.
NISKA
When you die, I can't hurt you anymore and
I want two days, at least. Minimum. I
think many people know the name Malcolm
Reynolds. Many know he crossed Niska.
They must know what happens after that.
NISKA nods at the torturer, who comes forward with a big, nasty torture device that looks like scissors.
NISKA
They must know that business is
still running.
MAL turns his head away from the scissors.
EXT. SPACE - SHUTTLE
Establishing shot of the shuttle as it passes by the camera heading toward the space station.
INT. SERENITY - CONTINUOUS
The crew, minus Mal, is huddled in a darkened Serenity.
JAYNE
You really think this'll work?
WASH
Well, except for the comm static, I'm
piping out on all frequencies. We've been
completely powered down since I fired the
attitude thrusters a half hour ago. We
should show up on their screens as a radar
glitch if they aren't looking too close.
JAYNE
What if they are looking too close?
WASH
Hell, I'm just glad we're on course.
ZOE
It's like throwing a dart, Jayne, and
hitting a bulls-eye 6,000 miles away.
(proudly)
That's my man.
WASH
You guys better get down to the bay.
We'll be at their front door in less
than a minute.
JAYNE exits. ZOE squeezes WASH's shoulder.
WASH (cont'd)
I'm right behind you, baby.
ZOE exits. WASH pilots the dead shuttle into the space station.
INT. SERENITY - CARGO BAY - CONTINOUS
BOOK is strapping some containers onto the four-wheel transport. JAYNE and ZOE are coming down the stairs.
ZOE
Book, you good?
BOOK
Yes, ma'am. Ready when you are.
ZOE
Kaylee, how you doing on that override
sequence?
KAYLEE
Pretty sure this'll pop their airlock
doors if Wash can get a seal on the
first try.
JAYNE
Smellin' a lot of "if" comin' off this plan.
ZOE
You coulda stayed in your bunk.
JAYNE
Coulda, shoulda, woulda.
(cocks Vera)
WASH comes down the stairs, calling out:
WASH
We're set.
ZOE
Okay, people... If it moves, shoot it.
KAYLEE
Unless it's the Captain!
ZOE
Unless it's the Captain.
They all move toward the cargo bay door.
INT. SPACE STATION - DOCKING BAY - CONTINOUS
A guard is lazily sitting at his post, reading a girly magazine, when he realizes static is coming from his monitor. He hits a few buttons and sees Serenity docking. He hits the alarm.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
NISKA and the TORTURER are bent over Mal. MAL hears the alarm.
MAL
Listen... if you got guests, I can come
back later.
NISKA gives the TORTURER a peeved look.
INT. SPACE STATION - DOCKING BAY - CONTINUOUS
Three guards stand in front of the opening bay door. As the door opens, they're blinding by a bright light coming from Serenity's cargo bay. An ENGINE REVS, and then the four-wheel mule speeds off Serenity's cargo bay and into the space station, prompting the blinded guards to shoot at it.
The mule crashes into a guard and explodes.
JAYNE, ZOE, and WASH advance down the ramp into the space station, shooting. ZOE tosses a grenade around the corner into a corridor.
MIXED SHOUTS of "Move, move, move" and "Take cover!" sound before the grenade blasts. One of the guards stumbles out of the corridor, his back on fire.
ZOE
Second team!
BOOK, KAYLEE AND SIMON
advance down the ramp.
ZOE
Hold this position! We lose this position,
we lose it all. You're going to hold
this ground.
(beat)
Understand me?
BOOK fires at a guard advancing down the hallway. Hits the guard in the kneecap, prompting the guard to fall forward and crack his head open on a jutting piece of the mule.
BOOK
Understood.
ZOE
Okay, then.
JAYNE advances down the hallway, firing a pistol at advancing guards. ZOE and WASH follow. BOOK takes up position.
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE's in the lead now, shooting at guards as they pop up. JAYNE and WASH follow her.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
NISKA, thoroughly annoyed by the commotion, walks over to the comm box in the wall. The TORTURER turns his back to MAL. MAL doesn't move, but his eyes show he's alert.
NISKA
Viktor, what is this? Viktor!
Suddenly, the TORTURER arches his back and screams, falling to his knees to REVEAL
MAL standing behind him.
MAL's attached the little black torture device that killed him to the TORTURER's back.
MAL steps over the TORTURER's writhing body and PUNCHES Niska in the face. NISKA falls to the floor.
MAL
Looks like business ain't running so
much as crawlin' away.
(angrily)
You want to meet the real me now?
INT. SPACE STATION - CORRIDOR - CONTINUOUS
JAYNE is leaning out from his cover to fire at the guards and takes a shot in the left shoulder.
JAYNE
Ah! Ah, gorram it.
ZOE advances up the corridor. A guard pops out from cover and ZOE barrel rolls, pulling two handguns from her shoulder holsters as she rises, nailing the guard in the chest.
INT. SPACE STATION - DOCKING BAY DOORS - CONTINUOUS
BOOK is firing upon the advancing guards. SIMON and KAYLEE are looking distinctly nervous.
SIMON
Book, we, uh...
Guards are advancing Simon's way. He shoots, but misses. BOOK ducks from behind his cover and takes out one of the advancing guards.
JAYNE (O.S.)
Get behind us, Preacher! We need cover!
BOOK jerks his head at his position, taking off down the hallway. SIMON nervously takes up BOOK's position.
BOOK
(to Simon)
Don't think. Just shoot.
More guards advance. KAYLEE can't deal with it. She freaks and runs back into Serenity. RIVER joins her at the ramp, takes one glance out at the three guards, then picks up Kaylee's abandoned pistol.
RIVER
(chanting)
Can't look. Can't look.
RIVER suddenly stands up and fires three times.
Silence.
KAYLEE stands and peers out at the docking bay. All three guards are now dead. KAYLEE looks at RIVER.
RIVER
(smiling faintly)
No power in the 'verse can stop me.
INT. SPACE STATION - TORTURE CHAMBER - CONTINUOUS
MAL is beating up NISKA when the TORTURER grabs MAL from behind. They grapple and end up falling backward out a glass window leading to the huge shaft we saw earlier in the episode.
The TORTURER is strangling MAL with a length of cord.
MAL
(strangled)
Haven't you killed me enough for one day?
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE, JAYNE and WASH advance to the doorway of the torture chamber. ZOE pulls the door open, and we're,
INT. SPACE STATION - TORTURE CHAMBER - CONTINUOUS
JAYNE, ZOE, and WASH advance, see the Captain being strangled outside on the narrow balcony surrounding the huge processing shaft.
JAYNE raises his pistol. ZOE puts her hand on his arm.
ZOE
Jayne. This is something the Captain has
to do for himself.
MAL
(strangled)
No! No, it's not!
ZOE
(oops)
Oh.
ZOE, JAYNE and WASH all shoot at the TORTURER. The TORTURER falls over the edge of the balcony and tumbles to his death.
EXT. PLANET - SERENITY - DAY
Establishing shot of Serenity.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON is packing up medical supplies when a battered MAL enters the cargo bay. He can't seem to stop touching his mended ear.
MAL
Sure this thing's gonna stay on?
SIMON
This dermal mender creates an excellent
tissue bond. It should be fine. Just
don't... don't fiddle with it.
MAL
(to Inara)
Be sure to, uh, thank the Councilor
for me. Awful nice of her to... pull
some strings and lend us this equipment.
INARA
It's the least she could do. I just
wish you'd killed that old bastard.
MAL
I got regrets on that score my own self.
(beat)
So. I hear you all took up arms in
that little piece of action back there.
(to Simon)
How you faring with that, doctor?
SIMON
I don't know. I, uh... I never-never
shot anyone before.
BOOK
I was there, son. I'm fair sure you
haven't shot anyone yet.
MAL chuckles and heads up the stairs, squeezing KAYLEE's hand as he goes past. A moment later, KAYLEE turns back to see RIVER standing in the catwalks. KAYLEE's obviously uncomfortable.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
WASH sits at the table. ZOE is at the counter behind him dishing up food. She comes around the corner and sets a bowl in front of Wash, shaking out his napkin and tucking it into his shirt.
WASH
Mmm. Wife soup.
ZOE chuckles.
WASH (cont'd)
I must've done good.
ZOE
Yes, dear. You done good.
ZOE smooches Wash's cheek and puts her arms around his neck.
There's a PAINED GROAN as MAL enters the kitchen area. ZOE lets go of Wash.
MAL
Did you tell her?
WASH
Tell her what?
MAL
(to Zoe)
Your husband has demanded that we
sleep together.
ZOE
Really?
WASH
What? Mal, come on.
MAL
He seems to think it would get all
this burning sexual tension out in
the open -- you know, make a fair
fight for your womanly affections.
WASH
No. That was the torture talking.
Remember? The torture?
MAL takes Zoe's hands. Puts one on his hip, the other on his shoulder.
MAL
(deadpan)
I know it's a difficult mission...
but you and I... have to get it on.
ZOE
I understand. We have no choice.
ZOE and MAL stand about a foot apart, staring at each other. Absolutely nothing resembling The Sexy is happening.
JAYNE walks into the kitchen area just in time to hear:
ZOE
(deadpan)
Take me, sir. Take me hard.
JAYNE
Now somethin' about that is just
downright unsettling.
WASH throws down his napkin as MAL and ZOE mock-struggle to kiss each other from a foot away. WASH grabs ZOE and escorts her to the door.
WASH
We'll be in our bunk.
WASH playfully smacks ZOE's behind as they walk out of the kitchen.
Disconcerted, JAYNE turns around and walks toward the dinner table. MAL is slowly, painfully pulling out a chair.
JAYNE
Oh, hey.
JAYNE smacks the back of his hand against MAL's belly, sitting down at the table where Wash was sitting.
JAYNE (cont'd)
Free soup.
MAL makes a tiny grunt of intense pain and freezes, glaring at Jayne.
BLACK OUT.
Simon is analyzing data on a vid screen. Book is moving about the infirmary behind him.
BOOK
Did you ever read the works of
Shan Yu?
SIMON
Shan Yu, the psychotic dictator?
BOOK
Yep. Fancied himself quite the
warrior-poet. Wrote volumes on
war, torture... the limits of
human endurance.
SIMON
(mildly)
That's nice.
BOOK
He said... "Live with a man forty
years. Share his house, his meals,
speak on every subject. Then tie
him up and hold him over the volcano's
edge, and on that day, you will
finally meet the man."
SIMON
What if you don't live near a volcano?
BOOK
I expect he was being poetical.
SIMON
Sadistic crap legitimized by
florid prose.
(beat)
Tell me you're not a fan.
BOOK
I'm just wondering if they were.
The people who did this to your sister.
SIMON
The government did this to her.
BOOK
The government is a body of people,
usually notably ungoverned.
SIMON
Now you're quoting the Captain.
BOOK
I'm just wondering if they put her
through this just to see how much
she could take. To truly "meet her"
as Shan Yu would have said.
SIMON
No, the more I see, the more I think
their purpose was very specific. Look
at this --
(shows Book an analysis of
River's brain)
-- the pattern. Besides, if all they
cared about was hurting River, they
wouldn't still be after her.
BOOK
But she's doing better.
SIMON
I've tried a couple different medications.
She's sleeping better, but nothing really
stable. I'll keep trying. Certainly got
enough drugs on hand.
BOOK
Yes, I'd forgotten you're moonlighting
as a criminal mastermind now. Got your
next heist planned?
SIMON
No. But I'm thinking about growing
a big black mustache.
(beat; deadpan)
I'm a traditionalist.
EXT. SPACE - CONTINUOUS
Shot of Serenity sliding past the camera toward a reddish-orange planet.
Quick pan around the planet's asteroid belt to REVEAL a space station on the other side of the planet.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
A TORTURER is whipping a TORTURE VICTIM, who is immobilized and whimpering in great pain. NISKA looks on calmly.
NISKA
Hold please.
The TORTURER stops whipping.
NISKA (cont'd)
(to Torture Victim)
So now we are past the preliminaries --
the little questions: why you skim from
protection fund? How you could betray
my trust. This we are past. Now we
get to the real questions about who
you truly are.
(brandishes knife)
VIKTOR
(entering quietly)
I'm sorry, sir.
NISKA
(annoyed)
I get to heart of matter and always
interruptions!
VIKTOR
One of our long-ranges picked up a read
on the other side of the world. It
might be Serenity. Malcolm Reynolds'
ship.
NISKA
(excited)
Oh. Oh, this is exciting news. Send
a team. Bring him here to me.
VIKTOR
Yes, sir.
(exits)
NISKA
(to Torture Victim)
Now, we get to spend some time finding
out about your true self. Tell me...
(stabs Torture Victim o.s.)
...are you familiar with the works of
Shan Yu?
BLACK OUT.
END OF TEASER
ACT ONE
INT. SERENITY - CARGO BAY
KAYLEE is chasing RIVER through the Cargo Bay. They are laughing and whooping like children.
MAL AND INARA
stand up on the catwalk.
INT. SERENITY - CATWALK - CONTINUOUS
MAL
I said yes, already. Where's the
outstanding issue?
INARA
The Councilor is an important political
figure and a very private person...
MAL
So he visits you here instead of you
going to his place. Fine. What, is
the ship not clean enough?
MAL runs his hand along the catwalk railing like he's wearing white gloves and testing for dust.
INARA
I just want the Councilor to feel
comfortable, and when I say
comfortable, I mean totally alone.
MAL looks a little confused, then his gaze is drawn to Kaylee and River, still laughing and running in the cargo bay.
MAL
Ah, the pitter patter of tiny feet
in huge combat boots.
(to Kaylee and River)
Shut up!
(to Inara)
There's nobody sets foot on my boat
that I don't meet 'em.
(beat)
Don't worry, I'm not gonna start any
sword fights. I'm over that phase.
INARA
Well, I'd appreciate it if you could
keep the others from ogling.
KAYLEE follows RIVER up the ladder into the catwalks.
MAL
One of you is gonna fall and die,
and I'm not cleaning it up!
KAYLEE
She took my apple!
INARA
Jayne bought a crate of them.
KAYLEE
And this one's mine.
RIVER
Not anymore!
KAYLEE chases RIVER through a corridor and into
INT. SERENITY - KITCHEN AREA - CONTINUOUS
where she playfully wrestles the apple from River's hands.
KAYLEE
Okay.
(holds apple aloft)
No power in the 'verse can stop me.
Smiling, ZOE enters and sits down at the kitchen table, where WASH is already sitting, chomping on an apple.
ZOE
These really are the genuine article.
I could get used to being rich.
WASH
It's Jayne being so generous with his
cut that confuses and frightens me.
ZOE
It does kind of freeze the blood.
KAYLEE
Zoe, how come you always cut your apples?
WASH
(to Zoe)
You do?
KAYLEE
Her and the Captain both. Whenever
we get fresh fruit, they never just
munch on 'em.
ZOE
Know what a Grizwald is?
JAYNE
(entering)
It's a grenade.
ZOE
About the size of a battery. Responds to
pressure. Our platoon was stuck in a
trench outside of New Kasmir during the
winter campaign. More'n a week, completely
cut off, and the Alliance entrenched not
ten yards away. We even got to talkin'
to 'em, yelling across insults and jokes
and such, 'cause no ammo to speak of, no
orders, so what are you gonna do? We
mentioned that we were out of rations, and
ten minutes later, a bunch of apples rained
into the trench.
WASH
(interrupting, to River
and Kaylee)
And they grew into a big tree, and they
all climbed up the tree into a magical
land with unicorns and a harp.
JAYNE approaches the table, opens his switchblade, and stabs it into one of the apples sitting in a bowl on the table. WASH startles. JAYNE retrieves his apple and moves toward the other end of the table.
KAYLEE
(beat)
Blew off their heads, huh?
ZOE
Cap said wait, but they were so hungry.
(beat)
Don't make much noise. Just little
pops and there's three guys that kind
of just end at the ribcage.
WASH
(to River and Kaylee)
But these apples are healthsome, good.
JAYNE
Yeah, grenades cost extra.
Mal enters, picking up an apple from the bowl on the table. Starts cutting it with a knife he picks up from a counter.
MAL
We are about 20,000 miles from our last
drop, people, then we can take a break
and think about spending some of this
money.
Everyone responds with happy, affirmative, "Yeahs" and "All rights".
WASH
(sotto voce)
Could've made more.
MAL
That wasn't a bad idea, Wash, but
eliminating the middle man is never
simple as it sounds.
WASH
(surprised)
You heard about...?
MAL
About fifty percent of the human race
is middle men and they don't take kindly
to being eliminated. This quadrant,
we play nice. We got enemies enough
as it is.
EXT. PLANET - SERENITY - DAY
Serenity is landing on a sandy, desert planet.
INT. SERENITY - BRIDGE - CONTINUOUS
Wash is piloting. Zoe is sitting in the bridge near him. Yep, there's some tension.
WASH
So... when you said that you didn't
get a chance to tell the Captain
my idea...
ZOE
Mm-hmm?
WASH
What you actually meant was...
you told him my idea, he rejected
it out of hand, and you didn't
argue the point or even give it
another thought.
ZOE
I gave, honey, I-I --
WASH
And then came the lying to me
about it, which for me is sort of
the highlight of this little
adventure.
ZOE
Is there any way I'm gonna get
out of this with honor and dignity?
WASH
You're pretty much down to ritual
suicide, lambie-toes.
ZOE
I didn't want to upset you.
WASH
What did you think of it?
ZOE
Of what?
WASH
My idea. Call the local MDs. Forget
the fence, go straight to the source.
