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Firefly - "Heart of Gold" Written by: Brett Matthews Episode #: 1AGE12
SHOOTING SCRIPT: October 29, 2002
BLUE REVISIONS: October 30,2002 PINK REVISIONS: October 31,2002 YELLOW REVISIONS: December 16,2002 |
| Teaser |
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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 landmasses, the landscape come all the way down toward a glittering house in the desert -- EXT. HEART OF GOLD BORDELLO - DAY A plain but stately-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 badass SPACE JEEP, zooming over its buffeting hover-current. THE BOY AND GIRL register recognition. React -- 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. 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 -- prostitutes. 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. We ain't open for business. It's the sabbath. We don't do no trade on the sabbath. The HOVERCRAFT glides to a stop. Piloting it is RANCE BURGESS. A handsome, fancified imperious GENTLEMAN. But he's anything but gentle... Shut up, whore. NANDI BURGESS NANDI BURGESS The horsemen move to the door, push their way in. She ain't here. Girl left this moon more'n a month ago. It was you chased her off. BURGESS Nandi is poker-faced. Some SCREAMING and CRYING from inside. Crying he recognizes. He smiles at the stone-faced Nandi. We'll look to dealing with your prevaricatin' ways another time. 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. Petaline. Good thing you didn't leave with my baby. PETALINE BURGESS 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. If this DNA is a match to mine -- know I'll be back for my child. Rance climbs on his hovercraft, his men to their horses. And if you decide to close your legs for once in your life and that baby hasn't been born by the time I'm ready -- I'll cut it out of ya. They go. Nandi and some of the other girls move to Petaline, who's quietly sobbing. Help her to her feet. Shhh. Quiet, now. It's all gonna 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. He'll do it too. He'll do what he says. NANDI HELEN NANDI CHARI HELEN 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. Hi. MAL INARA MAL INARA MAL INARA Mal bridles at the term "petty crook". Before he can speak, WASH enters from the bridge. Got a distress call coming in. folks asking for help. MAL WASH MAL Mal makes to do that, but Wash stops him with: Well, it's for her. MAL WASH INARA WASH MAL 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, (all cool) Bwaa.
BLACK OUT.
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| Act One |
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EXT. SPACE Serenity gently moving through the big black. INT. INARA'S SHUTTLE - DAY Inara sits at her cortex screen, where WE SEE the live image of NANDI. -- And I got word you were in the area... I'm imposing, but I got no one else to ask. INARA NANDI INARA NANDI INARA NANDI INARA NANDI INARA NANDI INARA NANDI INARA Inara touches the screen. Nandi's image FREEZES there. Inara sits there quietly contemplative for a beat. Then: I suppose you heard most of that? Mal appears, peaking around the corner at the entrance. Only 'cause I was eavesdropping. (then, no bullshit) Your friend sounds like she's in a peck of trouble. INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA Her back's to him now, so she doesn't see the stung look. I'll speak to the crew. INARA She never looks back. Off Mal, waiting a beat before he goes -- 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. Those who have a mind are welcome to join. Those who just as soon stay on the ship can do that, too. JAYNE BOOK JAYNE ZOE JAYNE MAL JAYNE MAL EXT. PLANET - DAY Serenity lands amidst cover. 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. That's the whorehouse? INARA JAYNE KAYLEE JAYNE 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 guilelessly, Simon politely, Book kindly, Jayne grinningly, Wash uncomfortably, River inquisitively. Much adlibbing from them as have speaking parts. (Chari and Petaline are not present). Nandi, darling. NANDI INARA NANDI MAL INARA NANDI She shakes his hand, firmlike. 