|
Firefly - "Our Mrs Reynolds" Written by: Joss Whedon Episode #: 1AGE05 |
| Teaser |
|
EXT. RIVER IN WOODED GLADE - DAY [NOTE: If a river is an impossibility, wagon in a glade will suffice. But water makes it cooler.] A farmer in a broad-brimmed hat (Amish-ish) sits by his bonneted wife on the front of a flat boat. There's a pole that sticks out to one side harnessed to a team of two horses. The boat is covered with a tarp, almost covered-wagon style. We see it from a distance, through the trees - and in the foreground, horses snort and paw. Someone else is watching as well. A beat, and the riders - four of them - clear the woods and circle the boat (the river being shallow enough to ride in.) The men are bandits, the main one (BANDIT 1) facing the cowed couple. Pardon me for intruding, but I believe y'all are carrying something of mine. The Farmer doesn't lift his head, barely whispers: T'ain't your'n. BANDIT 1 The Farmer lifts his head - it's JAYNE, smiling. You might wanna reconsider that last part. I married me a powerful ugly creature. MAL looks up from under his bonnet, shocked. How can you say that? How can you shame me in front of new people? JAYNE MAL Over this is the extreme confusion of BANDIT 1, who finally gets pissed enough to go for his gun - - and Mal and Jayne, in mid-spat, raise theirs first, targeting 1 and 2. Think very hard. You been birddoggin' this township a while now, and they wouldn't mind a corpse of you. Now you could luxuriate in a nice jail cell but if your hand touches metal, I swear by my pretty floral bonnet I will end you. A beat. The Bandits all look to each other - Bandit 4 in the back raises his rifle - and a shot from the covered boat knocks him off his horse. Then everybody's firing, Mal and Jayne dropping 1 and 2 as ZOE dives from the wagon, dropping 3 as she hits the water. Much falling, much splashing and -- EXT. TOWN - NIGHT Much celebration, the town gathered around a bonfire dancing, laughing... all the trimmings. Mal walks through the celebration with INARA, who is dressed down (for her). We'll head for Beaumonde in the morning, give you a chance to do some work of your own. INARA MAL INARA MAL INARA MAL INARA MAL INARA ANGLE ON JAYNE: he sits by the fire, drunk as a butter-churn, as a townsperson, ELDER GOMMEN, hands him a big wooden stick filled with beads, that sounds like rain when you turn it over. It makes the rain come when you turn it. The rain is scarce, and comes only when needed most. And such it is with men like you. Jayne's eyes fill with tears. This is the most... you, friend. You're the guy. He hugs the Elder hard. I'll treasure this. ANGLE ON: BOOK. He stands far off from the noise and light, by a sheet with four pairs of boots sticking out of it, silently reading last rites. Looks over and sees: ANGLE: BOOK'S POV Mal sits in a circle, next to Jayne. Book watches as a shyly pretty girl kneels before Mal and places a wreath on his head. Book goes on with praying. ANGLE: Mal - as the girl hands him a bowl of wine. Mal drinks and she smiles, moves off into the dance. Others draw Mal and Jayne into the dance as well, Mal finishing his wine sloppily and Jayne not letting go of his rainstick. Mal looks to Zoe, but she is making out with WASH like mad. These are three soused heroes. Mal and Jayne join in the dance, noise and movement filling the frame, cutting to - EXT./INT. SERENITY AIRLOCK/CARGO BAY - MORNING The noise of the whirling engine coming to life - we pan from it to Mal and Elder Gommen on the ramp, as a couple of townsfolk load crates onto the ship. Elder Gommen, thank you for your hospitality. ELDER GOMMEN MAL Zoe runs up to Mal from inside, whispers in his ear: Alliance patrol boat is heading into atmo right now. Mal smiles at Elder Gommen as Zoe runs back up. Well, we gotta fly. He steers him off as Elder Gommen replies: We will pray for a safe voyage, and hope to lay eyes on you again 'ere too long, my friend. MAL He runs back up, the ramp closing on the still waving Elder. EXT. SERENITY As she takes off and heads up. INT. CARGO BAY - CONTINUOUS As Mal is squaring away the goods he comes upon - Ahh! - the girl from last night, huddled shyly in the corner between various boxes. She wears the same potato-sack shift she sported before, and sandals. And an expression of extreme subservient fear. Her name, we will learn, is SAFFRON. Who the hell are you? SAFFRON MAL SAFFRON MAL SAFFRON MAL SAFFRON We hold on his very stupid expression for a long, long time. |
