DEATH IS EASY
by
Russell Madden
 
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FREEDOM, As If
It Mattered
by
Russell Madden
 
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Softcover, $24.95
Support independent publishing: buy this book on Lulu.
Hardcover, $34.95
 
(Preview. Also available in a digital edition, $5.63.)
 

Firefly: "Heart of Gold"
 
Written by: Brett Matthews
 
Directed by: Tom Wright
 
Episode #: 1AGE10
Story#: E01807
 
SHOOTING SCRIPT:October 29, 2002
BLUE REVISIONS:October 30,2002
PINK REVISIONS:October 31,2002
YELLOW REVISIONS:December 16,2002
 
TRANSCRIPT by Russ Madden (July, 2005)
 

CAST LIST
 
MAL Nathan Fillion
ZOE Gina Torres
JAYNE Adam Baldwin
WASH Alan Tudyk
KAYLEE Jewel Staite
SIMON Sean Maher
RIVER Summer Glau
BOOK Ron Glass
INARA Morena Baccarin
RANCE BURGESS Fredric Lane
NANDI Melinda Clark
PETALINE Tracey Leah Ryan
CHARI Kimberly McCullough
PRETTY GIRL  
HELEN  
EMMA  
BELINDA  
LUCY Sandy Mulvihill
NARRATOR Jim Lau
 

 
Teaser
 
A1 EXT. SPACE-
 
We are in deep space. A planet comes into frame from above, and we
rocket towards it, past it to a circling moon, closer, see the
landm@sses, the landscape come all the way down toward a glittering
house in the desert --
 
1 EXT. HEART OF GOLD BORDELLO - DAY
 
A plain but statley-in-its-own-way multi-storied wood frame structure,
alone and secluded on this pleasant moon.
 
A PRETTY GIRL (late teens) and a PRETTY BOY (same age) are currently out
front, hanging the laundry. Sheets. They giggle and laugh. Picture
perfect country tranquility. They react to the SOUND of POUNDING HORSE
HOOVES...
 
THROUGH THE BILLOWING SHEETS
 
HORSES on the horizon. Coming up fast over a rise. And now, in between
them, bouncing up INTO VIEW -- A HOVERCRAFT, a bad@ss SPACE JEEP,
zooming over its buffeting hover-current.
 
THE BOY AND GIRL register recognition. React --
 
PRETTY GIRL
Nandi! NANDI!
 
A BEAUTIFUL WOMAN, early 30's, NANDI, the madam of this concern, appears
from the house. Sees the trouble approaching in the distance.
 
NANDI
Get inside.
 
But they are frozen to the spot as the riders and hovercraft get closer.
Some other GIRLS are appearing variously at the door and windows. All of
them are varying degrees of pretty -- prostititutes.
 
NANDI
GO!
 
The frightened girl and boy head in. Nandi mentally runs through her
options. There is only one: stand tough. The horses gallop up. She is
immovable.
 
NANDI
We ain't open for business.
 
The HOVERCRAFT glides to a stop. Piloting it is RANCE BURGESS. A
handsome, fancified imperious GENTLEMAN. But he's anything but gentle...
 
BURGESS
Shut up, whore.
 
NANDI
And you we don't trade with at all,
Rance Burgess. You're no longer
welcome in this establishment. You
been told that.
 
BURGESS
I've been told a great many things. I'm
here for what's mine.
 
NANDI
Ain't nothing here belongs to you.
You don't get gone, we'll be well
within our rights to drop you.
 
BURGESS
Only rights you got are the ones I
give you.
(to his men)
Find the girl.
 
The horsemen move to the door, push their way in.
 
NANDI
She ain't here. Girl left this moon
more'n a month ago. It was you
chased her off.
 
Nandi is poker-faced. Some SCREAMING and CRYING from inside. Crying he
recognizes. He smiles at the stone-faced Nandi.
 
Rance's men now hustle a struggling GIRL out through the door -- young
PETALINE. She'd be the picture of scrubbed wholesomeness -- except for
the fact that she's very, very pregnant. 'bout ready to pop. She's
terrified. They force her to her knees.
 
BURGESS (cont'd)
Petaline. It's a good thing you haven't left with my baby.
 
PETALINE
This baby ain't yours!
 
BURGESS
So you keep saying.
 
He nods to his men, who rip open Petaline's dress, exposing her belly.
Rance pulls a FUTURISTIC HYPO DEVICE from his coat, plunges it into her
belly. She winces and gasps in sudden pain. He brings the device away
from her.
 
BURGESS (cont'd)
If this DNA is a match with mine --
know I will be back for my baby.
 
Rance places a hand on Petaline's face.
 
BURGESS (cont'd)
And if I have to, I'll cut it out of ya.
 
Rance climbs on his hoverdraft, his men to their horses.
They go. Nandi and some of the other girls move to Petaline, who's
quietly sobbing. Help her to her feet.
 
NANDI
Shhh. Quiet, now. It'll all
work out.
 
Among the whores helping to steady Petaline are CHARI, a petite and
refined prostitute, maybe the prettiest one here, and HELEN, a more
hardy whore. They watch the men leaving.
 
CHARI
He'll do it too. He'll do what he
says.
 
NANDI
No he won't. We won't allow it.
 
HELEN
How we gonna stop him, Nandi?
 
NANDI
We'll get help. That's how.
 
CHARI
Help? There's not a soul on this
moon'd go up against Rance Burgess.
 
HELEN
She's right. Ain't nobody stong
enough. And even if there was --
who'd help us?
 
2 INT. SERENITY - DINING ROOM - MAL
 
in a wicked-cool CLOSE UP whips his gun at us with a stylish rack to the
barrel. He's cleaning and checking it, looking casually heroic. Spread
out on the dining room table are an assortment of his best guns and such.
 
INARA enters behind him. He doesn't hear her.
 
INARA
Hi.
 
MAL
BWAAA!
 
INARA
Sorry. I didn't mean to startle.
 
MAL
You didn't. I was just, uh...
(repeating as if he
meant to, points gun)
BWAAA! That's more like a... It's a warrior like...
It strikes fear into the...heart of
(nothin')
You know, not wise,
sneaking up on a man when he's
handling his weapon.
 
INARA
I'm sure I've heard that said. But
perhaps the dining area isn't the
place for this sort of thing?
 
MAL
What do you mean? Only place with a
table big enough.
 
INARA
Of course. In that case...
(rearranges guns)
Every well-bred petty crook knows that
the small concealable weapons always
go to the far left of the place
setting.
 
Mal bridles at the term "petty crook". Before he can speak, WASH enters
from the bridge.
 
WASH
Got a distress call coming in.
Some folks asking for help.
 
MAL
Really? Folks asking for help? From
us petty crooks?
 
WASH
Well...
 
MAL
(at Inara)
Maybe I should take that right away.
 
Mal makes to do that, but Wash stops him with:
 
WASH
Well, it's for her.
 
MAL
Hunh?
 
WASH
The call's for Inara.
 
INARA
I'll take it in my shuttle.
 
WASH
All right. I'll send it back there to you.
 
MAL
This distress wouldn't happen to be taking
place in someone's pants, would it?
 
She throws a look, goes one way, Wash goes the other. Mal is left alone.
A beat.
 
As Mal whips his gun back up into a heroic frame,
 
MAL (cont'd)
(all cool)
Bwaa.
 
BLACK OUT.
 
END OF TEASER
 

Act One
 
3 EXT. SPACE
 
Serenity gently moving through the big black.
 
4 INT. INARA'S SHUTTLE - DAY
 
Inara sits at her cortex screen, where WE SEE the live image of NANDI.
 
NANDI
-- And I got word you were in the
area... I'm imposing, but I got no
one else to ask.
 
INARA
It sounds like something this
crew can handle. I can't guarantee
they'll handle it particularaly well,
but --
 
NANDI
If they got guns, and brains at all...
 