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 This is my first mate, Zoe. I'll introduce you to the rest in a bit. They're good folk. JAYNE MAL Jayne has Helen by the shoulder, is pointing at her... This one'd could sex me okay... NANDI MAL NANDI Helen giggles. Jayne looks confused and excited. Is that good? ZOE NANDI The four exit. We stay with the others. (to Helen) Just let me get a drink in me, and then we'll get to that Panatarian... thing you do. Kaylee nudges Simon and Wash, indicates the two young men. Look, they got boy whores! Isn't that thoughtful? Wonder if they service girlfolk at all. WASH SIMON WASH KAYLEE JAYNE WASH Chari brings Petaline up to them. You'd be the Doctor? SIMON PETALINE CHARI SIMON JAYNE 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 Shepherd -- BOOK They smile a bit. We were hoping we might have a prayer meeting? LUCY EMMA Book has no response. Kaylee watches the girls chat up Book... Everybody's got somebody... (wistfully) Wash, tell me I'm pretty... WASH KAYLEE WASH KAYLEE INT. LOUNGE - DAY Mal, Zoe, Nandi and Inara. Mid talk. So I take it reason doesn't enter into this? NANDI ZOE NANDI INARA NANDI MAL NANDI MAL NANDI MAL NANDI MAL INARA He smiles at the light dig, turns to Zoe. Zoe, start getting the lay of the place: fortifications, weak spots and whatnot. I'll slip into my Sunday best, and see what passes for entertainment in this town. 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. I'll never understand rich folk. All that money, this is what they do with it. INARA MAL INARA A waiter passes with a tray of strangely-colored drinks. Mal grabs one, takes a sip. His face immediate contorts. < Weak-ass sauce! > [LAN-dan JIANG!] I swear to you, its like money and good taste are inversely proportional. INARA MAL He swirls his colored drink. Eyeballs it. Maybe you drink enough of this stuff, the puppets start makin' sense. Inara smiles, enjoying him. It fades as her eyes lock on something beyond Mal. Off her reaction: Found our boy? Inara nods, and Mal turns to find Burgess lording over a particularly influential crowd. He's holding court, his guests laughing with disturbing frequency and force. On Burgess' arm is his wife, BELINDA. Pale and slight, she's dressed a cut about most every woman there, fiscally speaking. Conservative excess. I've a sudden itch to see how the other half lives. Mal offers his arm to Inara, she takes it and they stroll up to where a conversation is in progress. (midstream) ... so I explained to the boy: you take a clean woman's virtue, you take the woman. And that's for life. Boy said his vows right then and there. 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. ***Sc. 9 -- INSERT to be shot, (if not gotten already) Rance (double) pulls coat aside to pat lasergun! 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 BURGESS MAL Burgess takes Mal's hand. They shake. Mal doesn't let go as he leans in a bit closer, says: And might I just say? She is quite a beauty. Mal releases Burgess's hand. Burgess looks at him. Thank you. He unholsters his laser gun, offers it up to Mal. You ever have an occasion to handle one, Mister Reynolds? (offering it) Silk trigger active return bolt laser. Mal takes the laser pistol, looks it over Lighter than it looks. Thought it'd have more heft to it. BURGESS MAL BELINDA Mal glances over at Belinda, holds her eyes for a beat. I've said that myself. BURGESS MAL BURGESS MAL 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 -- Yes? EXT. TOWN - NIGHT Mal and Inara exit the theater hastily. Mal walks quickly, looking to put distance between himself and the theater. Well? MAL INARA MAL Mal hasn't slowed his pace. Off Inara, surprised -- INT. THEATER - NIGHT Burgess is in a private-ish corner speaking on his future cell phone. Belinda joins him, expectant. (into cell) And there can be no mistake? Good. Beat. Burgess snaps the cell shut. Mulls Rance? BURGESS PUSH IN on Belinda. Registering that. A son... A son. (then) Come first light, you ride over there... and you get me my boy.
BLACK OUT.