| Act One |
|
INT. CARGO BAY - CONTINUING Mal is still looking dumb for a while. Finally: Could you repeat that please? SAFFRON MAL SAFFRON MAL Zoe and Jayne enter. Zoe, why do I have a wife? JAYNE ZOE JAYNE MAL SAFFRON MAL ZOE MAL ZOE MAL JAYNE ZOE MAL Everyone is in now. Who's the new recruit? ZOE ANGLE ON: INARA True pain crosses her face. (excited) You got married?! SIMON WASH MAL Saffron starts to cry. Captain! MAL SAFFRON WASH Kaylee goes up to Saffron -- Oh, sweetie, don't feel bad. He makes everybody cry. He's like a monster. MAL BOOK SIMON He goes off. Wash and Mal are still talking throughout: Can't. MAL WASH MAL WASH MAL INARA WASH MAL BOOK Mal hesitates. As does everyone (to Jayne, quiet) How drunk was I last night? JAYNE BOOK MAL BOOK A beat. So what does it say in there about divorce? Saffron runs from the room, to the infirmary. < You don't deserve her, you fink. > MAL ZOE MAL His words ring true, and he storms out, passing Inara last, who doesn't particularly feel like laughing either. INT. PASSENGER DORM - CONTINUOUS Mal enters, finds no one. A quick look -- Hello? Woman-person? He starts up the stairs. INT. ENGINE ROOM - CONTINUOUS Mal enters, finds Saffron huddled in the corner. She has been crying, but has stopped. You all right? SAFFRON MAL SAFFRON MAL Awkward beat. Are you going to kill me? MAL SAFFRON MAL SAFFRON MAL SAFFRON MAL A small beat. I'd be a good wife. MAL SAFFRON MAL She stands, visibly cheered. That'll be fine. I'll do for you or not, as you choose. MAL And she slips by him, excited. I'll cook you something! MAL SAFFRON MAL She turns. I ain't ever even -- SAFFRON And she goes. He stands there, bemused. Book appears from the infirmary hall. He has seen that nice moment between the two. Divorce is very rare and requires dispensation from her pastor. I can send him a wave, see what I can do. MAL BOOK MAL BOOK MAL BOOK MAL BOOK MAL Book goes back. A beat and his head pops back in: A special hell... And he's gone again. Mal sighs. INT. DINING ROOM Mal sits as Saffron places a plate in front of him, mostly mush (and a few bao), but well presented and aromatic. Thank you. Zoe and Wash enter as he tucks in. Something smells good... ZOE MAL He can't figure out who to be careful around - so he just starts shoveling it in. Any more where that came from? SAFFRON Wash looks at Zoe for a microsecond of hope - her eyes narrow - and he laughs overcompensationally. Ta-ha-ha-- Isn't she quaint? I'm just not hungry. He sits, Zoe sitting as well. Her hilarious mood has abated. Saffron retires to the pantry. So, are you enjoying your own nubile little slave girl? MAL WASH ZOE MAL ZOE WASH MAL WASH Saffron is suddenly in the frame, grabbing Mal's glass from Wash. That's for me to do. She fills Mal's glass, places it by him. Everyone is quiet and uncomfortable as she stands by Mal, waiting for him to continue eating. You know, you weren't lying about your cooking. If I hadn't just eaten... SAFFRON MAL He rises. Do you need anything else? MAL SAFFRON There is a pause. Mal exits. Saffron goes back into the kitchen. A moment and Wash grabs Mal's plate, digging in. Zoe goes for it as well, elbowing in with a fork. EXT. SHIP - LATER Through the space she floaty. INT. INARA'S SHUTTLE - LATER Inara is working her screen, talking to it as the graphics change accordingly. Beaumonde, City of New Dunsmuir. Arrival, October 24, Departure... Mal comes to the door. Can I come in? INARA He does anyway. See, that's why I usually don't ask. INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA Mal is surprised by the force of her outburst. He exits. INT. CARGO BAY - CONTINUOUS He calls back as he goes: I wasn't looking for a fight... Turns and sees Jayne standing with meanest looking future shotgun imaginable. He cocks it, stonefaced. I always do seem to find one, though... |
| Act Two |
|
