SERENITY
Written by
Joss Whedon
April 18, 2004
EXT. CLASSROOM - DAY
It's a group of twelve-year-olds, serious and well dressed.
They sit on their heels under a sparsely elegant tent, small
wooden desks with embedded screens in front of them. The
tent is on a lawn surrounded by lush foliage. People walk
about and vehicles glide quietly overhead. A utopian vista.
GIRL
Now that the war's over, our
soldiers get to come home, yes?
TEACHER
Some of them. Some will be
stationed on the rim planets as
Peace Enforcers.
BOY
I don't understand. Why were the
Independents even fighting us?
Why wouldn't they look to be more
civilized?
TEACHER
That's a good question. Does
anybody want to open on that?
GIRL
I hear they're cannibals.
ANOTHER BOY
That's only Reavers.
ANOTHER GIRL
Reavers aren't real.
ANOTHER BOY
Full well they are. They attack
settlers from space, they kill
them and wear their skins and rape
them for hours and hours --
TEACHER
(in Chinese)
(CALMER)
It's true that there are...
dangers on the outer planets. So
let's follow up on Borodin's
question. With all the social and
medical advancements we can bring
to the Independents, why would
they fight so hard against us?
4
3.
RIVER
We meddle.
TEACHER
River?
RIVER is a dark, intense little girl, writing with one hand
and "typing" with the other. (Typing consists of holding a
long wooden stylus and tapping either end down different
columns of chinese characters on her desktop screen.) She is
a good two years younger than the other kids.
RIVER
People don't like to be meddled
with. We tell them what to do,
what to think, don't run don't
walk we're in their homes and in
their heads and we haven't the
right. We're meddlesome.
TEACHER
(gently taking her
STYLUS)
River, we're not telling people
what to think. We're just trying
to show them how.
She violently PLUNGES the stylus into the girl's forehead
INT. LAB - NIGHT
And we FLASH CUT to the actual present: a 16 year old RIVER
sitting in a metal chair, needles stuck in her skull (one
right where the teacher had stuck her) being adjusted by a
technician. A second monitors her brain patterns.
The lab is cold, blue, steel. Insidiously clean.
2ND TECHNICIAN
She's dreaming.
FIRST TECHNICIAN
Nightmare?
2ND TECHNICIAN
Off the charts. Scary monsters.
DOCTOR MATHIAS
Let's amp it up. Delcium, eight-
drop.
DOCTOR MATHIAS is not instantly likable -- nor gradually, for
that matter. A cold man, and more than a little satisfied
with himself.
4.
Behind him stands a GOVERNMENT INSPECTOR, observing. And
making him a little nervous.
The Inspector is in shadow, but his uniform indicates
-- no
substantial rank, as does the eagle-crested baton
longer than a ruler -- that he clutches in one gloved hand.
DOCTOR MATHIAS
(CONTINUING)
See, most of our best work is done
when they're asleep. We can
monitor and direct their
subconscious, implant
suggestions...
River starts convulsing, mewing in misery. The Inspector
starts forward, slowly.
DOCTOR MATHIAS
(CONTINUING)
It's a little startling to see,
but the results are spectacular.
Especially in this case. River
Tam is our star pupil.
The Inspector steps into the light. He is rigid, cold,
staring at the girl with no emotion at all. His name, as we
will very soon learn, is SIMON.
SIMON
I've heard that.
DOCTOR MATHIAS
She's a genius. Her mental
capacity is extraordinary, even
with the side-effects.
SIMON
Tell me about them.
DOCTOR MATHIAS
Well, obviously, she's unstable...
the neural stripping gives them
heightened cognitive reception,
but it also destabilizes their own
reality matrix. It manifests as
borderline schizophrenia... which
at this point is the price for
being truly psychic.
SIMON
(moves toward her)
What use do we have for a psychic
if she's insane?
J
5.
DOCTOR MATHIAS
I don't have to tell you the
security potential of someone who
can read minds. And she has lucid
periods -- we hope to improve upon
the... I'm sorry, Sir, I have to
ask if there's some reason for
this inspection.
SIMON
(TURNING)
Am I making you nervous?
DOCTOR MATHIAS
Key members of Parliament have
personally observed this subject.
I was told their support for the
project was unanimous. The
demonstration of her power --
SIMON
(turns back to her)
How is she physically?
DOCTOR MATHIAS
Like nothing we've seen. All our
subjects are conditioned for
combat, but River... she's a
creature of extraordinary grace.
400
SIMON
Yes. She always did love to dance.
He drops to one knee, slamming his baton to the floor.
ANGLE: THE BATON
As the top pops off like a bouncing betty (the grenade),
flying up over Simon and River's heads and then bursting
forth in a flat circle of blue energy that bisects the room,
flowing through the staff's heads and knocking them out.
Simon rushes to River, gently removes the probes from her
head and swabs her, whispering:
SIMON
(CONTINUING)
River. Wake up. Please, it's
Simon. River. It's your brother.
Wake up...
She begins to stir as a noise moves him to the door, looking
out and removing his uniform to reveal an orderly's tunic
beneath.
IWO
6.
River is suddenly next to him. He jumps a little.
RIVER
Simon.
A beat, as they face each other, Simon fighting emotion.
RIVER
(CONTINUING)
They know you've come.
INT. GUARD STATION - CONTINUING
As a guard looks at a monitor. He mostly resembles a secret
service man -- more bureaucrat than thug. A second man rolls
into frame on a chair behind him, also watching the screen.
INT. RESEARCH CENTER CORRIDOR - CONTINUING
Simon walks River through the corridor. They approach a pair
of double doors.
SIMON
We can't make it to the surface
from inside.
Simon turns suddenly as he hears footsteps, people heading at
them from the other side of the doors.
4wo SIMON
(CONTINUING)
Find a --
But River has, impossibly, scampered up over some lab
equipment to the dark top of the corridor, where she holds
herself in a perfect split, feet against the walls and
outstretched hand holding the sprinkler for support.
The doors burst open and two doctors pass by, hardly noticing
the lone orderly. Passing right under River.
EXT. VENTILATION SHAFT - MOMENTS LATER
It's small, 15 feet by 15 feet. Goes a long way up and a
long way down. One wide hinged window looks in on the hall
inside. Simon and River approach with quiet haste.
They slip through the window. Simon shuts it, wedges his
baton into the handle as the SECURITY AGENTS APPROACH. They
fire at the glass, but their lasers have no effect.
Wind whips River's hair about as she looks up to see a small
patch of daylight visible ten stories up. Sees the sky
blotted out by a small ship that hovers above them.
V0
7.
ANGLE: THE SHIP is floating over the grass of rolling hills,
the city gleaming far beyond. This facility is well hidden.
A gurney-sized section of the ship's belly detaches and drops
down ten stories, cables spooling it out of the ship. It
comes to Simon and River and stops suddenly.
SIMON
Get on!
He is standing by the window -- and the Security Agent is
right behind him, PUNCHING the window with all his might.
Simon helps River onto the gurney, then jumps on himself as
the Security Agent cracks the glass. The two are whisked up
in the gurney, River on her knees, Simon standing beside her
holding one of the cables --
THE OPERATIVE (O.S.)
Stop.
The action freezes.
THE OPERATIVE (0.S.)
(CONTINUING)
Lovely. Lovely. Backtrack.
The action REVERSES, taking us back to the moment of Simon
and River on the gurney just before it rises.
f t o
THE OPERATIVE (O.S.)
(CONTINUING)
Stop.
There is a motionless beat, River frozen in that crouch, and
he steps through what we now see is a hologram of the event.
The Government's man. We'll just call him THE OPERATIVE.
He is thoughtful, a little removed. Wire-rimmed glasses, a
suit too nondescript to be a uniform, too neat to be casual
wear. He is in:
INT. INSTITUTE RECORDS ROOM - DAY
-- which is long and bare but for drawers of holographic
records, a set-up for watching recordings (where the image of
Simon and River floats), and a table with computer and chair.
The Operative crosses to the table, looks over some papers.
THE OPERATIVE
Biograph. Simon Tam.
CLOSE ON: THE OPERATIVE'S GLASSES
IWO
8.
As Simon's history files down in print and pictures --
graduation, security photo from his medical internship --
over one lens of the Operative's glasses.
THE OPERATIVE
(CONTINUING)
Remarkable children.
Doctor Mathias storms in, two security men (not the ones from
the opening) and a nervous young female intern following.
Mathias looks greyer and more gaunt than when we saw him last.
DOCTOR MATHIAS
Excuse me! No one is allowed in
the records room without my
express permission.
THE OPERATIVE
(over this, quietly)
Enter the doctor.
(to Mathias)
Forgive me. I prefer to see the
event alone, without bias.
Mathias looks at the hologram -- realizes which one it is.
DOCTOR MATHIAS
I need to see your clearance.
THE OPERATIVE
You're right to insist. I know
you've had security issues here.
He places his hand on a screen as he says it. Mathias looks
at the readout, and drops the bluster.
DOCTOR MATHIAS
Apologies. An Operative of the
Parliament will of course have
full cooperation.
(looks at screen)
I'm not sure what... I see no
listing of rank, or name.
THE OPERATIVE
I have neither. Like this
facility, I don't exist. The
Parliament calls me in when...
when they wish they didn't have
to. Let's talk about the Tams.
DOCTOR MATHIAS
I assume you've scanned the status
logs...
VJ
9.
THE OPERATIVE
River was your greatest success.
A prodigy -- A phenomenon. Until
her brother walked in eight months
ago and took her from you.
DOCTOR MATHIAS
It's not quite so simple.
THE OPERATIVE
I'm very aware of that.
DOCTOR MATHIAS
He came in with full creds. He
beat the ap-scan, the retinal...
There was no way I could --
THE OPERATIVE
No, no. Of course. The boy spent
his fortune developing the
contacts to infiltrate this place.
DOCTOR MATHIAS
Gave up a brilliant future in.
medicine as well, you've probably
read. Turned his back on his
whole life. Madness.
THE OPERATIVE
Madness, no. Something a good
deal more dangerous. Have you
looked at this scan carefully? At
his face?
Mathias looks uncertain.
THE OPERATIVE
(CONTINUING)
It's love, in point of fact. He
loved his sister and he knew she
was in pain. So he took her
somewhere safe.
DOCTOR MATHIAS
Why are you here?
THE OPERATIVE
I'm here because the situation is
even less simple than you think.
(eyeing him)
Do you know what your sin is,
Doctor?
J
10.
DOCTOR MATHIAS
I. I would be very careful about
what you --
THE OPERATIVE
(SADLY)
It's pride.
He touches the computer screen and the hologramic image jumps
to the Doctor and Simon in the lab, Mathias repeating:
DOCTOR MATHIAS
Key members of Parliament have
personally observed this subject.
I was told their support --
THE OPERATIVE
(shutting it off)
Key members of Parliament. Key.
The minds behind every diplomatic,
military and covert operation in
the galaxy, and you put them in a
room with a psychic.
DOCTOR MATHIAS
She was... she read cards, nothing
more.
THE OPERATIVE
It's come to our attention that
River became much more unstable,
more... disturbed, after you
showed her off to Parliament. Did
she see something very terrible in
those cards?
DOCTOR MATHIAS
Whatever... secrets she might have
accidentally gleaned... it's
probable she doesn't even know she
knows them. That they're buried
beneath --
THE OPERATIVE
But they are in her. Her mind is
unquiet. It's the will of the
Parliament that I kill her. And
the brother. Because of your sin.
J
11.
THE OPERATIVE
(continuing; moving
to his briefcase)
You know, in certain older
civilized cultures, when men
failed as entirely as you have,
they would throw themselves on
their swords.
DOCTOR MATHIAS
(fed up)
Well, unfortunately I forgot to
bring a sword to --
The air rings crisply as the Operative pulls out his sword.
THE OPERATIVE
The Parliament has no further
interest in psychics. They
represent a threat to the harmony
and stability of our Alliance.
DOCTOR MATHIAS
I would put that down right now if
I were you.
THE OPERATIVE
Would you be killed in your sleep,
like an ailing pet? Whatever your
failings, I believe you deserve
better than that.
The agents move. He slices the throat of the one behind him
with true grace, thrusting at the second as he's pulling out
his gun and pinning his hand. A moment, and the dying agent
reflexively squeezes the trigger, shooting his own arm.
The Operative pulls out the sword and the agent falls as
quietly as the first.
Mathias bolts but the Operative pins him to the wall. He
bunches his fingers and jabs the side of the Doctor's spine.
Mathias stiffens, suddenly, agonizingly immobile.