Better prices, and we know the drugs
get to the right people.
ZOE
(beat)
The Captain thinks it'll get back
to someone. Just cause trouble.
WASH
(angrily, in Chinese)
[Tai-kong suo-yo duh shing-chiouh
doh sai-jin wuh dhu pee-goo.]
Was I ever not asking what the
Captain thought!
ZOE
Well, I tend to agree with him.
WASH
Tend to, or have to?
(beat)
I love the fact that you two are old
army buddies -- you have wacky stories
that have ribcages in them, but could
you have an opinion of your own, please?
ZOE
You're losing the high ground here,
sweetcakes.
WASH
I'm sure you and Mal will take that
hill and fortify it with --
ZOE
(interrupting)
I thought your plan was too risky.
I thought.
WASH
Then tell me. I am a large,
semi-muscular man. I can take it.
Don't hide behind Mal 'cause you know
he'll shoot it down for you.
Tell me.
ZOE
Right. Because what this marriage
needs is one more shouting match.
WASH
No, what this marriage needs is one
less husband.
(beat)
Right now it's kind of crowded.
WASH leaves the bridge. CLOSE IN on Zoe as she stands there, not knowing what the hell she's supposed to do.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
The door slides open and Simon enters, seeing River sitting on a bunk.
SIMON
Whoa! [Mei-mei... - "little sister"...]
SIMON covers a shivering RIVER with a blanket.
SIMON
How you doing?
RIVER
I threw up.
SIMON
I'm sorry. It's a side effect. We
just have to find the right treatment
for you. How do you feel now?
RIVER
Going... Going back like... apple bits,
coming back up. Chaos.
SIMON
But you felt okay this morning?
RIVER
Played with Kaylee.
(smiles)
Sun came out, and I walked on my feet
and heard with my ears. I ate the bits,
the bits stayed down, and I work. I
function like I'm a girl.
(upset)
I hate it because I know it'll go away.
The sun goes dark and chaos has come
again. Bits. Fluids. What am I?!
SIMON
(hugs her)
You are my beautiful sister.
RIVER
(sniffling)
I threw up on your bed.
SIMON
(fuckity)
Yep. Definitely my sister.
INT. SERENITY - COMMON AREA - CONTINUOUS
BOOK is reading a book, idly watching JAYNE and KAYLEE peeking around the doorway into the Cargo Bay.
BOOK
Didn't Inara express a wish for privacy?
KAYLEE
Oh... we've gotta see who she's got.
Bet he's handsome. Think he's gonna
bring her flowers.
JAYNE says nothing, simply taking a big bite out of his apple.
INT. SERENITY - CARGO BAY - CONTINUOUS
MAL AND INARA
are awaiting the Councilor's arrival. A large man steps into the Cargo Bay.
INT. SERENITY - COMMON AREA - CONTINUOUS
Back to an excited Kaylee.
KAYLEE
Oh! There he is!
BOOK looks up from his reading, standing up to join them at the doorway.
INT. SERENITY - CARGO BAY - CONTINUOUS
Back to,
MAL AND INARA
MAL
Well, he looks the respectable sort.
MAL approaches the large man, hand out.
MAL (cont'd)
Welcome aboard. I'm Captain Malcolm Rey...
The man completely ignores Mal. MAL stands there, surprised, hand still outstretched for a handshake.
THE MAN finishes casing the joint, and actives a comm.
MAN
We're all clear here, Councilor.
THE COUNCILOR enters the Cargo Bay. She's a very well-heeled and good-looking woman. Inara smiles and guides the Councilor upstairs. The crew? Pretty much stunned.
MAL
Huh.
BOOK
Oh, my.
KAYLEE
Oh, gosh, I... I-I knew she took females
as clients... I just...
(beat)
They look so glamorous together.
JAYNE
(hella turned-on)
I'll be in my bunk.
EXT. PLANET - SERENITY - DAY
Establishing shot of Serenity. Wind's picking up outside the ship.
INT. SHUTTLE - CONTINUOUS
Zoe is preparing one of Serenity's shuttles for take-off.
MAL
Lucrative as this stuff is, I'll be
glad to see the last of it. Kinda
makes us a target for every--
ZOE
(interrupting)
Was River in here messing around? The
ignition sequence is all turned about.
I can't even...
WASH
(entering)
I can.
MAL
Well get it set, would you, Wash?
We gotta get moving.
WASH
Here's a funny twist: no.
MAL
No what?
WASH
No, sir.
ZOE
Change the sequence?
WASH
Didn't want you taking off without me.
In fact, didn't want you taking off
at all. Thought I might take this run
instead. Me and the Captain.
MAL
The Captain who's standing right here
telling you that's not gonna happen?
WASH
Well, it's a dangerous mission, sir.
I can't stand the thought of something
happening that might cause you two to
come back with another thrilling
tale of bonding and adventure. I
just can't take that right now.
MAL
Okay, um, I'm lost. Uh, I'm angry,
and I'm armed, so if you two have
something that you need to work out --
ZOE
It's all right, sir. We've deal with
Bolles before. Shouldn't be a problem.
(beat; to Wash)
And I wouldn't mind sitting this one out.
MAL
(unamused)
Oh, this is a fine [fang-tzang fong-kwong
duh zie] but I don't have time to unwind
it. Wash.
(beat)
Get her started. Zoe, ship is yours.
ZOE exits.
WASH
Bye, hon! We promise not to stop for
beers with the fellas!
WASH sits down, starts the engines.
WASH
(to Mal)
So, are we gonna sing army songs,
or something?
MAL is beyond annoyed at this point.
EXT. PLANET - SERENITY - DAY
A shuttle detaches and flies away from Serenity.
INT. INARA'S SHUTTLE - CONTINUOUS
The COUNCILOR is lying face-down on the bed, nude, covered from the hips down by a sheet. INARA is giving her a back massage.
COUNCILOR
(relaxed)
Mmm. That feels amazing.
(beat; Inara smiles)
Oh, right there. That's perfect.
I should have done this weeks ago.
INARA
I wouldn't have been here weeks ago.
COUNCILOR
And that would have been a shame.
INARA
For me as well.
(beat)
You have such beautiful skin.
The COUNCILOR sits up a bit on her elbows and looks over her shoulder at INARA.
COUNCILOR
There's no need for the show, Inara.
I just need to relax with someone
who's making no demands on me.
INARA
Most of my clientele is male.
Do you know that?
COUNCILOR
No.
INARA
(caressing Councilor)
If I choose a woman, she tends to
be extraordinary in some way. And
the fact is, I occasionally have the
exact same need you do. One cannot
always be one's self in the company
of men.
COUNCILOR
(smiling)
Never, actually.
INARA
So no show. Let's just... enjoy ourselves.
COUNCILOR
You are so lovely.
INARA and the COUNCILOR both lean forward and kiss -- by the sounds of it, it's sweet and passionate, although it's mostly blocked by the long fall of Inara's hair.
EXT. PLANET - SHUTTLE - DAY - CONTINUOUS
Establishing shot of Serenity's shuttle as it zooms across the desert toward the meet.
INT. SHUTTLE - CONTINUOUS
Wash is in the driver's seat, Mal riding shotgun, and it's damn bright inside that shuttle -- making Mal and Wash all squinty.
MAL
Look, this thing with you and Zoe...
WASH
Really not looking to talk on that topic.
MAL
Hey. I let that [niou-se - "urine-shit"]
trick of yours slide because this is a milk
run. But when I go on a mission, I'm
taking Zoe and that's the drill. You
know that. I mean, what happens if we
get into a situation here?
WASH
Hey, I've been in a firefight before!
(off Mal's look)
Well, I was in a fire.
(beat)
Actually, I was fired from a fry-cook
opportunity.
(beat)
I can handle myself.
MAL
And you understand what Zoe's job entails?
WASH
I'll learn as I go.
CUT TO:
EXT. PLANET - DAY - CONTINUOUS
MAL walks easily across the sand, WASH trailing behind him, hauling a heavy plastic box and breathing a little heavy. Three armed bandity guys approach from the other direction, the one in front presumably BOLLES.
WASH
So now I'm learning about carrying.
MAL and WASH finally meet up with the BOLLES and his guys, stopping a few feet apart. WASH puts down the heavy plastic box and flips back the lid, revealing a big pile of drugs. BOLLES looks impressed.
BOLLES
Nice to know you're still trustworthy.
MAL
I'm not so trustworthy I don't want to
see the money you promised me.
BOLLES holds up his hand. Bolles' guy puts a bag of coin into it. BOLLES tosses it to Mal, who opens up the bag to take a look.
BOLLES hooks his thumbs into his belt, feelin' chatty.
BOLLES
Man, can't believe you guys knocked
over an Alliance hospital. The pair
you have.
WASH smiles. MAL's still all business.
MAL
Yeah, the stuff legends are made of...
MAL looks up and sees a red dot on BOLLES' forehead.
It's a laser sight.
MAL (cont'd)
[Tzao-gao! - "Oh, shit!"]
A SHOT is fired. It hits BOLLES square between the eyes and he goes down, dead.
MAL hits the dirt, wrapping his arm around Wash's middle and taking Wash down with him.
BOLLES' two guys are quickly taken out by sniper fire. While MAL and WASH stay down, several snipers rise from their cover and surround them.
WASH
Now I'm learning about scary.
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. SERENITY - COMMON AREA
BOOK is lifting a weighted barbell. JAYNE stands by the bench with a towel over his shoulder, spotting him. JAYNE's attention is suddenly caught by the sound of laughter.
INARA AND THE COUNCILOR
are coming down the catwalk stairs, all smiles.
While JAYNE watches Inara and the Councilor hug and kiss good-bye, hella turned-on again, BOOK struggles with the barbell he's lifting, groaning faintly with effort.
The COUNCILOR and her GUARD exit Serenity. INARA closes the Cargo Bay doors and turns to see JAYNE leering. She rolls her eyes and heads back upstairs.
JAYNE finally reaches out with one hand and helps Book return the barbell to its rest.
JAYNE
I'll be in my bunk.
(starts to exit)
ZOE
(entering)
Jayne, grab your weapon.
JAYNE
Why? What's goin' on?
ZOE
Maybe nothing. Maybe trouble.
JAYNE
The drop?
ZOE
They're late. They should've been back
more'n an hour ago.
(beat)
We go by ground. We'll take the mule.
BOOK
I'll go with you.
ZOE
No offense, Shepherd, but I sure as
hell hope they don't need a preacher.
BOOK
Three sets of eyes are better than two.
Might see something you don't.
ZOE considers this.
ZOE
Let's move.
JAYNE and BOOK follow Zoe.
CUT TO:
EXT. PLANET - DAY - CONTINUOUS
ZOE, JAYNE and BOOK are at the drop site, examining the bodies of BOLLES and his men, flipping them over to identify them.
JAYNE
None of 'em's ours.
BOOK
This is precision work: sharpshooters.
From the look of these wounds, I'd say
a 54-R sniper rifle, laser sights.
JAYNE
You do a lot of shooting at the abbey
there, Shepherd?
BOOK
(dryly)
Rabbits.
JAYNE
For stew, sure.
JAYNE harvests some guns off the corpses and sticks them in his gun belt. ZOE's off tracking.
ZOE
Whoever did this, they weren't after
the goods.
CLOSE on the spilled container of drugs Wash was carrying. JAYNE looks up, starts walking toward the camera. ZOE and BOOK follow.
JAYNE
We ain't gonna find 'em here. They're
off planet already.
(re: black streak in the sand)
Only one type of transport I know makes
a mark like this.
ZOE
Fast burn rocket shuttle.
BOOK
Craft like that not commonly part of
a ship. More likely we're looking at --
ZOE
Space station.
BOOK
Yeah.
ZOE
(beat)
I know who's got 'em.
EXT. SPACE - SPACE STATION - CONTINUOUS
Establishing shot of the space station, bustling, axes turning to generate gravity.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
WASH and MAL, blindfolded and with their hands bound behind their backs, are herded into a dark room by two guards. The two guards shut the door behind them. While throughout this scene WASH just stands there and panics, MAL is slowly casing the joint, blindly feeling his way around the room to assess its dimensions and dangers.
MAL
You okay?
WASH
(panicky)
I think I've been kidnapped.
MAL
Yeah.
WASH
You see where we are?
MAL
No.
WASH
Mal, what the hell is going on?
MAL
Ain't rightly sure.
WASH
But you've got some theories.
MAL
Still working it through.
WASH
I don't want you to spare me, Mal. If
you think you know what's happening,
then you tell me. You wouldn't spare
Zoe if she were in this situation with
you, would you? You would be planning,
and plotting and... possibly scheming.
So whatever Zoe would do in this instance
is what I wanna do. Do you know why?
No matter how ugly it gets, you two
always come back with the stories.
So... I'm Zoe. Now, what do I do?
MAL
Probably not talk quite so much.
WASH
Right. Less talking.
(beat; still panicky)
She's terse. I can be terse.
(beat)
Once in flight school, I was laconic.
WASH keeps the silence for a couple of seconds, then blurts,
WASH (cont'd)
If I'm not gonna talk then you have
to. What else?
MAL
We just gotta keep our heads.
WASH
Right. "Keep our heads." That way
we'll be able to... you know... keep
our heads.
(beat)
You and Zoe have been in plenty of
situations like this before, right?
MAL
(lying)
Many a time.
WASH
Many a time, you and Zoe...
MAL
Once we know who it was took us --
WASH
Zoe and you together in a tricky...
(hey, wait)
Mal, she's my wife!
MAL
Huh?
WASH
What gives you the right to put her in
a dangerous situation like this?!
MAL
I didn't.
WASH
You did!
MAL
She ain't here, Wash.
WASH
No, but she would have been!
MAL
Okay.
WASH
I mean, I'm the one she swore to love,
honor and obey.
MAL
Listen...
(beat)
She swore to obey?
WASH
Well, no, not...
(beat)
But that's just my point! You she obeys!
She obeys you! There's obeying going on
right under my nose!
MAL
Look, Zoe and I have a history. She trusts me.
WASH
What's that supposed to mean?
MAL
Don't mean a thing, but you're making
out like she blindly follows my every
word. That ain't true!
WASH
Sure it is!
MAL
Not so. There's plenty orders of mine that she didn't obey.
WASH
Name one!
MAL
She married you!
The door screeches open, breaking the tense moment. NISKA enters with VIKTOR. NISKA goes to MAL, takes off the blindfold. NISKA grins in MAL's face. MAL is... kinda unpleasantly surprised.
MAL
[Tah-mah-duh huun-dan. - "Mother-humping
son of a bitch."]
WASH
What?
INT. SERENITY - CARGO BAY - CONTINUOUS
The crew, minus Mal and Wash, are gathered, handing ZOE their money.
KAYLEE
Here's all I got left.
ZOE
Thanks.
(yells)
Jayne!
BOOK
How do you know he won't just grab
you as well?
ZOE
Don't think that's like to happen. I
walk in there unarmed, make the offer.
This guy has his own code, twisted as
it may be. Very excited about
reputation. He'll see reason.
INARA
Reason? He's a gangster. The money
he paid you for that other job -- it
was already returned to him.
JAYNE
(entering)
Could be he's harboring some resentment
at us for putting his man through our engine.
ZOE
(beat)
Wait a reasonable amount of time, but
if you don't hear back, I want you to
take Serenity and get out of this
quadrant. This don't play out right,
there's no guarantee he won't come
looking for the rest of you.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
MAL and WASH are tied back-to-back, both being electrocuted via electrodes on their chests. MAL and WASH are not yet screaming, but they're in some serious pain. (Their conversation throughout this scene is accompanied by heavy breathing, slurring of words, and groans of pain.) NISKA looks on with delight while the TORTURER mans the electricity. Electricity shuts off.
MAL
I'm not... gonna say it... again.
Shipboard romances complicate things.
WASH
For who? For you?
MAL
For everyone.
WASH
Well, what about lov--
There go the electrodes again, painfully zapping MAL and WASH. And off again.
MAL
I ain't against it as a rule... but in
situations such as ours, it tends to
cause problems. It splits loyalties.
WASH
Know what I think?
MAL
What?
There go the electrodes again, zapping MAL and WASH. WASH is starting to falter a little, sagging when the electricity shuts off.
MAL
What, Wash? What do you think?
Because I'm interested.
WASH
(weakly)
This "policy" you got against shipboard
relationships -- that's just you projecting
your own intimacy issues on everyone else.
And NISKA signals for the electrodes again. WASH and MAL shake and writhe in pain until the electricity goes off.
MAL
'Course, could be a lot simpler than
that. Could be I just don't think
you're good enough for Zoe.
WASH
And I don't give a good gorram what
you think.
MAL
Oh, don't you? Zoe and I, we got a
history, and I figure you gotta be
asking yourself some fundamental questions
as to the nature of that history.
WASH
You never slept with my wife.
MAL
Oh? That a fact? You know that for
sure, do you? You ever ask her?
And the electrodes go off again, making WASH and MAL shake in pain. When the electricity shuts off, WASH's head is hanging.
MAL
Hey. We been together for a long
time before you came along, Wash.
And she's a damn fine-looking woman.
(laughs)
WASH
(weakly)
Never happened. Know how I know?
MAL
How? Tell me.
WASH
This whole Captain thing isn't Zoe's
trouble. It's the-guy-she-never-slept-with
thing. Hell, Mal, I wish you had slept
with her. Then at least she'd be over it.
MAL
Oh, you want me to sleep with her?
Would that make you feel better?