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| Act Two |
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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. We run. Nandi takes this with stoic calm, but some of her girls GASP with surprise. Math just don't add up. Our weapon store ain'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. 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-- NANDI MAL 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. 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 MAL NANDI Mal has no answer for that. Nandi holds her stare on him as she calls to her staff. Any of you want to take up the Captain's offer, you do it, with my blessing. Behind her, much head shaking by the whores. No one's going anywhere. Nandi turns to Petaline, voice gentle. Petaline, that means you, too. Petaline sits in an overstuffed chair, sweating, clearly uncomfortable. Simon takes her pulse. No, Miss Nandi. I ain't leavin' the Heart of Gold. Ain't leavin' you... Nandi turns back to Mal. 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. Well, lady I must say-- (admiring smile) You're my kinda stupid. He turns to Zoe and the rest of his crew. Y'heard my points of contention with this thing. But I got a lifetime of good night's rest to consider, so I'm goin' back on that. (glances at Inara) There's still money in the job, for them that want to throw in-- Jayne, arm around Helen, shrugs. Hell, he ain't expectin' much of a fight. We might catch him with his drawers low. Mal raises his eyebrows. Zoe checks the chamber of her gun, cocks it. (nods) He'll probably ride in by daylight, but I figure a three point watch, say, four hour shifts, be on the safe side. WASH Mal gives a slight smile, then Book steps up. I'm fair handy with a hammer, Captain. MAL BOOK Mal looks over the rest of his people, Kaylee smiles and nods, Simon looks up from Petaline, then back to his task. we feel Mal take understated pride in knowing them. OK then... His strategy wheels start turning, as UNDERSTATED 'GET sHIT DONE' MUSIC starts to build. We start shootin', they'll most like try to burn us out, save their sweat and bullets. Nandi, What's the water supply here? NANDI Quietly, off to the side of the action, Petaline stops with a jolt. She puts a hand to her belly. Kaylee-- think you can swing an upgrade for their waterworks? Kaylee moves closer to him, beaming happily. I'll talk to Serenity, see what she's got we might use. MAL River is suddenly at their side It's starting. Kaylee gives a little STARTLED JUMP, unseen by Mal. That's a sure fact. But time is on the enemy's side so-- PETALINE Mal sees Petaline, who Simon helps to her feet as she pants with contraction. Oh -- It's starting -- Okay. (a little panicky) It's starting! -- No one panic -- It's gonna be fine-- Simon leads Petaline toward the bordello's back room, nodding to Mal. I got this one, Captain. Mal looks around at everyone else, who smile, at the brink of chuckling, at his display. He CLAPS his hands, resuming his heroical authority. Come on people! Let's get to work. 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 (Already shot) Feat burying rope in the sand (for booby trap) Inara passing Nandi with steaming towels INT. BORDELLO LABBY - BALCONY - DAY Book wields a hammer, boarding up windows. Lucy and Emma, the "church" whores, assist. The girls and I've been talkin', Shepherd. He stops, turns to face her. We've been discussin' what we'd like said over us if we should happen to fall -- BOOK Book reaches out, places a hand on her. I only bury the dead, child. And no one here is going to die. Not a one of you. He smiles and the tension disappears. Lucy returns it.
SMASH TO:
INT. BORDELLO - UPSTAIRS ROOM - DAY Now, there's people gonna die. Jayne sits in front of a large window, its field of view panoramic. Across from him, Helen sits attentively. Ain't no way 'round that. And with people dyin' comes guts and screamin' and that can bring on all sorts of screwed-up behaviors, a person's not used to it. When the time comes, most important thing is you keep your wits about you. Clear? Helen nods. Jayne reaches over to a nearby table strewn with weapons and ammunition. These here are my favorites, and you're to keep 'em comin' till there ain't no more to be had. I shoot, I run out you just hand me the next biggest and so on. Is there an understanding here? HELEN JAYNE 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. EXT. BORDELLO - DAY Wash seeps a pile of dry earth over a wood-and-rope contraption, securing and camouflaging the device. All I'm saying is 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. Nor do I. She crouches, begins to wind the wire between one of two stakes buried deep in the ground, some fifteen feet apart. 