INT. CARGO BAY - CONTINUOUS Do I have your attention? MAL JAYNE MAL JAYNE MAL JAYNE He holds it out to Mal. It's my very favorite gun. MAL JAYNE MAL JAYNE MAL JAYNE MAL JAYNE MAL Mal heads downstairs. Jayne clearly not letting it go, but heading back up to his quarters. Mal comes to ground level and runs into Saffron - he jumps a bit. Gah! You do sneak about, don't you. SAFFRON MAL SAFFRON MAL SAFFRON MAL He stops looking at her. Well, that is odd. SAFFRON MAL SAFFRON MAL SAFFRON MAL EXT. SPACE Serenity passes a small (tiny) cracked moon. Zoom in to see a device webbed about the surface of the moon, with a dozen tiny camera faces all firing flashes one after another. ANGLE: A COMPUTER CONTINUED As a 3D image forms (fed by the camera's info) of Serenity. Pull back to: INT. CHOP SHOP OFFICE As two men, CORBIN and BREED, look at the screen. They are clearly disreputable, their outfits as hodge-podge and junky as the room they're in. Corbin is tough, strong, in charge. Breed is seedier, but also not to be underestimated. Bad guys. It's a wreck. CORBIN BREED CORBIN BREED CORBIN BREED CORBIN BREED CORBIN He's on his way out. Kill the crew? CORBIN IF POSSIBLE - This entire talk has been one slow pull-out from the screen, and now pull-out further, through the window to see: EXT. SPACE - FLOATING CHOP SHOP - CONT. Which is basically a giant floating ring - The office sits on top like a giant crab, the rest of the ring made up of connecting tunnels and chambers, and mostly by ships and parts of ships. Some gleam enticingly, some are cannibalized. Electricity crackles silently along the rim, fired up at six key points (this, we will see, forms the net). Ten Serenities could pass through the ring at once. A flash of electricity flares out to: OMITTED INT. ROOM/PASSENGER DORM - LATER Book is making up a room for Saffron, making the bed. He finishes smoothing it out, admires his work. We hold a still, wide frame as River enters and pulls the bed apart quickly and calmly and exits again, taking the pillow. Book sighs, starts out after River. Simon is coming the other way, interrupts River. She takes him by the hand, turns back to Book. What's going on? BOOK SIMON RIVER SIMON RIVER SIMON RIVER SIMON River kicks him in the shin. OW! I don't mean crazy - that's just not something brothers and sisters do. I mean on some planets, but only pretty bad ones. RIVER BOOK SIMON RIVER Mal enters with Saffron. What's going on? SIMON MAL BOOK SAFFRON RIVER Slight beat as Saffron recoils from River's accusation. Book notices that she shrinks a bit toward Mal, who puts a protective hand to her back. Well, ho, let's play nice here. (to Simon) Your sister's got some funny notions. SIMON SAFFRON They all turn to her, surprised, as she pulls a packet of food from her dress pocket. River responds by stuffing her pillow under her shirt. (handing the packet to Mal) I didn't know when I was to be fed, and I was afraid... MAL SAFFRON RIVER BOOK MAL Saffron is frightened, and Mal turns her to him. Now, I got no use for people sneak around taking what ain't theirs. BOOK MAL SAFFRON He tosses the food back to her. Looks to Book. Shepherd, would you show Saffron her room please? Mal exits, Book leading Saffron the other way. Simon is left with pillow-belly River. Now we have to be married. (hands on belly) I'm in the family way. Simon cannot think of a response. She's clearly out of her mind. INT. BRIDGE - LATER Zoe and Wash in mid-conversation. Well, she's led a sheltered life. ZOE WASH ZOE WASH ZOE WASH ZOE WASH ZOE WASH ZOE She exits. I'm gonna stay here, where it's safe and quiet, and I'm gonna play with some of these dials and stuff. He's watching her go, confused and unhappy. I might, you know, steer. She's long gone. He spins back around. INT. JAYNE'S ROOM - LATER Jayne sits on his bed, unhappily turning his rainstick over and listening to it. INT. FOREDECK HALL - NIGHTPHASE It's empty as Mal starts down his ladder, we follow him into: INT. MAL'S ROOM - CONTINUOUS Mal enters, pulls off his shirt. Tosses it in the corner, turning to see: ANGLE: IN THE BED is Saffron. She is quiet, a bit apprehensive and more than a bit naked. (jumps) Wah! Yo - hey. You're, um... well, there you are SAFFRON MAL SAFFRON MAL SAFFRON MAL SAFFRON She is soo insouciantly sexy. Mal looks up where his shipmates would be, resolve wavering... Well, no, I think we're still two fleshes here. And that your flesh oughta sleep somewhere else. SAFFRON She says it shamefacedly, the covers slipping down as she sits naked before him. Hey! flesh! Look Saffron, it ain't a question of pleasing me. It's a question of what's... uh... morally right. SAFFRON Beat. Whoa. Good bible. SAFFRON MAL SAFFRON MAL SAFFRON She stands getting close to him. If I'm wed, I'm a