INARA
They've got guns...
 
NANDI
(worried)
Payment won't be a problem. We just
ain't equipped for this.
 
INARA
Nandi, it's gonna be all right.
 
NANDI
The House would tell you not to come.
I know they ordered you to shun me
when I left.
 
INARA
The House can <engage in a
feces hurling contest with a monkey>
[gun HOE-tze bee DIO-se]. I would
have waved you long ago. It's just...
 
NANDI
Doesn't matter.
(smiles)
Who'd've thought we'd both end up all
the way out here?
 
INARA
Who'd've thought.
 
NANDI
Let me know what your people say.
 
INARA
Of course.
 
NANDI
I'll wait to hear from you.
(then)
<Blessing on you, dear sister.>
[TZOO-foo nee, mei-mei.]
 
INARA
And you.
 
Inara touches the screen. Nandi's image FREEZES there. Inara sits there
quietly contemplative for a beat. Then:
 
INARA (cont'd)
I suppose you heard most of that?
 
Mal appears, peaking around the corner at the entrance.
 
MAL
Only because I was eavesdropping.
(then, no bullshit)
Your friend sounds like she's in a
peck of trouble.
 
INARA
She is. And there's no authority on that
moon she can go to. They're
totally alone.
 
MAL
Some men might take advantage of that.
 
INARA
One man.
 
MAL
And she's lookin' for someone to come
along and explain things to him?
 
INARA
That's essentially it, yes.
 
MAL
A whole house full of companions...
How they fixed for payment?
 
INARA
They're not companions.
(then)
They're whores.
 
MAL
Thought you didn't much care for that
word?
 
INARA
It applies. They're not registered with the Guild.
They're --
 
MAL
-- independent?
 
INARA
Yes.
(then)
If you agree to do this, you'll be
compensated. I'll see to it. I've
put a little aside...
 
MAL
You can keep your money. Won't be
needing no payment.
 
INARA
Mal. Thank you. I'll contact Nandi
at once.
(he smiles; she turns
away)
But you will be paid. I feel it's
important that we keep ours strictly a
business arrangement.
 
Her back's to him now, so she doesn't see the stung look.
 
MAL
I'll speak with the crew.
 
INARA
Good.
 
She never looks back. Off Mal, waiting a beat before he goes --
 
5 INT. SERENITY - CARGO BAY
 
Mal has EVERYONE assembled (except Inara.) He's letting Zoe brief the
troops. He's to the side, the silent commander.
 
ZOE
Those who have a mind are welcome to
join. Those who just as soon stay on
the ship can do that, too.
 
JAYNE
Hmm. Don't much see the benefit in getting
involved in strangers' troubles
without a upfront price negotiated.
 
BOOK
These people need assistance. The
benefit wouldn't necessarily be for
you.
 
JAYNE
S'what I'm sayin'
 
ZOE
No one's gonna force you to go,
Jayne. As has been stated -- this
job is strictly speculative.
 
JAYNE
Good. Don't know these
folks. Don't much care to.
 
MAL
They're whores.
 
JAYNE
I'm in.
 
MAL
(moving off)
Wash -- plot a course.
 
6 EXT. PLANET - DAY
 
Serenity lands amidst cover.
 
A7 EXT. HEART OF GOLD - DAY
 
We see The Bordello, in all its tinfoil splendor.
 
Reverse on our people, in a long-lens tight group, heading towards it.
 
JAYNE
That's the whorehouse?
 
INARA
(you're an annoying
idiot)
Yes...
 
JAYNE
How come it looks like a frozen
dinner pack?
 
KAYLEE
It's solar sheeting. Cheap power.
 
JAYNE
(genuine concern)
Hope the whores are prettier'n thn the
house...
 
7 INT BORDELLO LOBBY - DAY
 
Our gang files into the lobby. The girls are all hanging about, some
making a bit of a show of themselves, draped about as if for customers,
some more earnest or just curious. Inara is in the process of coming
towards Nandi for a great big hug. Mal is behind her, waiting as is Zoe.
 
As for the rest, they politely nod and greet the whores, Kaylee
guilelessley, Simon politely, Book kindly, Jayne grinningly, Wash
uncomfortably, River inquisitively. Much adlibbing from them as have
speaking parts. (Chari and Petaline are not present).
 
INARA
Nandi, darling.
 
NANDI
It's so good to see you, Mei Mei...
 
INARA
You look wonderful.
 
NANDI
And you look exactly the same as the
day I left. How do you do that out
here?
 
MAL
Sheer force of will.
 
INARA
Nandi, this is Malcolm Reynolds.
 
NANDI
I appreciate your coming.
 
She shakes his hand, firmlike.
 
MAL
Well, any friend of Inara's is a strictly
businesslike relationship of mine.
 
The dig is not lost on Inara, nor is her reaction lost on Nandi
 
MAL (cont'd)
This is my first mate, Zoe. I'll
introduce you to the rest later.
They're good folk.
 
JAYNE
(calls out from across the room, no 'tude)
Can I start getting sexed already?
 
MAL
Well, that one's kind of horrific
 
Jayne has Helen by the shoulder, is pointing at her...
 
ZOE
(ugh)
Can we talk business?
 
NANDI
(indicating lounge)
In here.
(to the others)
The rest of you, there's food and some
liquor at the sideboard, make
yourselves to home.
 
The four exit. We stay with the others.
 
Kaylee looks at Simon and Wash, indicates the two young men.
 
KAYLEE
Look, they got boy whores! Isn't
that thoughtful? Wonder if they
service girlfolk at all.
 
WASH
Let's not ask.
 
SIMON
Isn't there a pregnant woman I'm to
examine?
 
WASH
(to Kaylee)
You'd really lie with someone being
paid for it?
 
KAYLEE
(pointedly forlorn)
Well, it's not like anyone else is
lining up to, you know, examine me...
 
Kaylee glances at Simon.
 
JAYNE
(joining them)
Whoop! My John Thomas is about to pop off
and fly around the room, there's so
much tasty in here.
 
WASH
Would be you get your most poetical
about your pecker.
 
Chari brings Petaline up to them.
 
CHARI
You'd be the Doctor?
 
SIMON
Yes. And this is Petaline?
 
PETALINE
Yes sir.
 
CHARI
She's feeling a mite weak right now.
 
SIMON
All right. Well, let's get you lying down.
 
JAYNE
Now that's a plan! Whoop!
 
He goes off with Helen, Simon goes to the back room with the two girls,
River trailing.
 
We see Book making up a sandwich -- he is approached by LUCY and EMMA
 
EMMA
Shepherd --
 
BOOK
No thank you!
 
They smile a bit.
 
EMMA
We were hoping we might have a prayer
meeting?
 
LUCY
We ain't had one in months, 'cept
what Emma here reads out on Sunday
 
EMMA
Last Shepherd to come by was
springtim, and he only read the one
passage, and he took it out in trade
off both of us.
 
Book has no response.
 
Kaylee watches the girls chat up Book...
 
KAYLEE
Everybody's got somebody...
(wistfully)
Wash, tell me I'm pretty...
 
WASH
Were I unwed, I would take you in a
manly fashion
 
KAYLEE
'Cause I'm pretty?
 
WASH
'Cause you're pretty.
 
8 INT. LOUNGE - DAY
 
Mal, Zoe, Nandi and Inara. Mid talk.
 
MAL
I take it reason doesn't enter
into this?
 
NANDI
Not with Rance Burgess. The man is
a taker.
 
ZOE
You think the kid is his?
 
NANDI
(firm)
I think it's Petaline's.
 
INARA
But the blood test...
 
NANDI
Well, he did favor Petaline pretty
exclusively, but she had others.
Fifty-fifty, not that it matters.
The man ain't fit to raise a cactus
plant. His barren prairie shrew
can't bear him an heir, so he takes
it into his head to pull it outta us.
That's not gonna happen.
 