WASH
It might.
MAL
Oh, I'd imagine it would do wonders
for her, too.
WASH
Screw you!
MAL
Get in line.
And there go the electrodes again. When the electrodes shut off, Wash slumps down, nearly unconscious, and pretty damn dazed.
MAL
Okay, Wash, I'm gonna do it.
(alarmed)
Wash! Wash, listen. First thing we do
when we get back...
(panicky)
Listen to me!
(beat)
First thing when we get back, I'm gonna...
I'm gonna take your wife into my bed.
WASH
(weakly)
Yeah?
MAL
(relieved Wash is awake)
I'm gonna get me a piece of --
And we're back to the torture.
EXT. SPACE STATION - SHUTTLE - CONTINUOUS
One of Serenity's shuttles approaches the space station and docks.
INT. SHUTTLE - CONTINUOUS
ZOE docks and powers down the shuttle.
INT. SPACE STATION - DOCKING BAY DOORS - CONTINUOUS
ZOE walks through the double doors with her hands raised, holding the bag of ransom money. Five or six armed guards meet her and pat her down.
ZOE
I'm unarmed.
(beat)
I wanna talk to Niska.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
VIKTOR approaches a smiling NISKA and whispers of Zoe's arrival.
NISKA
Ah.
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE is escorted by four armed guards through the space station. She passes by a large, circular shaft filled with machines assembling parts (like something out of Empire Strikes Back in Cloud City).
A guard opens Niska's office door with a keycard. They pass through the office to another room, and ZOE steps into
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
At the center of the room are MAL and WASH, tied-up and looking terrible. NISKA grins off to the left. ZOE walks into the room, her expression impassive.
WASH
(weakly)
No, no, no, no... Run, run...
ZOE approaches NISKA.
ZOE
It's five times what you paid us for
the train job.
NISKA
Yes. You have had, you say it, good
times... I see that.
ZOE
Should be more than enough to buy
back my men.
NISKA
This is your opinion, is it?
ZOE
It is.
NISKA
They are perhaps damaged now. Are they
worth so much to you?
ZOE
Yes.
NISKA
And to me, they are worth more. I think
this is not enough. Not enough for two.
But sufficient, perhaps for one.
(beat, smiling)
Ah... you now have --
ZOE
(immediately)
Him.
ZOE points to WASH.
ZOE
(to Niska)
I'm sorry. You were going to ask me to
choose, right? Did you want to finish?
OFF NISKA with his mouth still open.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. SPACE STATION - NISKA'S TORTURE CHAMBER
Almost where we left off. WASH is released from his bonds and falls to the floor. ZOE moves to help him up.
NISKA
He is yours. We are ended now.
ZOE drapes WASH's arm over her shoulders and supports his weight. WASH can barely walk.
WASH
Mal...
WASH looks over his shoulder at MAL. MAL shakes his head.
ZOE
Shh. Just keep walking.
NISKA waits until WASH and ZOE are at the doorway to say:
NISKA
A moment, please.
ZOE and WASH carefully turn. ZOE props WASH up against the door frame.
NISKA (cont'd)
This money, it is too much.
NISKA speaks in Czech to TORTURER.
NISKA (cont'd)
You should have some small refund.
The TORTURER takes a BIG KNIFE and CUTS OFF MAL's left ear. ZOE watches impassively. WASH turns his head.
MAL SCREAMS.
NISKA takes MAL's ear and wraps it in a white cloth. He hands it to ZOE.
NISKA
Now we are ended.
Without a word or a blink, ZOE takes the cloth holding Mal's ear and tucks it into her vest. Then, as MAL SCREAMS, she supports WASH as they walk away from the torture chamber.
INT. SHUTTLE - CONTINUOUS
ZOE helps WASH into the shuttle. WASH goes down on his knees. ZOE joins him on the floor, comforting him as best she can.
WASH
He's insane.
ZOE
I know it.
WASH
I mean, you've told the damn stories.
Saved you in the war.
(beat)
I-I didn't know...
ZOE
You mean Mal?
WASH
He's crazy. He wouldn't break, Zoe.
(beat)
He kept me from...
ZOE
It's okay.
WASH
I wouldn't have made it.
ZOE
Shh...
WASH
Niska's gonna kill him.
ZOE
He's gonna make it last as long as
possible. Days, if he can.
WASH is struck by this. He stands up with great effort.
WASH
Bastard's not gonna get days.
WASH moves to the pilot's seat and fires up the shuttle.
INT. SERENITY - CATWALKS - CONTINUOUS
WASH and ZOE are exiting the shuttle and entering Serenity. BOOK, INARA, KAYLEE and SIMON run toward them.
BOOK
Thank God, you're safe.
KAYLEE
You okay? What happened?
SIMON
Let me take a look. How bad it is?
WASH
I'm fine.
WASH brushes past Simon.
INARA
Where's Mal?
ZOE
Niska wouldn't let him go.
INARA
Is he alive?
ZOE
For now.
(to Simon)
Take that to the infirmary. Put it on ice.
ZOE hands Simon the white cloth containing MAL's ear and follows WASH.
KAYLEE
Wh-wh-what is that?
SIMON unwraps the cloth to reveal MAL's ear. INARA and KAYLEE gasp.
SIMON
It's his ear.
BOOK
[Huh choo-shang tza-jiao duh tzang-huo -
"Animal-fucking bastard."]
ZOE
We're getting him back.
JAYNE
What are we gonna do, clone him?
SIMON
Well, it's a clean cut. With the right
equipment, I should be able to reattach it.
(beat)
That's assuming there's a head.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
CLOSE on MAL, still being tortured. Still holding out.
NISKA
Do you know the writings of Shan Yu?
MAL
(groaning)
We're starting a book club? What? Are
you trying to tor --
(cries out)
...trying to torture me?
NISKA laughs.
NISKA
Yes, today we meet you. Yes, and you
are quite a man. An extraordinary man.
Yes, but these are not times for
extraordinary men. Business is not
war. Heroics are unseemly. They
complicate.
NISKA crosses the room and takes out a black device.
NISKA (cont'd)
For you, I have, uh... special machine...
NISKA pets the black device.
NISKA (cont'd)
Very precious.
MAL
(with effort)
And they say people don't look like their pets.
NISKA
(chuckles)
Let us see if we can meet the real you.
The TORTURER smiles a bit evilly and a metallic whirring sound starts up. The TORTURER attaches the device to Mal's chest and it crawls and claws inside, almost like a metallic spider.
MAL SCREAMS, long and loud.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
WASH and ZOE are loading up enough weapons for a small army. ZOE finishes loading a gun and hands it to WASH.
ZOE
Here. Six shots, and then just drop it.
Keep moving.
JAYNE
(from doorway)
This here's suicide. You do know that,
don't you?
(beat)
You really think you can mount a two-man
frontal assault on Niska's skyplex and live?
WASH
Technically, it's a one-man/one-woman
assault. A unisex.
(to Zoe)
Grenades?
ZOE
Oh, yes. Thank you, dear.
(to Jayne)
He won't be expecting it.
JAYNE
Right. 'Cause they ain't insane.
KAYLEE
(entering)
Uh, I just got a wave from Inara. No
luck with the Councilor.
(to Jayne)
What are they doin'?
JAYNE
Fixin' to get themselves killed.
ZOE
We're gonna go get the Captain.
KAYLEE
Oh. Good!
(to Jayne)
Can they do that?
JAYNE
No.
WASH
You know, there's a certain motto.
A creed among folks like us. You
may have heard it: "Leave no man behind."
WASH finishes loading a tiny pistol and cocks it. Oh, the ironical sight gag.
JAYNE
Suicide.
INT. SERENITY - CORRIDOR - CONTINOUS
WASH and ZOE are fully armed and leaving the kitchen area.
ZOE
Got a good look of the layout on my
way in last time. You let me lead.
Cover my... back.
ZOE and WASH catch sight of BOOK, SIMON and KAYLEE arming up near a locker holding more weapons.
ZOE
What's this?
SIMON
We're going with you.
KAYLEE
If it were any one of us, Cap'n
wouldn't hesitate.
BOOK
(handing off a handgun)
Here you go.
(removing a semi-automatic
from locker)
This should do.
ZOE
Preacher, don't the Bible have some
pretty specific things to say about
killing?
BOOK
Quite specific.
(beat)
It is, however, somewhat fuzzier on
the subject of kneecaps.
ZOE
If you're looking for me to talk you
out of it --
Everyone looks up at the sound of a gun cocking. JAYNE is standing at the top of the stairs with Vera. When he sees everyone looking, he glances down at his zipper.
JAYNE
What?
ZOE looks at WASH.
ZOE
Let's go get the Captain.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
The TORTURER pokes a motionless Mal in the shoulder a few times, then turns to NISKA.
TORTURER
Yep. He's dead.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. SPACE STATION - NISKA'S TORTURE CHAMBER
MAL is lying on his back, chest bloody. There is an electronic whine and the TORTURER applies a defibrillator to MAL's chest. Eventually, MAL's eyes pop open and he breathes.
NISKA
(sing-song)
Mr. Reynolds?
(beat)
You died, Mr. Reynolds.
MAL
Seemed like the thing to do.
NISKA
When you die, I can't hurt you anymore and
I want two days, at least. Minimum. I
think many people know the name Malcolm
Reynolds. Many know he crossed Niska.
They must know what happens after that.
NISKA nods at the torturer, who comes forward with a big, nasty torture device that looks like scissors.
NISKA
They must know that business is
still running.
MAL turns his head away from the scissors.
EXT. SPACE - SHUTTLE
Establishing shot of the shuttle as it passes by the camera heading toward the space station.
INT. SERENITY - CONTINUOUS
The crew, minus Mal, is huddled in a darkened Serenity.
JAYNE
You really think this'll work?
WASH
Well, except for the comm static, I'm
piping out on all frequencies. We've been
completely powered down since I fired the
attitude thrusters a half hour ago. We
should show up on their screens as a radar
glitch if they aren't looking too close.
JAYNE
What if they are looking too close?
WASH
Hell, I'm just glad we're on course.
ZOE
It's like throwing a dart, Jayne, and
hitting a bulls-eye 6,000 miles away.
(proudly)
That's my man.
WASH
You guys better get down to the bay.
We'll be at their front door in less
than a minute.
JAYNE exits. ZOE squeezes WASH's shoulder.
WASH (cont'd)
I'm right behind you, baby.
ZOE exits. WASH pilots the dead shuttle into the space station.
INT. SERENITY - CARGO BAY - CONTINOUS
BOOK is strapping some containers onto the four-wheel transport. JAYNE and ZOE are coming down the stairs.
ZOE
Book, you good?
BOOK
Yes, ma'am. Ready when you are.
ZOE
Kaylee, how you doing on that override
sequence?
KAYLEE
Pretty sure this'll pop their airlock
doors if Wash can get a seal on the
first try.
JAYNE
Smellin' a lot of "if" comin' off this plan.
ZOE
You coulda stayed in your bunk.
JAYNE
Coulda, shoulda, woulda.
(cocks Vera)
WASH comes down the stairs, calling out:
WASH
We're set.
ZOE
Okay, people... If it moves, shoot it.
KAYLEE
Unless it's the Captain!
ZOE
Unless it's the Captain.
They all move toward the cargo bay door.
INT. SPACE STATION - DOCKING BAY - CONTINOUS
A guard is lazily sitting at his post, reading a girly magazine, when he realizes static is coming from his monitor. He hits a few buttons and sees Serenity docking. He hits the alarm.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
NISKA and the TORTURER are bent over Mal. MAL hears the alarm.
MAL
Listen... if you got guests, I can come
back later.
NISKA gives the TORTURER a peeved look.
INT. SPACE STATION - DOCKING BAY - CONTINUOUS
Three guards stand in front of the opening bay door. As the door opens, they're blinding by a bright light coming from Serenity's cargo bay. An ENGINE REVS, and then the four-wheel mule speeds off Serenity's cargo bay and into the space station, prompting the blinded guards to shoot at it.
The mule crashes into a guard and explodes.
JAYNE, ZOE, and WASH advance down the ramp into the space station, shooting. ZOE tosses a grenade around the corner into a corridor.
MIXED SHOUTS of "Move, move, move" and "Take cover!" sound before the grenade blasts. One of the guards stumbles out of the corridor, his back on fire.
ZOE
Second team!
BOOK, KAYLEE AND SIMON
advance down the ramp.
ZOE
Hold this position! We lose this position,
we lose it all. You're going to hold
this ground.
(beat)
Understand me?
BOOK fires at a guard advancing down the hallway. Hits the guard in the kneecap, prompting the guard to fall forward and crack his head open on a jutting piece of the mule.
BOOK
Understood.
ZOE
Okay, then.
JAYNE advances down the hallway, firing a pistol at advancing guards. ZOE and WASH follow. BOOK takes up position.
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE's in the lead now, shooting at guards as they pop up. JAYNE and WASH follow her.
INT. SPACE STATION - NISKA'S TORTURE CHAMBER - CONTINUOUS
NISKA, thoroughly annoyed by the commotion, walks over to the comm box in the wall. The TORTURER turns his back to MAL. MAL doesn't move, but his eyes show he's alert.
NISKA
Viktor, what is this? Viktor!
Suddenly, the TORTURER arches his back and screams, falling to his knees to REVEAL
MAL standing behind him.
MAL's attached the little black torture device that killed him to the TORTURER's back.
MAL steps over the TORTURER's writhing body and PUNCHES Niska in the face. NISKA falls to the floor.
MAL
Looks like business ain't running so
much as crawlin' away.
(angrily)
You want to meet the real me now?
INT. SPACE STATION - CORRIDOR - CONTINUOUS
JAYNE is leaning out from his cover to fire at the guards and takes a shot in the left shoulder.
JAYNE
Ah! Ah, gorram it.
ZOE advances up the corridor. A guard pops out from cover and ZOE barrel rolls, pulling two handguns from her shoulder holsters as she rises, nailing the guard in the chest.
INT. SPACE STATION - DOCKING BAY DOORS - CONTINUOUS
BOOK is firing upon the advancing guards. SIMON and KAYLEE are looking distinctly nervous.
SIMON
Book, we, uh...
Guards are advancing Simon's way. He shoots, but misses. BOOK ducks from behind his cover and takes out one of the advancing guards.
JAYNE (O.S.)
Get behind us, Preacher! We need cover!
BOOK jerks his head at his position, taking off down the hallway. SIMON nervously takes up BOOK's position.
BOOK
(to Simon)
Don't think. Just shoot.
More guards advance. KAYLEE can't deal with it. She freaks and runs back into Serenity. RIVER joins her at the ramp, takes one glance out at the three guards, then picks up Kaylee's abandoned pistol.
RIVER
(chanting)
Can't look. Can't look.
RIVER suddenly stands up and fires three times.
Silence.
KAYLEE stands and peers out at the docking bay. All three guards are now dead. KAYLEE looks at RIVER.
RIVER
(smiling faintly)
No power in the 'verse can stop me.
INT. SPACE STATION - TORTURE CHAMBER - CONTINUOUS
MAL is beating up NISKA when the TORTURER grabs MAL from behind. They grapple and end up falling backward out a glass window leading to the huge shaft we saw earlier in the episode.
The TORTURER is strangling MAL with a length of cord.
MAL
(strangled)
Haven't you killed me enough for one day?
INT. SPACE STATION - CORRIDOR - CONTINUOUS
ZOE, JAYNE and WASH advance to the doorway of the torture chamber. ZOE pulls the door open, and we're,
INT. SPACE STATION - TORTURE CHAMBER - CONTINUOUS
JAYNE, ZOE, and WASH advance, see the Captain being strangled outside on the narrow balcony surrounding the huge processing shaft.
JAYNE raises his pistol. ZOE puts her hand on his arm.
ZOE
Jayne. This is something the Captain has
to do for himself.
MAL
(strangled)
No! No, it's not!
ZOE
(oops)
Oh.
ZOE, JAYNE and WASH all shoot at the TORTURER. The TORTURER falls over the edge of the balcony and tumbles to his death.
EXT. PLANET - SERENITY - DAY
Establishing shot of Serenity.
INT. SERENITY - CARGO BAY - CONTINUOUS
SIMON is packing up medical supplies when a battered MAL enters the cargo bay. He can't seem to stop touching his mended ear.
MAL
Sure this thing's gonna stay on?
SIMON
This dermal mender creates an excellent
tissue bond. It should be fine. Just
don't... don't fiddle with it.
MAL
(to Inara)
Be sure to, uh, thank the Councilor
for me. Awful nice of her to... pull
some strings and lend us this equipment.
INARA
It's the least she could do. I just
wish you'd killed that old bastard.
MAL
I got regrets on that score my own self.
(beat)
So. I hear you all took up arms in
that little piece of action back there.
(to Simon)
How you faring with that, doctor?
SIMON
I don't know. I, uh... I never-never
shot anyone before.
BOOK
I was there, son. I'm fair sure you
haven't shot anyone yet.
MAL chuckles and heads up the stairs, squeezing KAYLEE's hand as he goes past. A moment later, KAYLEE turns back to see RIVER standing in the catwalks. KAYLEE's obviously uncomfortable.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
WASH sits at the table. ZOE is at the counter behind him dishing up food. She comes around the corner and sets a bowl in front of Wash, shaking out his napkin and tucking it into his shirt.
WASH
Mmm. Wife soup.
ZOE chuckles.
WASH (cont'd)
I must've done good.
ZOE
Yes, dear. You done good.
ZOE smooches Wash's cheek and puts her arms around his neck.