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. That excuse is getting a little worn, honey. WASH Zoe stands, starts kicking dirt over the lines of their trap. I don't give a good gorram about relevant, Wash. Or objective. And I'm not so afraid of losing something that I won't try havin' it. You and I would make one beautiful baby. I want to meet that child one day. Period. WASH ZOE Beat. Wash considers, nods. EXT. TOWN - DAY Burgess stands in the street, jacket swept back behind his holstered LASER PISTOL, tumbler of whiskey in one hand. He takes a swig then FAST BURNS, firing THREE SHOTS from his laser. Just before the third, we CUT TO: ANGLE ON TARGET DUMMY A stuffed burlap dummy, tied to a rough wood tripod. The last LASER BEAM sears into its head, IGNITING IT, HOLD ON the dummy as it bursts into FLAMES. 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: That ain't nothin'! Y'all are pulling, not squeezing like I said. Next one doesn't hit that board is giving up a special treat, < you understand? > [dong MA?] Mal closes the window, smiling a little. That man is gonna use up all our credit 'fore we've earned it. NANDI She is getting a box from her bottom drawer. As they talk she lays it on the bed, pulls out a few fancy looking pistols. I'm a fair hand with a mop. NANDI MAL NANDI MAL NANDI MAL NANDI MAL NANDI MAL She smiles, knowingly. I'm certain of that. MAL NANDI MAL He's examining the weapons, deliberately. She's a hell of a woman, ain't she? (off his look) Inara. MAL NANDI MAL NANDI MAL NANDI MAL NANDI A moment between them. A small understanding. They do crop up though, don't they? NANDI OMITTED 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. You're not completely dilated yet. Should be pretty quick but don't try to force it. These contractions are still preliminary. PETALINE INARA PETALINE SIMON Inara crosses, pausing by Simon, whispers -- How many babies have you actually delivered? SIMON INARA RIVER They look at River a moment. Gonna be a long night. Inara gives him a peck on the cheek for luck. You'll do great, Doctor RIVER Petaline huffs and puffs...
DISSOLVE TO:
INT. BORDELLO LOBBY - NIGHT Book is standing with his Bible, about half the whores standing or kneeling before him. ....forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil, for thine is the kingdom, the power and the glory, Amen. WHORES They rise, some squaring away tools and weapons and such. Not much more we can do tonight. I think it best we all get some rest. Is there... is there a room I can lay down in? EMMA They all look at him, guilelessly sexy. He waits perhaps a bit much of a beat. Alone. They laugh, and he smiles along with them. Thank you. 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. It was the dulcimer MAL NANDI MAL NANDI She crosses to the dresser to pour two more shots. So I trucked out to the border, learned to say "ain't" and came to find work. Found this place. MAL NANDI MAL NANDI They clink glasses. Knock 'em back. You are a remarkable woman, you don't mind my saying. NANDI MAL NANDI She is so sweetly seductive that they hold on each other a moment. Then he breaks it, all conscience. (rising) I should check the barricades, make sure everyone's ready to -- NANDI She heads for the dresser, to pour again. Can you? MAL NANDI Another beat, as that loaded question settles in. Mal's reply is intimate in tone as well, as he steps forward. Miss Nandi, I have a confession to make. NANDI MAL NANDI MAL NANDI They're kissing. It's soft, but not without heat. He pulls away, looks at her. You okay with this? MAL NANDI MAL A small beat, as he strokes her hair. I ain't her. MAL She hands him one of the newly filled shotglasses, takes one herself So, my child... How long has it been since your last confession? MAL NANDI MAL They drink. They kiss. They sink to the bed. 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 mouth, 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. EXT. TOWN - NIGHT 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. This great man got a name? REVERSE to see CHARI is the one feeding him info. Why, she's a TURNCOAT! Reynolds. Malcolm Reynolds. BURGESS CHARI BURGESS He turns out over the railing, addressing his men. Seems the Heart of Gold has got itself a few mercenaries. I 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' statement. *** SFX add to crowd and/or RESHOOT with much bigger crowd for cheer at end of act. Burgess grins, turns back to Chari. Earned yourself quite a bag of silver, little kitten. Got a few more chores in mind afore you get it, though. CHARI He motions for her to come closer, puts his arm around her as he addresses the men. Now Chari here, she understands a whore's place, don't she? General assent and applause. But Nandi, and those others, they spit on our town. They've no respect for the sanctity of fatherhood, for decency or family. They got MY CHILD held hostage to their decedent ways and that I will not abide! More cheers. 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. 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. |