MAL
(likes her strength)
I see that's the case.
 
NANDI
And you see the way we live here. Go
into town, it's the same. Some
places come up rustic 'cause they
ain't got more'n the basics. Rance
Burgess has money enough to build a
city, a real community. He keeps
people living like this so he can
play cowboy, be the one with the best
toys. Turned this moon into a gorram
theme park. Someone stands up to
him... He means to burn me out.
 
MAL
Yeah. He sounds like a fun guy. I'd like
to meet him.
 
NANDI
This won't be solved with talk.
 
MAL
I'm gonna fight a man, it helps to
size him up.
 
NANDI
Well, he'll be at the theatre
tonight, that's a certainty.
 
MAL
Then so will I. Inara, think you
can stoop to being on my arm?
 
INARA
Will you wash it first?
 
He smiles at the light dig, turns to Zoe.
 
9 INT. THEATER - NIGHT
 
A CIRCULAR SHADOW representing Earth-That-Was FILLS THE FRAME.
Silhouetted shapes appear. SPACESHIPS. They radiate out from the shadow
sphere. We're witnessing some form of Balinese puppet theater. A nattily
attired NARRATOR (speaking in Chinese: see addendum) presides before the
backlit gauze screen across which the shadows play. It's the story of
the destruction and fleeing of Earth-That-Was.
 
WIDER - Well-heeled PATRONS mill about as the show continues on a small
stage in the b.g. The theater itself is upscale, ornate in its own
particular way. Asian and Pacific influences abound.
 
Mal and Inara enter, arm-in-arm. They're dressed to kill.
 
Burgess is lording it over a particularly
influential crowd. He's holding court, his guests laughing with
disturbing frequency and force. Near Rance sits his wife, BELINDA.
Pale and slight, she's dressed a cut about most every woman there,
fiscally speaking. Conservative excess.
 
Mal and Inara stroll up to where the
conversation is in progress.
 
BURGESS
(midstream)
... so I told the boy: you
take a clean woman's virtue, you take
the woman. And that's for life. And...
 
MAN IN HAT
Boy said his vows right then and there.
 
BURGESS
Took very little persuading on my
part.
 
Burgess pats his laser pistol which hangs conspicuously on his belt.
LAUGHTER from the assembled. And now Mal is among them, laughing LOUDER
and LONGER than any of them. Finally everyone's starting at him.
 
MAL
Nice to know there's some places
left in the 'verse where old-
fashioned values still mean a thing.
(to Inara)
Isn't that right, dear?
 
INARA
(forced smile)
Mmmm.
 
BURGESS
I don't think I know you...
 
MAL
(hand extended)
Name's Malcolm. Malcolm Reynolds.
 
Burgess takes Mal's hand. They shake. Mal doesn't let go as he leans in
a bit closer, says:
 
MAL (cont'd)
And might I just say? She is quite
a beauty
 
Mal releases Burgess's hand. Burgess looks at him.
 
BURGESS
Well, thank you.
 
He unholsters his laser gun, offers it up to Mal.
 
BURGESS (cont'd)
Ever have occasion to handle
one, Mister Reynolds?
(offering it)
Silk trigger active return bolt laster
 
Mal takes the laser pistol, looks it over
 
MAL
It's lighter than it looks. Thought it'd
have more heft to it.
 
BURGESS
Oh, no. Don't let that fool you. Won't find
technology like that short of
Alliance. And even their issues
don't yet have the auto-target
adjust. Had that one crafted special.
 
MAL
I didn't think weapons such as this
were generally legal -- for a private
owner, I mean.
 
BELINDA
My husband makes a distinction
between legality and morality,
Mister Reynolds.
 
Mal glances over at Belinda, holds her eyes for a beat.
 
MAL
I've said that myself.
 
BURGESS
Bending one unjust law is a small
thing when it comes to protecting
one's family.
 
MAL
I think I understand you.
 
BURGESS
(smiles)
And as you say -- she is a beauty.
 
MAL
She sure is.
(hands it back)
Of course, I was referring to the lady.
(nods to Belinda)
Ma'am
 
Mal steers Inara away. The others watch them go.
 
Now Burgess' FUTURE CELLPHONE BEEPS. He takes it out of his pocket, his
eyes still on the retreating Mal --
 
BURGESS
Yes?
 
10 EXT. TOWN - NIGHT
 
Mal and Inara exit the theater hastily. Mal walks quickly, looking to
put distance between himself and the theater.
 
INARA
Well?
 
MAL
Well what?
 
INARA
You said you wanted to look him in
the eye. You've done that. So
what's the plan?
 
MAL
Plan is -- we get back to Serenity
and we get off this rock just as fast
as we can.
 
Mal hasn't slowed his pace. Off Inara, surprised --
 
11. INT. THEATER - NIGHT
 
Burgess is in a private-ish corner speaking on his future cell phone.
Belinda joins him, expectant.
 
BURGESS
(into cell)
And there can be no mistake? Good.
 
Beat. Burgess snaps the cell shut. Mulls
 
BELINDA
Rance?
 
BURGESS
The DNA matches. The child is mine.
 
BLACK OUT.
 
END OF ACT ONE
 

Act Two
 
12 INT. BORDELLO LOBBY - NIGHT
 
Mal stands in the center of the bordello's lobby, his finery from the
previous scene taken down a notch. The crew and the staff of the Heart
of Gold surround him.
 
MAL
We run.
 
Nandi takes this with stoic calm.
 
MAL (cont'd)
Math just don't add up. Our weapon
store aren't exactly overpowerin' at
the moment, and I don't much like
what we'd be up against...
 
The Serenity crew looks a bit surprised by this as well.
 
MAL (cont'd)
Nothing worse than a monster who
thinks he's right with God. We might
turn Burgess away once, but he'll
keep comin' -- won't stop 'till he
gets what he thinks is his. So we run.
 
NANDI
I understand, Captain Reynolds. You
have your people to think of, same as
me. And this ain't your fight.
 
MAL
I don't believe you do understand,
Nandi. I said "we run."
(Nandi gives no
response)
We. My people. Your people. And
whatever bits of precious you got in
this house you can't bear to part with. We
load up Serenity and we leave Burgess in
the dust.
 
Nandi steps closer to Mal, all strength and resolve. Despite the
audience of listeners, she and Mal talk with intimate intensity, as if
they're the only ones there.
 
NANDI
Captain Reynolds... It took me years
to cut this piece of territory out of
other men's hands. To build this
business up from nothing.
 
MAL
Nandi--
 
NANDI
It's who I am. And it's my home. I'm
not going anywhere.
 
MAL
He'll kill you.
(re: her people)
Kill every last one of them, it comes
to that. And he'll sleep well that
night.
 
NANDI
Rance Burgess is just a man... And I
won't let any man take what's mine.
I doubt you'd do different, in my
position.
 
Eyes still locked on each other, a stalemate of personal cool, until Mal
shakes his head slightly.
 
MAL
Well, lady I must say--
(admiring smile)
You're my kinda stupid.
 
JAYNE
Ah, hell, he ain't expectin' much of a
fight. Might be we catch him with his
drawers low.
 
Mal raises his eyebrows. Zoe checks the chamber of her gun, cocks it.
 
ZOE
(nods)
He'll probably ride in by daylight,
but I figure a three point watch,
say, four hour shift, just be on the safe
side.
 
WASH
(nods, mock expertise)
Three-point, four-hour, should do it.
 
Mal gives a slight smile, then Book steps up.
 
BOOK
I'm fair handy with a hammer, Captain.
 
MAL
That so, Shepherd--?
 
BOOK
Been following the footsteps of a
carpenter for some time now. I think
I can do something about our
fortifications.
 