The Operative steps back, observes the Doctor's rigid grimace
for a moment. Almost ceremoniously, he drops to one knee and
holds the blade out to one side, hilt to the floor and point
tilted toward the doctor. The Doctor stares at it in horror
as his paralyzed body begins to tip over toward it.
The Operative turns toward the terrified intern at the door.
V0
12.
THE OPERATIVE
(CONTINUING)
Young miss, I'll need all the logs-
on behavioral modification
triggers. We'll have to reach out
to River Tam, and help her to come
back to us. No matter how far out
Simon has taken her, we can --
He's almost startled when the Doctor's body drops into frame,
slowed suddenly by the sword. It squeaks down the blade, the
Doctor unable to cry out, as the Operative whispers to him:
THE OPERATIVE
(CONTINUING)
This is a good death. There's no
shame in this, in a man's death.
A man who's done fine works.
We're making a better world. All
of them, better worlds.
Mathias is dead. The Operative pulls the sword out as the
body rolls over. As he wipes the sword down:
THE OPERATIVE
(CONTINUING)
Young miss, I need you to get to
work now. I think I may have a
long way to travel.
40
She goes. He approaches River, very close, staring...
THE OPERATIVE
(CONTINUING)
Where are you hiding,,little girl?
The noise is sucked suddenly out of the room as we black out.
M0
SERENITY
10
13.
becomes the name painted on the side of a spaceship, with
the same in Chinese behind it.
EXT. SPACE, ORBITING THE MOON "LILAC" - DAY
We move away from the ship. The name is on the nose, under
the bridge. It sticks out from the body of the ship like a
craning neck. The body is bulbous, with propulsion engines
on either side and a giant glowing back. There are two small
shuttles tucked in over the 'wings' of the engines. It's not
the sleekest ship in the 'verse, to be sure.
As it hits atmo, the propulsion engines take over and she
starts to rock a bit, noise filling our ears. Camera comes
around the front, at the windows and into the bridge, to see
the Captain, MALCOLM 'MAL' REYNOLDS, standing and watching.
At that moment, a small piece of the nose breaks off and goes
flying past the window.
INT. BRIDGE - CONTINUING
[Note: the following sequence will take us through the ship
in one extended STEADICAM shot.]
The bridge is small: two pilot seats on either side, and a
tangle of wires and machinery all about.
Mal wears the knee-length brown coat and boots of an old
Independent. Gun at his hip. He's not unlike the ship --
he's seen a bit of the world and it left him, emotionally at
least, weathered. Right now, though, he's mostly startled.
MAL
What was that?
He's addressing the pilot, WASH. Flight gear and a hawaiian
shirt, toy dinosaurs populating his station -- no old
soldier, but just as startled.
WASH
Whoah! Did you see that --
The ship bucks --
MAL
Was that the primary buffer panel?
WASH
It did seem to resemble --
J
14.
MAL
Did the Primary Buffer Panel just
fall off my gorramn ship for no
apparent reason?
Another buck --
WASH
Looks like.
MAL
I thought Kaylee checked our entry
couplings! I have a very clear
memory of it --
WASH
Yeah well if she doesn't give us
some extra flow from the engine
room to offset the burnthrough
this landing is gonna get pretty
interesting.
MAL
Define "Interesting".
WASH
(calm suggestion:)
"Oh god, oh god, we're all gonna
die?"
J
MAL
(hits the com)
This is the Captain. There's a
little problem with our entry
sequence; we may experience slight
turbulence and then explode.
(to Wash, exiting)
Can you shave the vector --
WASH
I'm doing it! It's not enough.
(hits com)
Kaylee!
MAL
Just get us on the ground!
WASH
That part'll happen, pretty
definitely.
J
15.
INT. FOREDECK HALL - CONTINUING
The camera leads Mal down. On either side of the hall are
ladders leading down to crew's personal quarters.
The hulking mercenary JAYNE is coming up out of his bunk as
Mal passes. He carries a number of rifles and grenades.
JAYNE
we're gonna explode? I don't
wanna explode.
MAL
Jayne, how many weapons you plan
on bringing? You only got the two
arms...
JAYNE
I just get excitable as to choice,
like to have my options open.
MAL
I don't plan on any shooting
taking place during this job.
JAYNE
Well, what you plan and what takes
place ain't ever exactly been
similar.
MAL
No grenades.
(Jayne groans)
No grenades.
First Mate ZOE enters from the lower level. Her mode of
dress and military deference mark her as a war buddy of Mal's.
ZOE
Are we crashing again?
MAL
Talk to your husband. Is the mule
prepped?
ZOE
Good to go, sir. Just loading her
up.
(to Jayne)
Are those grenades?
JAYNE
Cap'n doesn't want 'em.
J
16.
ZOE
We're robbing the place. We're
not occupying it.
All that plays in the background as we lead Mal into the:
INT. DINING ROOM - CONTINUING
It's the communal space of the ship, homey and messy. There
is food left lying on the table. Mal swipes a dumpling from
a plate, pops it in his mouth as another jolt rocks him and
sends most of the tableware clattering to the floor.
MAL
(calling out)
Kaylee!
He enters:
INT. AFT HALL/ENGINE ROOM - CONTINUING
MAL
(still calling)
Kaylee, what in the sphincter of
hell are you playing at?
The hall leads to the rust-brown chaos that is the engine
room. Working around the engine in a forest of wires, sparks
and smoke is the sweetly pretty mechanic, KAYLEE. She passes
Mal with a slightly impatient smile as he stands in the
doorway, raising his voice above the din.
MAL
(CONTINUING)
We got the Primary Buffer
KAYLEE
Everything's shiny, Cap'n. Not to
fret.
MAL
You told me --
(JOLT)
You told me the entry couplings
would hold for another week!
KAYLEE
(WORKING)
That was six months ago, cap'n.
MAL
My ship don't crash. If she
crashes, you crashed her.
17.
Steam and electricity shoot at him, backing him up.
He turns to see Simon behind him. Simon is more seasoned
than before, but still contrasts the Captain entirely in
dress and manner. He is implacably proper. Also pissed.
MAL
(CONTINUING)
Doctor. Guess I need to get
innocked 'fore we hit planetside.
Simon nods, the ship jolting again.
MAL
(CONTINUING)
Bit of a rockety ride. Nothing to
worry about.
SIMON
I'm not worried.
MAL
Fear is nothing to be ashamed of,
Doc.
SIMON
This isn't fear. This is anger.
MAL
4 (LAUGHS)
Well, it's kinda hard to tell the
one from t'other, face like yours.
SIMON
I imagine if it were fear, my eyes
would be wider.
MAL
I'll look for that next time.
SIMON
You're not taking her.
MAL
(brushing past him)
No no, that's not a thing I'm
interested in talking over with --
SIMON
She's not going with you. That's
final.
4
18.
MAL
(turning back)
I hear the words "that's final"
come out of your mouth ever again,
they truly will be.
(turning away again)
This is my boat. Y'all are guests
on it.
He heads down a side corridor that has steps leading down to:
INT. PASSENGER DORM - CONTINUING
Simon is right on his heels as we lead them down the stairs.
SIMON
Guests? I earn my passage,
Captain --
MAL
And it's time your little sister
learned from your fine example.
SIMON
I've earned my passage treating
bullet holes, knife wounds, laser
burns...
MAL
Some of our jobs are trickier than
others --
SIMON
And you want to put my sister in
the middle of that.
MAL
Didn't say 'want'. Said 'will'.
It's one job, Doc. She'll be fine.
The passenger dorm has a time-worn warmth that most of the
ship shares. Except, of course, for the sterile blue of:
INT. INFIRMARY - CONTINUING
Into which the two men step.
SIMON
She's a seventeen year old girl.
A mentally traumatized sevente--
J
19.
MAL
She's a reader. Sees into the
truth of things; might see trouble
before it's coming. Which is of
use to me.
SIMON
And that's your guiding star,
isn't it? What's of use.
MAL
(LAUGHS)
Honestly, doctor, I think we may
really crash this time anyway.
Simon jabs the inoculation needle into Mal's arm.
SIMON
Do you understand what I've gone
through to keep River away from
the Alliance?
MAL
I do, and it's a fact me and mine
have been courteous enough to keep
to our own selves.
SIMON
Are you threatening to --
MAL
I got one purpose here: keep this
boat in the air. I take the jobs
I get -- which is less and less,
case you ain't been keeping track.
He starts away, Simon still keeping pace.
MAL
(CONTINUING)
Every year since the war the
Alliance pushes just a little
further out towards the rim.
Makes it a chore for naughty men
like us to slip about -- and
keeping you two on board means
working twice as hard to avoid the
law. Means turning down a score
of honest jobs.
J
20.
INT. CARGO BAY - CONTINUING
They enter the biggest space on the ship. Giant doors sit at
the front, which will open upon landing to reveal a lowering
ramp. Catwalks surround the space, leading up at the front to
the foredeck hall. We've come all the way through Serenity.
MAL
So here is us, on the raggedy
edge. Don't push me and I won't
push you.
Simon starts up the stairs as Mal calls to him:
MAL
(CONTINUING)
Things get gritty I will keep her
from the fray, but she's coming.
Best you get her ready.
As Mal walks on, we tilt up to see the Mule, a four-man
hovercraft hanging from chains near the ceiling. Jayne and
Zoe are tossing duffle bags into it.
MAL
(CONTINUING)
Zoe, is Wash gonna straighten this
boat out before we get flattened?
ZOE
Like a downy feather, sir. Nobody
flies like my mister.
The camera picks up Simon's feet as they enter foreground on
the catwalk, and track with them to find:
SIMON
River...
She's lying on her side, looking straight at us. A loose
summer dress draped over her small frame.
RIVER
I know. We're going for a ride.
EXT. LILAC -- DESERT GULCH - DAY
Serenity settles gently down as the cargo bay door opens.
INT. CARGO BAY - CONTINUING
The chains are hoisted back up into the ceiling of the ship.
The mule floats just above the floor, Jayne piling in next to
River in the back:
21.
SIMON
Now, River, you stay behind the
others. If there's fighting you
drop to the floor or run away.
It's okay to leave them to die.
River puts on a huge pair of goggles, looks at her brother.
RIVER
I'm the brains of the operation.
ZOE
We should hit town right during
Sunday worship. Won't be any
crowds.
MAL
If Fanty and Mingo are right about
the payroll, this could look to be
a sunny day for us.
SIMON
(APPROACHING)
Captain, I'll ask you one last
time...
MAL
Doctor, I'm taking your sister
under my protection here. If
anything happens to her, anything
at all, I swear to you I will get
very choked up. Honestly. There
could be tears.
He peels out, leaves Simon fuming. Kaylee sidles up to him...
KAYLEE
Don't mind the Captain none,
Simon. I know he'll look out for
her.
SIMON
It's amazing. I bring River all
the way out to the raggedy edge of
the 'verse so she can hide from
the Alliance by robbing banks.
KAYLEE
It's just a little Trading
Station. They'll be back 'fore
you can spit.
(as he stalks off)
Not that you spit...
22.
Kaylee watches him go, a tad forlorn.
EXT. LILAC - DAY
We see the town sprawled before us, as the mule heads in.
The town embodies the lives of folk out here: adobe and wood
mix with metal and plastic -- whatever's on hand to build
with. Right now the streets are mainly empty.
EXT. TRADING STATION - CONTINUING
The mule pulls up, Zoe hitching it as they speak:
JAYNE
What are we hoping to find here
that equals the worth of a turd?
MAL
Alliance payroll. There's peace
enforcing squads stationed all
about this quadrant. Can't use
credits out here -- they got to
pay their boys in cashy money.
Which once a month rests here.
ZOE
Something about stealing from the
Alliance just warms a body like
whiskey in winter.
JAYNE
(cocks his gun)
Shiny. Let's be badguys.
Mal turns back to River.
MAL
You ready to go to work, darlin'?
RIVER
There's no pattern to the pebbles
here, they're completely random.
I tried to count them but you
drove too fast. Hummingbird.
MAL
(never mind)
Right. Great. Let's go.
INT. TRADING STATION - DAY
We are in a camera's eye view, right above the door.
J
23.
The door slams open, Mal and Jayne stride in, Zoe following
and whipping her hogleg right at camera without looking.
Reverse to see the camera is also a small screen with
"Welcome to Lilac" on it for the millisecond before it's
blown to bits.
There's maybe fifteen people in the place: store workers,
farm-folk and a couple dirt-poor kids. It's a combination
post-office, general store, bank, and most other things.
MAL
Hands and knees and heads bowed
down! Everybody, now!
Two men who appear to be farm folk rush Mal and the others.
Mal draws on the elder one and he stops dead in his tracks.
Mal's gun is long, not unlike Civil War era issue, but very
much new in design.