| Act Three |
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EXT. BORDELLO - DAWN The sun creeps over the horizon. The MORNING OF. 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. 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. Um... INARA She is startled, but doesn't seem shocked. That doesn't stop Mal from excusifying. I was just, um, I had to tell Nandi about the... It's near time to... big fight today. INARA MAL INARA MAL INARA MAL INARA MAL INARA MAL INARA Smiling, she turns and exits, leaving him come-backless. INT. UPSTAIRS ROOM - MORNING The sun's a mite higher now. Jayne stirs, stretches, as does Helen. Then he rolls over and goes back to sleep. 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. EXT. PLAINS - MORNING Wash and Kaylee trek towards Serenity, which looms in the distance (for one -- and only one -- shot). 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. Wash -- are we there yet? Wash pulls his radio off his belt and answers. All but. Nice day for a last stand, innit? MAL (O.S.) WASH MAL (O.S.) Wash clicks off his radio and clips it back to his belt. Captain seem a little funny to you at breakfast this morning? WASH 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. You ladies all locked and loaded? LUCY MAL He stops as a TRANSMISSION crackles in over his earwing. (lewd chuckle) Whoa now, girl, that's just plain dirty-- He holds a finger up to the women, and hits the transmit switch. Jayne-- You aware your radio's transmittin'? INT. UPSTAIRS ROOM - MORNING CLOSE ON RADIO HEADSET - which sits in a twist of bedspread. Jayne's hand enters frame, fumbling for it. Cause I ain't feelin' particular 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. Oh, uh, just up here waitin' Captain. Ready one-hunnert-percent. He grabs his weapon and looks out his window. Better be. Jayne gives Helen a sharp businesslike nod, and she nods back ***NOTE -- Scene 31 (in which Nandi sees Inara's pain) will play before scene 30 (and before A30), and contain looped lines indicated in the script. INT. HEART OF GOLD - A BIT LATER Nandi comes to where Mal is. They get rifles ready over: Morning. How'er you feeling? NANDI MAL NANDI MAL NANDI MAL JAYNE 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 -- INT. BACK ROOM - MORNING CLOSE ON Petaline, who writhes in the throes of a contraction. (continued scream) Her legs are up and spread apart, concealed by a sheet. Inara holds her hand. Inara leans in towards Petaline's face. You're stronger 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. This is just a moment in time... Step out of it and let it happen... Nandi enters, stopping at Inara's side. How is she, Doctor? Simon speaks from a counter a short distance away, as he fits a VIAL OF MED into his HYPO-GUN. She's at ten centimeters. Not long. 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. Inara... I thought it was just him that... Inara turns to Simon, sees he's still engaged, then quietly: Nandi, believe me. I'll be fine. They share a look and Nandi exits. EXT. BORDELLO - MORNING BINOCULAR POV - of Burgess and his riders, charging forward in the distance, trailing a plume of dust. INT. BORDELLO LOBBY - MORNING Mal, now standing on the interior balcony, lowers a slim pair of BINOCULARS. He is not at all pleased. Zoe, Jayne -- you seein' this? JAYNE (O.S.) ZOE (O.S.) JAYNE (O.S) Mal takes a moment, visibly adjusting to the new odds. He lifts up his RIFLE. All right, 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. Anybody here goes down, you drag 'em to the back, then get back to the 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. Morning. Mal smiles back. 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: Wash -- gonna be tradin' injuries in under two minutes. Like my sky a little less empty -- WASH 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. I told you, Kaylee -- I'm a married man -- Kaylee knits her brow at him, as another SHOT ricochets off their cover. (flatly) You ain't all that funny. 