There's a PAINED GROAN as MAL enters the kitchen area. ZOE lets go of Wash.
MAL
Did you tell her?
WASH
Tell her what?
MAL
(to Zoe)
Your husband has demanded that we
sleep together.
ZOE
Really?
WASH
What? Mal, come on.
MAL
He seems to think it would get all
this burning sexual tension out in
the open -- you know, make a fair
fight for your womanly affections.
WASH
No. That was the torture talking.
Remember? The torture?
MAL takes Zoe's hands. Puts one on his hip, the other on his shoulder.
MAL
(deadpan)
I know it's a difficult mission...
but you and I... have to get it on.
ZOE
I understand. We have no choice.
ZOE and MAL stand about a foot apart, staring at each other. Absolutely nothing resembling The Sexy is happening.
JAYNE walks into the kitchen area just in time to hear:
ZOE
(deadpan)
Take me, sir. Take me hard.
JAYNE
Now somethin' about that is just
downright unsettling.
WASH throws down his napkin as MAL and ZOE mock-struggle to kiss each other from a foot away. WASH grabs ZOE and escorts her to the door.
WASH
We'll be in our bunk.
WASH playfully smacks ZOE's behind as they walk out of the kitchen.
Disconcerted, JAYNE turns around and walks toward the dinner table. MAL is slowly, painfully pulling out a chair.
JAYNE
Oh, hey.
JAYNE smacks the back of his hand against MAL's belly, sitting down at the table where Wash was sitting.
JAYNE (cont'd)
Free soup.
MAL makes a tiny grunt of intense pain and freezes, glaring at Jayne.
BLACK OUT.
Objects in Space
EXT. SPACE
Establishing shot of Serenity sliding past camera.
The camera DIVES DOWN into the ship, a rapid-fire slide and twirl through Serenity's guts brings us to
INT. SERENITY - RIVER'S ROOM
We see River sleeping on her bunk through an air grate. FOCUS in on her face. Gradually, we hear indistinct VOICES, which abruptly sharpen into one voice.
MAN
We're all just floating.
RIVER's eyes pop open at this. She looks startled.
INT. SERENITY - CORRIDOR/COMMON AREA - CONTINUOUS
We see a dressed River open the sliding door to her room.
KAYLEE (O.S.)
You couldn't possibly have --
SIMON (O.S.)
No, I wish I was lying... I just...
INT. SERENITY - COMMON AREA - CONTINUOUS
Hearing the voices, RIVER turns down the corridor toward the common area, where KAYLEE and SIMON are sitting on a couch, Kaylee's feet on Simon's lap.
SIMON (cont'd)
You know, we'd all just made surgeon.
That was it. We were the elite. The
world was ours, you know?
KAYLEE
So-so you had to be naked?
SIMON
Naked. Yes. And, uh, on top of the
statue of Hippocrates.
(Kaylee laughs)
Can you just picture me?
KAYLEE
What, naked?
(teasing)
Oh, well, hmm. Let's see. I'm gonna have
to conjure up a... Yeah, that's-that's
gonna be difficult.
KAYLEE laughs again, nudging Simon in the jaw with her bare foot.
KAYLEE
So, the Feds come?
SIMON
Mm-mm. There were no Feds.
(beat)
Until I started singing.
Kaylee and Simon are both laughing now.
SIMON (cont'd)
This-this is not --
KAYLEE
What did you sing?
SIMON
This is not funny.
REVERSE camera to reveal that a shyly smiling RIVER is watching them talk.
SIMON (cont'd; O.S.)
This... this is a morality tale about
the evils of sake.
CUT TO:
Simon and Kaylee are laughing, when suddenly they stop, noticing RIVER.
SIMON
(to River)
I would be there right now.
RIVER reacts, hurt.
CUT TO:
SIMON and KAYLEE laughing on the couch.
SIMON
I mean it was... it was... it was either
that, or the national anthem. I...
reports vary.
They don't seem to realize River is there. River looks confused and upset, and turns to leave.
KAYLEE
And you don't remember any of this?
RIVER begins walking up the stairs, away from Simon and Kaylee.
SIMON (O.S.)
I remember talking the Feds out
of telling my father. Or-or paying
the Feds not to tell my father.
I get fuzzy on the aspects.
INT. SERENITY - CORRIDOR - CONTINUOUS
River touches the walls as she walks.
JAYNE (O.S.)
So like, never?
INT. SERENITY - KITCHEN AREA - CONTINUOUS
BOOK and JAYNE are making themselves a meal in the kitchen. Jayne is at the grill, with a towel tucked into his belt like an apron.
BOOK
Well, no.
JAYNE
Not ever never?
BOOK
Some orders allow Shepherds to marry,
but I follow a narrower path.
JAYNE
But, I mean, you still got the urge.
They don't... cut it off, or nothin'?
BOOK
Mm, no, I'm more or less intact.
I just...
BOOK sits down at the kitchen table. RIVER quietly enters the kitchen area.
BOOK (cont'd)
...direct my energy elsewhere.
JAYNE
You mean like masturbating?
BOOK
I hope you're not thinking of taking
orders yourself.
JAYNE
Oh, yeah, that'll be the day.
CUT TO:
TIGHT SHOT on JAYNE'S FACE as conversation suddenly stops. Jayne looks directly at River.
JAYNE
I got stupid. The money was too good.
Startled, River slowly turns to Book, who is looking away from her.
BOOK
(deadly)
I don't give half a hump if you're
innocent or not.
(beat)
So where does that put you?
Frightened, River backs away, slowly walks through the room toward the other door.
CUT TO:
Jayne and Book are laughing, looking at each other. Jayne is still cooking food, Book is in the process of eating.
JAYNE
It ain't impossible! Saint Jayne,
it's got a ring to it.
BOOK
I'm just trying to remember how many
miracles you've performed.
JAYNE
I once hit a guy in the neck from
500 yards with a bent scope. Don't
that count upstairs?
BOOK
Oh, it'll be taken into consideration.
RIVER exits the kitchen area and passes into the
INT. SERENITY - CORRIDOR - CONTINUOUS
JAYNE (O.S.)
You made that sound kinda ominous.
River walks up the corridor. From a short distance, she can see
ZOE and WASH
INTERCUT WITH:
on the bridge. WASH is sitting in his pilot's chair. ZOE is in his lap. They are fully clothed but entwined, a gentle passion marking their actions as they touch and kiss.
RIVER is entranced and moved by them. By her expression and body language, it's almost like she's feeling what they're feeling. After a moment, RIVER retreats, leaving Wash and Zoe their privacy.
INT. SERENITY - CATWALKS - CONTINUOUS
MAL and INARA walk past the CAMERA, seen through the metal steps of the staircase. They are arguing.
INARA
It's not a threat, Mal. I just
can't do my work under these
circumstances.
MAL
You knew the drill when you signed on.
INARA
This is the third planet in a row
where I can't find decent clientele.
MAL
Well, I'm sorry if I'm cutting into
your retirement fund but would it
kill you not to spread for a spell?
INARA
(beat)
You are unreal.
River appears on the scene, walking down a flight of stairs. CLOSE IN on River's face.
REVERSE CAMERA for RIVER'S POV of Inara and Mal.
INARA (cont'd)
I don't know why I haven't left already.
MAL
Ah, no one's forcing you to stay.
CUT TO:
TIGHT SHOT of Inara and Mal. Silence. INARA is looking right at River. MAL looks off in the distance.
INARA
I'm a big girl. Just tell me.
MAL
None of it means a damn thing.
RIVER reacts, confused and looking dizzy.
CUT TO:
INT. SERENITY - CARGO BAY - CONTINUOUS
River comes around the corner of a pile of supplies, moving like she's fleeing. She steps on a branch with her bare foot. Silence descends as the branch cracks. She takes a step back.
CLOSE SHOT of River's feet and the branch on the floor.
RIVER bends down into frame, looking at the branch.
CUT TO:
WIDE SHOT of the cargo bay, looking at River from above -- the cargo bay is covered in dead leaves and branches.
BACK to RIVER
picking up the branch.
RIVER
It's just an object. It doesn't
mean what you think.
CUT TO:
The cargo bay is no longer covered in leaves. KAYLEE and SIMON are standing at a distance, their hands raised. INARA is watching from the catwalks. Everyone is shouting, their voices jumbling together.
SIMON
River, you know that's not to
be touched...
INARA
Stop yelling at her. That's only
going to make it worse.
BOOK
River, sweetheart --
MAL
I'm very sure you want nothing to
do with that. Put it down.
RIVER
Kaylee?
Kaylee backs away, frightened.
REVEAL that River is holding a large, shiny gun. Oh, as usual, dear.
SIMON
What were you thinking? How did
you get ahold of that?
INARA
Don't yell at her.
RIVER
It was in my hand.
MAL (O.S.)
I'm not mad. Just let me...
MAL steps into frame and grabs the gun from River's hand.
MAL
Thank you.
(removes clip from gun)
Fully loaded, safety off. This
here's a recipe for unpleasantness.
(to Simon)
Does she understand that?
RIVER
She understands. She doesn't comprehend.
MAL
Well, I'm glad we've made that distinction.
No touching guns. Okay?
RIVER
No touching.
River moves quickly to exit the cargo bay.
SIMON
River...
RIVER
It's getting very, very crowded!
(exits)
MAL
Thought she was on the mend.
SIMON
Uh, her... her medications are erratic.
There's-there's not one that her system
can eventually break down, and --
MAL
When want a lot of medical jargon, I'll
talk to a doctor.
SIMON
(beat)
You are talking to a doctor.
MAL
Yeah, okay, my point is could've been
you she might have shot just then. The
doctor, as you just made note of. And
who exactly could fix you? Not nobody.
We're deep in space, corner of No and
Where. You take extra care with her,
'cause we're very much alone out here.
EXT. SPACE - CONTINUOUS
Establishing shot of Serenity passing by the camera.
A second, smaller spaceship suddenly COMES INTO FRAME behind Serenity, flashing the camera its tail lights.
Is Serenity alone in deep space?
Not so much, we're thinking.
BLACK OUT.
END OF TEASER
ACT ONE
EXT. SPACE
A small spaceship. Close on the clear bubble surrounding the pilot's seat. A tall, black man dressed entirely in red leather sits there, manipulating spaceship controls. This is JUBEL EARLY, bounty hunter.
PUSH IN on the small ship until we're:
INT. EARLY'S SHIP - CONTINUOUS
in EARLY'S POV looking at the control panel of his ship. On the dash rests a photo of River -- it's a wanted poster, with details in English and Chinese. Flashing on the dash is "AUTOPILOT ENGAGED".
PUSH IN on the wanted poster of RIVER, closer and closer until we see that clipped to the poster of River is an old picture of a woman petting a golden retriever.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH is seated in the pilot's chair tapping away at the controls.
WASH
Little River just gets more colorful
by the moment. What'll she do next?
PAN LEFT to REVEAL Zoe leaning against the console, looking pensive.
ZOE
Either blow us all up or rub soup
in our hair. It's a toss-up.
WASH
I hope she does the soup thing. It's
always a hoot, and we don't all die
from it.
ZOE
Poor kid.
WASH
Yeah. She's definitely got --
(re: readout)
Funny.
ZOE
Something wrong?
WASH
I'm just getting a weird heat-bounce
off our wake.
ZOE
Engine flux?
WASH
Sensors probably got turned around.
I'll climb up top and --
MAL and JAYNE are talking as they climb up the stairs to the bridge.
MAL
Those lockers are sealed. Only way
she can get in there is if she knows
the combination.
JAYNE
I don't leave my guns around, Mal,
and I don't leave 'em loaded.
MAL
Well, somehow she got her hands on your
hardware. Now, supposing she took up
something with hull-piercing bullets?
JAYNE
Bullets are soft lead, Mal. Even Vera
could... barely breach the hull. She's
the best I got. Anyhow... let's move
this conversation in a not-Jayne's-fault
direction? I didn't make her crazy.
Hell, I didn't even want her on the ship.
Mal glances over his shoulder at Wash and Zoe, then leans closer to Jayne and says, with quiet menace:
MAL
Is that the direction you want this
conversation to go in?
Jayne's feeling the menace. And maybe a bit of shame for what he did in episode 108 - ARIEL.
JAYNE
Just don't wanna take a lashing for
something I ain't the cause of.
ZOE
Where's River at now?
MAL
In her room, which I'm thinking we
bolt from the outside from now on.
WASH
That's a little extreme, isn't it?
JAYNE
Anybody remember her comin' at me with
a butcher's knife?
WASH
Wacky fun.
JAYNE
(annoyed)
You wanna go, little man?
WASH
(flippantly)
Only if it's someplace with candlelight.
ZOE
Sir, I know she's unpredictable, but I
don't think she'd harm anyone.
JAYNE
Butcher's knife!
ZOE
Anyone we can't spare. I mean, as far
as we know, the girl's never even picked
up a gun before.
KAYLEE
(entering)
That ain't so.
MAL
Kaylee?
(beat)
You got something to say?
EXT. SPACE - EARLY'S SHIP
Establishing shot.
PUSH IN to see EARLY suited up for a spacewalk, climbing out of the bottom of his ship. He pushes off the bottom of his ship and slowly drifts through space, landing gently on top of Serenity. He climbs down Serenity's side and peers in through a side window to see:
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The crew, minus River, are gathered around the kitchen. MAL, KAYLEE, BOOK, and INARA are standing; SIMON, JAYNE, ZOE, and WASH are sitting at the table.
MAL
Okay, Kaylee. Why don't you speak
your piece?
KAYLEE
It was when the Captain and Wash
got took by Niska.
MAL
Ain't like to forget that anytime soon.
At the table, ZOE rubs Wash's shoulder.
KAYLEE
Well, we all went in. Me, too... I
didn't make much account of myself,
I'm afraid.
MAL
I got no problem with the notion of
you not killing nobody, Kaylee.
SIMON
What's this got to do with River?
She wasn't even in that fight.
KAYLEE
Well, no, she was. I got pinned down and
there were three guys, and I couldn't...
(beat)
And then River comes up. She looks out,
sees 'em all. And they was spread out,
you know, had some cover? She... she
didn't only looked for a second, and
took my gun, closed her eyes...
killed 'em.
SIMON
She shot them?
KAYLEE
All three. Dead in an instant.
With her eyes still closed.
JAYNE
Well, that's [fay fay d'pian].
You saw it wrong.
KAYLEE
Not a jot. And it weren't auto fire...
or luck. She just... she just
did the math.
ZOE
You understand how that sounds?
JAYNE
What? She killed 'em with mathematics.
What else could it have been?
KAYLEE
You couldn't have done it, Jayne. Nor
you, Cap'n. Nobody can shoot like
that that's a person.
SIMON
So River's not a person.
KAYLEE
Oh, please don't be mad.
The CAMERA begins to SINK, passing down a floor into the:
INT. SERENITY - CATWALKS - CONTINUOUS
RIVER comes into frame, her head cocked, listening. It almost looks like she's floating.
SIMON (V.O.)
(muffled)
I just want to understand what you're
saying, here. I thought River was
your friend.
PULL BACK, CAMERA sinking past the catwalks toward the cargo bay, to REVEAL that River is balanced on the catwalk railing in a ballet position.
KAYLEE (V.O.)
She is. But Simon, the way she --
(beat)
Right after, she looked at me and...
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Back to the crew, gathered 'round.
KAYLEE
...she smiled, like nothin' was wrong.
Like we were playin'. Scared me.
BOOK
Could be she saved your life, Kaylee.
KAYLEE
Oh, I'm all aware of that. And I'm
not saying --
SIMON
She probably didn't even know what
was going on. You know, th-thought
it was a game.
JAYNE
Later on you can explain to me how
that's a comfort. Might have to
use some of that "math" we've
been hearin' about.
MAL
What we got here to deal with is
the larger issue. And that larger
issue is we got someone on board
this ship might be a danger to us.
Ain't a question of whether we
like her.
Now the CAMERA goes UP through the CEILING toward:
EXT. SPACE - SERENITY - CONTINUOUS
Where our bounty hunter EARLY is kneeling on top of Serenity. PUSH IN on Early to REVEAL that he has a listening device attached to the outer hull and can hear the conversation going on in the kitchen area clear as a bell.
MAL (V.O.)
Some of us have grown attached to
River. Kaylee, I know you have or
you would've spoken up sooner.
Which, by the by, you should have.
I find River pleasant enough myself.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
MAL
But she does have an oddness to her.
And I ain't just talking about her
proficiency with firearms. Girl knows things.
Things she shouldn't. Things she couldn't.
JAYNE
Wha -- are you-are you sayin' she's a witch?
WASH
Yes, Jayne. She's a witch. She has
had congress with the beast.
JAYNE
She's in Congress?
WASH
How did your brain even learn human
speech? I'm just so curious.
INARA
[Chinese.]
This isn't a joking matter. This is
about our lives, and River's.
MAL
Thank you.
SIMON
She's deeply intuitive. It's true
that sometimes...
MAL
I don't think she's intuitive, Doctor.
I think she's a reader.
ZOE
Psychic?
WASH
Is that even remotely possible?
MAL
(to Simon)
You tell me. You been studying what
they've done to her.
SIMON
Well, they've, uh... they definitely
altered the way she reacts to things.
Even the way she perceives. But I'm not...
WASH
Psychic, though? That sounds like
something out of science fiction.
ZOE
We live in a space ship, dear.
WASH
So?
JAYNE
Whoa, back up a second. Are you saying
she really reads minds?