The other tries to tackle Jayne, which is not necessarily a
great idea. Jayne clotheslines him so hard he spins right
upside-down -- and Jayne grabs him by the legs and CRACK! --
bounces his head right off the floor, knocking him out cold.
MAL
(CONTINUING)
Y'all wanna be looking very
intently at your own belly
buttons. I see a head start to
rise, violence is gonna ensue.
The guy who rushed Mal complies along with everyone else.
Jayne dumps his catch on the floor and rips open his dirty
shirt to reveal the purple of an Alliance uniform.
JAYNE
Looks like this is the place.
He looks up at Mal, who motions for Zoe to open the front
door. She does, and River steps in.
ANGLE: RIVER'S BARE FEET -- walking slowly among the hunched-
over customers as Mal addresses them.
MAL
You've probably guessed we mean to
be thieving here, but what we are
after is not yours. So let's have
no undue fussing.
As he is speaking, Jayne is scrambling to the back office,
finding the small vault locked.
1410
24.
JAYNE
She's locked up.
River suddenly looks around, perturbed.
CLOSE ON: a young tough.
River looks up at Zoe, alarmed, and silently points to the
young man. He is slowly reaching for the weapon in his belt.
He finds Zoe's sawed-off nuzzling his cheek.
ZOE
You know what the definition of a
hero is? It's someone who gets
other people killed. You can look
it up later.
He drops his weapon, slides it across the floor.
Mal moves to the Trade Agent. Hauls him up, tosses him
toward the vault. Zoe and Jayne follow.
TRADE AGENT
This is just a crop moon, don't
think you'll find what you --
MAL
(in Chinese)
140
The old man punches in the code. What opens is a tiny wall
safe. Bundles of bills, some scattered coin. Unimpressive.
Jayne and Zoe are behind the captain, peering in.
ZOE
At last. We can retire and give
up this life of crime.
Mal reaches in, pulls a lever and the floor opens, a six foot
hole appearing, stairs leading to a corridor, all gleaming
metal and blue light. Zoe smiles. Jayne peers down as Mal
addresses the Trade Agent.
MAL
Is there a fed down there? Be
truthful.
TRADE AGENT
(NODDING)
Y'all are Browncoats, hey? Fought
for independence?
VJ
25.
MAL
War's long done. We're all just
folk now.
(calls down)
Listen up! We are coming down to
empty that vault!
The voice of a young Alliance GUARD comes up from below.
GUARD (O.S.)
You have to give me your
authorization password!
Jayne impatiently fires a burst of machine-gun fire down into
the hole. A beat...
GUARD (O . S . )
(CONTINUING)
Okay...
Mal looks at Zoe and they head down into:
INT. VAULT - CONTINUING
Which is as modern as something off the Central Planets. A
short corridor leads to a real vault door, that the guard is
already opening. Behind that door, a few bags of the real
deal: neatly stacked cash, waiting to be robbed.
INT. TRADING STATION - CONTINUING
We move in on River as something crosses her face. Worry.
EXT. TOWN - DAY
A WOMAN carrying a bucket and her nine year old SON are
looking at the trading station a few buildings away.
SON
Repeater.
WOMAN
Did sound summat like gunblast...
Maybe you aught run tell Lawman...
She turns and right by her, in the shadows, is a man.
Mostly. He is hideously disfigured, a combination of self-
mutilation and the bubbling red of radiation poisoning. His
clothes are rags, his eyes pinpoints of glazed madness.
A blade blurs through frame...
26.
INT. TRADING STATION - CONTINUING
River SCREAMS and flops onto her back, pinned by revelation.
Others look at her, concerned, as Jayne makes his way to her.
JAYNE
What the hell is up? You all
right? What's goin' on?
He holds her, as she whispers, wide-eyed...
RIVER
Reavers.
INT. VAULT - MOMENTS LATER
Zoe is hauling out the last of five bags as Mal talks to the
guard, holding his gun at him:
MAL
Leg's good, it'll bleed plenty and
we avoid any necessary organs...
GUARD
I was thinking more of a graze..
MAL
Well you don't want it to look
like you just gave up...
JAYNE (O.S.)
MAL!
MAL
(to himself)
Every heist, he's gotta start
yelling my name --
JAYNE
(barreling in)
Mal! Reavers! The girl's
pitchin' a fit. They're here or
they're comin' soon.
He is already loading up with bags as Mal thinks quickly.
MAL
(to Zoe and Jayne)
Get on the mule.
(to the guard,
pointing to the
VAULT)
Does that open from the inside?
J
27.
GUARD
Whah -ah- yes...
MAL
You get everyone upstairs in there
and you seal it. Long as you got
air you don't open up, you
understand?
GUARD
I -- Buh I --
Mal is in his face, dark and huge:
MAL
GET THEM INSIDE THE VAULT.
EXT. TRADING STATION - DAY
The doors burst open, Jayne and Zoe coming out first, Mal
behind with River in hand. She is freaked, in her own space.
Jayne and Zoe throw the bags on --
MAL
Zoe take the wheel --
JAYNE
You see 'em? Anybody see 'em?
1J -- and jump on themselves, Mal scanning the area as he hands
River up to Jayne's care. As the craft powers up, slowly
moving, the young man Zoe kept from trying to pull his weapon
bursts out of the station, grabbing the back of the mule.
YOUNG MAN
Take me with you!
MAL
Get in the vault with the others --
YOUNG MAN
I can't stay here! Please!
MAL
It's too many. Drive, Zoe.
A Reaver craft ROARS over their heads. It's nearly the size
of Serenity. Torn apart, belching smoke -- a welded
conglomeration of ruined ships, painted for war. Predator,
pure. It disappears over the rooftops.
YOUNG MAN
PLEASE!
28.
MAL
Drive!
Zoe's face is set with unhappy determination as she floors
it, shooting out and leaving the young man in the dust.
As they move from him, four Reavers jump out of the shadows
and grab the young man. Mal unhesitatingly draws his gun.
He nudges a lever with his thumb and a cartridge pops back.
Mal fires twice. The young man takes both bullets in the
chest, slumps down dead.
ANGLE: THE EDGE OF TOWN
As the mule shoots past the last building, we see a skiff
shoot out from behind the buildings of the adjacent street,
right abreast of our gang.
ANGLE: THE CENTER OF TOWN
We see the church as the first ship and an even larger one
come to hover over it, Reavers dropping down on cable lines
to swarm into it.
EXT. DESERT - CONTINUING
The mule and the skiff are booking through the rocky terrain.
The skiff swings closer, but Jayne peppers it with automatic
fire and it swings away. There is sporadic return fire.
JAYNE
How come they ain't blowing us out
of the air?
MAL
They wanna run us down. The up-
close kill.
River is squashed down on her back, being very small.
RIVER
They want us alive when they eat
us.
JAYNE
Boy, sure would be nice if we had
some grenades, don'tchya think?
Mal says nothing, keeps firing.
ZOE
Wash, baby can you hear me?
VO
29.
INT. SERENITY: BRIDGE - CONTINUING
Wash is in a frenzy of switchflipping, prepping for take-off.
WASH
We're moments from air. You got
somebody behind you?
We intercut Wash and Zoe at this point:
EXT. DESERT - CONTINUING
ZOE
Reavers.
WASH
(BLANCHING)
ZOE
We're not gonna reach you in time.
WASH
Just keep moving, honey. We're
coming to you.
EXT. SERENITY - CONTINUING
As she lifts off and starts heading toward the others.
EXT. DESERT - CONTINUING
Zoe gets the mule in front but a harpoon thwinngs through the
air from the skiff and S} NK! Goes through Jayne's leg.. The
harpoon grips the leg and pulls --
Jayne goes flying off the back of the Mule, Mal just grabbing
him as the harpoon line reels slowly tighter --
MAL
Grab on!
Jayne grabs the Mule, legs dangling, pulled out between the
two vessels as Mal slams a new cartridge into his pistol.
JAYNE
I won't get et! You shoot me if
they take me!
Mal steadies himself and takes aim, seemingly at Jayne --
JAYNE
(CONTINUING)
Well don't shoot me first!
J
30.
Mal fires. Again. Steadies himself for one more...
The line holding the harpoon is split by Mal's third shot.
V0V
The mule surges forward as Jayne drags on the ground. Mal
hauls him in as River bounds into the front to make room.
JAYNE
(CONTINUING)
Rutting pigs! Where's --
And River is holding out his weapon before he can ask for it.
EXT. ANOTHER PART OF THE DESERT - CONTINUING
Serenity rushes across the desert floor, not much higher off
it than the smaller crafts.
WASH
(to Zoe)
Get some distance on 'em. You come
to the flats, I want you to swing
round. Gonna try a Barn Swallow.
INT. BRIDGE - CONTINUING
Wash hits the com.
WASH
J Simon! Open the loading dock!
INT. CARGO BAY - CONTINUING
Simon moves next to the huge sliding doors at the front, hits
a couple of buttons. The doors pull open, as the huge ramp
beyond them opens down, letting in a rush of wind and light.
EXT. DESERT - CONTINUING
The mule reaches the flats, away from the rocks.
WASH (O.S.)
(in Zoe's ear)
Okay, baby, we've talked this
through...
ZOE
Talkin' ain't doin'.
She throws the wheel and the mule comes hard about,
fishtailing slightly as it faces the oncoming skiff.
WASH (O.S.)
Don't slow down!
31.
ANGLE: THE SKIFF
As it heads for the mule --
ANGLE: THE MULE
As it heads for the skiff -- and Serenity swoops down out of
the sky, bay doors open, and comes right up behind it -- The
Mule swallowed by the bigger ship --
INT. CARGO BAY - CONTINUING
And only its forward momentum keeps it from being squashed as
it flies backwards into the bay, narrowly missing Simon and
smashing back into the staircase, sparks and people flying --
EXT. DESERT - CONTINUING
Serenity tries to get altitude -- but slams right into the
oncoming skiff, tearing it apart --
INT. CARGO BAY - CONTINUING
A flaming portion of the top flies in, skids to the floor as
small fires erupt from the mule as well -- Simon pulls a
lever and jets of C02 shoot out of the floor.
Simon hits the button to start the outer ramp closing, then
runs to the mule. The C02 stops and he finds River sitting
in her seat, completely unharmed. Zoe is climbing painfully
out of the other seat, Mal and Jayne both having been thrown.
SIMON
River?
RIVER
I swallowed a bug.
Kaylee runs in to see how everyone is. She goes to Simon.
KAYLEE
Are you okay?
MAL
Is he okay?
A bloodied Reaver POPS into frame from under the skiff-top.
He lunges for Mal, baring sharpened teeth --
Mal spins and draws, fires into his belly as Jayne and Zoe
both fire at the same time. The freak takes too long to go
down, but down he goes. Dies sitting against the s i op.
4 Everybody takes a moment to look at each other.
32.
WASH (O.S.)
We all here? What's going on?
Hello?
r./ ZOE
(moves to the com)
No casualties. Anybody following?
INT. BRIDGE - CONTINUING
WASH
Nice flying, baby, and that's a
negative. Clean getaway -- Out of
atmo in six minutes.
INT. CARGO BAY - CONTINUING
MAL
Set course for Beaumonde.
(to the others)
First thing, I want these bod --
Simon suddenly punches him in the face, causing Mal to
stumble back, and Simon to shake his hand in pain.
MAL
(CONTINUING)
SIMON
You stupid, selfish, son of a
whore ---
MAL
I'm a hair's breadth from riddling
you with holes, Doctor --
SIMON
"One simple job! She'll be fine!"
MAL
She IS fine! Except for bein'
still crazy, she's the picture of
health!
ZOE
Wasn't for River, we'd probably be
left there. She felt 'em coming.
SIMON
Never again. You understand me?
J
33.
MAL
Seems I remember a talk about you
giving orders on my boat.
SIMON
Well sleep easy 'cause we're off
your boat. Just as soon as River
gets her share of the "bounty".
KAYLEE
Well let's not do anything hasty...
MAL
No, shiny! I'm sick a' carrying
tourists anyhow. We'll be on
Beaumonde in ten hours time, you
can pick up your earnings and be
on your merry. Meantime you do
your job. Patch up my crew.
A beat.
RIVER
He didn't lie down. They never
lie down.
She is looking at the Reaver. Everyone does, for a moment.
INT. FOREDECK HALL - MOMENTS LATER
Mal and Zoe enter from below.
ZOE
No, I think things'll glide a deal
smoother for us without River and
Simon on board... but how long do
you think they'll last?
MAL
Doc made his call. They's as
babes in a basket when we took 'em
in; we sheltered 'em plenty. Man
has to cut loose, learn to stand
on his own.