Mal looks over the rest of his people, Kaylee smiles and nods, Simon
looks up. We feel Mal take
understated pride in knowing them.
 
MAL
OK then...
 
His strategy wheels start turning, as UNDERSTATED 'GET sHIT DONE' MUSIC
starts to build.
 
MAL (cont'd)
We start shootin', they'll most like
try to burn us out, save sweat
and bullets. Nandi, What's the water
supply like here?
 
NANDI
Underground well. Pump that draws it
up's antiquated, but it don't break
down.
 
MAL
Kaylee-- think you can swing an
upgrade for their waterworks?
 
KAYLEE
I'll talk to Serenity, see what she's
got we might use.
 
MAL
Good. Might want to scrounge up--
 
River is suddenly at their side
 
RIVER
It's starting.
 
Kaylee gives a little STARTLED JUMP, unseen by Mal.
 
MAL
And that it is. But time is on
the enemy's side so we've got to--
 
PETALINE
(pained yelp)
Dr. Tam--!
 
Mal sees Petaline, who Simon helps to her feet as she pants with
contraction.
 
MAL
Oh. It's starting. Okay. Okay.
(a little panicky)
It's starting! All right. Now. Yeah. Uh. Everybody relax. Be calm.
Nobody panic. Everybody...
It's going to be okay.
(to Simon)
Be all right?
 
Simon leads Petaline toward the bordello's back room, nodding to Mal.
 
SIMON
I got this one, Captain
 
MAL
Thanks. Okay.
 
Mal looks around at everyone else, who smile, at the brink of chuckling,
at his display. He CLAPS his hands, resuming his heroical authority.
 
MAL
Okay then. Let's get to work, people!
 
A13 INT./EXT. HEART OF GOLD - DAY
 
Various angles:
 
Book nailing planks.
 
Planks being put on windows.
 
Jayne checking weapons.
 
Wash and Zoe testing booby trap.
 
Feet burying rope in the sand (for booby trap).
 
Inara passing Nandi with steaming towels.
 
In labor, Petaline screams.
 
Jayne and Zoe prepare their weapons.
 
13 INT.BORDELLO LABBY - BALCONY - DAY
 
Book wields a hammer, boarding up windows. Lucy and Emma, the "church"
whores, assist.
 
EMMA
The girls and I've been talkin',
Shepherd.
 
He stops, turns to face her.
 
EMMA (cont'd)
We've been discussin' what we'd like
said over us if we should happen to
fall --
 
BOOK
No.
 
Book reaches out, places a hand on her.
 
BOOK
I only bury the dead, child. No
one here is going to die.
 
He smiles and the tension disappears.
 
SMASH TO:
 
14 INT. BORDELLO - UPSTAIRS ROOM - DAY
 
JAYNE
There's people gonna die.
 
Jayne sits in front of a large window, its field of view panoramic.
Across from him, Helen sits attentively.
 
JAYNE (cont'd)
And with
people dyin' comes guts and screamin'
That can bring on all sorts of
screwed-up behavior, a person ain't
used to it. When the time comes, most
important thing, keep your wits
about you. Clear?
 
Helen nods. Jayne reaches over to a nearby table strewn with weapons and
ammunition.
 
JAYNE (cont'd)
All right. Now, these are my favorites.
You're to keep 'em comin' till there
ain't no more to be had. I shoot, I
run out you hand me the next
biggest and so on. There an
understanding here?
 
HELEN
Yes.
 
JAYNE
All righty, then. Lets get to work.
 
Giggling, Helen hops on top of Jayne, straddles him. She plants wet
kisses all over. Jayne craning his neck to keep his mouth out of reach.
 
15 EXT. BORDELLO - DAY
 
Wash seeps a pile of dry earth over a wood-and-rope contraption,
securing and camouflaging the device.
 
WASH
All I'm saying is that we're living pretty
deep in the rough and tumble, and I
don't see that changing any time soon.
 
Zoe rises up behind him, a large spool of wire in her hands.
 
ZOE
Nor do I.
 
She crouches, begins to wind the wire between one of two stakes buried
deep in the ground, some fifteen feet apart.
 
WASH
Well, I'm not sure now is the best
time to bring a tiny little helpless
person into our lives.
 
Wash lies flat, secures the wire to the stake. He takes a pair of
WIRECUTTERS and cuts the wire.
 
ZOE
That excuse is getting a little worn,
honey.
 
WASH
It's not an excuse, dear. It's
objective assessment. I can't help that it stays relevant.
 
Zoe stands, starts kicking dirt over the lines of their trap.
 
ZOE
I don't give a good gorram about
relevant, Wash. Or objective. And I
ain't so afraid of losing something
that I ain't gonna try to have it. You and
I would make one beautiful baby. And I
want to meet that child one day.
Period.
 
Zoe walks away as Wash looks after her.
 
16 INT. NANDI'S ROOM - EVENING
 
Mal looks out the window. We can't see what he sees, but we hear a
cluster of gunshots, followed by the barking of Jayne:
 
JAYNE (O.S.)
Nothin'! Y'all are
pulling, not squeezing like I said.
Next one don't hit that board is
giving up a special treat, <you
understand?> [dong MA?]
 
Mal closes the window, smiling a little.
 
MAL
That man's gonna use up all our
credit 'fore we've earned it.
 
NANDI
Well, after you've saved our lives
you can do some chores, maybe.
 
She is getting a box from her bottom drawer. As they talk she layes it
on the bed, pulls out a few fancy looking pistols.
 
MAL
I'm a fair hand with a mop.
 
NANDI
So your legend tells.
(chuckling)
Truth is, I expected a whole lot more
of you to be taking payment in our
trade.
 
MAL
Well, we're an odd conglomeration.
Got a preacher, a married fellah, and
the doctor... well, he'd have to relax
for thirty seconds to get his play.
That'd be more or less a miracle.
(re: guns)
These are fetching little pieces.
Any of them work?
 
NANDI
Don't got many rounds for the
Chaplain there, but the rest'll be of
use.
(picks one up)
This is my favorite.
 
MAL
What's its history?
 
NANDI
Violence and crime, sad to say. What
about you?
 
MAL
Similar.
 
NANDI
No, I mean, when are you planning to
avail yourself of some of our trade?
My girls is clean and kind-spirited.
 
MAL
Well, I got the job on my mind. After,
I'm sure I'll... trade. They're a
fine bunch.
 
NANDI
You ain't looked at one of 'em as
long or as lovin' as you looked at
those pistols. You're not sly, are
you? 'cause I got my boys...
 
MAL
(totally comfortable
with the question)
Sly? No. I lean towards womenfolk.
Just one thing at a time. Never like
complications.
 
She smiles, knowingly.
 
NANDI
Well, I'm certain of that.
 
MAL
Something to be smiling at?
 
NANDI
I trained as a companion, remember?
I read people pretty well.
 
MAL
Well, that's nice for you.
 
He's examining the weapons, deliberately.
 
NANDI
She's a hell of a woman, ain't she?
(off his look)
Inara.
 
MAL
(casual)
Yeah. She's a cherry blossom, no
denyin'.
(still looking at gun)
'spect you know her better'n I do,
comin' up together and all.
 
NANDI
Imagine I do. She ever tell you why
she left Sihnon?
 
MAL
Never asked.
 
NANDI
Yes you did, and I don't know my own
self. I was gone long before. And
I'll tell you, it was a shock, her
leaving. She was special. There's
forty women in House Madrassa and
you'd pick her out in a second.
Coulda been House Priestess, few
years time.
 
MAL
Is that right?
 
NANDI
Had her eyes on it, too. Very
focused. She's like you, more than
a little.
 
MAL
And how exactly is that?
 
NANDI
She hates complications.
 
A moment between them. A small understanding.
 
MAL
They do crop up though, don't they?
 
NANDI
Such is life.
 