woman and I'll take your leave to be bold. I want this. I swell to think of you in me, and I see you do too. Mal looks down, embarrassed. Well, that's just... SAFFRON They're inches apart. He's dying. (looking up at the door) I'm gonna go to the special hell... She kisses him, slowly and sweetly. He pulls away, his face still close to hers, sad resolve in his eyes. I really wish it was that simple, girl. But I just - She kisses him again, and he gives massively in, putting his arms around her, their tongues intermingling... He takes a step back, confusion on his face. Puts a hand to his lips. Son of a - He is already stumbling as he goes for his gun - it drops to the ground with the same lifeless thud as he does. She looks at him a moment as he snores. The expression on her face, one we've not seen before, is sly triumph. Night, sweetie. |
| Act Three |
|
INT. BRIDGE - NIGHT Wash pilots alone. Saffron enters, tentatively - all shy girl (and dressed) again. Wash hears, turns - Well, if it isn't the master chef. Not sleepy? SAFFRON WASH She enters, eyes on the window. I've never been off world before. WASH SAFFRON WASH SAFFRON WASH She smiles at him, her warmth enfolding his sweet reminiscence. A beat, and she moves to the door, quietly shuts it. What are you doing? She moves to the middle of the room, stands there, almost trance-like. Now we're alone. Us and the stars. No ship, no bellowing engines or crew to bicker at each other... look. Come look... He's hesitant, but comes to stand next to her. They stare out at the brilliant black Do you know the myth about Earth-that- was? He can feel her closeness, her excitement - tries to be cool amidst the hard-on. Not so much. SAFFRON Beat. Whoa. Good myth. She turns to him, eyes nearly moist with pleading. My whole life, I saw nothing but roofs and steeples and the cellar door. Few days I'll be back to that life and gone from yours. Make this night what it should be. Please... Her face is inches from his. Show me the stars. They're practically touching and she moves to kiss him, but he pulls away at the last minute. < 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 pinky. SAFFRON WASH SAFFRON WASH He moves to the door. She stops him with... You love her very much. WASH He turns to open the door. Saffron rolls her eyes with bored exasperation as he continues heading for the door - I never did meet a woman quite like her. The first time we - And Saffron sidekicks him in the back of the head, slamming his face into the door. He slides down, unconscious. She pulls the door open, drags the body into the space before the stairs, hidden off to the side from view. Shuts the door again, locking it. She moves to the console, hits the screens, working the nav like an expert. We see the course setting come up on the screen, see her change the coordinates and lock them in. Hits another screen and opens a channel to signal the new destination of arrival. Just as swiftly and expressionlessly, she slides under the console, chooses a few wires and rips them out, sparks flying. Crosses a couple of others (we see the nav screens wink out) and she's up, back at the door, opens it, looking to see if she's alone. She reaches under her dress and pulls a strip of tape from the hem, sticks it on the interior lock of the door and pulls off a layer, which causes a bubbling not unlike the burning glue of the pilot. As the lock begins to melt and fuse she slams the door shut, locking herself out of the bridge. INT. CARGO BAY - MOMENTS LATER She comes down the stairs, gets her bearings straight for a sec, then heads to the second shuttle. Opens the door and runs smack into: INARA. Oh! INARA Instantly she's subservient Saffron again, looking down. She backs up as Inara comes down a few stairs. I'm sorry. I thought the other shuttle was yours. INARA SAFFRON INARA SAFFRON By God, she's moving from subservient to seductive... You'd like to please your new husband. SAFFRON Their faces are close. Inara is as intimate in tone as Saffron: But Mal said... you don't approve of my work... SAFFRON They are face to face. Come to my shuttle. SAFFRON The alarm goes off, red lights spinning - Saffron looks around in innocent alarm, looks back to Inara, who drops the act. I guess we've lied enough. Saffron drops the act as well. You're good. INARA SAFFRON All the color drains from Inara's