MAL
Or near enough. Am I alone thinking
along these lines?
BOOK
(beat)
No.
JAYNE
Well...
(slams table)
I don't like the idea of someone
hearin' what I'm thinkin'.
INARA
No one likes the idea of hearing
what you're thinking.
BOOK
The Alliance could have any number
of uses for a psychic.
ZOE
A psychic, or an assassin.
SIMON
She's just a kid.
(beat)
And she just wants to be a kid.
MAL
Wish it were that simple.
JAYNE
Yeah, and if wishes were horses,
we'd all be eatin' steak. What do
we plan to do about this?
MAL
Well, that's just the question.
SIMON
I don't think she'd ever hurt any of us.
MAL
Maybe you're right.
(beat)
I ain't gonna make a decision on anything
'til I've thought on it a while. It's
late. Let's get some rest.
The crew scatters as they all make their exits.
INT. SERENITY - CORRIDOR - CONTINUOUS
Kaylee is chasing after Simon.
KAYLEE
Simon?
SIMON
I have to go check on my assassin.
KAYLEE
Oh, please don't be mad. I had to
say something.
SIMON
I'm not mad at you. I just, uh...
(beat)
She loves this ship. I think it's
more home to her than any place
she's been.
KAYLEE
What about you?
SIMON
I... I thought the hospital was home.
I was really making a difference there...
and embarrassingly large stacks of money,
and... I could've... I would be there
right now if she hadn't --
(beat)
If-if they had just left her alone.
KAYLEE
Is it so bad here?
Kaylee's trying real hard for some kind of declaration. Simon isn't giving in, although they're standing closer and closer.
SIMON
I don't even know if the Captain
will let us --
KAYLEE
No! I mean... isn't there anything
about this place you're glad of?
Kaylee's looking real hopeful now, and Simon looks like he's trying hard not to hurt her. He lifts his hand to her hair, but pulls back when BOOK comes around the corner and passes between them.
BOOK
Good night, you two.
SIMON
I, uh...
KAYLEE
Don't, yeah, I...
SIMON
Good night.
KAYLEE
Don't let the space bugs bite!
Simon goes in one direction, and Kaylee goes in the other.
KAYLEE
(to herself)
Space bugs?
INT. SERENITY - KITCHEN AREA - CONTINUOUS
MAL is sitting at the kitchen table with a cup in front of him, looking pensive. He stands, turns off the light as he exits to:
INT. SERENITY - CORRIDOR - CONTINUOUS
We follow MAL as he walks toward his room, the corridor dark. He opens the door of his room with his foot and begins to climb down into it.
TRACK ACROSS the hallway to a ladder leading up to an airlock.
The AIRLOCK OPENS and EARLY climbs down it. He removes his HELMET and draws his gun.
He moves forward into Serenity as we:
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. SERENITY - CORRIDOR
EARLY is quietly prowling through Serenity. Deciding that the coast is clear, he stows his helmet in the airlock and closes it.
EARLY turns the corner and comes face to face with MAL.
They stare at each other for a second, a little bit stunned. Then Early attacks, efficiently beating the tar out of Mal and knocking him out.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
WASH and ZOE are sleeping peacefully. They haven't noticed the commotion above in the corridor.
INT. SERENITY - CORRIDOR - CONTINUOUS
Early lowers an unconscious Mal into the ladder entrance of his room, shutting the door.
Early then goes to a keypad and punches in a series of commands, locking the rest of the crew into their rooms while they sleep.
INT. SERENITY - ENGINE ROOM - CONTINUOUS
Kaylee is working on Serenity's engine when she hears a noise. She backs out from underneath the engine.
KAYLEE
River?
Kaylee stands and walks toward the door.
KAYLEE
River?
Kaylee bends back down and sorts through her pile of tools, standing back up to see
EARLY
standing right there. Kaylee GASPS in fright.
EARLY
I like this ship. Serenity.
She's good looking.
KAYLEE
(stuttering)
H-how did you... g-get on...?
EARLY
Strains the mind a bit, don't it?
You think you're all alone. Maybe I
come down the chimney, Kaylee. Bring
presents to the good girls and boys.
Maybe not, though. Maybe I've always
been here.
KAYLEE
What do you want?
EARLY
(re: the engine)
That's her beating heart, isn't it?
Pull off any one of a thousand parts
she'll just die. Such a slender thread.
(beat; casually)
You ever been raped?
KAYLEE
(terrified)
Th-the Captain is right down that
hallway. He can hear you --
EARLY
The Captain's locked in his quarters.
They all are. There's nobody can help
you. Say it.
KAYLEE
There's... there's nobody can help me.
EARLY
I'm gonna tie you up now. And you know
what I'm gonna do then? I'm gonna give
you a present. Get rid of a problem
you've got. And I won't touch you in
any wrong fashion, nor hurt you at all.
Unless you make some kind of ruckus.
You throw a monkey wrench into my
dealings in any way, your body is
forfeit. Ain't nothing but a body
to me. And I can find all unseemly
manner of use for it. Do you understand?
KAYLEE
Yes.
EARLY
Turn around and put your hands
behind your back.
Kaylee WHIMPERS, but turns around. Early steps close, tying her wrists.
EARLY (cont'd)
Now tell me, Kaylee, where does
River sleep?
INT. SERENITY - COMMON AREA - CONTINUOUS
Book shuts a door and begins walking through the common area, a TOWEL on his shoulder and carrying a BAG of TOILETRIES.
As Book passes a staircase, he hears a noise. He turns toward the stairs.
BOOK
Hello?
At the continued silence Books turns to go, but another noise stops him. He walks to the foot of the staircase, peering up into darkness.
Suddenly EARLY SWINGS DOWN from above and kicks Book in the head, laying him out cold.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
The noise of Book hitting the floor causes Simon to wake. He turns on the light and gets out of bed, bare-chested, barefoot and wearing only a pair of house pants. He exits his room and goes into:
INT. SERENITY - CORRIDOR - CONTINUOUS
Simon slides back the door of River's room.
SIMON
River?
River's bed is empty. Simon turns looks around the empty hallway.
EARLY attacks from above, wrapping his legs around Simon's neck. Simon fights back, but Early throws him to the ground.
Early jumps down from his perch. Simon lunges toward him, but Early draws his gun, and they both freeze.
EARLY
Dr. Tam... why don't you sit yourself down?
SIMON
Rather die standing.
EARLY
The intention is not for you to die. The
warrant doesn't specify any particular
need for you to be alive, but...
Early motions with his gun. Simon sits.
EARLY (cont'd)
Where's your sister?
SIMON
Are you Alliance?
EARLY
Am I a lion?
SIMON
What?
EARLY
I don't think of myself as a lion.
(tickled)
You might as well, though. I have
a mighty roar.
SIMON
I said Alliance.
EARLY
Oh. I thought...
SIMON
No, I was...
EARLY
That's weird.
(beat)
Where's your sister?
SIMON
I don't know. Who do you work for?
EARLY
This is her room.
SIMON
Yes.
EARLY
It's empty.
SIMON
I know.
EARLY
So is it still her room when it's empty?
Does the room, the thing, have purpose?
Or do we -- what's the word?
SIMON
(baffled)
I really can't help you.
EARLY
The plan is to take your sister. Get
the reward, which is substantial.
(beat)
"Imbue." That's the word.
SIMON
So you're a bounty hunter.
EARLY
No. That ain't it at all.
SIMON
Then what are you?
EARLY
I'm a bounty hunter. I'm named Early.
I'm known to some. Been tracking you
since the Feds were tipped off on Ariel.
(beat)
She sleep with anybody?
SIMON
River?
EARLY
Yeah. She grapple with any of the
crew? Might be in their quarters?
SIMON
(vehement)
No.
EARLY
Maybe she does and you don't know about it.
SIMON
This is insane. I'm not going to help
you find her, in any case.
Simon rests his arms on his knees and looks determined. Early sighs and approaches, squatting down and brandishing his gun.
EARLY
I think this is very pretty. I
like the weight of it.
SIMON
I thought the intention was not
to kill me.
EARLY
No. You're missing the point. The
design of the thing is functional.
The plan is not to shoot you. The
plan is to get the girl. If there's
no girl, then the plan, well, is like
the room. You are gonna help me
look for her.
SIMON
I don't think my last act in this
'verse is gonna be betraying my sister.
EARLY
You're gonna help me. 'Cause every
second you're with me is the chance
to turn the tables. Get the better of
me. Maybe you'll find your moment.
Maybe I'll slip. Or, you refuse to
help me, I shoot your brain out, then
I go upstairs and spend some time
violatin' the little mechanic I got
trussed-up in the engine room. I take
no pleasure in the thought, but she
will die weeping if you cross me.
SIMON
You're out of your mind.
EARLY
That's between me and my mind.
Let's start with these rooms.
INT. SERENITY - COMMON AREA - CONTINUOUS
Close shot of Book on the ground, still unconscious.
PAN UP to reveal Simon walking into the room, tugging on a sweater. Early follows behind, his gun still drawn.
Simon sees Book, and runs to his side, checking him for injuries.
EARLY
He's not killed. Be a while before
he comes to, but he'll mend.
SIMON
And which part of your plan dictated
the necessity of beating up a Shepherd?
EARLY
That ain't a Shepherd.
INT. SERENITY - INFIRMARY - CONTINUOUS
Simon opens the infirmary door and steps inside, Early looking in from the doorway and eventually prowling around the room..
SIMON
She wouldn't come in here anyway. She
hates this room. You see, Early, the
people you're planning to sell her to
cut up her brain in a lab like this.
Tortured her. A teenage girl. Not
some bandit on a murder run, just an
innocent --
EARLY
You ever been shot?
SIMON
No.
EARLY
You oughta be shot. Or stabbed. Lose
a leg. To be a surgeon, you know? Know
what kind of pain you're dealing with.
They make psychiatrists get psychoanalyzed
before they can get certified, but they
don't make a surgeon get cut on. That
seem right to you?
INT. SERENITY - CARGO BAY - CONTINUOUS
Close shot of a space suit helmet. PULL BACK to REVEAL Simon walking ahead of Early through the cargo bay. They walk up onto a:
INT. SERENITY - CATWALK - CONTINUOUS
SIMON
(sing-song)
Come on out, River. The nice man
wants to kidnap you.
EARLY
Shh.
Early turns slowly on the catwalk, looking around.
EARLY (cont'd)
I like the way the walls go out. Gives
you an open feeling. Firefly is a good
design. People don't appreciate the
substance of things. Objects in space.
People miss out on what's solid.
Early has his back turned to Simon. Simon begins inching forward toward him. Early draws his gun and points it directly at Simon's head without looking around.
EARLY (cont'd)
It's not your moment, Doctor.
(beat)
Is that the Companion's shuttle?
SIMON
Yes.
EARLY
We'll try the empty first, then we'll
pay her a visit.
INT. SERENITY - CATWALK - LATER
Simon and Early exit the empty shuttle, Early giving Simon a little shove.
EARLY
Her room's not sayin' a damn thing. Hold it.
They both stop on the catwalk. Early's heard something. Early runs his hand down a metal rail. Leans forward and licks it. Looks thoughtful.
INT. SERENITY - INARA'S SHUTTLE - CONTINUOUS
Early is pushing aside draperies. Inara is in bed, Simon standing next to her.
INARA
This is pointless, you know that.
EARLY
200,000 seems fairly pointed to me. Money
like that, I could retire. Not that I would.
What's life without work?
INARA
Serenity's a smuggling ship. I've
been here a year, I couldn't name all
the places she might hide.
EARLY
I don't have a year.
(to Simon)
Your sister's becoming a real annoyance.
SIMON
I feel for you.
Early motions with his gun for Simon to leave. Simon reluctantly exits the shuttle.
EARLY
(to Inara)
I'm not gonna waste my time threatening
you, because I think you believe I will
kill people if someone upsets my plan.
I'm gonna seal you in, though. You just sit.
INARA
You still walk away from this.
I know you're tired.
Whip-fast, Early hits Inara across the face, bloodying her lip.
EARLY
(quiet anger)
Don't go visiting my intentions. Don't ever.
Early steps outside the doorway, and says, as he seals the door:
EARLY
Man is stronger by far than woman, yet
only woman can create a child. Does
that seem right to you?
INT. SERENITY - BRIDGE - CONTINUOUS
Simon climbs up the stairs to the bridge, Early following close behind.
EARLY
All right, that's all the hide and
seek I got time for.
INTERCUT WITH:
Through the comm system, Early says:
EARLY (V.O.)
I know you're on this ship, little girl.
So here's how this goes. You show yourself...
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal is a crumpled heap at the foot of the ladder in his room. He stirs.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe and Wash in bed. Zoe begins to wake.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
Jayne in bed. Snoozing soundly.
INT. SERENITY - BRIDGE - CONTINUOUS
Early stands, gun drawn. Simon stands on the other side of the room.
EARLY (cont'd)
...we finish this exchange, or your brother's
brains will be flying every which-a-way.
(to Simon)
You understand, I'm sort of on the clock,
here. It's frustrating.
RIVER (V.O.)
You're wrong, Early.
EARLY
I'm not wrong, dumpling. I will shoot
your brother dead if you don't --
RIVER (V.O.)
You're wrong about River. River's not on
the ship. They didn't want her here, but
she couldn't make herself leave. So
she melted... Melted away.
INTERCUT WITH:
RIVER (V.O.)
They didn't know she could do that, but she did.
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal is fully awake, attempting to get to his feet.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe is sitting up in bed. After a moment, Wash sits up, too.
EARLY (V.O.)
I'm not sure I take your meaning there.
INT. SERENITY - BRIDGE - CONTINUOUS
RIVER (V.O.)
I'm not on the ship. I'm in the ship.
(beat)
I am the ship.
SIMON
River...
RIVER (V.O.)
River's gone.
EARLY
Then who exactly are we talking to?
RIVER (V.O.)
You're talking to Serenity. And, Early...
Serenity is very unhappy.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. SERENITY - ENGINE ROOM
PAN UP Kaylee's body. She is bound hand and foot, lying on her side on a metal grate.
RIVER (V.O.)
Kaylee?
KAYLEE
River?
RIVER (V.O.)
You're afraid.
KAYLEE
He tied me up. I don't know where
he came from.
RIVER (V.O.)
It's okay. It's gonna be okay.
KAYLEE
I told him where you were. I'm sorry.
I didn't know what else to do. I...
RIVER (V.O.)
Shh. I'm fine. But I need you to do
something for me. Gotta be brave.
KAYLEE
I'm tied up. I-I can't...
RIVER (V.O.)
Got tools. Something sharp. Don't
be scared. I'm right here.
INT. SERENITY - BRIDGE - CONTINUOUS
Early and Simon are both standing, Early holding a gun on Simon.
EARLY
Where'd she go?
SIMON
I can't keep track of her when she's not
incorporeally possessing a space ship.
Don't look at me.
EARLY
Ah, that's some nonsensical crap. Ain't
nobody can do that. You somewhere on
this boat? Somewhere with a com playing
games?
RIVER laughs. Spookily.
EARLY
That's somewhat unsettling.
RIVER (V.O.)
Early... Mr. Jubel Early, bounty hunter.
May I call you Jubel?
EARLY
Ain't nobody calls me that.
RIVER (V.O.)
Your mother does. I'm sorry... "did."
She's gone now.
EARLY
Is that supposed to scare me? Bringing
up my mother?
RIVER (V.O.)
You're a liar. I don't think your
intentions are honorable.
EARLY
Well, no. I'm a bounty hunter. It's
generally not considered honorable so
much as... I live by a code, though.
Which I think is worth --
RIVER (V.O.)
You hurt people.
EARLY
Only when the job requires it.
RIVER (V.O.)
Wrong. You're a bad liar. You crawl
inside me uninvited and you hurt my
crew. I see everything that passes --
EARLY
(agitated)
I only hurt people because they keep
getting in the way of me finding you.
(to Simon)
Tell her.
SIMON
What am I? Your advocate?
EARLY
(aiming his gun)
You are starting now.
SIMON
(insincere)
He's really very... gentle... and fuzzy.
We're becoming fast friends.
River laughs again. It's getting to Early.
EARLY
You folks are all insane.
SIMON
Well, my sister's a ship. We had a
complicated childhood.
EARLY
Doesn't anybody care that I have a finely
crafted gun pointed at this boy's head?
RIVER (V.O.)
I care.
EARLY
Then you gonna come out and stop me from
doing what I don't want to? You gonna
be smart here, River?
(beat)
River?
(beat)
Serenity?
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal groans as he stands up and stumbles farther into his room.
MAL
What the hell's goin' on here?
RIVER (V.O.)
I need you to do me a favor, Captain.
MAL
There's a guy... he's very blurry.
You gotta be careful.
(beat)
Oh... How come there's a guy on board, and
how come you're all of a sudden the ship?
RIVER (V.O.)
I know you have questions.
MAL
That would be why I just asked them.
RIVER (V.O.)
But there isn't time, Captain. I need
you to trust me.
MAL
Am I dreamin'?
RIVER (V.O.)
We all are.
Mal rolls his eyes and makes a face.
RIVER (V.O.)
Don't make faces.
Mal looks a little unsettled by that.
INT. SERENITY - DOOR/CORRIDOR - CONTINUOUS
A closed door. Kaylee comes into frame.
RIVER (V.O.)
Are you ready?
Kaylee opens the door and slips through, shutting it behind her.
EARLY (PRE-LAP)
Just have to think, here.
INT. SERENITY - BRIDGE - CONTINUOUS
Early is pacing. Simon sits, watching him closely.