17 BACK ROOM - NIGHT
 
Petaline is in bed, letting out an impressive YELL. She's sweaty and
breathing hard. Inara is by her side, mopping her brow supportively.
 
Simon is at the foot of the bed, looking under the tent of sheet they've
rigged up. River looks over his shoulder, completely agape.
 
SIMON
You're not completely dilated yet.
It should be pretty quick but don't try
to force it. The contractions are
still preliminary.
 
PETALINE
What's he saying?
 
INARA
It's gonna be a little while, sweetie.
 
PETALINE
Oh! But it hurts! This child wants to be
born, I know it.
 
SIMON
(to Inara)
Can you get the green vial from my
bag? We can dull the pain some.
 
Inara crosses, pausing by Simon, whispers --
 
INARA
How many babies have you actually
delivered?
 
SIMON
As the primary? This would be the
first. You?
 
INARA
My first too.
 
RIVER
(looking even closer)
Mine too.
 
They look at River a moment.
 
SIMON
It's gonna be a long night.
 
Inara gives him a peck on the cheek for luck.
 
INARA
You'll do great, Doctor.
 
RIVER
(still staring)
Who do you think is in there...?
 
Petaline huffs and puffs...
 
19 INT. NANDI'S ROOM - NIGHT
 
It's very late, and Mal and Nandi are on the couch. He
throws back a shot. They've both been drinking for a while.
 
NANDI
It was the dulcimer
 
MAL
The Dulcimer drove you out of Sihnon.
What, did you kill a dulcimer in a
terrible passion?
 
NANDI
(smiles)
Actually, yes.
 
MAL
Ah! And now that Dulcimer's family's
out to get even. I get it.
 
NANDI
I was at practice. You never stop
practicing, you know, not a true
companion. Some baroque place, and
instructor keeps saying "You're
playing it, not feeling it". And the
fifth time he said it I took the damn
thing and smashed it into kindling.
 
Mal laughs appreciatively.
 
NANDI (cont'd)
And that's when it occurred to me
that a companion's life might just be
a little too constricting.
 
She pours two more shots.
 
NANDI
So I trucked out to the border,
learned to say "ain't," came to
find work. Found this place.
 
MAL
It's a nice place.
 
NANDI
It was a dungheap. Run by a pig who
had half the girls strung out on
drops. There's no Guild out here;
they let men run the houses, and they
don't ask for references. We didn't
get along.
 
MAL
And where's he at now?
 
NANDI
Let's just say he ain't playing the
dulcimer anymore either.
 
They clink glasses. Knock 'em back.
 
MAL
You are a remarkable woman, you don't
mind my saying.
 
NANDI
Well. as long as it's you saying it, and not
my fine rice wine.
 
MAL
Well, it takes more'n a few drinks to
render my judgement blurry. What
about you? Am I getting any prettier?
 
NANDI
By the minute.
 
She is so sweetly seductive that they hold on each other a moment. Then
he breaks it, all conscience.
 
MAL
(rising)
I should check the barricades, make
sure everyone's ready to --
 
NANDI
Everyone's asleep. Well, them as
can, night before a fight.
 
She stares into Mal's eyes.
 
NANDI (cont'd)
Can you?
 
MAL
What?
 
NANDI
Sleep?
 
Another beat, as that loaded question settles in. Mal's reply is
intimate in tone, as well.
 
MAL
Miss Nandi, I have a confession to
make.
 
NANDI
Maybe I should get the Shepherd.
 
MAL
Well, I ain't sinned yet, and I'd
feel little more than awkward
if he were here when I did.
 
NANDI
You expect to accomplish something
sinful then, do you?
 
MAL
If I'm overstepping my bounds, you
let me know.
 
NANDI
<Extraordinarily impatient Buddha>
[jen mei NAI-shing duh FWO-tzoo],
Malcolm, I been waiting for you to
kiss me since I showed you my guns --
 
They're kissing. It's soft, but not without heat. He pulls away, looks
at her.
 
NANDI (cont'd)
You okay with this?
 
MAL
I'm just waiting to see if I pass
out. Long story.
 
NANDI
I want you to bed me.
 
MAL
I guess I mean to.
 
NANDI
I ain't her.
 
MAL
Only people in this room are you and
me.
 
NANDI
So, my child... How long has it been
since your last confession?
 
MAL
Longer than I care to say.
 
NANDI
You gonna remember where everything
goes?
 
MAL
Let's just say I plan to take it real
slow.
 
They kiss.
 
20 INT. NANDI'S ROOM - NIGHT
 
It is later, and they are still in the act. They are both naked, him
sitting up at the foot of the bed and her astraddle, sheets pooled about
their lower portions of them and clever camera work concealing the more
interesting details of the upper. Their movement is slow, deliberate --
and not quite so rhythmic as to be entirely specific. They are drenched
in sweat.
 
He runs his hands along the side of her head, his thumb sliding
indelicately into the corner of her mounth, Nandi biting down lightly,
eyes closing, then opening again, near startled as his hands slip to her
hips and they look at each other with something resembling need.
 
She brings his head to her breast, still moving, eyes wet
with tears not spilt.
 
21 EXT. TOWN - NIGHT
 
BURGESS
So the whore's got herself a
champion, has she?
 
He is standing in the light of a couple of torches, on the balcony of a
two story building, couple of his men behind him. He looks over the
railing a moment, amused. Looks back to the person he's addressing.
 
BURGESS (cont'd)
This great man got a name?
 
REVERSE to see CHARI is the one feeding him info. Why, she's a TURNCOAT!
 
CHARI
Reynolds. Malcolm Reynolds.
 
BURGESS
(thoughtfully)
Mmm. Yes, I've met the man. How many does
he got with him?
 
CHARI
Just a few, and only two real
fighters besides hisself. But they
got the girls stirrin' for a battle
 
BURGESS
I certainly wasn't expecting
a battle.
 
He chuckles, turns out over the railing, addressing his men.
 
BURGESS (cont'd)
Seems the Heart of Gold has got
itself a few mercenaries. Guess
we'd best call the whole thing off!
 
As he say this, the camera pans over to take in the view of the men --
and they number at least thirty, many on horseback, and total bad-asses.
A ROAR of laughter meets Burgess' statment.
 
Burgess grins, turns back to Chari.
 
BURGESS (cont'd)
Earned yourself quite a bag
of silver, little kitten. But I got a few
more chores in mind before you get it,
though.
 
CHARI
I'm ready.
 
He motions for her to come closer, puts his arm around her as he
addresses the men.
 
BURGESS
Now Chari here, she understands a
whore's place, don't she?
 
General assent and applause.
 
BURGESS (cont'd)
But Nandi, and those others, they
spit on our town.
They've no respect fo the sanctity
of fatherhood, for decency or family.
They have MY CHILD held hostage to
their decedent ways, and that I will not
abide!
 
More cheers.
 
BURGESS (cont'd)
We will show them what power is! We
will show them what their position in
this town is! Let us all remember,
right here and now, what a woman is
to a man!
 
He turns to Chari, no longer smiling.
 
BURGESS (cont'd)
Get on your knees.
 
She looks startled. Looks out at all the men watching. But Burgess is
unwavering, and she hesitantly sinks out of the frame.
 
ANGLE: THE MEN
 
There is a pause. Then an uproarious cheer.
 
END OF ACT TWO
 

Act Three
 
22 EXT. BORDELLO - DAWN
 
The sun creeps over the horizon. The MORNING OF.
 
23 INT. NANDI'S ROOM - DAWN
 
Mal and Nandi are asleep together, in a tangle of sheets, in a tangle of
limbs. Content.
 
Sunlight streams in from the horizon, cutting her across the eyes. They
blink awake. she looks at him sleeping awhile.
 