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 the throats and pitching them off their horses. The other riders duck, some slide sideways in their saddles, clearing the line. Burgess calls back to KOZICK, the man on the crafts large MOUNTED GUN. Open her up, Kozick-- Kozick nods, cranks back a lever and starts shooting -- MASSIVE MACHINE GUNFIRE flares. INT. BORDELLO LOBBY - CONTINUING Mal sees it coming and swings behind his shielding. Cover! The women do the same, just as a HAIL OF MACHINE GUNFIRE rips through everything that isn't fortified. (into earwig) Jayne -- I believe that's our first hurdle. Think you might -- 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: Think I might, Cap. INT. BORDELLO LOBBY - CONTINUING Mal calls to his troops. Fire! They all swing out and unleash a BARRAGE OF FIRE from their positions. One WHORE is caught by a shot and falls. Nandi sees this and bristles, aiming another shot -- < dirty bastard sons-of-- > [Wang bao DAHN--] She FIRES. 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. 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 Wash -- Where the hell is my spaceship!? 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. 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. Ruttin' lasers -- (into earwig) Book-- Zoe-- Second hurdle-- EXT. BORDELLO - CONTINUING FIRE HAS BROKEN OUT on the front facade of the whorehouse PAN/TILT to what looks like a PILE OF BARRELS AND TARPS on the grounds in front of the house. Copy that, sir. The tarps are thrown away, revealing Zoe and Book. Book holds the 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. Thank you-- 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. Don't mention it-- INT. BORDELLO LOBBY - CONTINUING Mal, Nandi, and the others continue BLASTING AWAY. Petaline's SCREAMING comes in from the back room. INT. BACK ROOM - CONTINUING Simon is in position, Petaline is bearing down hard and SCREAMING between breaths. River is fascinated and smiling. [screams again] SIMON She bears down. That's the shoulders... Good-- 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! INT. BORDELLO LOBBY - CONTINUING Up on the balcony, Mal talks into his earwig as he scans the battlefield. Jayne -- I lost visual on Burgess -- JAYNE (O.S.) A BOY WHORE falls away from a window down the line, bloodied by a gunshot. Mal RETURNS FIRE. 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. 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. A DOOR LOCKING SHUT calls their attention to the aft corridor. They see Wash at its end and raise their guns. [that weird Robert Mitchum 'hoot!' from Night of the Hunter] 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. 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 (which we have not seen yet in series - a Carey issue). They're trapped. INT. SERENITY - ENGINE ROOM - CONTINUING Wash peers in through the thick glass porthole, issuing adrenaline-charged laughter. Got you, you < piss-soaked pikers > [niao SE duh DOO-gway] (laughs again, then realizes he's trapped in engine room) Nobody's going any... where... He massages the headache his brilliant scheme has occasioned. INT. BACK ROOM - DAY Simon lifts up a SWADDLED BABY, purple, newborn, squealing. Inara and River look on. Petaline is near delirious from childbirth. It's-- RIVER A DOOR behind Inara opens, and Burgess is there, laser covering them. Mornin' Petaline... INT. BORDELLO - LOBBY - CONTINUING Nandi hears PETALINE'S SCREAM first: Rance! NO! Mal is caught in the ebbing FIREFIGHT, but Nandi races down the stairs, toward the rear hall. 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. Most of your men are dead, dyin', or run off, Rance. BURGESS NANDI BURGESS 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. (re: blood dripping down his neck) No. This is your blood. (nods to a whore) Now you give over that child 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. Mal gets to the lobby end of the hall, just as she drops, dead. |
| Act Four |
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INT. BORDELLO - REAR HALL - DAY The WHORES shout in alarm. They can't believe Nandi has fallen. Even Burgess seems surprised at what he's done. Mal moves to the fallen Nandi -- as Burgess turns and runs for a side door, escaping. Mal touches Nandi. She's stone dead. He shares a look with Inara, there's murder in both their eyes. He hears the O.S. THRUM of the hovercraft starting up and turns for the front door. 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 -- Hyah! 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. ***NOTE -- SFX The hovercraft flips over and explodes! 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. You're gonna pay for what you took. BURGESS 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. That don't enter into it.