ZOE
Like that man back in town?
They stop by Mal Is room.
MAL
I had to shoot him. What the
Reavers woulda done to him before
they killed him...
J
34.
ZOE
I know. That was a piece a'
mercy. But before that, him
begging us to bring him along...
vo,
MAL
We couldn't take the weight.
Woulda slowed us down.
ZOE
You know that for certain
MAL
Mule won't run with five. I
shoulda dumped the girl? Or you?
Or Jayne?
(CONSIDERING)
Well, Jayne...
ZOE
Coulda tossed the payload.
MAL
And go to Fanty and Mingo with air
in our mitts, tell 'em "here's
your share"? They'd set the dogs
on us in the space of a twitch,
and there we are back in mortal
peril. We get a job, we gotta
vo make good.
Washenters from the bridge.
ZOE
Sir, I don't disagree on any
particular point, it's just... in
the time of war, we woulda never
left a man stranded.
MAL
Maybe that's why we lost.
She's not happy with the reply. Mal climbs down to his room
as Wash reaches Zoe, slides his arms around her.
INT. MAL'S ROOM - CONTINUING
Once alone, Mal lets his own disappointment show. He pulls
off his holster and drops it over a chair. Kicks the toilet
closed and sits on his bunk.
The place resembles a submarine cabin, with charts and
clutter, ancient maps on the walls.
J
35.
Mal moves a bunch of papers off his bunk and a picture slides
out. Hits the floor and starts moving: it's a snapshot-movie
OF:
VW - DAY
INT. INARA'S SHUTTLE
We're close on a beautiful woman who looks at us with amused
exasperation. Behind her is an opulently dressed little
shuttle.
INARA
Kaylee, are you ever gonna put
that capture down?
KAYLEE (0.5.)
We gotta have records of
everything. A bona fide Companion
entertained clients on this very
ship! In this very bed!
The picture pans over to the bed -- which River is bending
over and sniffing curiously. Inara is packing things up.
KAYLEE (O.S.)
(CONTINUING)
For one sweet second, we was
almost classy.
INARA
4 You promised to help me pack.
KAYLEE (O.S.)
Honest, Inara, why do you have to
leave?
Inara shoots an uncertain look at the camera -- and the
picture freezes, goes back to the beginning.
During all this, Mal has picked it up. He looks at it a
moment, tosses it aside. Looks around at nothing much.
JAYNE (V.0.)
I do not get it. How's a guy get
so wrong?
INT. CARGO BAY - LATER
We see the doors in the floor slide open, a second set below.
Pan to see, for a moment, the dead Reaver's face.
Kaylee is opening the doors with a keypad on a cable. Jayne
drags the corpse closer to the doors as he continues:
R
36.
JAYNE
Ain't logical. Cuttin' on his own
face, rapin' and murdering -- I
mean, I'll kill a man in a fair
fight... or if I think he's gonna
start a fair fight, or if he
bothers me, or if there's a woman,
or I'm gettin' paid -- mostly only
when I'm gettin' paid. But these
Reavers... last ten years they
just show up like the boageyman
from stories. Eating people
alive? Where does that get fun?
He dumps the body in, she starts the doors closing.
KAYLEE
Shepherd Book said they was men
that reached the edge of space.,
saw a vasty nothingness and just
went bibbledy over it.
JAYNE
Hell, I been to the edge. Just
looked like more space.
KAYLEE
I don't know. People get awful
lonely in the black. Like to get
addlepated ourselves, we stay on
this boat much longer. Captain'll
drive us all off, one by one.
JAYNE
You're just in a whinge cuz that
prissy doc is finally
disembarking. Me I says good
riddance. He never belonged here,
and his sister's no saner than one
of them Reavers.
KAYLEE
That ain't even so! River's a
dear heart and a boon to this
crew! You just don't like her
'cause she can read your mind and
everything you think is mean.
JAYNE
Well, there is that.
J
37.
KAYLEE
Her and Simon could have a place
here. Now they're leaving us.
Just like Shepherd Book.
She looks up toward one of the shuttles.
KAYLEE
(CONTINUING)
Just like Inara...
INT. COMPANION TRAINING HOUSE - DAY
And here she is, moving back and down into frame, her eyes
half closed in passion. She settles on a cluster of brocaded
pillows, and we see another head lowering in for a kiss...
Come around to see it's another lovely young woman -- and
that there is a group of ten others watching intently, all in
saris, on their knees. Two handsome young men with shaved
heads in the back, also on their knees.
Inara stops before the kiss, smiling and coming back up. She
speaks to the girls (We hear only soft music) as she
repositions the one she's with, lowering again; showing her
the motion of surrender as if it were a dance step.
A WOMAN'S VOICE (V.0.)
They love you.
410
EXT. COMPANION TRAINING HOUSE - DUSK
Inara looks out at the mountains. The space she's in
resembles a Tibetan monastery, if slightly more opulent.
Widen to see she is with SHEYDRA, a somewhat older Companion,
the woman whose voice we heard. She hands Inara a drink.
SHEYDRA
The girls. They've learned more
from you these last months than
the rest of us could show them in
two years.
INARA
They're very sweet. But they're
not Companions.
SHEYDRA
(WRYLY)
You've no hope for them? Junk the
lot, start anew?
J
38.
INARA
On Sihnon we started training at
twelve. Years of discipline and
preparation before the physical
act of pleasure was even
mentioned. Most of these girls --
SHEYDRA
They're all of good family, the
highest academic standards --
INARA
Control. Was the first lesson.
And the last and these worlds are
not like the Central Planets.
There is barbarism dressed up in
the most civil weeds. Men of the
highest rank who don't know the
difference between a Companion and
a common whore. It's unsafe.
SHEYDRA
All the more reason the girls look
to you. You came out here alone,
before the Alliance ever thought
to establish a House this remote.
You've seen so much. You're a
figure of great romance to them.
4d INARA
Great romance has nothing to do
with being a Companion, Sheydra.
You should know better.
SHEYDRA
I'm not the one who had a torrid
affair with a pirate.
Inara nearly spills her drink.
INARA
A who? With a what?
SHEYDRA
(SMILING)
It's the talk of the House. The
girls all trade stories in the
dorms at night.
INARA
I didn't... have a pirate...
J
39.
SHEYDRA
In one of the stories you make
love in a burning temple. I think
that's my favorite.
INARA
(SITTING)
This is unbearable. Captain
Reynolds is no pirate; he's a
petty thief. And he never laid a
finger on me. All he ever did was
rent me a shuttle and be very
annoying.
(mutters in Chinese)
SHEYDRA
A year on his shuttle and he never
laid a finger on you. No wonder
you left.
INARA
(BRIDLING)
I left because -- go away. We're
no longer friends. You're a
stranger to me now.
SHEYDRA
104 I do love to watch you boil.
Don't worry. The stories will
fade. And your Captain Reynolds
has probably gotten himself blown
up by this time.
INARA
(looking away again)
Yes. That would be just like him.
EXT. BEAUMONDE: ATOLL PLAZA - EVENING
Serenity touches down on the crowded atoll amidst a number of
other, equally disreputable ships. The place is filled with
every kind of immigrant culture and shop imaginable.
EXT./INT. SERENITY - EVENING
The ramp is open and everyone is filing out, ready to hit the
town. Kaylee is talking to Simon, who has River in hand.
KAYLEE
Don't talk to the barkers -- only
the captains.
(MORE)
40.
KAYLEE (cont'd)
You look the captain in the eye,
know who you're dealing with.
40 SIMON
• I wish there was...
Since he doesn't know what to say, she rattles on:
KAYLEE
You shouldn't aughta be so clean.
It's a dead giveaway you don't
belong, you always gotta be tidy.
Don't pay anybody in advance. And
don't ride in anything with a
Capissen 38 engine, they fall
right out of the sky.
SIMON
Kaylee.
She turns and heads off. Simon starts in the other
direction, but River looks after her and the others.
SIMON
(CONTINUING)
River... do you want to stay with
them?
4 RIVER
It's not safe.
SIMON
No, I fear it's not safe anymore.
He's heading off and doesn't hear:
RIVER
For them.
INT. THE MAIDENHEAD - CONTINUING
We start on a CorVue screen, showing a news report. On the
screen is a shot of the town our gang robbed, now half of it
a smoking ruin.
NEWSPERSON (V.O.)
that it was a band of Reavers
remains unconfirmed. The only
survivors of the massacre
apparently locked themselves in
the Trade Station vault until --
40
41.
During this we come around to see that the screen has a
blinking light behind it, come THROUGH the wiring of the back
to look out at the bar, with the word "recording" in the
corner. Every screen is a camera, even down here.
40
We pick up Mal and Kaylee heading down into the bar. Cutting
away from the camera's view, we can looks two stories
straight down as they go, to a close group of dark tables and
booths and a second screen playing in the corner.
MAL
It's not my fault the Doc's got no
stomach for Rim living --
KAYLEE
It is entirely and for all your
fault! If you'd given Simon a
moment, just a moment where he
didn't think you were gonna throw
them off or turn them in, he
might've --
MAL
What? Swept you into his cleanly
arms? Made tidy love to you?
They have reached the guncheck, where Jayne and Wash have
already checked their guns. It works like a lunch automat:
Mal sticks his gun in a drawer, pulls out a chit -- the
q0 drawer closes and rotates, revealing another empty one. A
large bouncer with a shockrod watches impassively.
KAYLEE
(as they continue
DOWN)
Don't you dare joke! You know how
much I pined on Simon. And him
fair sweet on me, I well believe,
but he's so worried about being
found out --
ZOE
Captain didn't make 'em fugitives.
KAYLEE
But he coulda made 'em family!
Steada driving them off. Steada
keeping Simon from seein' I was
there, when I carried such a torch
and we coulda -- goin' on a year
now I ain't had nothin' twixt my
nethers weren't run on batteries!
40
42.
MAL
Oh god! I can't know that!
JAYNE
40 I could stand to hear a little
more...
KAYLEE
If you had a care for anybody's
heart you woulda --
MAL
(ENOUGH)
You knew he was gonna leave. We
never been but a way station to
those two. And how do you know
what he feels? He's got River to
worry on but he still coulda shown
you... if I truly wanted someone
bad enough, wouldn't be a thing in
the 'verse could stop me from
going to her.
KAYLEE
Tell that to Inara.
For a moment, Mal is too shocked to react. Kaylee storms out.
MINGO
4 Domestic troubles?
MINGO is young, tough -- somewhere between a gangster and a
fur-trader. Sounds lower-class British, or something like it.
FANTY
Domestic troubles?
FANTY moves out from behind Mingo to reveal that he is
Mingo's identical twin. Apart from slight differences in
dress, they are indistinguishable.
MINGO
'Cause we don't wanna interrupt.
FANTY
A man should keep his house in
order.
MAL
(greets them each)
Mingo. Fanty.
14
43.
MINGO
(pointing at his
BROTHER)
He's Mingo.
,do
MAL
He's Fanty. You're Mingo.
MINGO
Ghahh! How is it you always know?
MAL
Fanty's prettier.
(pulling out a chair)
Feel to do some business?
MINGO
(re: Mal Is gang)
Bit crowded, isn't it? As you
see, we come unencumbered by thugs.
MAL
Which means at least four of the
guys already in here are yours.
All's one. I'll just keep Jayne
with me.
ZOE
Sir, are you sure you don't --
4
MAL
Go. Go get yourselves a nice
romantic meal.
WASH
Those are my two favorite words!
(to Zoe)
Honey... "Meal..."
MAL
(to Zoe)
It's business. We're fine.
They leave and the four remaining men sit. Fanty tosses a
few coins to a saloon-girl, who does a little fan-dance...
ANGLE: THE CORVUE CAMERA'S POV of the men is conveniently
blocked by her little dance.
Mal's foot nudges a duffel bag of money to Mingo's foot.
MINGO
Quite a crew you've got.
4
44.
MAL
Yeah, they're a fine bunch of
ruebens.
MINGO
How you keep them on that crap
boat is the subject of much musing
tween me and Fanty.
FANTY
We go on and on.
MAL
So I'm noticing. Is there a
problem I don't know of? You got
25% of a sweet take kissing your
foot, how come we're not
dispersing?
FANTY
Our end is forty, precious.
JAYNE
My muscular buttocks it's forty --
MINGO
It is as of now. Find anyone
around going cheaper.
J FANTY
Find anyone around going near a
sorry lot like you in the first
instance.
ANGLE: RIVER has entered, is looking about.
Jayne sees her, nudges Mal, who looks and turns back to
business. We stay on her as she wanders around the perimeter
of the bar, vaguely listening in on Mal's deal.