24 INT. BORDELLO LOBBY - MORNING
 
Mal is coming quietly out of Nandi's room, doing up his shirt, just as
Inara is coming from the back hall. He stops, totally busted.
 
MAL
Um...
 
INARA
Well.
 
She is startled, but doesn't seem shocked. That doesn't stop Mal from
excusifying.
 
MAL
I...I just had to tell Nandi about, um, about time to...
(shifts topic)
Big fight today!
 
INARA
Mal. Please.
 
MAL
No, I, no, I, well, I, uh...
 
INARA
(sincerely)
So you took to bed with Nandi. I'm
glad.
 
MAL
You know, I was up... I got to thinkin' and ponderin'...
Glad?
 
INARA
Yes! She's a dear friend, and
probably in need of some comfort
about now.
 
MAL
Well, uh...
 
INARA
(amused)
One of the virtues of not being
puritanical about sex is not feeling
embarressed afterwards. You should
look into it.
 
MAL
Well, I just, I... didn't want you
thinking that I was taking advantage of your
friend.
 
INARA
She's well worth taking advantage of,
I sincerely hope you did.
 
MAL
So you're okay. Well, yeah. Why, why
wouldn't you be?
 
INARA
I wouldn't say I'm entirely okay.
I'm a little appalled at her taste.
 
Smiling, she turns and exits, leaving him come-backless.
 
25 INT. UPSTAIRS ROOM - MORNING
 
The sun's a mite higher now. Jayne stirs, stretches, as does Helen. Jayne pulls a gun free from between them. They spoon then go back to sleep.
 
26 INT. BACK ROOM - MORNING
 
We see Petaline, having dozed off. Track across the room to find Inara
sitting on the floor in the corner. Sobbing her eyes out.
 
27 EXT. PLAINS - MORNING
 
Wash and Kaylee trek towards Serenity. Wash sips his coffee from a lidded MUG. He
has a PISTOL holstered at his side.
 
Mal's voice comes in over Wash's RADIO HANDSET.
 
MAL (O.S.)
Wash -- you there yet?
 
Wash pulls his radio off his belt and answers.
 
WASH
All but. Nice day for a last stand,
innit?
 
MAL
Nope. Plan to make a healthy few
stands after this one. Just hopin'
for some air support from your
quarter, is all.
 
WASH
(nods)
Couple of low fly-overs, engines
tipped earthward at full blast,
should give our guests something
other than killin' you to think about.
 
MAL (O.S.)
What I like to hear... Out.
 
Wash clicks off his radio and clips it back to his belt.
 
KAYLEE
Captain seem a little funny to you at
breakfast this morning?
 
WASH
Oh, Kaylee. We all know I'm the
funny one.
 
28 INT. BORDELLO - MORNING
 
Mal walks behind some of the women, who stand in position at the bottom
floor lobby windows, holding rifles. He himself is now armed for battle.
He wears a RADIO EARWIG.
 
MAL
You ladies and gentlemen all locked and loaded?
 
VARIOUS PEOPLE
Locked and loaded. Got it. Yes, sir.
 
MAL
Good. Remember, shoot the man, not
the horse. Dead horse is cover, live
horse, great pile of panic.
 
He stops as a TRANSMISSION crackles in over his earwing.
 
JAYNE (O.S.)
(lewd chuckle)
Whoa now, girl, that is just plain
dirty --
 
He holds a finger up to his ear and hits the transmit switch.
 
MAL
Jayne -- You are aware your radio's
transmittin'?
 
29 INT. UPSTAIRS ROOM - MORNING
 
CLOSE ON RADIO HEADSET - which sits in a twist of bedspread. Jayne's
hand enters frame, fumbling for it.
 
MAL (O.S)
Cause I don't feel particularly
girlish or dirty at the moment.
 
Jayne picks up the radio and speaks into it as he untangles himself from
Helen. He's dressed for war. She, not so much.
 
JAYNE
Oh, ah, yeah, just up here waitin'
Captain. Ready one-hunnert-percent.
 
He grabs his weapon and looks out his window.
 
MAL (O.S.)
Better be.
 
Jayne gives Helen a sharp businesslike nod, and she nods back.
 
A30 INT. BACK ROOM - MORNING
 
CLOSE ON Petaline, who writhes in the throes of a contraction.
 
PETALINE
(continued scream)
 
Her legs are up and spread apart, concealed by a sheet. Inara holds her
hand.
 
Inara leans in towards Petaline's face.
 
INARA
You're stonger than this thing,
honey. I can feel it in your grip...
(Petaline SCREAMS again)
Petaline, look at me--
 
Petaline looks up at Inara, who catches her eyes in an intense, almost
hypnotic stare.
 
INARA (cont'd)
This is just a moment in time... Step
aside and let it happen...
 
As River watches intently, Petaline nods.
 
Nandi enters, stopping at Inara's side.
 
NANDI
How is she, Doctor?
 
Simon speaks from a counter a short distance away, as he fits a VIAL OF
MED into his HYPO-GUN.
 
SIMON
She's at ten centimeters. Not long now.
 
Nandi turns to Inara. They share a subtle exchange of looks. This should
be cut to show they're communicating via expression alone -- Companions
wordlessly reading each other.
 
Nandi smiles sadly, rest a hand on Inara's shoulder.
 
NANDI (O.S)
Inara... I thought it was just him...
 
Inara turns to Petaline. Then quietly:
 
INARA
Nandi, believe me. I'll be fine.
 
They share a look and Nandi exits.
 
Simon comes to the bedside and injects something into Petaline's arm.
 
31 INT. HEART OF GOLD - A BIT LATER
 
Nandi comes to where Mal is. They get rifles ready over:
 
MAL
Morning. How'er you doing?
 
NANDI
Mite tense.
 
MAL
(indicating upstairs)
I'd like you best on the balcony with
me. We can see everyone from up there,
and if anything goes...
 
NANDI
You didn't give me the whole truth, Mal.
 
MAL
'bout what?
 
NANDI
'Bout her feelings for you.
 
MAL
I really don't know --
 
JAYNE
(on cam)
Mal! Looks like we got some imminent
violence!
 
30 EXT. PLAINS - ELSEWHERE - MORNING
 
A beat of quiet. Then the FAR-OFF SOUND of horses as a cloud of dust
rises on the horizon. SMASH CUT TO --
 
-- MID-THUNDER with the MERCENARY HORSEMEN surging forward at full
gallop, flanking Burgess' hovercraft.
 
Burgess pilots the hovercraft, expressionless, behind stylish mirrored
goggles. Over his face, PRE-LAP Petaline's SCREAM OF PAIN --
 
32 EXT. BORDELLO - MORNING
 
Burgess and his riders, charging forward in the
distance, trailing a plume of dust.
 
33 INT. BORDELLO LOBBY - MORNING
 
Mal, now standing on the interior balcony, looks through a slim pair of
BINOCULARS.
 
We see many men and guns approaching. Rance drives his hovercraft. A machine gun
is mounted on its rear with a man ready to fire.
 
Mal, now standing on the interior balcony, lowers a slim pair of
BINOCULARS. He is not at all pleased.
 
Rance and his men approach even closer, ready for action.
 
MAL
Zoe, Jayne -- you seein' this?
 
JAYNE (O.S.)
Gotta be thirty men out there.
 
ZOE (O.S.)
Confirm that. Plus a mounted gun on
that hovercraft.
 
JAYNE (O.S)
What's that you said about runnin'
for it?
 
Mal takes a moment, visibly adjusting to the new odds. He lifts up his
RIFLE.
 
MAL
Okay, folks. We got no
shortage of ugly ridin' in on us. But
that don't change the plan.
 
Nandi climbs the stairs, gun in hand, addressing the whores.
 
NANDI
Anybody here goes down, you drag 'em
to the back, then get back to
shooting. Only way to help them is to
finish this.
 
She cocks her rifle then turns to Mal, smiles at him sweetly for a quick
beat.
 