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EXT. BORDELLO - DAY Mal and Zoe watch as Inara finishes tying the kneeling Burgess' hands behind his back. THREE MEN CRASH INTO THE FRAME, as Jayne dumps the bruised and bloodied Serenity-crashers before the bordello steps, Kaylee and Wash close by. Burgess' other men are also tied up. (calling out) PETALINE! YOU BRING MY BOY OUT! RIGHT NOW! YOU HEAR ME? I WANT TO SEE MY SON! Petaline appears at the bordello door, the baby nursing at her breast. All eyes watch as she descends the steps and approaches Burgess. Rance... this is Jonah. (beat) Jonah, say hello 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. Say goodbye to your daddy, Jonah. Burgess blanches. CLOSE PETALINE: Camera looking up the business end of a gun, she fires. Petaline looks up from Burgess' dead body, icy -- Anyone else wanna try and take what's mine? She scans the rows of Burgess' bound men; every last one avoids eye contact. Go on, then. Go home. Next time I see any of you... you best be coming to get your wick wet. You pay up front from now on... and for God's sake, tip a girl once in a while -- especially you, Milo. Milo nods quickly: whatever you say, Petaline. The men start rising to their feet. Petaline indicates Chari -- You go with 'em. You got no place here. Chari is about to speak, before she can: You let 'em in the back door, Inara seen it, now go. CHARI CLICK. Petaline cocks the hammer of her pistol. Chari shuts up, breaks eye contact, falls in step with Burgess' men as they walk away. Mal approaches Petaline, indicates Burgess' body -- We'll dispose of that for you. PETALINE Emma (Book's churchy whore) appears at Petaline's side. Get the spade from the shed. (beat) Our Nandi's gonna be buried proper. HIGH ANGLE As the crowd disperses, we HOLD for a long moment and PRELAP: Amazing Grace, how sweet the sound... 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.) 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. SIMON AND RIVER Alongside a couple of the girls, their faces a solemn mask. 'Twas grace that taught my heart to fear... ZOE, WASH AND JAYNE Zoe and Wash hold hands. Jayne looks at his feet. And Grace my fears relieved/ How precious did that Grace appear... BOOK Holds the Bible to his chest, a tearful Emma with her hands wrapped around his arm. The hour I first believed... PETALINE Baby in her arms, the stolid look of someone who's been to war on her face. Through many dangers, toils and snares/ We have already come... INARA Steps up to the small table, dressed in a white shawl, beads draped, and drops a pinch of incense into the bowl. She bows to it and turns away. MAL His arm paternally around Kaylee's shoulder, comforting, as tears roll down her face. Inara takes in the entire gathering now: the unit that is Serenity's crew standing side by side with the bordello gals. She stands slightly apart from all of them. T'was Grace that brought us safe thus far... Lucy's singing continues as we --
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EXT. SPACE Serenity exits atmo and glides silently into the black. And Grace will lead us home... INT. SERENITY - CARGO BAY - NIGHT Mal and Inara stand on the catwalk outside her shuttle. They are contemplative, subdued. I think those girls'll do all right. INARA MAL A beat. I'm... I'm glad you were with her. Her last night. I am. MAL INARA MAL INARA A small beat. So you weren't before? He's looking at her direct. She looks away. Inara, I ain't looking for anything from you. I'm just feeling kind of truthsome right now. Life is too damn short for ifs and maybes. INARA They're getting closer to each other, Mal's eyes locked on hers. There's something that I... that I should have done a long while ago. And I'm sorry -- for both of us -- that it took me this long. A beat. I'm leaving. Another moment, and she goes past him into her Shuttle. He doesn't move. Addendum (Theater Show) A CIRCULAR SHADOW representing Earth-That-Was fills the frame. (Chinese) the Earth up. Barren, she had little left to offer them.> Silhouetted shapes appear. SPACESHIPS. They radiate out from the shadow sphere, scatter in all directions. Leave it behind. (continuing) < Swollen of her, they left. And for the first time since the Great Burn that birthed her, she was alone. > The ships are gone now. A wisp of SMOKE wafts off the sphere, creates a snake of shadow. (continuing) < The Earth cried, and terrible were her tears. Acid and caustic, the spawn of the tribes' rape. They flowed a century. > The smoke INTENSIFIES, becomes shadowy FLAME. (continuing) < The fire that finally came did so as a blessing. > The sphere SMOLDERS now, bits of it breaking up and disintegrating under the intense heat. |