EARLY
(to Simon)
These older models have locators at all?
SIMON
Won't help.
EARLY
You know, with the exception of one deadly
and unpredictable midget, this girl is the
smallest cargo I've ever had to transport.
Yet by far the most troublesome. Does
that seem right to you?
SIMON
What'd he do?
EARLY
Who?
SIMON
The midget.
EARLY
Arson. The little man loved fire.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Kaylee has crossed through the kitchen area toward the doorway that leads up to the bridge. She sneaks around the corner, nearly catching Early's attention, but makes it to a control panel and types in the release code, unlocking the rest of the crew from their bunks.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe is getting dressed in a big hurry.
ZOE
I can take this guy out.
RIVER (V.O.)
He's faster than you -- all of you.
And he's wearing armor.
WASH
What about his face? Is his face
wearing armor?
Zoe cocks her shotgun.
RIVER (V.O.)
No touching guns!
INT. SERENITY - MAL'S ROOM - CONTINUOUS
RIVER (V.O.)
It's soon now. Are you ready?
MAL
How do you know what this guy's gonna do?
RIVER (V.O.)
I'm very close to him. He doesn't even see it.
MAL
Okay, but...
RIVER (V.O.)
Go now!
Despite his hesitations, Mal immediately turns and goes up the ladder to the corridor.
INT. SERENITY - BRIDGE - CONTINUOUS
Early is still working on locating River when the power suddenly shuts down. In the distance, we can see Mal climb out of his room and back down the corridor, disappearing around a corner.
RIVER (V.O.)
You're not welcome here anymore, Early.
EARLY
You think I'm gonna leave empty-handed?
RIVER (V.O.)
I know it.
EARLY
Yeah, well, you know me real well.
RIVER (V.O.)
Wish I didn't. You like to hurt folk.
EARLY
It's part of the job.
RIVER (V.O.)
It's why you took the job. Power. Control. Pain.
(beat)
Your mother knew. Sadness in her when she
waved good-bye. She's relieved. Saw
darkness in you.
(beat)
You're not well.
QUICK FLASH of Early making crazy, terrible faces, FLASHING BACK to:
EARLY
You'll be wanting to shut up now.
RIVER (V.O.)
Big golden retriever sitting on the lawn...
Never took to you...
More QUICK FLASHES of Early making with the crazy faces, FLASHING BACK to:
RIVER (V.O.)
...smelling you. The neighbors pets --
you did things to 'em. Cleaned up after...
shined and polished. Everything in here gleams.
EARLY
Well, I'll be a son of a whore. You're
not in my gorram mind. You're on my
gorram ship!
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
PUSH IN to see River sitting in the pilot's chair of Early's ship. She's wearing a space suit without a helmet. River LAUGHS.
RIVER
It's very interesting... all these buttons.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
Okay... We're not touching those, okay?
(to Simon)
How the hell she get on my ship?
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Put the gun away.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
Okay...
(beat)
I'm putting the gun away.
SIMON
No... he's not.
EARLY
I'm putting it away... because we're
all reasonable people.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
On River.
EARLY (cont'd)
Don't wanna be doing anything rash...
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY (cont'd)
...fiddling with any dials.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
You're not right, Early. You're not
righteous. You've got issues.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
No.
(then)
Oh, yes, I could have that. You might
have me figured out, then. Good job.
I'm not 100%.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
You talk too much.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
I'm flawed in that way. I sometimes
go on. It's been said...
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
It's okay, Early. I'm going with you.
INT. SERENITY - BRIDGE - CONTINUOUS
SIMON
River, what are you --
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Don't belong. Dangerous, like you.
INTERCUT WITH:
RIVER (V.O.)
Can't be controlled. Can't be trusted.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Wash and Zoe react.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Everyone could just go on without me and
not have to worry.
INT. SERENITY - BRIDGE - CONTINUOUS
Simon reacts.
RIVER (V.O.)
People could be what they wanted to be.
INT. SERENITY - COMMON AREA - CONTINUOUS
Kaylee sits by Book, who has woken up.
RIVER (V.O.)
Could be with the people they wanted.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Live simple.
INT. SERENITY - BRIDGE - CONTINUOUS
Simon reacts.
RIVER (V.O.)
No secrets.
SIMON
No...
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
(smiles)
I'll be fine.
(to Early)
I'll be your bounty, Jubel Early.
INT. SERENITY - BRIDGE - CONTINUOUS
RIVER (V.O.)
And I'll just fade away.
EARLY
(sighs)
Well... Finally something goes according to --
Simon LUNGES at Early. They fight.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Simon?
The fight's pretty much over before it's begun, the sound of a gun discharging. Simon looks startled, hunching over.
River SCREAMS.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. SERENITY - BRIDGE
PAN UP Simon's body on the floor of the bridge, a gunshot wound about mid-thigh on his left leg.
EARLY
See? That's what it feels like.
INT. SERENITY - CORRIDOR - CONTINUOUS
Early exits the bridge and goes down a flight of stairs.
EARLY
Just hang tight, darlin'. Early's
on the move.
Simon tackles Early from behind, knocking them both to the ground. Early throws Simon off and knocks him back against the stairs.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
The commotion wakes Jayne out of a sound slumber. He looks up grumpily, rips the blanket off the wall to reveal a weapons cache to uplifting hero music, then raps the blanket around himself and tucks it over his head.
So much for the hero of Canton.
INT. SERENITY - CORRIDOR - CONTINUOUS
Simon and Early fight, but even without the gunshot wound it's terribly one-sided. Simon gets knocked down again and can't get up. Early grimaces and takes off down the hallway.
RIVER (V.O.)
Shh. It's okay.
EXT. SERENITY - AIRLOCK - CONTINUOUS
An airlock opens. Early exits Serenity wearing his space helmet. He stands and looks up at his ship.
EARLY
You made the right move, darlin'. Best
for you to go on with old Early.
WIDEN the shot a bit to REVEAL Mal standing right behind Early.
MAL
You think so? Some of us feel differently.
Mal reaches out and PUSHES Early hard. Early lifts up into space, free-falling fast and out of control into space, shooting past his own ship.
River exits Early's ship and pushes off, floating down toward Serenity as Early's ship takes off on some autopilot sequence River presumably coded while she was in there. Mal waits below on Serenity, catching and steadying her as she comes in reach. He holds her hands.
RIVER
Permission to come aboard?
MAL
You know, you ain't quite right.
RIVER
It's the popular theory.
MAL
Go on. Get in there. Give your brother
a thrashing for messing up your plan.
RIVER
He takes so much looking after.
INT. SERENITY - INFIRMARY - CONTINUOUS
Simon is sitting on an operating chair holding a camera to his wound. "Doctor Zoe" has surgical tools in her hands, bloody gloves, and a seriously uncomfortable look on her face.
SIMON
To the left. Your left. Okay, now very
gently pull that aside.
ZOE
This is really not my area of expertise,
Doctor. I tend to be putting these into
people, more than the other thing.
WASH
Can I mop your brow? I am at the
ready with the fearsome brow-mop.
SIMON
You got the bullet.
(beat)
Okaaay. I'm just gonna pass out for a
minute, but you're doing great.
INT. SERENITY - COMMON ROOM/INFIRMARY
Mal and Inara enter the frame, standing outside the infirmary door.
MAL
And we live to fight another day.
INARA
Any chance that [shiong-muh duh kuang-ren -
"violent lunatic"] might survive?
MAL
Air he had left I'd say his chance would
have to be one in... a very large number.
Ain't odds I'd play. How's your lip?
Mal reaches out to touch her cut lip. Inara grabs his hand as it touches her. They share a moment. She backs away and exits via the stairs.
BOOK (O.S.)
I just feel like such a fool.
JAYNE (O.S.)
Yeah, all those years of priest trainin',
taken out by one bounty hunter.
INT. SERENITY - CARGO BAY - CONTINUOUS
Book and Jayne are coming down the stairs, prepared to work out with the weight bench.
BOOK
Don't get me wrong. I gave him a
hell of a fight.
JAYNE
Epic, I'm guessing.
BOOK
There'll be poems and songs, just
you wait.
Jayne sits down to lift. Book moves to spot him.
JAYNE
At least you got some play. I missed
every damn thing.
KAYLEE (O.S.)
And his folks come by to fetch him, and
it turns out he's, like, 14 years old.
PAN LEFT to REVEAL Kaylee and River sitting on the cargo bay floor. They're playing jacks.
KAYLEE
(laughs)
I mean, he must've been some kind of genetic
experiment, 'cause, I swear this guy was, uh...
(waggles eyebrows)
Oh, my daddy whipped me so hard.
Kaylee bounces the ball and picks up some jacks.
KAYLEE
Oh... I'm at fours. Let's see you match that.
River takes the ball, looks hard at the jacks on the floor.
RIVER
I can win this.
KAYLEE
Oh, I'm hearin' a lot of talk there, genius.
Come on -- show me what you got.
CLOSE IN on River's face as she stares at the little rubber ball.
We follow the ball DOWN as it bounces, down through the floor of Serenity, out into space. Serenity passes by in the distance and we float until
EARLY comes into frame, tilting over and over in space.
EARLY
Well, here I am.
Hold on him for a moment, then:
BLACK OUT.
Establishing shot of Serenity sliding past camera.
The camera DIVES DOWN into the ship, a rapid-fire slide and twirl through Serenity's guts brings us to
INT. SERENITY - RIVER'S ROOM
We see River sleeping on her bunk through an air grate. FOCUS in on her face. Gradually, we hear indistinct VOICES, which abruptly sharpen into one voice.
MAN
We're all just floating.
RIVER's eyes pop open at this. She looks startled.
INT. SERENITY - CORRIDOR/COMMON AREA - CONTINUOUS
We see a dressed River open the sliding door to her room.
KAYLEE (O.S.)
You couldn't possibly have --
SIMON (O.S.)
No, I wish I was lying... I just...
INT. SERENITY - COMMON AREA - CONTINUOUS
Hearing the voices, RIVER turns down the corridor toward the common area, where KAYLEE and SIMON are sitting on a couch, Kaylee's feet on Simon's lap.
SIMON (cont'd)
You know, we'd all just made surgeon.
That was it. We were the elite. The
world was ours, you know?
KAYLEE
So-so you had to be naked?
SIMON
Naked. Yes. And, uh, on top of the
statue of Hippocrates.
(Kaylee laughs)
Can you just picture me?
KAYLEE
What, naked?
(teasing)
Oh, well, hmm. Let's see. I'm gonna have
to conjure up a... Yeah, that's-that's
gonna be difficult.
KAYLEE laughs again, nudging Simon in the jaw with her bare foot.
KAYLEE
So, the Feds come?
SIMON
Mm-mm. There were no Feds.
(beat)
Until I started singing.
Kaylee and Simon are both laughing now.
SIMON (cont'd)
This-this is not --
KAYLEE
What did you sing?
SIMON
This is not funny.
REVERSE camera to reveal that a shyly smiling RIVER is watching them talk.
SIMON (cont'd; O.S.)
This... this is a morality tale about
the evils of sake.
CUT TO:
Simon and Kaylee are laughing, when suddenly they stop, noticing RIVER.
SIMON
(to River)
I would be there right now.
RIVER reacts, hurt.
CUT TO:
SIMON and KAYLEE laughing on the couch.
SIMON
I mean it was... it was... it was either
that, or the national anthem. I...
reports vary.
They don't seem to realize River is there. River looks confused and upset, and turns to leave.
KAYLEE
And you don't remember any of this?
RIVER begins walking up the stairs, away from Simon and Kaylee.
SIMON (O.S.)
I remember talking the Feds out
of telling my father. Or-or paying
the Feds not to tell my father.
I get fuzzy on the aspects.
INT. SERENITY - CORRIDOR - CONTINUOUS
River touches the walls as she walks.
JAYNE (O.S.)
So like, never?
INT. SERENITY - KITCHEN AREA - CONTINUOUS
BOOK and JAYNE are making themselves a meal in the kitchen. Jayne is at the grill, with a towel tucked into his belt like an apron.
BOOK
Well, no.
JAYNE
Not ever never?
BOOK
Some orders allow Shepherds to marry,
but I follow a narrower path.
JAYNE
But, I mean, you still got the urge.
They don't... cut it off, or nothin'?
BOOK
Mm, no, I'm more or less intact.
I just...
BOOK sits down at the kitchen table. RIVER quietly enters the kitchen area.
BOOK (cont'd)
...direct my energy elsewhere.
JAYNE
You mean like masturbating?
BOOK
I hope you're not thinking of taking
orders yourself.
JAYNE
Oh, yeah, that'll be the day.
CUT TO:
TIGHT SHOT on JAYNE'S FACE as conversation suddenly stops. Jayne looks directly at River.
JAYNE
I got stupid. The money was too good.
Startled, River slowly turns to Book, who is looking away from her.
BOOK
(deadly)
I don't give half a hump if you're
innocent or not.
(beat)
So where does that put you?
Frightened, River backs away, slowly walks through the room toward the other door.
CUT TO:
Jayne and Book are laughing, looking at each other. Jayne is still cooking food, Book is in the process of eating.
JAYNE
It ain't impossible! Saint Jayne,
it's got a ring to it.
BOOK
I'm just trying to remember how many
miracles you've performed.
JAYNE
I once hit a guy in the neck from
500 yards with a bent scope. Don't
that count upstairs?
BOOK
Oh, it'll be taken into consideration.
RIVER exits the kitchen area and passes into the
INT. SERENITY - CORRIDOR - CONTINUOUS
JAYNE (O.S.)
You made that sound kinda ominous.
River walks up the corridor. From a short distance, she can see
ZOE and WASH
INTERCUT WITH:
on the bridge. WASH is sitting in his pilot's chair. ZOE is in his lap. They are fully clothed but entwined, a gentle passion marking their actions as they touch and kiss.
RIVER is entranced and moved by them. By her expression and body language, it's almost like she's feeling what they're feeling. After a moment, RIVER retreats, leaving Wash and Zoe their privacy.
INT. SERENITY - CATWALKS - CONTINUOUS
MAL and INARA walk past the CAMERA, seen through the metal steps of the staircase. They are arguing.
INARA
It's not a threat, Mal. I just
can't do my work under these
circumstances.
MAL
You knew the drill when you signed on.
INARA
This is the third planet in a row
where I can't find decent clientele.
MAL
Well, I'm sorry if I'm cutting into
your retirement fund but would it
kill you not to spread for a spell?
INARA
(beat)
You are unreal.
River appears on the scene, walking down a flight of stairs. CLOSE IN on River's face.
REVERSE CAMERA for RIVER'S POV of Inara and Mal.
INARA (cont'd)
I don't know why I haven't left already.
MAL
Ah, no one's forcing you to stay.
CUT TO:
TIGHT SHOT of Inara and Mal. Silence. INARA is looking right at River. MAL looks off in the distance.
INARA
I'm a big girl. Just tell me.
MAL
None of it means a damn thing.
RIVER reacts, confused and looking dizzy.
CUT TO:
INT. SERENITY - CARGO BAY - CONTINUOUS
River comes around the corner of a pile of supplies, moving like she's fleeing. She steps on a branch with her bare foot. Silence descends as the branch cracks. She takes a step back.
CLOSE SHOT of River's feet and the branch on the floor.
RIVER bends down into frame, looking at the branch.
CUT TO:
WIDE SHOT of the cargo bay, looking at River from above -- the cargo bay is covered in dead leaves and branches.
BACK to RIVER
picking up the branch.
RIVER
It's just an object. It doesn't
mean what you think.
CUT TO:
The cargo bay is no longer covered in leaves. KAYLEE and SIMON are standing at a distance, their hands raised. INARA is watching from the catwalks. Everyone is shouting, their voices jumbling together.
SIMON
River, you know that's not to
be touched...
INARA
Stop yelling at her. That's only
going to make it worse.
BOOK
River, sweetheart --
MAL
I'm very sure you want nothing to
do with that. Put it down.
RIVER
Kaylee?
Kaylee backs away, frightened.
REVEAL that River is holding a large, shiny gun. Oh, as usual, dear.
SIMON
What were you thinking? How did
you get ahold of that?
INARA
Don't yell at her.
RIVER
It was in my hand.
MAL (O.S.)
I'm not mad. Just let me...
MAL steps into frame and grabs the gun from River's hand.
MAL
Thank you.
(removes clip from gun)
Fully loaded, safety off. This
here's a recipe for unpleasantness.
(to Simon)
Does she understand that?
RIVER
She understands. She doesn't comprehend.
MAL
Well, I'm glad we've made that distinction.
No touching guns. Okay?
RIVER
No touching.
River moves quickly to exit the cargo bay.
SIMON
River...
RIVER
It's getting very, very crowded!
(exits)
MAL
Thought she was on the mend.
SIMON
Uh, her... her medications are erratic.
There's-there's not one that her system
can eventually break down, and --
MAL
When want a lot of medical jargon, I'll
talk to a doctor.
SIMON
(beat)
You are talking to a doctor.
MAL
Yeah, okay, my point is could've been
you she might have shot just then. The
doctor, as you just made note of. And
who exactly could fix you? Not nobody.
We're deep in space, corner of No and
Where. You take extra care with her,
'cause we're very much alone out here.
EXT. SPACE - CONTINUOUS
Establishing shot of Serenity passing by the camera.
A second, smaller spaceship suddenly COMES INTO FRAME behind Serenity, flashing the camera its tail lights.
Is Serenity alone in deep space?