face. (okay, not all the color, she's from Future-Brazil so she still has a hue, but she's upset, okay?) Saffron punches, hard but Inara blocks - a spinning kick from Saffron and Inara rolls out of the way, Saffron moving to the shuttle and slamming the door behind her. Inara is on her feet in a heartbeat, racing toward the foredeck hall... INT. COCKPIT OF 2ND SHUTTLE - CONTINUOUS Saffron pulls some chips from her dress and inserts them into the console, brings the shuttle to life. EXT. SERENITY - CONTINUOUS As the shuttle takes off and heads the opposite way. INT. FOREDECK HALL - CONTINUOUS Inara comes in as Zoe is at the entrance to the bridge, holding a dazed Wash. Jayne is trying to open the bridge door (it won't budge) as Kaylee is coming sleepily up out of her room. They all overlap: Baby wake up... He's bleeding... JAYNE KAYLEE Inara ignores them all, slams Mal's ladder in and drops down as fast as she can - INT. MAL'S ROOM - CONTINUOUS She finds Mal draped like the dead on the floor, rushes to him, fearing the worst - Mal Mal Mal Mal - She goes down, pulls up his head - and he moans - still alive. Unwanted wetness springs into her eyes as she gasps, relieved - Merciful buddha... And she kisses him, once, hard, then holds him to her, collecting herself - laying him back down and heading to the ladder as she calls out to above: Get the doctor! Mal's hurt... he... She starts to sag. Puts a finger to her lips, recognizing the taste - she turns to Mal, scorn in her drooping eyes... Oh, you stupid son of a - And she collapses, unconscious, out of the frame.
BLACKOUT AND FADE UP ON:
INT. - SAME - LATER Fuzzy close on Mal awakening. Gets more focus as he looks about him, blinking. Is it christmas? Reverse angle: The entire gang (minus River, Jayne and Kaylee) is staring at him. Simon closest, with his doctor bag, and Inara on his bed propped up like a rag doll. Well, he's back... ZOE MAL ZOE MAL SIMON ZOE MAL SIMON ZOE BOOK MAL WASH ZOE WASH MAL BOOK MAL BOOK INARA MAL INARA MAL ZOE WASH Mal starts up the stairs, the others following. Hold on Inara, who says to Simon... I'm fine. I don't need to be examined. I'm comfy. INT. HALL CONTINUOUS As Mal and everyone files up (save Simon and Inara) to see Jayne firing up a blowtorch. Kaylee explains - She didn't just lock it, she fused it to something. Both entrances. MAL BOOK MAL ZOE Simon is entering as well as: Maybe she likes shuttles. (Off Mal's look) Some people juggle geese... RIVER They look at her. She's a thief. A beat. ANGLE: THE DOOR As Jayne pulls it open INT. BRIDGE - LATER Kaylee and Wash are lying side by side under the console, looking up at the wiring. She's a pro. WASH KAYLEE WASH KAYLEE WASH They're starting to admire it -- a bit too much for Mal to take. He stands there with everyone else, waiting. I'm glad you two are having a good time under there, you wanna progress to the making it right? They poke their heads out. That's not gonna happen for a good long while, Cap'n MAL KAYLEE MAL INARA JAYNE There is a moment for everyone's extreme silent horror. Well, what CAN you do? WASH MAL INARA WASH MAL KAYLEE INARA SIMON INARA BOOK MAL INARA MAL INARA MAL ZOE MAL WASH KAYLEE Jayne rummages through tools as everyone else save Book departs. Wash ducks back under with Kaylee. Do you really think we have a hope in hell of fixing this? KAYLEE INT. CHOP SHOP OFFICE - LATER Breed is looking at a screen, call out of the room: They're coming! Corbin rushes in. How far out? BREED CORBIN BREED He starts out -- INT. BRIDGE - LATER As Serenities screens pop back to life. YES! He is looking at them, working them. Kaylee's still under the console, Jayne and book at the ready. Mal runs in. You got it? WASH MAL Kaylee comes out to look miserable, shakes her head. So where are we headed? WASH MAL WASH JAYNE WASH Mal gets it. He looks at Book, who also does. It's a net. JAYNE BOOK Off their looks: EXT CHOP SHOP RING - CONTINUOUS As the electricity fires up and does in fact form a powerful net. |
| Act Four |
|