FANTY
(CONTINUING)
You're unlikable, Mal. You got no
respect for us above you, you got
enemies in every quadrant, and
your ship's older than the
starting point of time. You's
charity cases to such as us.
45.
MAL
Well here's a foul thought. I
conjured you two were incompetent;
sent us out not knowing there were
V0 Reavers about. Now I'm thinking
you picked us out because you did.
MINGO
That were a sign of faith, boy.
And it doesn't affect our forty
per. Danger is, after all, your
business.
JAYNE
Reavers ain't business, double
dickless.
This is all background noise to River, who has moved to the
CV screen, on which is a commercial. It's animated, goofy,
cartoon animals and anime-style Asian girls all transforming
to insane fantasy figures as they sing about:
COMMERCIAL
FRUITY OATY BARS, POW! HEY! FRUITY
BARS, MAKE A MAN OF A MOUSE, MAKE
YOU BUST OUT YOUR BLOUSE, EAT THEM
NOW, BANG! PING! ZOW! -- TRY
FRUITY, OATY BARS.
We push in, the light from the CV on River's face, pushing to
EXTREME CLOSE UP, all noise but the jingle fading out,
finally that as well, just the hum in River's ears.
And she whispers:
RIVER
Miranda.
She turns and looks back at the crowd.
What happens next happens very fast.
She strides silently to the first table -- two men drinking
quietly -- and she slams her foot into one's face, then whips
it back into the other's, knocking them both unconscious as --
people are turning, just registering that this girl --
kicks the table into a card player even as she sweeps a
bottle off it behind her -- the bottle hits a man behind her
square in the face, a man she never even looked at -- people
are rising, fleeing or pushing forward --
V0
46.
MAL
River...
JAYNE
V0 Whuhuh?
She's taking out a group of four, high kicks and perfect
precision -- Two men come from either side, one whipping out
a knife -- she does a perfect split, grabs his wrist above
her head, using his momentum to stab the other one --
Mal fights to get back to the gunrack. The bouncer reaches
her and she wrests his shockrod from him, uses it on him, on
Fanty and Mingo -- the fan-dancer is bolting and River hurls
the rod at her head, knocks her cold...
She's everywhere. On tables, chairs, under your legs, using
the room itself to take out every single person there. One
man hides behind a wall -- impossibly, she swings her leg
around the corner and nails his face.
Jayne grabs her from behind --
JAYNE
(CONTINUING)
Gorrammit, girl, it's me!
She grabs his crotch and squeezes -- his grip loosens and she
spins, facing him, and flat-heels his nose with her palm,
V0 twirling into a gut kick that doubles him over, dispatching
of another while she cracks Jayne's head with a small table --
Somebody pulls a gun and she snaps his elbow, causing him to
scream out even before he shoots himself in the gut --
Mal frantically wrests a gun from the vending locker as River
knocks the other guy's gun in the air, kicks someone else and
then catches it, whips it around just as Mal comes up with
his, they are pointed right at each other --
SIMON
Eta Kooram Nah Smech!
And River drops to the ground, fast asleep.
There is a beat. Mal looks around the bar. He and Simon,
who has run up to the entrance, are the only ones standing.
He looks down at River. She lies unconscious, helpless.
MAL
I think maybe we ought to leave.
10
47.
EXT. SPACE - NIGHT
We see two sleek warships glide silently into frame, followed
by a third, bigger ship. This is the operative's vessel, and
10 it is everything Serenity is not: sleek, predatory, icy cool.
INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING
The operative is looking at the Maidenhead security feed --
and River is staring right at him.
THE OPERATIVE
(CAPTIVATED)
Hello again. Yes, it's me. I'm
glad you've finally asked for me.
An Ensign is revealed looking at a separate monitor:
ENSIGN
We got a pos on a retinal -- man
carrying her out is Malcolm
Reynolds, captains a Firefly-class
transport ship, "Serenity". Bound
by law five times, smuggling,
tariff dodge... not convicted.
Nothing here that would --
THE OPERATIVE
The ship. The name of the ship.
10 (SOFTLY)
Crossref. Malcolm Reynolds.
Serenity.
He looks over at the Ensign with a small, strange smile on
his lips -- as his glasses are covered by text.
ENSIGN
Sir?
THE OPERATIVE
Serenity Valley. Bloodiest battle
of the entire war. The
Independents held the valley for
seven weeks, two of them after
their high command had
surrendered. 68% casualty rate.
ENSIGN
Of course, Sir, I just didn't --
THE OPERATIVE
There.
4
48.
His glasses stop scrolling and Mal's military file opens, a
picture of Mal in one lens.
THE OPERATIVE
140 (CONTINUING)
If the feds ever bothered to
crossref justice files with war
records... Yes. Our Mr. Reynolds
was a sergeant, 57th Overlanders.
Volunteer. Fought at Serenity
till the very last. This man is
an issue. This man hates us.
ENSIGN
First Mate Zoe Washburn, formerly
Corporal Zoe Alleyne, also in the
57th. Career army, looks like.
THE OPERATIVE
She's followed him far... Give me
the crew, registered passengers --
Our Captain is a passionate man,
no room there for subtlety. He's
bound to have some very obvious...
CLOSE ON: THE LENS of his glasses. On it is a slowly moving
picture of INARA.
THE OPERATIVE
-40 (continuing)
.weakness...
INT. STORAGE LOCKER - NIGHT
River is still asleep, Mal finishing chaining her wrists.
She lies on her side, breathing evenly.
Mal stares at her a moment, then:
INT. DINING ROOM - CONTINUING
He exits to find the whole group waiting for him, sans Wash.
SIMON
May I see her?
MAL
She's still napping just now. And
I believe you've got some
storytelling to do.
4
49.
WASH
(ENTERING)
We're out of atmo, plotted for
Haven. No one following as of yet.
KAYLEE
Haven? We're gonna see Shepherd
Book?
MAL
(NODDING)
We got to lay low. And I could
fair use some spiritual guidance
right about now.
(to Simon)
I am a lost lamb; what in hell
happened back there?
WASH
Start with the part where Jayne
gets knocked out by a ninety pound
girl. 'Cause I don't think that's
ever getting old.
ZOE
Do we know if anyone was killed?
MAL
It's likely. I know she meant to
Ad kill me 'fore the Doc put her to
sleep, which how exactly does that
work anyhow?
SIMON
Safeword.
(BEAT)
The people who helped me break
River out -- they had intel that
River and the other subjects were
being embedded with behavioral
conditioning. They taught me a
safeword, in case... something
happened.
KAYLEE
Not sure I get it.
SIMON
A phrase that's encoded in her
brain, that makes her fall asleep.
If I speak the words, "Eta --
4
50.
JAYNE
(jumping back)
Well don't say it!
moo ZOE
It only works on her, Jayne.
JAYNE
Oh. Well, now I know that.
MAL
"In case something happened."
SIMON
What?
MAL
You feel to elaborate on what that
something might be? I mean they
taught you that fancy safeword,
they must've figured she was
gonna, what -- start
uncontrollably crocheting?
SIMON
They never said what --
MAL
And you never did ask.
Mal grabs him and throws him against the wall, in his face.
MAL
(CONTINUING)
Eight months. Eight months you
had her on my boat knowing full
well she might go monkeyshit at
the wrong word and you never said
a thing --
SIMON
I brought her out here so they
couldn't get to her, I don't even
know how they --
MAL
My ship. My crewi You had a
gorramn timebomb living with us!
INT. STORAGE LOCKER - CONTINUING
River's eyes open.
V0
51.
INT. DINING ROOM - CONTINUING
MAL
What if she went off in the middle
woo of dinner, or in bunk with Kaylee,
did that give you a moment's pause?
Simon looks at Kaylee, the truth of Mal's words hitting him.
SIMON
I thought she was getting better.
JAYNE
And I thought they was gettin' off!
(off looks)
Didn't we have a intricate plan
how they was gonna be not here
anymore?
KAYLEE
We couldn't leave them now...
JAYNE
No, now that she's a... killer
woman we ought be bringin' 'em tea
and dumplings!
(to Mal)
In earnest, Mal: why'd you bring
her back on?
4
Mal looks at Jayne, at all of them. Doesn't have an answer.
SIMON
May I see her.
Mal steps aside. Simon enters the locker.
JAYNE
She goes woolly again, we're gonna
have to put a bullet to her.
INT. STORAGE LOCKER - CONTINUING
River mouths the next words right along with Mal:
INT. DINING ROOM - CONTINUING
MAL
It's crossed my mind.
WASH
Can I make a suggestion that
doesn't involve violence, or is
this the wrong crowd?
J
52.
ZOE
Honey...
WASH
V0 Fanty and Mingo might be coming
hard down on us, or the laws... or
maybe nobody could be bunged about
a little social brawl. We need to
get our bearings. I think we need
to talk to Mr. Universe.
EXT. SPACE - NIGHT
The camera swoops in at a sparking ion cloud, then through
the cloud at a barren, metallic satellite moon. Then further
in to reveal a sprawling -- and completely empty --
communications complex. Giant satellite dishes everywhere.
INT. MR UNIVERSE'S HQ - CONTINUING
Inside, we find an unkempt young man. Also sleep-deprived,
over-caffeinated and kinda sweet. This is MR UNIVERSE. He
is alone but for his mannikin-like Love-bot, Lenore.
He's surrounded by screens, computers, feeds -- machinery
that looks both ultra-modern and long neglected. All the
screens play different images -- it's a mediaverse.
INT. BRIDGE - CONTINUING
A0
As he watches the security feed of River's fight his image
becomes a vidscreen. He's addressing Wash, Mal and Zoe.
We intercut between the two spaces:
MR UNIVERSE
Oh, this is good. This is...
(GIGGLES)
.she's beating up all the burly
men and I'm having a catharsis,
it's happening right now, you guys
always bring me the very best
violence. You think you're in a
hot place?
WASH
That's what we're looking to
learn. Is there any follow up, a
newswave...
4
53.
MR UNIVERSE
There is no "news", there's the
truth of the signal, what I see,
and there's the puppet theatre the
V0 Parliament's jesters foist on the
somnambulant public. Monkey taught
to say the word "monkey" -- lead
story on 32 planets. But the slum
riots on Hera, not a --
MAL
What about this? Did this make
the... puppet theatre?
MR UNIVERSE
No sir. And no lawforce flags,
either -- I hadda go into the
security feed direct...
MAL
You can do that?
MR UNIVERSE
Can't stop the signal, Mal.
Everything goes somewhere and I go
everywhere. Security feeds are a
traipse to access -- and I wasn't
the first one in, this has prints
on it -- oh! Look at her go!
A0 Everyone is getting bruises and
contusions. Contoooosions.
ZOE
(to Mal, over that)
So somebody else has been fed
this. That doesn't like me too
well.
MR UNIVERSE
Zoe, you sultry minx, stop falling
in love with me. You're just
gonna embarrass yourself. I have
a commitment to my Lovebot, it was
a very beautiful ceremony, Lenore
wrote her own vows, I cried like
a baby, a hungry, angry baby.
(re: screen)
And she falls asleep. Which, she
would be sleepy.
J
54.
MAL
Can you go back? See if anybody
spoke with her 'fore she acted up,
-40 made any kind of contact with
her...
Mr Universe works the screen. The image rewinds and stops on
River coming up to it, looking at it. She whispers the word,
"Miranda", and starts to move away.
MAL
(CONTINUING)
Miranda...? Go back further.
MR UNIVERSE
No..
He pulls another screen close, starts working that one.
Matching timecodes, he pulls up the commercial.
MAL
Um... please?
Mr Universe has a third screen showing the commercial as
(NON-MATRIXY)
well -- and it starts breaking down, bursts of
code showing through. As he does so:
MR UNIVERSE
Friends and potential lovers, I
4DO
have good news and I have the
other kind. Good is you're very
smart. Someone is talking to her.
WASH
The oaty bar?
MAL
Subliminal. It's a subliminal
message broadwaved to trigger her.
MR UNIVERSE
(NODDING)
I been seeing this code pop up all
over, last few weeks. And I
cannot crack it. It's Alliance
and it's high military, so here
then is the bad. Someone has gone
to enormous trouble to find your
little friend. And found her
they have.
Mal, Zoe and Wash look at each other.
40
55.
MR UNIVERSE
(CONTINUING)
Do you all know what it is you're
carrying?
W
INT. STORAGE LOCKER - NIGHT
River stares at us, impassive, as the camera pulls away from
her to reveal Simon, who is cleaning blood off her face.
RIVER
They're afraid of me.
SIMON
I'm sorry...
RIVER
They should be. What I will show
them... Oh God...
She starts tearing up, breathing faster... Simon runs his
hands through her hair.