Not so much, we're thinking.
BLACK OUT.
END OF TEASER
ACT ONE
EXT. SPACE
A small spaceship. Close on the clear bubble surrounding the pilot's seat. A tall, black man dressed entirely in red leather sits there, manipulating spaceship controls. This is JUBEL EARLY, bounty hunter.
PUSH IN on the small ship until we're:
INT. EARLY'S SHIP - CONTINUOUS
in EARLY'S POV looking at the control panel of his ship. On the dash rests a photo of River -- it's a wanted poster, with details in English and Chinese. Flashing on the dash is "AUTOPILOT ENGAGED".
PUSH IN on the wanted poster of RIVER, closer and closer until we see that clipped to the poster of River is an old picture of a woman petting a golden retriever.
INT. SERENITY - BRIDGE - CONTINUOUS
WASH is seated in the pilot's chair tapping away at the controls.
WASH
Little River just gets more colorful
by the moment. What'll she do next?
PAN LEFT to REVEAL Zoe leaning against the console, looking pensive.
ZOE
Either blow us all up or rub soup
in our hair. It's a toss-up.
WASH
I hope she does the soup thing. It's
always a hoot, and we don't all die
from it.
ZOE
Poor kid.
WASH
Yeah. She's definitely got --
(re: readout)
Funny.
ZOE
Something wrong?
WASH
I'm just getting a weird heat-bounce
off our wake.
ZOE
Engine flux?
WASH
Sensors probably got turned around.
I'll climb up top and --
MAL and JAYNE are talking as they climb up the stairs to the bridge.
MAL
Those lockers are sealed. Only way
she can get in there is if she knows
the combination.
JAYNE
I don't leave my guns around, Mal,
and I don't leave 'em loaded.
MAL
Well, somehow she got her hands on your
hardware. Now, supposing she took up
something with hull-piercing bullets?
JAYNE
Bullets are soft lead, Mal. Even Vera
could... barely breach the hull. She's
the best I got. Anyhow... let's move
this conversation in a not-Jayne's-fault
direction? I didn't make her crazy.
Hell, I didn't even want her on the ship.
Mal glances over his shoulder at Wash and Zoe, then leans closer to Jayne and says, with quiet menace:
MAL
Is that the direction you want this
conversation to go in?
Jayne's feeling the menace. And maybe a bit of shame for what he did in episode 108 - ARIEL.
JAYNE
Just don't wanna take a lashing for
something I ain't the cause of.
ZOE
Where's River at now?
MAL
In her room, which I'm thinking we
bolt from the outside from now on.
WASH
That's a little extreme, isn't it?
JAYNE
Anybody remember her comin' at me with
a butcher's knife?
WASH
Wacky fun.
JAYNE
(annoyed)
You wanna go, little man?
WASH
(flippantly)
Only if it's someplace with candlelight.
ZOE
Sir, I know she's unpredictable, but I
don't think she'd harm anyone.
JAYNE
Butcher's knife!
ZOE
Anyone we can't spare. I mean, as far
as we know, the girl's never even picked
up a gun before.
KAYLEE
(entering)
That ain't so.
MAL
Kaylee?
(beat)
You got something to say?
EXT. SPACE - EARLY'S SHIP
Establishing shot.
PUSH IN to see EARLY suited up for a spacewalk, climbing out of the bottom of his ship. He pushes off the bottom of his ship and slowly drifts through space, landing gently on top of Serenity. He climbs down Serenity's side and peers in through a side window to see:
INT. SERENITY - KITCHEN AREA - CONTINUOUS
The crew, minus River, are gathered around the kitchen. MAL, KAYLEE, BOOK, and INARA are standing; SIMON, JAYNE, ZOE, and WASH are sitting at the table.
MAL
Okay, Kaylee. Why don't you speak
your piece?
KAYLEE
It was when the Captain and Wash
got took by Niska.
MAL
Ain't like to forget that anytime soon.
At the table, ZOE rubs Wash's shoulder.
KAYLEE
Well, we all went in. Me, too... I
didn't make much account of myself,
I'm afraid.
MAL
I got no problem with the notion of
you not killing nobody, Kaylee.
SIMON
What's this got to do with River?
She wasn't even in that fight.
KAYLEE
Well, no, she was. I got pinned down and
there were three guys, and I couldn't...
(beat)
And then River comes up. She looks out,
sees 'em all. And they was spread out,
you know, had some cover? She... she
didn't only looked for a second, and
took my gun, closed her eyes...
killed 'em.
SIMON
She shot them?
KAYLEE
All three. Dead in an instant.
With her eyes still closed.
JAYNE
Well, that's [fay fay d'pian].
You saw it wrong.
KAYLEE
Not a jot. And it weren't auto fire...
or luck. She just... she just
did the math.
ZOE
You understand how that sounds?
JAYNE
What? She killed 'em with mathematics.
What else could it have been?
KAYLEE
You couldn't have done it, Jayne. Nor
you, Cap'n. Nobody can shoot like
that that's a person.
SIMON
So River's not a person.
KAYLEE
Oh, please don't be mad.
The CAMERA begins to SINK, passing down a floor into the:
INT. SERENITY - CATWALKS - CONTINUOUS
RIVER comes into frame, her head cocked, listening. It almost looks like she's floating.
SIMON (V.O.)
(muffled)
I just want to understand what you're
saying, here. I thought River was
your friend.
PULL BACK, CAMERA sinking past the catwalks toward the cargo bay, to REVEAL that River is balanced on the catwalk railing in a ballet position.
KAYLEE (V.O.)
She is. But Simon, the way she --
(beat)
Right after, she looked at me and...
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Back to the crew, gathered 'round.
KAYLEE
...she smiled, like nothin' was wrong.
Like we were playin'. Scared me.
BOOK
Could be she saved your life, Kaylee.
KAYLEE
Oh, I'm all aware of that. And I'm
not saying --
SIMON
She probably didn't even know what
was going on. You know, th-thought
it was a game.
JAYNE
Later on you can explain to me how
that's a comfort. Might have to
use some of that "math" we've
been hearin' about.
MAL
What we got here to deal with is
the larger issue. And that larger
issue is we got someone on board
this ship might be a danger to us.
Ain't a question of whether we
like her.
Now the CAMERA goes UP through the CEILING toward:
EXT. SPACE - SERENITY - CONTINUOUS
Where our bounty hunter EARLY is kneeling on top of Serenity. PUSH IN on Early to REVEAL that he has a listening device attached to the outer hull and can hear the conversation going on in the kitchen area clear as a bell.
MAL (V.O.)
Some of us have grown attached to
River. Kaylee, I know you have or
you would've spoken up sooner.
Which, by the by, you should have.
I find River pleasant enough myself.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
MAL
But she does have an oddness to her.
And I ain't just talking about her
proficiency with firearms. Girl knows things.
Things she shouldn't. Things she couldn't.
JAYNE
Wha -- are you-are you sayin' she's a witch?
WASH
Yes, Jayne. She's a witch. She has
had congress with the beast.
JAYNE
She's in Congress?
WASH
How did your brain even learn human
speech? I'm just so curious.
INARA
[Chinese.]
This isn't a joking matter. This is
about our lives, and River's.
MAL
Thank you.
SIMON
She's deeply intuitive. It's true
that sometimes...
MAL
I don't think she's intuitive, Doctor.
I think she's a reader.
ZOE
Psychic?
WASH
Is that even remotely possible?
MAL
(to Simon)
You tell me. You been studying what
they've done to her.
SIMON
Well, they've, uh... they definitely
altered the way she reacts to things.
Even the way she perceives. But I'm not...
WASH
Psychic, though? That sounds like
something out of science fiction.
ZOE
We live in a space ship, dear.
WASH
So?
JAYNE
Whoa, back up a second. Are you saying
she really reads minds?
MAL
Or near enough. Am I alone thinking
along these lines?
BOOK
(beat)
No.
JAYNE
Well...
(slams table)
I don't like the idea of someone
hearin' what I'm thinkin'.
INARA
No one likes the idea of hearing
what you're thinking.
BOOK
The Alliance could have any number
of uses for a psychic.
ZOE
A psychic, or an assassin.
SIMON
She's just a kid.
(beat)
And she just wants to be a kid.
MAL
Wish it were that simple.
JAYNE
Yeah, and if wishes were horses,
we'd all be eatin' steak. What do
we plan to do about this?
MAL
Well, that's just the question.
SIMON
I don't think she'd ever hurt any of us.
MAL
Maybe you're right.
(beat)
I ain't gonna make a decision on anything
'til I've thought on it a while. It's
late. Let's get some rest.
The crew scatters as they all make their exits.
INT. SERENITY - CORRIDOR - CONTINUOUS
Kaylee is chasing after Simon.
KAYLEE
Simon?
SIMON
I have to go check on my assassin.
KAYLEE
Oh, please don't be mad. I had to
say something.
SIMON
I'm not mad at you. I just, uh...
(beat)
She loves this ship. I think it's
more home to her than any place
she's been.
KAYLEE
What about you?
SIMON
I... I thought the hospital was home.
I was really making a difference there...
and embarrassingly large stacks of money,
and... I could've... I would be there
right now if she hadn't --
(beat)
If-if they had just left her alone.
KAYLEE
Is it so bad here?
Kaylee's trying real hard for some kind of declaration. Simon isn't giving in, although they're standing closer and closer.
SIMON
I don't even know if the Captain
will let us --
KAYLEE
No! I mean... isn't there anything
about this place you're glad of?
Kaylee's looking real hopeful now, and Simon looks like he's trying hard not to hurt her. He lifts his hand to her hair, but pulls back when BOOK comes around the corner and passes between them.
BOOK
Good night, you two.
SIMON
I, uh...
KAYLEE
Don't, yeah, I...
SIMON
Good night.
KAYLEE
Don't let the space bugs bite!
Simon goes in one direction, and Kaylee goes in the other.
KAYLEE
(to herself)
Space bugs?
INT. SERENITY - KITCHEN AREA - CONTINUOUS
MAL is sitting at the kitchen table with a cup in front of him, looking pensive. He stands, turns off the light as he exits to:
INT. SERENITY - CORRIDOR - CONTINUOUS
We follow MAL as he walks toward his room, the corridor dark. He opens the door of his room with his foot and begins to climb down into it.
TRACK ACROSS the hallway to a ladder leading up to an airlock.
The AIRLOCK OPENS and EARLY climbs down it. He removes his HELMET and draws his gun.
He moves forward into Serenity as we:
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. SERENITY - CORRIDOR
EARLY is quietly prowling through Serenity. Deciding that the coast is clear, he stows his helmet in the airlock and closes it.
EARLY turns the corner and comes face to face with MAL.
They stare at each other for a second, a little bit stunned. Then Early attacks, efficiently beating the tar out of Mal and knocking him out.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
WASH and ZOE are sleeping peacefully. They haven't noticed the commotion above in the corridor.
INT. SERENITY - CORRIDOR - CONTINUOUS
Early lowers an unconscious Mal into the ladder entrance of his room, shutting the door.
Early then goes to a keypad and punches in a series of commands, locking the rest of the crew into their rooms while they sleep.
INT. SERENITY - ENGINE ROOM - CONTINUOUS
Kaylee is working on Serenity's engine when she hears a noise. She backs out from underneath the engine.
KAYLEE
River?
Kaylee stands and walks toward the door.
KAYLEE
River?
Kaylee bends back down and sorts through her pile of tools, standing back up to see
EARLY
standing right there. Kaylee GASPS in fright.
EARLY
I like this ship. Serenity.
She's good looking.
KAYLEE
(stuttering)
H-how did you... g-get on...?
EARLY
Strains the mind a bit, don't it?
You think you're all alone. Maybe I
come down the chimney, Kaylee. Bring
presents to the good girls and boys.
Maybe not, though. Maybe I've always
been here.
KAYLEE
What do you want?
EARLY
(re: the engine)
That's her beating heart, isn't it?
Pull off any one of a thousand parts
she'll just die. Such a slender thread.
(beat; casually)
You ever been raped?
KAYLEE
(terrified)
Th-the Captain is right down that
hallway. He can hear you --
EARLY
The Captain's locked in his quarters.
They all are. There's nobody can help
you. Say it.
KAYLEE
There's... there's nobody can help me.
EARLY
I'm gonna tie you up now. And you know
what I'm gonna do then? I'm gonna give
you a present. Get rid of a problem
you've got. And I won't touch you in
any wrong fashion, nor hurt you at all.
Unless you make some kind of ruckus.
You throw a monkey wrench into my
dealings in any way, your body is
forfeit. Ain't nothing but a body
to me. And I can find all unseemly
manner of use for it. Do you understand?
KAYLEE
Yes.
EARLY
Turn around and put your hands
behind your back.
Kaylee WHIMPERS, but turns around. Early steps close, tying her wrists.
EARLY (cont'd)
Now tell me, Kaylee, where does
River sleep?
INT. SERENITY - COMMON AREA - CONTINUOUS
Book shuts a door and begins walking through the common area, a TOWEL on his shoulder and carrying a BAG of TOILETRIES.
As Book passes a staircase, he hears a noise. He turns toward the stairs.
BOOK
Hello?
At the continued silence Books turns to go, but another noise stops him. He walks to the foot of the staircase, peering up into darkness.
Suddenly EARLY SWINGS DOWN from above and kicks Book in the head, laying him out cold.
INT. SERENITY - SIMON'S ROOM - CONTINUOUS
The noise of Book hitting the floor causes Simon to wake. He turns on the light and gets out of bed, bare-chested, barefoot and wearing only a pair of house pants. He exits his room and goes into:
INT. SERENITY - CORRIDOR - CONTINUOUS
Simon slides back the door of River's room.
SIMON
River?
River's bed is empty. Simon turns looks around the empty hallway.
EARLY attacks from above, wrapping his legs around Simon's neck. Simon fights back, but Early throws him to the ground.
Early jumps down from his perch. Simon lunges toward him, but Early draws his gun, and they both freeze.
EARLY
Dr. Tam... why don't you sit yourself down?
SIMON
Rather die standing.
EARLY
The intention is not for you to die. The
warrant doesn't specify any particular
need for you to be alive, but...
Early motions with his gun. Simon sits.
EARLY (cont'd)
Where's your sister?
SIMON
Are you Alliance?
EARLY
Am I a lion?
SIMON
What?
EARLY
I don't think of myself as a lion.
(tickled)
You might as well, though. I have
a mighty roar.
SIMON
I said Alliance.
EARLY
Oh. I thought...
SIMON
No, I was...
EARLY
That's weird.
(beat)
Where's your sister?
SIMON
I don't know. Who do you work for?
EARLY
This is her room.
SIMON
Yes.
EARLY
It's empty.
SIMON
I know.
EARLY
So is it still her room when it's empty?
Does the room, the thing, have purpose?
Or do we -- what's the word?
SIMON
(baffled)
I really can't help you.
EARLY
The plan is to take your sister. Get
the reward, which is substantial.
(beat)
"Imbue." That's the word.
SIMON
So you're a bounty hunter.
EARLY
No. That ain't it at all.
SIMON
Then what are you?
EARLY
I'm a bounty hunter. I'm named Early.
I'm known to some. Been tracking you
since the Feds were tipped off on Ariel.
(beat)
She sleep with anybody?
SIMON
River?
EARLY
Yeah. She grapple with any of the
crew? Might be in their quarters?
SIMON
(vehement)
No.
EARLY
Maybe she does and you don't know about it.
SIMON
This is insane. I'm not going to help
you find her, in any case.
Simon rests his arms on his knees and looks determined. Early sighs and approaches, squatting down and brandishing his gun.
EARLY
I think this is very pretty. I
like the weight of it.
SIMON
I thought the intention was not
to kill me.
EARLY
No. You're missing the point. The
design of the thing is functional.
The plan is not to shoot you. The
plan is to get the girl. If there's
no girl, then the plan, well, is like
the room. You are gonna help me
look for her.
SIMON
I don't think my last act in this
'verse is gonna be betraying my sister.
EARLY
You're gonna help me. 'Cause every
second you're with me is the chance
to turn the tables. Get the better of
me. Maybe you'll find your moment.
Maybe I'll slip. Or, you refuse to
help me, I shoot your brain out, then
I go upstairs and spend some time
violatin' the little mechanic I got
trussed-up in the engine room. I take
no pleasure in the thought, but she
will die weeping if you cross me.
SIMON
You're out of your mind.
EARLY
That's between me and my mind.
Let's start with these rooms.
INT. SERENITY - COMMON AREA - CONTINUOUS
Close shot of Book on the ground, still unconscious.
PAN UP to reveal Simon walking into the room, tugging on a sweater. Early follows behind, his gun still drawn.
Simon sees Book, and runs to his side, checking him for injuries.
EARLY
He's not killed. Be a while before
he comes to, but he'll mend.
SIMON
And which part of your plan dictated
the necessity of beating up a Shepherd?
EARLY
That ain't a Shepherd.
INT. SERENITY - INFIRMARY - CONTINUOUS
Simon opens the infirmary door and steps inside, Early looking in from the doorway and eventually prowling around the room..
SIMON
She wouldn't come in here anyway. She
hates this room. You see, Early, the
people you're planning to sell her to
cut up her brain in a lab like this.
Tortured her. A teenage girl. Not
some bandit on a murder run, just an
innocent --
EARLY
You ever been shot?
SIMON
No.
EARLY
You oughta be shot. Or stabbed. Lose
a leg. To be a surgeon, you know? Know
what kind of pain you're dealing with.