Mal smiles back.
 
34 INT. SERENITY - CARGO BAY - DAY
 
Kaylee and Wash enter through the SMALL DOOR. Kaylee closes the door
behind them; something's not right-- She scans the bay as they start for
the stairs. Mal CRACKLES IN over Wash's radio:
 
MAL (O.S.)
Wash -- gonna be tradin' injuries in
under two minutes. Like my sky a
little less empty --
 
WASH
Copy that, Mal. We--
 
Kaylee sees SHADOWY FIGURES on the catwalk above, and tackles Wash just
as GUNFIRE rains down at them, SPARKING off the metal.
 
Wash slams down behind some metal crates, Kaylee on top of him. The
radio skitters off into open floor; unreachable. But they have cover for
the moment. Wash looks up into her face.
 
35 EXT. BORDELLO - DAY
 
The hovercraft HUMS forward, just ahead of the horsemen.
 
Lead horse SNAPS A TRIPWIRE, and the ROPE springs up out of the dirt,
singing taut, catching THREE RIDERS in teh throats and pitching them off
their horses. The other riders duck, some slide sideways in thier
saddles, clearing the line.
 
Burgess calls back to KOZICK, the man on the crafts large MOUNTED GUN.
 
BURGESS
Open her up, Kozick--
 
Kozick nods, cranks back a lever and starts shooting -- MASSIVE MACHINE
GUNFIRE flares.
 
36 INT. BORDELLO LOBBY - CONTINUING
 
Mal sees it coming and swings behind his shielding.
 
MAL
Cover!
 
The women do the same, just as a HAIL OF MACHINE GUNFIRE rips through
everything that isn't fortified.
 
MAL (cont'd)
(into earwig)
Jayne -- I do believe that's our first
hurdle. You might --
 
37 EXT. BORDELLO - CONTINUING
 
Kozick, FIRING AWAY, is plugged in the chest and FLIPS BACKWARD off the
hovercraft.
 
INT. UPSTAIRS ROOM - CONTINUING
 
Jayne pulls his eye away from his sight long enough to speak into his radio:
 
JAYNE
Think I might, Cap'n.
 
39 INT. BORDELLO LOBBY - CONTINUING
 
Mal calls to his troops.
 
MAL
Fire!
 
They all swing out and unleash a BARRAGE OF FIRE from their positions. General mayhem,
inside and out. A BOY WHORE falls away from a window down the line, bloodied by a
gunshot. Mal RETURNS FIRE.
 
In the confusion, Chari crawls out of the room. Another whore is shot.
 
Nandi sees this and bristles, aiming another shot --
 
NANDI
<dirty bastard sons-of--> [Wang bao
DAHN--]
 
She FIRES.
 
40 EXT. BORDELLO - CONTINUING
 
A HORSEMAN takes it in the neck and flops off his horse.
 
INT. SERENITY - CARGO BAY - DAY
 
Wash and Kaylee under fire. Wash is trading shots with his pistol, as
THREE OF BURGESS' MEN work their way along the upper catwalk. Wash and
Kaylee fall back behind different crates, finally getting close to the
door that leads to the COMMON AREA.
 
WASH
GO!
 
Kaylee darts out, Wash behind her, fire a FLURRY OF SHOTS to cover their
exit.
 
They get through the door.
 
The men race down the stairs after them. CAMERA FINDS the radio
 
MAL (O.S.)
Wash -- Where the hell is my
spaceship!?
 
42 EXT. BORDELLO - CONTINUING
 
Horsemen criss-crossing, SEVERAL get hit by GUNFIRE from the whorehouse,
dropping them from their steeds.
 
A HORSE GOES DOWN, crashing into the FG and throwing its rider.
 
The REST RETURN FIRE.
 
Burgess angles the hovercraft, flying parallel with the house front,
still a ways off. He lifts his laser and FIRES a CONTINUOUS BEAM.
 
The BEAM sears along the front of the house, wavering between the second
story windows and the eaves of the roof, which already started SMOKING.
 
43 INT BORDELLO LOBBY - CONTINUING
 
As the LASER BEAM races a RED-HOT LINE along their barricade, FLASHING
through the gun-slits as Mal and the others hunker away.
 
Mal looks up, where he sees SMOKE pouring in from a TORN UP PATCH OF
CEILING.
 
MAL
Ruttin' lasers --
(into earwig)
Book -- Zoe -- Second hurdle --
 
44 EXT. BORDELLO - CONTINUING
 
FIRE HAS BROKEN OUT on the front facade of the whorehouse.
 
Book holds a hose.
Zoe covers his back with her rifle. He starts up the hose, and a HISSING
JET OF WATER sprays up toward the wall.
 
A HORSEMAN turns toward them, levelling his gun at Book. Zoe FIRES,
taking him out.
 
45 INT. BORDELLO LOBBY - CONTINUING
 
Mal, Nandi, and the others continue BLASTING AWAY. Petaline's SCREAMING
comes in from the back room.
 
46 INT. BACK ROOM - CONTINUING
 
Simon is in position, Petaline is bearing down hard and SCREAMING
between breaths. River is fascinated and smiling. Inara holds Petaline in support.
 
PETALINE
[screams again]
 
SIMON
That's it, Petaline, one more push--
 
She bears down.
 
SIMON
That's the shoulders... Good--
 
47 EXT. BORDELLO - CONTINUING
 
The horsemen are in chaos now, riderless and wounded horses stymie their
efforts to fire on the house. Our guys are kicking ass!
 
Book catches sight of PAIR OF RIDERS behind Zoe, taking aim. He swings
the hose around, BLASTING them off their horses with its powerful stream.
Zoe shoots one of the men
 
48 INT. BORDELLO LOBBY - CONTINUING
 
Up on the balcony, Mal talks into his earwig as he scans the battlefield.
 
MAL
Jayne -- I lost visual on Burgess --
 
JAYNE (O.S.)
Same here --
 
49 INT. SIDE OF HOUSE - CONTINUING
 
Burgess' hovercraft is up close to the house, and he's leaping off of it
to the ground. A BULKHEAD CELLAR DOOR swings open. Chari is there, and
ushers Burgess inside.
 
50 INT. SERENITY - DINING AREA - CONTINUING
 
The three Mercenaries move through the dining area, grimfaced, covering
it with their guns, cursorily checking its nooks and crannies for their
prey.
 
MERCENARY 1
(pointing)
Take the right.
 
A DOOR LOCKING SHUT calls their attention to the aft corridor.
 
They see Wash at its end and raise their guns.
 
WASH
[that weird Robert Mitchum 'hoot!'
from Night of the Hunter]
 
MERCENARY 1
Hey! There he is. Get him!
 
Wash darts into the engine room, narrowly missed by their FIRE as they
move into the AFT CORRIDOR.
 
Kaylee pops out of CLEVER HIDING PLACE and swings the door shut behind
them, then locks it.
 
51 INT. SERENITY - AFT CORRIDOR - CONTINUING
 
Before they can react, Wash swings the ENGINE ROOM DOOR shut as well,
locking it. The passage leading off from the middle of the corridor is
BARRED BY ITS DOOR. They're trapped.
 
52 INT. SERENITY - ENGINE ROOM - CONTINUING
 
Wash peers in through the thick glass porthole, issuing
adrenaline-charged laughter.
 
WASH
Ah-ha-ha-ha! Got you, you <piss-soaked pikers>
[niao SE duh DOO-gway]
(laughs again, then
realizes he's
trapped in engine room)
Nobody's going...anywhere...
 
53 INT. BACK ROOM - DAY
 
Simon lifts up a SWADDLED BABY, purple, newborn, squealing. Inara and
River look on. Petaline is near delierious from childbirth.
 
SIMON
It's --
 
RIVER
It's a boy. Healthy.
 