SIMON
It's okay, it's okay...
RIVER
(somewhere else)
Show me off like a dog, old men
covered in blood, it never touched
them but they're drowning in it...
so much loss... I don't know what
I'm saying. I never know what I'm
saying...
SIMON
You said something. When you were
triggered, do you remember? The
Captain saw you say something on
the feed...
RIVER
Miranda.
SIMON
Miranda.
RIVER
(laughs bitterly)
Ask her. She'll show you all.
40
56.
SIMON
Show us what? Who is Miranda?
(BEAT)
Am I... talking to Miranda now?
Nw�
She shoots him a look.
RIVER
I'm not a multiple, dumbo.
SIMON
No. Right. But I think somehow
when they triggered you it brought
this up, this memory --
RIVER
It isn't mine. The memory. I
didn't bring it and I shouldn't
have to carry it, it isn't mine.
(URGENTLY:)
Don't make me sleep again.
SIMON
I won't.
RIVER
Put a bullet to me. Bullet in the
brain pan, squish.
SIMON
Don't say that. Not ever. We'll
get through this.
She reaches out and touches his face, affectionately.
RIVER
Things are going to get much much
worse.
SIMON
Well, the Captain hasn't tossed us
in the airlock, so I'd say we're --
RIVER
He has to see. More than
anyone... he has to see what he
doesn't want to.
SIMON
River. What will Miranda show us.
She thinks.
VD
57.
RIVER
Death.
SIMON
Whose death?
And she starts laughing. Quietly at first, then louder, then
almost uncontrollably, screaming in his face:
RIVER
EVERYBODY'S!!!
SMASH CUT TO:
Black Silence.
INT. CAVE - DAY
It's pitch black here, til Serenity's lights throw a hard
relief on the rocky wall. She flies in after, slow and
steady, revealing herself to be in a huge mineshaft.
BOOK (O.S.)
Lord, I am walking your way.
ANGLE: THE RAMP lowers to reveal Shepherd BOOK, a working-
class preacher and former crew member. He smiles as they
come out to meet him:
NOO BOOK (O.S.)
(CONTINUING)
Let me in, for my feet are sore,
my clothes are ragged.
EXT. MINING CAMP - DAY
We see the camp: a few shacks and a working mine, as our
group come down to it, greeted by a few miners, including an
eight year old boy that rushes to Kaylee...
ANGLE ON: A CANNON mounted at the edge of town. The guy
manning it sees them arrive, also goes to greet them.
INT. COMMUNITY KITCHEN - NIGHT
We see the gang sitting and eating. Comfortable, even
laughing a bit. Jayne presents Book with a couple of cigars.
Kaylee hoists the boy on her lap.
BOOK (O.S. )
Look in my eyes, Lord, and my sins
will play out on them as on a
screen. Read them all.
4
58.
EXT. MINING CAMP - NIGHT
Mal approaches Book on the edge of a rise overlooking the
town. Mal has a bowl and chopsticks. Book is finishing:
V0
BOOK
Forgive what you can, and send me
on my path. I will walk on, until
you bid me rest.
MAL
Hope that ain't for me, Shepherd.
BOOK
(lighting a cigar)
It's prayer for the dead.
MAL
Then I really hope it ain't for me.
BOOK
It's for the men River might have
killed in that bar.
MAL
Weren't River that did it, you
know that. Somebody decided her
brain was just another piece of
property to take, fenced it right
Vd up.
BOOK
You got a plan?
MAL
Hiding ain't a plan?
BOOK
It'll do you for a spell, and the
folks here'll be glad of the extra
coin...
MAL
.but they'll be coming.
Alliance is after this girl with
a powerful will. I look to hear
the tromp of their boots any
moment.
V0
59.
BOOK
You won't.
(off Mal's look)
This isn't a palms-up military
MW run, Mal. No reports broadwaved,
no warrants... much as they want
her, they want her hid. That
means Closed File. Means an
Operative, which is trouble you've
not known.
MAL
I coulda left her there.
INT. STORAGE LOCKER - NIGHT
As he continues, we see an image of him watching over the
sleeping girl, his mind, racing.
MAL (O.S.)
I had an out -- hell, I had every
reason in the 'verse to leave her
lay and haul anchor.
EXT. MINING CAMP - CONTINUING
BOOK
Not your way, Mal.
V0 MAL
I have a way?
(THINKS)
Is that better than a plan?
BOOK
You can play the thug all you
want, but there's more to you than
you're ever like to 'fess.
MAL
You just think that 'cause my eyes
is all sorrowful and pretty.
BOOK
Only one thing is gonna walk you
through this, Mal. Belief.
MAL
Sermons make me sleepy, Shepherd.
I ain't looking for help from on
high. That's a long wait for a
train don't come.
1490
60.
BOOK
When I talk about belief, why do
you always assume I'm talking
about God?
W (Mal has no response)
They'll come at you sideways.
As he continues, we see:
EXT. COMPANION TRAINING HOUSE - DAY
Inara stands waiting, her back to us, in front of the very
vista we first saw her before.
The operative comes slowly up the staircase, stands before
her.
BOOK W. (V.0.)
It's how they think: sideways.
It's how they move. Sidle up and
smile, hit you where you're weak.
EXT. MINING CAMP - CONTINUING
BOOK
Sorta man they're like to send
believes hard. Kills and never
asks why.
MAL
It's of interest to me how much
you seem to know about that world.
BOOK
I wasn't born a Shepherd, Mal.
MAL
Have to tell me about that some
time.
BOOK
(looking out)
No I don't.
He walks away, offering this:
BOOK
(CONTINUING)
Sideways.
Mal watches him go, thinking.
40
61.
EXT. CLASSROOM - DAY
The Teacher from the very beginning is standing in front of
River, whose desktop screen depicts a single, dark planet.
TEACHER
River?
Eight-year-old River is working away, not paying attention.
TEACHER
(CONTINUING)
River, you look tired. I think
everybody's a little tired by now;
why don't we all lie down.
River looks up, scared. All the other children wordlessly
get up from their seats and lie on the floor next to them.
TEACHER
(CONTINUING)
A little peace and quiet will make
everything better.
She starts to lie down herself, right on the grass.
RIVER
No...
Vao TEACHER
River. Do as you're told. It's
going to be fine. Lie down.
RIVER
NO!
INT. STORAGE LOCKER - NIGHT
River starts awake.
INT. MAL'S ROOM - CONTINUING
Mal does too, shirtless on his bunk.
MAL
Whuh huh nuhwhat?
WASH (0.S.)
(for the third time)
Mal! You up? Got a wave. I'm a
bounce it down to you.
He pops up, turns to the screen as the white noise becomes:
1400
62.
MAL
Inara.
REVERSE ON: Inara on Mal's screen. We see her from about
chest level up. She, presumably, sees the same.
INARA
?
Mal. I uh, is this a bad time
MAL
Good as any.
INARA
Please tell me you're wearing
pants.
MAL
(slight grin)
Naked as the day I come cryin'.
How's your world?
INARA
Cold. It's autumn here.
MAL
Still at the Training House?
INARA
Right where you left me.
MAL
I remember it as nice enough.
picturesque.
INARA
It is that. What about you?
MAL
ONS
Still flying. So what occasi
the wave? Not that to see you
ain't... well you look very
INT. BRIDGE - CONTINUING
watching both Mal and Inara on two
Zoe and Wash are secretly at their formal shyness.
different screens, smiling
Jayne enters, wondering what's up...
63.
INT. MAL'S ROOM - CONTINUING
INARA
Oh. Thank you, I... I guess we
have something of a problem here.
With the locals, I thought maybe...
MAL
You could use a gun hand?
INARA
I'm hoping not. But if you were
close at all, you -- the crew --
could take your ease here a
while... and there'd be payment...
MAL
Payment is never not a factor. I
could sound out the crew... This
pot like to boil over soon?
INARA
Soon. Not right away.
MAL
Well, it would be, I mean I would
like to... Kaylee's been missing
you something fierce --
INT. BRIDGE - CONTINUING
There is a general groan among the audience, which now
includes Kaylee as well...
KAYLEE
Oh they're so pathetic!
INT. MAL'S ROOM - CONTINUING
INARA
I miss her too. I even miss my
shuttle, occasionally.
MAL
Yeah, you left a... got some of
your stuff in a trunk, never did
get a chance to drop it off.
INARA
Oh.
MAL
I didn't look through the...
stuff... just sundries I expect.
64
Inara smiles blandly, nods. An awkward beat.
MAL
(CONTINUING)
Well, it's kind of late where I'm
at. I'll send a wave as soon as
I can.
INARA
Thank you.
She disappears. Mal thinks a moment.
INT. BRIDGE - MOMENTS LATER
Mal comes up in, buttoning his shirt.
WASH
Inara. Nice to see her again.
ZOE
So, trap?
MAL
Trap.
ZOE
We goin' in?
moo MAL
It ain't but a few hours out...
WASH
Yeah, but, remember the part where
it's a trap?
MAL
If that's the case, then Inara's
already caught in it. She
wouldn't set us up willing. Might
be we got a shot at seeing who's
turning these wheels. We go in.
KAYLEE
How can you be sure Inara don't
just wanna see you? Sometimes
people have feelings -- I'm
referring here to people...
MAL
Y'all were watching, I take it.
Guilty glances.
4
65
KAYLEE
Yes.
MAL
140 You see us fight?
KAYLEE
No.
MAL
Trap.
EXT. SERENITY - DAY
The ship moves gracefully over the mountains.
INT. BRIDGE - CONTINUING
WASH
We're about seventy miles from the
Training house. And nobody on
radar... if the Alliance is about,
they're laying low.
MAL
They're about. Find us a home.
I'll take the shuttle in closer.
Zoe, ship is yours.
4dO He starts out, turns back to Zoe.
MAL
(CONTINUING)
Remember: if anything happens to
me, or you don't hear from me
within the hour... you take this
ship and you come and rescue me.
ZOE
What? And risk my ship?
MAL
(EXITING)
I mean it. It's cold out there.
I don't wanna get left.
EXT. SERENITY - DAY
She is nestled in a gorge, overhanging rocks all but burying
her from view. The shuttle on the right lifts off from the
side of the ship and glides off, keeping low.
4
66.
EXT. COMPANION TRAINING HOUSE - DAY
A line of young trainees files by in robes and red shawls
pulled over their heads -- one trainee a good deal larger
than the others.
INT. INARA'S ROOM - LATER
She is kneeling in front of a statue of Buddha, lighting a
few incense sticks.
The room is sparsely lush -- not as opulent as the shuttle
where she entertained men, but still beautifully furnished
and draped. A lace curtain hangs in front of the light,
casting its pattern in shadow over everything. Including the
rather large figure in a red shawl who kneels beside Inara.
MAL
Dear Buddha, please send me a
pony, and a plastic rocket, and --
I NAR.A
Mal! What are you doing here?
MAL
You invited me.
INARA
I never thought for a second you'd
be stupid enough to come!
MAL
Well that makes you kind of a
tease, doesn't it?
INARA
You knew my invitation wasn't on
the level --
MAL
Which led me to the conclusion
that you must be in some trouble.
INARA
I'm fine! I'm. giddy.
MAL
For a woman schooled in telling
men what they wanna hear, you
ain't much of a liar.
INARA
Mal, you cannot handle this man.
-40
67.
THE OPERATIVE
(ENTERING)
I have to say, I'm impressed that
you would come for her yourself.
lw� And that you would make it this
far in that outfit.
MAL
(STANDING)
I can be very graceful when I need
to.
THE OPERATIVE
I've no doubt.
Mal sheds his shawl and robe. Inara kneels at the alter,
picks out another incense stick.
MAL
What are you doing?
INARA
I'm praying for you, Mal.
THE OPERATIVE
That's very thoughtful. But I
mean it when I say you're not in
any danger.
MAL
Speak your piece.
THE OPERATIVE
I think you're beginning to
understand how dangerous River Tam
is.
MAL
She is a mite unpredictable. Mood
swings, of a sort.
THE OPERATIVE
It's worse than you know.
MAL
It usually is.
THE OPERATIVE
That girl will rain destruction
down on you and your ship. She's
an albatross, Captain.
4
68.
MAL
Way I remember it, albatross was
a ship's good luck... til some
idiot killed it.
(to Inara)
Yes, I've read a poem. Try not to
faint.
The Operative moves further into the room. Whenever he
moves, Mal counters.
THE OPERATIVE
I've seen your war record. I know
how you must feel about the
Alliance.
MAL
You really don't.
THE OPERATIVE
Fair to say. But I have to hope
you understand you can't beat us.
MAL
I got no need to beat you. I just
wanna go my way.