They make psychiatrists get psychoanalyzed
before they can get certified, but they
don't make a surgeon get cut on. That
seem right to you?
INT. SERENITY - CARGO BAY - CONTINUOUS
Close shot of a space suit helmet. PULL BACK to REVEAL Simon walking ahead of Early through the cargo bay. They walk up onto a:
INT. SERENITY - CATWALK - CONTINUOUS
SIMON
(sing-song)
Come on out, River. The nice man
wants to kidnap you.
EARLY
Shh.
Early turns slowly on the catwalk, looking around.
EARLY (cont'd)
I like the way the walls go out. Gives
you an open feeling. Firefly is a good
design. People don't appreciate the
substance of things. Objects in space.
People miss out on what's solid.
Early has his back turned to Simon. Simon begins inching forward toward him. Early draws his gun and points it directly at Simon's head without looking around.
EARLY (cont'd)
It's not your moment, Doctor.
(beat)
Is that the Companion's shuttle?
SIMON
Yes.
EARLY
We'll try the empty first, then we'll
pay her a visit.
INT. SERENITY - CATWALK - LATER
Simon and Early exit the empty shuttle, Early giving Simon a little shove.
EARLY
Her room's not sayin' a damn thing. Hold it.
They both stop on the catwalk. Early's heard something. Early runs his hand down a metal rail. Leans forward and licks it. Looks thoughtful.
INT. SERENITY - INARA'S SHUTTLE - CONTINUOUS
Early is pushing aside draperies. Inara is in bed, Simon standing next to her.
INARA
This is pointless, you know that.
EARLY
200,000 seems fairly pointed to me. Money
like that, I could retire. Not that I would.
What's life without work?
INARA
Serenity's a smuggling ship. I've
been here a year, I couldn't name all
the places she might hide.
EARLY
I don't have a year.
(to Simon)
Your sister's becoming a real annoyance.
SIMON
I feel for you.
Early motions with his gun for Simon to leave. Simon reluctantly exits the shuttle.
EARLY
(to Inara)
I'm not gonna waste my time threatening
you, because I think you believe I will
kill people if someone upsets my plan.
I'm gonna seal you in, though. You just sit.
INARA
You still walk away from this.
I know you're tired.
Whip-fast, Early hits Inara across the face, bloodying her lip.
EARLY
(quiet anger)
Don't go visiting my intentions. Don't ever.
Early steps outside the doorway, and says, as he seals the door:
EARLY
Man is stronger by far than woman, yet
only woman can create a child. Does
that seem right to you?
INT. SERENITY - BRIDGE - CONTINUOUS
Simon climbs up the stairs to the bridge, Early following close behind.
EARLY
All right, that's all the hide and
seek I got time for.
INTERCUT WITH:
Through the comm system, Early says:
EARLY (V.O.)
I know you're on this ship, little girl.
So here's how this goes. You show yourself...
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal is a crumpled heap at the foot of the ladder in his room. He stirs.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe and Wash in bed. Zoe begins to wake.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
Jayne in bed. Snoozing soundly.
INT. SERENITY - BRIDGE - CONTINUOUS
Early stands, gun drawn. Simon stands on the other side of the room.
EARLY (cont'd)
...we finish this exchange, or your brother's
brains will be flying every which-a-way.
(to Simon)
You understand, I'm sort of on the clock,
here. It's frustrating.
RIVER (V.O.)
You're wrong, Early.
EARLY
I'm not wrong, dumpling. I will shoot
your brother dead if you don't --
RIVER (V.O.)
You're wrong about River. River's not on
the ship. They didn't want her here, but
she couldn't make herself leave. So
she melted... Melted away.
INTERCUT WITH:
RIVER (V.O.)
They didn't know she could do that, but she did.
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal is fully awake, attempting to get to his feet.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe is sitting up in bed. After a moment, Wash sits up, too.
EARLY (V.O.)
I'm not sure I take your meaning there.
INT. SERENITY - BRIDGE - CONTINUOUS
RIVER (V.O.)
I'm not on the ship. I'm in the ship.
(beat)
I am the ship.
SIMON
River...
RIVER (V.O.)
River's gone.
EARLY
Then who exactly are we talking to?
RIVER (V.O.)
You're talking to Serenity. And, Early...
Serenity is very unhappy.
BLACK OUT.
END OF ACT TWO
ACT THREE
INT. SERENITY - ENGINE ROOM
PAN UP Kaylee's body. She is bound hand and foot, lying on her side on a metal grate.
RIVER (V.O.)
Kaylee?
KAYLEE
River?
RIVER (V.O.)
You're afraid.
KAYLEE
He tied me up. I don't know where
he came from.
RIVER (V.O.)
It's okay. It's gonna be okay.
KAYLEE
I told him where you were. I'm sorry.
I didn't know what else to do. I...
RIVER (V.O.)
Shh. I'm fine. But I need you to do
something for me. Gotta be brave.
KAYLEE
I'm tied up. I-I can't...
RIVER (V.O.)
Got tools. Something sharp. Don't
be scared. I'm right here.
INT. SERENITY - BRIDGE - CONTINUOUS
Early and Simon are both standing, Early holding a gun on Simon.
EARLY
Where'd she go?
SIMON
I can't keep track of her when she's not
incorporeally possessing a space ship.
Don't look at me.
EARLY
Ah, that's some nonsensical crap. Ain't
nobody can do that. You somewhere on
this boat? Somewhere with a com playing
games?
RIVER laughs. Spookily.
EARLY
That's somewhat unsettling.
RIVER (V.O.)
Early... Mr. Jubel Early, bounty hunter.
May I call you Jubel?
EARLY
Ain't nobody calls me that.
RIVER (V.O.)
Your mother does. I'm sorry... "did."
She's gone now.
EARLY
Is that supposed to scare me? Bringing
up my mother?
RIVER (V.O.)
You're a liar. I don't think your
intentions are honorable.
EARLY
Well, no. I'm a bounty hunter. It's
generally not considered honorable so
much as... I live by a code, though.
Which I think is worth --
RIVER (V.O.)
You hurt people.
EARLY
Only when the job requires it.
RIVER (V.O.)
Wrong. You're a bad liar. You crawl
inside me uninvited and you hurt my
crew. I see everything that passes --
EARLY
(agitated)
I only hurt people because they keep
getting in the way of me finding you.
(to Simon)
Tell her.
SIMON
What am I? Your advocate?
EARLY
(aiming his gun)
You are starting now.
SIMON
(insincere)
He's really very... gentle... and fuzzy.
We're becoming fast friends.
River laughs again. It's getting to Early.
EARLY
You folks are all insane.
SIMON
Well, my sister's a ship. We had a
complicated childhood.
EARLY
Doesn't anybody care that I have a finely
crafted gun pointed at this boy's head?
RIVER (V.O.)
I care.
EARLY
Then you gonna come out and stop me from
doing what I don't want to? You gonna
be smart here, River?
(beat)
River?
(beat)
Serenity?
INT. SERENITY - MAL'S ROOM - CONTINUOUS
Mal groans as he stands up and stumbles farther into his room.
MAL
What the hell's goin' on here?
RIVER (V.O.)
I need you to do me a favor, Captain.
MAL
There's a guy... he's very blurry.
You gotta be careful.
(beat)
Oh... How come there's a guy on board, and
how come you're all of a sudden the ship?
RIVER (V.O.)
I know you have questions.
MAL
That would be why I just asked them.
RIVER (V.O.)
But there isn't time, Captain. I need
you to trust me.
MAL
Am I dreamin'?
RIVER (V.O.)
We all are.
Mal rolls his eyes and makes a face.
RIVER (V.O.)
Don't make faces.
Mal looks a little unsettled by that.
INT. SERENITY - DOOR/CORRIDOR - CONTINUOUS
A closed door. Kaylee comes into frame.
RIVER (V.O.)
Are you ready?
Kaylee opens the door and slips through, shutting it behind her.
EARLY (PRE-LAP)
Just have to think, here.
INT. SERENITY - BRIDGE - CONTINUOUS
Early is pacing. Simon sits, watching him closely.
EARLY
(to Simon)
These older models have locators at all?
SIMON
Won't help.
EARLY
You know, with the exception of one deadly
and unpredictable midget, this girl is the
smallest cargo I've ever had to transport.
Yet by far the most troublesome. Does
that seem right to you?
SIMON
What'd he do?
EARLY
Who?
SIMON
The midget.
EARLY
Arson. The little man loved fire.
INT. SERENITY - KITCHEN AREA - CONTINUOUS
Kaylee has crossed through the kitchen area toward the doorway that leads up to the bridge. She sneaks around the corner, nearly catching Early's attention, but makes it to a control panel and types in the release code, unlocking the rest of the crew from their bunks.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Zoe is getting dressed in a big hurry.
ZOE
I can take this guy out.
RIVER (V.O.)
He's faster than you -- all of you.
And he's wearing armor.
WASH
What about his face? Is his face
wearing armor?
Zoe cocks her shotgun.
RIVER (V.O.)
No touching guns!
INT. SERENITY - MAL'S ROOM - CONTINUOUS
RIVER (V.O.)
It's soon now. Are you ready?
MAL
How do you know what this guy's gonna do?
RIVER (V.O.)
I'm very close to him. He doesn't even see it.
MAL
Okay, but...
RIVER (V.O.)
Go now!
Despite his hesitations, Mal immediately turns and goes up the ladder to the corridor.
INT. SERENITY - BRIDGE - CONTINUOUS
Early is still working on locating River when the power suddenly shuts down. In the distance, we can see Mal climb out of his room and back down the corridor, disappearing around a corner.
RIVER (V.O.)
You're not welcome here anymore, Early.
EARLY
You think I'm gonna leave empty-handed?
RIVER (V.O.)
I know it.
EARLY
Yeah, well, you know me real well.
RIVER (V.O.)
Wish I didn't. You like to hurt folk.
EARLY
It's part of the job.
RIVER (V.O.)
It's why you took the job. Power. Control. Pain.
(beat)
Your mother knew. Sadness in her when she
waved good-bye. She's relieved. Saw
darkness in you.
(beat)
You're not well.
QUICK FLASH of Early making crazy, terrible faces, FLASHING BACK to:
EARLY
You'll be wanting to shut up now.
RIVER (V.O.)
Big golden retriever sitting on the lawn...
Never took to you...
More QUICK FLASHES of Early making with the crazy faces, FLASHING BACK to:
RIVER (V.O.)
...smelling you. The neighbors pets --
you did things to 'em. Cleaned up after...
shined and polished. Everything in here gleams.
EARLY
Well, I'll be a son of a whore. You're
not in my gorram mind. You're on my
gorram ship!
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
PUSH IN to see River sitting in the pilot's chair of Early's ship. She's wearing a space suit without a helmet. River LAUGHS.
RIVER
It's very interesting... all these buttons.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
Okay... We're not touching those, okay?
(to Simon)
How the hell she get on my ship?
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Put the gun away.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
Okay...
(beat)
I'm putting the gun away.
SIMON
No... he's not.
EARLY
I'm putting it away... because we're
all reasonable people.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
On River.
EARLY (cont'd)
Don't wanna be doing anything rash...
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY (cont'd)
...fiddling with any dials.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
You're not right, Early. You're not
righteous. You've got issues.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
No.
(then)
Oh, yes, I could have that. You might
have me figured out, then. Good job.
I'm not 100%.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
You talk too much.
INT. SERENITY - BRIDGE - CONTINUOUS
EARLY
I'm flawed in that way. I sometimes
go on. It's been said...
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
It's okay, Early. I'm going with you.
INT. SERENITY - BRIDGE - CONTINUOUS
SIMON
River, what are you --
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Don't belong. Dangerous, like you.
INTERCUT WITH:
RIVER (V.O.)
Can't be controlled. Can't be trusted.
INT. SERENITY - WASH AND ZOE'S ROOM - CONTINUOUS
Wash and Zoe react.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Everyone could just go on without me and
not have to worry.
INT. SERENITY - BRIDGE - CONTINUOUS
Simon reacts.
RIVER (V.O.)
People could be what they wanted to be.
INT. SERENITY - COMMON AREA - CONTINUOUS
Kaylee sits by Book, who has woken up.
RIVER (V.O.)
Could be with the people they wanted.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Live simple.
INT. SERENITY - BRIDGE - CONTINUOUS
Simon reacts.
RIVER (V.O.)
No secrets.
SIMON
No...
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
(smiles)
I'll be fine.
(to Early)
I'll be your bounty, Jubel Early.
INT. SERENITY - BRIDGE - CONTINUOUS
RIVER (V.O.)
And I'll just fade away.
EARLY
(sighs)
Well... Finally something goes according to --
Simon LUNGES at Early. They fight.
EXT. SPACE - EARLY'S SHIP - CONTINUOUS
RIVER
Simon?
The fight's pretty much over before it's begun, the sound of a gun discharging. Simon looks startled, hunching over.
River SCREAMS.
BLACK OUT.
END OF ACT THREE
ACT FOUR
INT. SERENITY - BRIDGE
PAN UP Simon's body on the floor of the bridge, a gunshot wound about mid-thigh on his left leg.
EARLY
See? That's what it feels like.
INT. SERENITY - CORRIDOR - CONTINUOUS
Early exits the bridge and goes down a flight of stairs.
EARLY
Just hang tight, darlin'. Early's
on the move.
Simon tackles Early from behind, knocking them both to the ground. Early throws Simon off and knocks him back against the stairs.
INT. SERENITY - JAYNE'S ROOM - CONTINUOUS
The commotion wakes Jayne out of a sound slumber. He looks up grumpily, rips the blanket off the wall to reveal a weapons cache to uplifting hero music, then raps the blanket around himself and tucks it over his head.
So much for the hero of Canton.
INT. SERENITY - CORRIDOR - CONTINUOUS
Simon and Early fight, but even without the gunshot wound it's terribly one-sided. Simon gets knocked down again and can't get up. Early grimaces and takes off down the hallway.
RIVER (V.O.)
Shh. It's okay.
EXT. SERENITY - AIRLOCK - CONTINUOUS
An airlock opens. Early exits Serenity wearing his space helmet. He stands and looks up at his ship.
EARLY
You made the right move, darlin'. Best
for you to go on with old Early.
WIDEN the shot a bit to REVEAL Mal standing right behind Early.
MAL
You think so? Some of us feel differently.
Mal reaches out and PUSHES Early hard. Early lifts up into space, free-falling fast and out of control into space, shooting past his own ship.
River exits Early's ship and pushes off, floating down toward Serenity as Early's ship takes off on some autopilot sequence River presumably coded while she was in there. Mal waits below on Serenity, catching and steadying her as she comes in reach. He holds her hands.
RIVER
Permission to come aboard?
MAL
You know, you ain't quite right.
RIVER
It's the popular theory.
MAL
Go on. Get in there. Give your brother
a thrashing for messing up your plan.
RIVER
He takes so much looking after.
INT. SERENITY - INFIRMARY - CONTINUOUS
Simon is sitting on an operating chair holding a camera to his wound. "Doctor Zoe" has surgical tools in her hands, bloody gloves, and a seriously uncomfortable look on her face.
SIMON
To the left. Your left. Okay, now very
gently pull that aside.
ZOE
This is really not my area of expertise,
Doctor. I tend to be putting these into
people, more than the other thing.
WASH
Can I mop your brow? I am at the
ready with the fearsome brow-mop.
SIMON
You got the bullet.
(beat)
Okaaay. I'm just gonna pass out for a
minute, but you're doing great.
INT. SERENITY - COMMON ROOM/INFIRMARY
Mal and Inara enter the frame, standing outside the infirmary door.
MAL
And we live to fight another day.
INARA
Any chance that [shiong-muh duh kuang-ren -
"violent lunatic"] might survive?
MAL
Air he had left I'd say his chance would
have to be one in... a very large number.
Ain't odds I'd play. How's your lip?
Mal reaches out to touch her cut lip. Inara grabs his hand as it touches her. They share a moment. She backs away and exits via the stairs.
BOOK (O.S.)
I just feel like such a fool.
JAYNE (O.S.)
Yeah, all those years of priest trainin',
taken out by one bounty hunter.
INT. SERENITY - CARGO BAY - CONTINUOUS
Book and Jayne are coming down the stairs, prepared to work out with the weight bench.
BOOK
Don't get me wrong. I gave him a
hell of a fight.
JAYNE
Epic, I'm guessing.
BOOK
There'll be poems and songs, just
you wait.
Jayne sits down to lift. Book moves to spot him.
JAYNE
At least you got some play. I missed
every damn thing.
KAYLEE (O.S.)
And his folks come by to fetch him, and
it turns out he's, like, 14 years old.
PAN LEFT to REVEAL Kaylee and River sitting on the cargo bay floor. They're playing jacks.
KAYLEE
(laughs)
I mean, he must've been some kind of genetic
experiment, 'cause, I swear this guy was, uh...
(waggles eyebrows)
Oh, my daddy whipped me so hard.
Kaylee bounces the ball and picks up some jacks.
KAYLEE
Oh... I'm at fours. Let's see you match that.
River takes the ball, looks hard at the jacks on the floor.
RIVER
I can win this.
KAYLEE
Oh, I'm hearin' a lot of talk there, genius.
Come on -- show me what you got.
CLOSE IN on River's face as she stares at the little rubber ball.
We follow the ball DOWN as it bounces, down through the floor of Serenity, out into space. Serenity passes by in the distance and we float until
EARLY comes into frame, tilting over and over in space.
EARLY
Well, here I am.
Hold on him for a moment, then:
BLACK OUT.