A DOOR behind Inara opens, and Burgess is there, laser covering them.
 
BURGESS
(points his gun)
Good mornin', Petaline...
 
END OF ACT THREE
 

Act Four
 
54 INT. BORDELLO - LOBBY - CONTINUING
 
Nandi hears PETALINE'S SCREAM first:
 
PETALINE
Rance! NO!
 
Mal is caught in the ebbing FIREFIGHT, but Nandi races down the stairs,
toward the rear hall.
 
A55 INT. BORDELLO - REAR HALL - CONTINUING
 
Burgess backs out of back room, where Petaline screams. He's got the
BABY in one arm, laser pistol in the other. Nandi appears behind him,
entering from the lobby, confronts him.
 
NANDI
Rance. Most of your men are either dead, dyin',
or run off.
 
BURGESS
(aims his laser at Nandi)
Oh, that don't matter none. i got what I came
here for.
 
NANDI
Ain't leaving here with it.
 
BURGESS
This is my blood, woman.
 
Burgess gestures towards the baby with his pistol.
 
Suddenly a slim arm snakes a nasty curved RAZOR in under Burgess' chin
from behind, digging its tip into the side of his throat, DRAWING BLOOD.
It's Inara, accompanied by two ND whores, as cold dead serious as we've
seen her.
 
INARA
(re: blood dripping
down his neck)
No. This is your blood.
(nods to a whore)
Now you hand that child over nice and
slow, or I'll spill more than you can
spare.
 
Burgess complies, wincing at the wound, handing the baby over to a
whore, who backs out of the scene to safety.
 
As this happens, Burgess takes the pause to ELBOW Inara hard in the
stomach. As she staggers back, he FIRES his laser from the hip, searing
straight through Nandi's chest. He escapes out a side door.
 
Mal gets to the lobby end of the hall and moves to the fallen Nandi.
 
Mal touches Nandi. She's stone dead. He shares a look with Inara,
there's murder in both their eyes. He hears the OS THRUM of the
hovercraft starting up and turns for the front door.
 
56 EXT. BORDELLO - CONTINUOUS
 
ANGLE ON FRONT DOOR
 
The front door slams open and Mal stalks out, eyes forward.
 
Without dropping a beat, Mal PLUGS a horseman off his horse, and swings
up into the saddle just as the man finishes falling.
 
Burgess' hovercraft rumbles out from behind the house, heading out for
the plains.
 
Mal spurs the horse hard, and it tears off --
 
MAL
Hyah!
 
57 EXT. OPEN LAND - DAY
 
A WIDE LANDSCAPE SHOT of Burgess speeding away in his hovercraft and Mal
in pursuit, his horse kicking up dust as he whips and spurs it into a
breakneck gallop.
 
Burgess sees Mal behind him and stands in his craft, steering with one
hand as he turns back. He FIRES his laser--
 
The LASER BEAM cuts the air by Mal's head. Mal whips a burst of speed
out of his horse as another BEAM sears past him.
 
Mal is closing in on the hovercraft, an easy shot. Burgess takes careful
aim, and pulls his trigger. We hear a RAPID BEEPING. Burgess checks the
display screen on his gun--
 
LASER GUN
 
The LCD screen flashes "CHECK BATTERY"
 
Burgess GROWLS, looking up just as Mal flies from his horse tackling
Burgess off the hovercraft.
 
They slam into a hard roll on the plain.
 
Burgess has had the wind smashed out of him and writhes on the ground.
Mal ain't much better, but drags himself to his feet using sheer force
of will.
 
He grabs Burgess' shirtfront and hauls him up, pulling his pistol from
his holster, bringing its barrel up to Burgess' head.
 
MAL
You're gonna pay for what you've took.
 
BURGESS
(still out of breath)
She was just a whore.
 
Mal seethes with vengeful fury, he's about to pull the trigger, but then
-- he flips the gun in his hand and smashes the butt across Burgess'
face. Burgess collapses, unconscious.
 
CUT TO:
 
EXT. BORDELLO - DAY
 
Mal and Inara push Rance to the ground and
tie the kneeling Burgess' hands behind his back.
 
TWO MEN CRASH INTO THE FRAME, as Jayne dumps the bruised and bloodied
Serenity-crashers before the bordello steps.
Burgess' other men are also tied up.
 
BURGESS
(calling out)
PETALINE! YOU BRING MY BABY OUT!
RIGHT NOW! YOU HEAR ME? I WANT TO
SEE MY SON!
 
Petaline appears at the bordello door, the baby held at her shoulder.
All eyes watch as she descends the steps and approaches Burgess.
 
PETALINE
Rance, this is Jonah.
(beat)
Jonah, say hi to your daddy.
 
Burgess smiles like a proud papa. He's actually moved at the sight of his son.
 
Petaline raises her free hand in which she holds Nandi's favorite gun.
She aims it at Burgess' head. She fires. Rance drops face down to the ground.
 
PETALINE (cont'd)
Say goodbye to your daddy, Jonah.
 
Petaline looks up from Burgess' dead body, icy.
 
PETALINE (cont'd)
Go on. Go on home.
 
Petaline points her gun at Chari.
 
PETALINE (cont'd)
You go with them.
 
Chari breaks eye contact, falls in step with
Burgess' men as they walk away.
 
Mal looks down.
 
DISSOLVE to Nandi in peaceful repose.
 
HIGH ANGLE
 
LUCY (V.O)
Amazing Grace, how seet the sound...
 
59 EXT. HILLTOP - DAY
 
LONG SHOT: A score of mourners have gathered around a makeshift cross
beneath a large oak. This is a fusion of BUDDIST and CHRISTIAN ceremony.
A number of mourners are dressed in white robes, with Tibetan prayer
beads draped over their clasped hands.
 
Lucy sings in a simple, quiet voice. (Think Margo Timmins.)
 
LUCY
That saved a wretch like me/ I once
was lost, but now am found/ Was blind
but now I see...
 
Lucy continues to sing. One by one, Nandi's staff steps up to the wooden
cross marking her grave. At its foot is a low asian-looking table, on
which sits a bowl of smoking incense. They bow as they drop pinches of
incense into the bowl. The crew of Serenity looks on, each sad, each lost in his or
her own thoughts.
 
Lucy's singing continues as we --
 
CUT TO:
 
Serenity lifts off into a gorgeous, golden sunset.
 
61 INT. SERENITY - CARGO BAY - NIGHT
 
Mal and Inara stand on the catwalk outside her shuttle. They are
contemplative, subdued.
 
MAL
Think those girls'll do all right.
 
INARA
She taught them well.
 
MAL
Yeah.
 
A beat.
 
INARA
I'm, um... I'm glad you were with
her. Her last night. I am.
 
MAL
Yeah, well. I ain't. Hell, I wish I'd never met
her. Then I wouldn't've failed her.
 
INARA
That wasn't the way of it.
 
MAL
It's a kindness, but nothing you
say'll convince me different.
 
INARA
Well, I'm still glad.
 
A small beat.
 
MAL
So you weren't before?
 
He's looking at her direct. She looks away.
 
MAL (cont'd)
Inara, I ain't looking for anything
from you. I'm just, uh, just feeling kind of
truthsome right now. But, uh... Life is too
damn short for ifs and maybes.
 
INARA
I learned something from Nandi. Not
just from what happened, but from
her. The family she made, the
strength of her love for them.
That's what kept them together.
When you live with that kind of
strength, you get tied to it, you
can't break away. And you never want
to.
 
They're getting closer to each other, Mal's eyes locked on hers.
 
INARA (cont'd)
There's something... There's something I
should have done a long while ago.
And I'm sorry -- for both of us --
that it took me this long.
 
A beat.
 
INARA
I'm leaving.
 
Another moment, and she goes past him into her Shuttle.
 
He doesn't move.
 
END OF SHOW
 

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