THE OPERATIVE
And you can do that, once you let
me take the girl back home. Give
me the opportunity to help you.
MAL
All I gotta do is let you take one
more thing away from me. I've had
a lot of things taken in my time.
And it may just be that this is
one too many.
THE OPERATIVE
This psychotic, potentially
murderous girl who can't have the
slightest awareness of your
protection. This is where you
"draw the line".
MAL
Well I'm a whimsical soul.
THE OPERATIVE
There's a number of lives that
hang in the balance here. Lives
under your care. Are they as
whimsical as yourself?
69.
MAL
I got no notion that I'm being
heroical at all. Any more than I
think you're really just a
harmless bureaucrat come to help
me out. You move like a killer.
The Operative is stopped by this. Unhappily, he continues:
THE OPERATIVE
I have a warship in deep orbit,
Captain. We locked on to
Serenity's pulse beacon the moment
you hit atmo. I can speak a word
and send a missile to that exact
location inside of three minutes.
Mal pulls a small device, clipped wires sticking out all
around it, and tosses it to the Operative.
MAL
You do that, best make peace with
your dear and fluffy lord.
THE OPERATIVE
Pulse beacon.
MAL
Advice from an old tracker: you
J wanna find someone, use your eyes.
THE OPERATIVE
How long do you think you can
really run from us?
MAL
Oh, a jack-rabbit, me. 'Sides, I
never credited the Alliance with
an over-abundance of brains. And
if you're the best they got...
THE OPERATIVE
Captain Reynolds, I should tell
you so that you don't waste your
time: You can't make me angry.
INARA
Oh please. Spend an hour with him.
Mal smiles -- then glares at Inara, mouthing "Hey!"
70.
THE OPERATIVE
I need her, Captain. River is...
my purpose and I will gather her
to me. The brother as well.
Whatever else happens is
incidental. In the greater scheme.
MAL
Why is it that the greater scheme
always makes everything not that
great?
THE OPERATIVE
I want to resolve this like
civilized men. I'm not
threatening you. I'm unarmed.
MAL
Great!
He draws and shoots the Operative in the chest. The
Operative goes down as Mal grabs Inara, moves for the-doorway.
The Operative is on him in a second, choke-hold from behind.
THE OPERATIVE
I am of course wearing full body
armor. I'm not a moron.
He tosses Mal hard against a wall, spinning and blocking a
blow from Inara -- she is clearly trained in martial arts,
but he flat-heels her to the ground within seconds.
Mal is going for his gun again, turning, and the Operative
kicks him in the face, sends him back, gun flying. Mal gets
to his feet and they square off. Mal breathing hard, nose
dripping blood. The Operative perfectly poised, waiting.
MAL
No back up? We're making an awful
ruckus...
THE OPERATIVE
They'll come when they're needed.
MAL
I'd start whistling.
THE OPERATIVE
Captain, what do you think is
going to happen here?
They come at each other. The Operative is the much better
trained -- he's fluid, his blows sparse and deadly.
40
71.
Mal is more bluster and determination, and the operative's
precision is wearing Mal down.
Mal punches wild -- the Operative counters with a spin-kick
V0 to the head that sends Mal to the ground not far from Inara,
breathing hard. He tries to rise again, painfully, but Inara
places her hand on his arm.
The Operative goes to his briefcase by the door, pulls out
his sword. His face has taken on that remote kind of
fascination as he looks at it.
THE OPERATIVE
(CONTINUING)
Nothing here is what it seems.
INARA
I know.
THE OPERATIVE
He's not the plucky hero. The
Alliance isn't some evil empire.
This isn't the grand arena.
INARA
And that's not incense.
He turns to look: the incense stick burns away -- rather like
a fuse -- and FLASHES in an explosion of light and sound.
40
It's a flash-bomb: The Operative sails back as everything
goes smoky white and the sound dies to a tiny buzz.
The Operative tries to get his bearings -- and four armored
soldiers are in his face, asking him for orders... Mal and
Inara are gone. He motions for the men to follow them.
THE OPERATIVE
Just a flash bomb. Go! Go!
INT. COMPANION TRAINING HOUSE - CONTINUING
Inara leads Mal (who is reholstering his gun) down some steps
and along a corridor. The sound is still tinny and weird.
MAL
.I had him...
INARA
What?
MAL
(deafly loud)
I think that I was winning!
4
72.
EXT. SIDE OF MOUNTAIN, BY MAL'S SHUTTLE - DAY
Mal and Inara move quickly down the mountain. They look to
see that Mal's shuttle has four Alliance guards waiting by
V0 it. Mal ducks back out of sight, pulls a fancy-looking
grenade out of his pocket. Pops the top and hurls it over at
the foursome.
CLOSE ON: THE GRENADE, as a series of bars of light go out
one by one, counting down --
ALLIANCE SOLDIER
Grenade!
Everybody dives for cover. The moment they do, Mal and Inara
race into the shuttle, Mal sweeping up the grenade just as
the last light goes out and nothing happens.
One soldier turns to look and Mal shoots him back down as the
door shuts on him and Inara.
INT. SHUTTLE - CONTINUING
Inara pushes into the pilot's seat.
INARA
Hang on to something.
MAL
4 You sure you remember how it --
He nearly falls over as:
EXT. MOUNTAIN RANGE - CONTINUING
The shuttle shoots straight up, spinning and heading out.
INT. SHUTTLE - CONTINUING
Inara stares straight ahead, relaxing her grip on the
controls. Mal is gone.
INARA
I told you to hang on.
MAL (O.S. )
(in great pain)
I'm fine...
EXT. SPACE - LATER
We are below Serenity as her bay doors are closing, six
little objects floating out of her belly like roe.
4
73.
These objects are roughly the size of pony-kegs, and clearly
home-made, parts welded together almost haphazardly. They
all spark silently to life -- and shoot off in six different
directions, as Serenity herself fires up her Firefly effect
and burns away from us.
INT. COMPANION TRAINING HOUSE - DAY
The Operative sips tea and rubs his temple.
THE OPERATIVE
(into a com)
Forget the pulse beacon, there has
to be another way to track the
ship -- get a read on the nav sat.
It's a registered transport, you
must be able to locate --
ENSIGN (O.S.)
Sir?
THE OPERATIVE
Have you found a nav sat
trajectory?
ENSIGN (O.S.)
Sir... we've found seven.
The Operative looks more unhappy than angry.
THE OPERATIVE
(to himself)
Does he think this is a game?
EXT. CLASSROOM - DAY
The teacher and students sleep as River -- as we saw her in
the institute, older, with blood seeping from the needle-
holes in her head -- makes her way through them.
Slowly she walks to the floating lecture screen. On it is
the solar system, glowing lines connecting all the stars and
planets. She becomes wide-eyed, breathing hard as it pushes
in to one system, one planet...
She looks over to one side of the tent, and we see:
INT. LAB - CONTINUING
Her POV is of the lab. There stand some five older men in
formal dress. They stare at her, impassive.
We see flashes of corpses, lying in houses, in city
streets -- and a Reaver's screaming face --
.00
74.
INT. STORAGE LOCKER - DAY
And River awakens. A moment to get her bearings, then her
eyes narrow with intent.
INARA (V.0.)
We have every reason to be afraid.
INT. PASSENGER DORM - CONTINUING
JAYNE
Why, 'cause this guy beat up Mal?
That ain't so hard --
MAL
He didn't beat me up --
INARA
Because he's a believer.
INT. THE OPERATIVE'S SHIP, A DARK CABIN
As Inara continues, we see: Fanty and Mingo, tied to chairs.
Light spills onto their bruised faces as the Operative enters.
INARA (V.0.)
He's intelligent, methodical and
devout in his belief that killing
River is the right thing to do.
INT. PASSENGER DORM - CONTINUING
INARA
I honestly think the only reason
we haven't been blown out of the
air is that he needs to see her.
SIMON
Needs to see her why?
INARA
I'm uncertain. I would say to be
sure of the kill, but... I just
know he'll kill us all to get to
her.
JAYNE
So no hope of a reward, huh?
ZOE
Did he mention a deal of any kind?
IWO
75.
MAL
(looking at Simon)
Give the two of them up. Go my
way.
JAYNE
Which you was all ready to do not
a day ago. What went sour?
MAL
Cutting them loose ain't the same
as handing them over.
JAYNE
That so? 'Cause the corpse I'm
about to become is having trouble
telling the difference.
SIMON
(to Inara)
Did he say anything about a
"Miranda"?
INARA
What is that?
MAL
Don't know who or what, but it's
on River's mind. Conjure it might
be the reason he's after her.
INARA
You think maybe it poses some kind
of threat to the Alliance?
WASH
Do we care? Are we caring about
that?
JAYNE
You dumbass hogs, the only people
she's a threat to is us on this
boat!
INT. STORAGE LOCKER - CONTINUING
River is near the ceiling, keeping herself up in a split
again, feet against the walls. There is a wire mesh cover to
the light, and she has bent part of it out, is working it
inside the lock of her shackles.
76.
INT. PASSENGER DORM - MOMENTS LATER
MAL
Look, we get back to Haven in a
'r/ few hours time --
JAYNE
Hiding under the Shepherd's
skirts, that's a manful scheme --
MAL
You wanna run this ship?
JAYNE
Yes!
MAL
(small beat)
Well you can't!
JAYNE
Do a damn sight better job'n you.
Getting us lashed over a couple of
strays...
(to Simon)
No offense, Doc, I think it's
noble as a grape the way you look
to River, but she ain't my sister
(to Mal)
and she ain't your crew. Oh, and
neither is she exactly helpless!
So where's it writ we gotta lay
down our lives for her, which is
what you've steered us toward.
MAL
I didn't start this.
JAYNE
No, the Alliance starts the war --
and then you volunteer. Battle of
Serenity, Mal: besides Zoe here,
how many --
(Mal turns away)
-- I'm talkin' at you -- how many
men in your platoon came out of
there alive?
Mal stares at him.
ZOE
(dead cold)
You wanna leave this room.
77
JAYNE
You're damn right I do.
He stalks upstairs. There's a quiet moment.
INARA
This isn't the war, Mal.
Mal turns, eyeing her.
MAL
Are you telling me that because
you think I don't know --
INARA
You came to the training house
looking for a fight.
MAL
I came looking for you.
INARA
I just want to know who I'm
dealing with. I've seen too many
versions of you to be sure.
MAL
I start fighting a war I guarantee
you'll see something new.
TO
Mal walks out into the cargo bay, Inara following, over:
SIMON
We'll get off. River and I'll get
off at Haven and find some --
KAYLEE
Nobody's saying that.
WASH
Nobody besides Jayne is saying
that.
INT. CARGO BAY - CONTINUING
Inara tries to catch up to --
INARA
Mal.
10
78.
MAL
(TURNING)
I got no answers for you, Inara.
I got no rudder. Wind blows
40 northerly, I go north. That's who
I am. Maybe that ain't a man to
lead but they have to follow so
you wanna tear me down do it
inside your own mind.
0
INARA
I'm not trying to tear you down --
D
MAL
But you fog things up. You always
have -- you spin me about. I wish
like hell you was elsewhere.
INARA
I was.
INT. DINING ROOM - CONTINUING
Jayne is looking at the storage locker door. A beat.
JAYNE
He moves to the aft hall, shuts and locks the door. Goes
40 back to the locker and starts to unlock it, pulling his gun.
JAYNE
(CONTINUING)
No trouble now, little crazy
person... we're going for a nice
I
shuttle ride --
He opens the door and she is on him in an instant, whip blow
to the throat, the nose -- he fires wildly as she jumps on
him, wraps her arms around his neck and topples him back --
INT. AFT HALL - MOMENTS LATER
The crew enters, drawn by the shots. Mal is first -- can't
open the door. Looks in to see an unconscious Jayne...
MAL
The other way! Find her and-do
not engage!
Everyone piles out the other way. Simon remains, to look in
the window.
10
79.
ANGLE: SIMON'S POV: There is Jayne, not moving -- and River
pops up right in front of us.
He starts, then waits as she opens the door.
NO
SIMON
It's gonna be oka --
She elbows his throat viciously. He drops to his knees,
shocked and gasping, as she spin-kicks him to the ground. He
doesn't move. She looks at him a moment, then takes off.
INT. CARGO BAY - MOMENTS LATER
Mal is throwing his shoulder against the bolted door to the
upstairs. He gives up, looking around.
ZOE
She's sealed off the bridge. I do
not like her there.
KAYLEE
Cap'n!
She tosses him a bolt remover. He starts pulling a bolt out
of a panel on the wall, tells Zoe:
MAL
Check the shuttles. She coulda
40 snuck in.