INT. BRIDGE - MOMENTS LATER The same gang are there, as the explanation begins. It's a Carrion House. Scrap shop, takes ships, pulls 'em apart or fixes 'em up. WASH MAL BOOK JAYNE MAL KAYLEE MAL He's thinking fast, looks about him. We need a plan B. He hits the com. (into com) Zoe, get our suits prepped, now. (to the others) I figure we got one shot at this. (to Wash) Give me a visual as soon as we're close. WASH JAYNE Mall turns to him, waits just a hair of a beat. You go get Vera. INT. CARGOBAY/AIRLOCK - LATER Mal and Jayne are suited up, save helmets and gloves. Jayne is loading big-ass bullets into Vera while Zoe checks his suit and Simon hooks his encyclopedia to the com console with Book's help. (over the com) We are two minutes out... JAYNE MAL SIMON They look over at: ANGLE: SIMON'S ENCYCLOPEDIA Has a visual of the ring on it. What am I aiming for. The window? MAL JAYNE INT. BRIDGE - CONTINUING Kaylee slams her wrench against metal, near tears. If I just had a stupid conductor cap... EXT. CHOP SHOP RING - CONTINUOUS As we can see Serenity tiny in the distance. INT. AIRLOCK - CONTINUING Mal opens the door, and he see him suited up, with Jayne as well, Jayne is sitting, holding the gun. It's in a suit, Jayne holding it through the sleeves (which are duct-taped to his), the barrel pointing out through the helmet. The butt of the gun is braced up against containers against the airlock doors. Angle: their pov Through the door, of the approaching ring. You see it? JAYNE INT. COCKPIT OF INARA'S SHUTTLE - CONTINUING As Kaylee rips out some wires and parts from it. She comes up and looks out the window, stops -- mesmerized. EXT. CHOP SHOP RING CONTINUOUS As the ship approaches, the net forms fully, electricity silently flaring in a spiders web of power. INT. EXT AIRLOCK/SPACE - CONTINUING Mal waits. Jayne waits. Jayne FIRES, a silent burst blowing through the helmet, air rushing out as the breaker EXPLODES, the crackling web disintegrating -- -- and Jayne continues firing, aims up at the office itself: INT. CHOP SHOP OFFICE - CONTINUING Corbin and Breed duck and cover as the bullets rake across the window. We hear it crack and groan -- they look at each other in horror -- EXT. CHOP SHOP RING - CONTINUOUS And the window and all contents of the office blow out into space -- pan down to see serenity blow through the sparking but harmless ring, continuing on in the distance. INT. BRIDGE - LATER Kaylee, Mal, Zoe. Wash is at the controls. We hear things humming to life. We got it. It's not pretty, but we can steer enough to turn the hell around. MAL KAYLEE MAL He kisses her on the top of her head. She waves him away, but didn't hate the compliment. Captain, don't you know that kissing girls makes you sleepy? MAL INT. HOTEL ROOM - DUSK Can something be described rustically plush? 'Cause that best describes this little suite. Saffron sits on the bed, pulling on her boots. She is nothing like the girl we've seen, much more modern and cool (though she still wears a skirt). And she's packing a sidearm in a shoulder holster. She stops a moment, listening to something. The door flies open, Mal having kicked it in. Before she can draw, he has his gun to her head. Honey... I'm home... A beat. She knocks his gun aside, it fires as she draws hers but he is in close, they tussle -- he wrenches her gun from her hand as they collapse on bed, him on top. Looks like you get your wedding night after all. She pushes him, they go tumbling to the floor but he's still on top and this time he's got his gun to her chin. It's the first time, darlin'. I think you should be gentle with me. She lets out a breath, smiles at him unfathomably. You gonna kill me? MAL SAFFRON MAL SAFFRON MAL SAFFRON MAL He sits, gun still well on her. She gets up on her elbows, below but facing him. How'd you find me? MAL SAFFRON MAL SAFFRON MAL Her smile goes. This is the closest we're gonna get to seeing what's inside her, and there ain't much to warm your hands by. Everybody plays each other. That's all anybody ever does. We play parts. MAL SAFFRON MAL SAFFRON MAL SAFFRON MAL She looks at him... looks away, considering the question... -- and he slams the butt of his gun into her chin, knocking her out cold. He stands, regards her genuinely vulnerable form. Says with a kind of sadness: You'd only've lied anyhow. A beat, and he leaves. OMITTED INT. INARA'S SHUTTLE As she is turning off her vidscreen. Mal knocks, enters after: Come in. MAL INARA MAL INARA MAL INARA MAL INARA MAL She holds his look, and acquiesces. No. He smiles, nodding. Well isn't that something. I knew you let her kiss you. Her look changes to one of stupefied disbelief. He exists, chuckling. We hold on her expression for a long, long time. |