He pops the panel off and starts wriggling in among the wires.
INT. FOREDECK HALL/BRIDGE - LATER
A floor panel hinges open, Mal pulling himself up. He moves
quietly to the bridge, gun drawn.
He enters to find River frantically punching up coordinates
on a big Cortex screen she's pulled out by the copilot's
seat. She whips Jayne's gun at his face, never looking at
him. A moment, and Mal lowers his own gun.
MAL
The government's man, he says
you're a danger to us. Not worth
helping. Is he right? Are you
anything but a weapon? I've
staked my crew's life on the
a - person-,-- -
actual and whole, and if I'm wrong
you'd best shoot me now.
(she cocks the gun)
Or we could talk more...
40
80.
RIVER
(pointing to screen)
Miranda.
WIt's a planet. Matches the one from her dream.
INT. BRIDGE - LATER
Everyone has gathered. Wash is piloting now, as they are in
atmosphere. River is by Simon. She moves restlessly, upset.
KAYLEE
How can it be there's a whole
planet called Miranda and none of
us knowed that?
MAL
Because there isn't one. It's a
blackrock. Uninhabitable.
Terraforming didn't hold, or
somesuch. Few settlers died.
RIVER
(to Simon)
I had to show them. I didn't know
if you were going to make me sleep.
SIMON
(hoarse whisper)
You could've asked...
10
KAYLEE
(re: planet)
Wait a tick, yeah! Some ten years
back, before the war. There was
call for workers to settle on
Miranda, my daddy talked about
going. I should've recalled...
WASH
But there's nothing about it on
the Cortex -- History,
Astronomy... it's not in there.
MAL
Half of writing history is hiding
the truth. There's something on
this rock the Alliance doesn't
want known.
INARA
That's right at the edge of the
Burnham Quadrant, right?
(MORE)
10
81.
INARA (cont'd)
Furthest planet out.
(Mal nods)
It's not that far from here...
W
WASH
Whoah, no, no --
ZOE
(moving to the screen)
That's a bad notion --
WASH
Honey...
ZOE
I got it, baby.
WASH
Show them the bad...
She hits some commands on the screen, pulls back to reveal a
couple of other planets near Miranda.
ZOE
This is us, see? And here's
Miranda. All along here, this
dead space in between, that's
Reaver territory.
WASH
They just float out there, sending
out raiding parties --
ZOE
Maybe a hundred ships. And more
every year. You go through that
you're signing up to be a banquet.
WASH
I'm on board with the run and hide
scenario -- and we are just
about...
He looks at his monitors, looks ahead...
WASH
(CONTINUING)
WAIT
EXT. MINING CAMP - DAY
The ship swings around a mountain to come into view of the
camp.
I s
82.
It is a world of fire.
Every building burns, some blown right apart. Bodies litter
the scene, not one of them moving. There's a grounded
Alliance ship not far from the cannon that shot it down.
INT. BRIDGE - CONTINUING
We see Mal's face as the sight hits him like a gut-punch.
EXT. MINING CAMP - MOMENTS LATER
The crew pours out even as the ramp lowers, going off in all
directions, calling out to people...
Kaylee heads for the burning church.
KAYLEE
Shepherd? Shepherd Book!
She stops, looking at the ground by the steeple. There is
the body on the ground, face down. The child she played with
at dinner. Kaylee stares, at first uncomprehending.
ANGLE: MAL, moving in the other direction, approaches the
cannon, Jayne behind him. He stops and sees:
Book, lying by the cannon, torn up badly from the waist down.
4 MAL
(to Jayne)
Get the Doc.
He moves to the Shepherd, grabs his searching hand.
MAL
(CONTINUING)
Shepherd... Don't move.
BOOK
Won't go far...
MAL
Shouldn't've been you. I'm so
sorry, it was... they should've
hit us. They should've hit me.
BOOK
That crossed my mind.
(ROUGHS)
I shot him down --
MAL
I seen.
83.
BOOK
I killed the ship... that killed
us. Not... very Christian of me.
MAL
You did what's right.
BOOK
(not unkindly)
Coming from you, that means...
almost nothing... HNAAH! Ah, I'm
long gone...
MAL
Doc'll bring you round. I look to
be bored by many more sermons
'fore you slip -- don't move --
BOOK
Can't... order me around, boy.
I'm not one of your crew.
MAL
Yes you are.
Book coughs up blood, grabbing Mal. Urgent, almost angry.
BOOK
You... it's on you now... all this
death, this shit... you have to
find a course. This can't mean
nothing. River... you have to...
MAL
Come on, keep it up --
Book grabs Mal's face, talks as though replying to something:
BOOK
I don't care what you believe!
Just... believe it. Whatever you
have to...
His breathing becomes laboured. Hitched.
Stopped. His hand slips away, his blood leaving a distinct
print on Mal's face.
Jayne and Simon run up,Simon slowing down -- going to the
e he's-dead.----Zne -„a r.7-1, ;,,,r
them as Jayne looks around him, Mal still fixed on Book.
AD
84.
JAYNE
How come they ain't waiting? They
know'd we was coming, how come
they only sent one?
MO
Zoe realizes the answer, turns to Wash.
ZOE
Get on the Cortex. Wave the
Sanchez brothers, Li Shen --
anyone whose ever sheltered us
after a heist. Tell them to get
out. Get out now.
SMASH CUT TO:
INT. BRIDGE - LATER
Silence.
Every Cortex screen is on, each looking at a different place.
Every one shows fire, destruction or the snow of an
interrupted signal.
Mal stands alone amidst the screens, saying nothing. After
a long moment, all of the screens hitch, the images replaced
by identical images of the Operative. He looks solemn.
THE OPERATIVE
V0 I'm sorry. But I cannot let you
hide and I cannot let you run.
Things become... extreme. And we
wish for another way.
MAL
Don't talk at me like a righteous
man. You are a killer of children.
THE OPERATIVE
When God wanted Pharaoh to release
His people from bondage -- you
know the story? He didn't ask.
He sent his plagues down upon
Egypt. That's me, Captain. The
path to peace is paved with
corpses. It's always been so.
MAL
So me and mine got to lie down and
R--BETTER-
world?
85.
THE OPERATIVE
I'm not going to live there. How
could you think -- there's no
place for me there, any more than
40 there is for you. Malcolm, I'm a
monster. What I do is evil, I've
no illusions about it. But it
must be done.
MAL
Why? Do you know why?
THE OPERATIVE
It's not my place to ask.
MAL
You will never see River Tam. I'm
telling you this.
THE OPERATIVE
Maybe not. But you'll keep her
close now, and when I blow
Serenity out of the air, this will
be ended. You're so terribly out
of your depth, Captain. Your old
boat can't take the pressure.
MAL
She ain't buckled yet. And the
40 only reason you're talking such a
lot is you can't get a fix on us.
THE OPERATIVE
Yes, your scrambler's code is too
old for our seekers. You love
that, yes? The small triumph over
modernity. You really are the
noble savage.
MAL
Nobody -- ever -- calls me noble.
THE OPERATIVE
But that's what's going to kill
you, Malcolm. Nobility. It
confuses your text, which is
self-interest. And sin.
MAL
Only- many-I-know-who still --bel i-eved-
in sin just died by your hand.
THE OPERATIVE
What do you believe in?
40
86.
MAL
Not a solitary thing.
THE OPERATIVE
If that were true, you'd be
nothing more than a Reaver.
Something changes in Mal's expression.
THE OPERATIVE
(CONTINUING)
But then, maybe you're not that
far from --
Mal flicks a switch and every screen goes dark.
EXT. MINING CAMP - MOMENTS LATER
Mal comes striding out, where the crew have been gathering
bodies, laying blankets over them.
MAL
Get these bodies together.
ZOE
We got time for gravedigging?
MAL
Zoe, you and Simon are gonna rope
V0 'em together. Five or six of 'em.
I want them laid out on the nose
of our ship.
SIMON
Are you insane?
KAYLEE
What do you mean, the bodies...
MAL
Kaylee, I need you to muck the
reactor core, just enough to leave
a trail and make it read like
we're flying without containment,
not enough to fry us.
KAYLEE
These people are our friends --
MAL
Kaylee, you got a day's work to do
and two hours to do it.
(MORE)
14
87.
MAL (cont'd)
(turns from her)
Jayne, you and Wash hoist up that
cannon mount. Goes right on top.
MOO
Piece or two of the other ship,
stick it on. Any place you can
tear hull without inner breach, do
that too.
(looking around)
And we're gonna need paint. We're
gonna need red paint.
INARA
(getting it)
ZOE
Sir. Do you really mean to turn
our home into an abomination so we
can make a suicidal attempt at
passing through Reaver space?
MAL
I mean to live. I mean for us to
live. The Alliance won't have
that, so we go where they won't
follow.
JAYNE
V0 God's balls, there's no way we're
going out there!
And everybody (save River) is talking at once:
SIMON
What's the point of living if you
sink to the level of a savage --
WASH
INARA
Please, we should talk this over --
JAYNE
I ain't takin' orders from a man
has lost his brainstem --
, -Mal pule-s-his-
in his face, steps back, hand on his.
V0
88.
MAL
This is how it works. Anybody
doesn't wanna fly with me anymore,
this is your port of harbour.
There's a lot of fine ways to die.
I'm not waiting for the Alliance
to choose mine.
He walks through the group, toward the smashed cockpit of the
Alliance fighter. Struggling to get out is the badly wounded
pilot. He sees Mal coming and raises his hands in surrender.
Mal shoots him in the head, turns back.
MAL
(CONTINUING)
I mean to confound those killers,
and take my shot at getting to
Miranda, maybe finding out what
all I'm dying for. That's my
theme now. So I hear a word out
of any of you that ain't helping
me out or taking your leave I will
fucking shoot you.
He grabs a body -- drops it at Zoe's feet as he heads toward
the ship.
MAL
(CONTINUING)
Get to work.
EXT. SPACE - NIGHT
CLOSE ON THE BODIES as they BURN, flames passing over them
and suddenly flickering out as dark falls. They are patches
of leathered flesh stretched over bone -- monsters, screaming
soundlessly in the nothing of space.
We arm past them to the windows of the bridge, looking in at
Mal, watching, with Zoe behind and Wash at the helm.
And we pull back out to see the whole of Serenity for the
first time: It is hardly recognizable. Charred corpses on
the nose, Cannon atop with a space-suited corpse draped
within, long scars, welded-on parts and war paint... the
trail of green light burns out with sporadic bursts of vapor.
It looks, for all the world, like a Reaver ship.
INT. CARGO BAY - CONTINUING
Mal comes down the stairs to the catwalk. He hesitates, then
steps into the shuttle.
�Mo
89.
INT. SHUTTLE - CONTINUING
It's dark in here. Mal stands with his back to the door, no
light on his face, shaking. Not crying, but overcome.
LOW
INARA
Mal.
He looks up: she's in the corner looking through that trunk
of hers, hands on a long oilcloth wrapped around something.
MAL
Didn't see you.
I NARA
I figured that.
MAL
Anything of use in there?
INARA
Maybe.
She puts it down and crosses to the bed. He sits by her.
MAL
You don't have to stay in the
shuttle, you know. There's empty
rooms, if you wanna sleep awhile.
INARA
You think anyone's set to sleep?
Simon's portioning out overdoses
of morphine, just in case.
MAL
Cheerful fellow.
(looking around)
Did you really miss this place?
INARA
(rueful smile)
Sometimes... Not so much right now.
A beat. He doesn't look at her when he asks:
MAL
Why did you leave?
Site does lo9}E-at-- t -m-
INARA
Why didn't you ask me not to?
90.
Dissatisfied, Mal rises.
MAL
I, uh, I'd better go check on the
VW crew. See how the inevitable
mutiny is coming along.
They both want to say more. They don't. He goes.
EXT. SPACE - NIGHT
Serenity flies, silent.
INT. FOREDECK HALL/BRIDGE - NIGHT
The group make their way toward the bridge. Those close
enough to get a view out the window are looking freaked --
those already on the bridge are stock still. Pressed up
against the glass of the window is River, just staring.
EXT. SPACE - CONTINUING
Reverse to see: an armada.
The black sky is filled with what must be ninety ships in a
vague cluster, as Serenity breaks frame headed toward them.
Most of them hang still in the air. Some move swimmingly
about. Some turn in gentle drifts, as though looking around.
Vd INT. BRIDGE - CONTINUING
They all wait, tensed up, as they approach the armada...
EXT. SPACE - CONTINUING
And arrive, moving slowly through the ranks of ships.
Serenity passes a large, bizarrely shaped ship. It turns, as
though watching her. But lets her pass.
Another minute, and Serenity is through the Armada, headed
for the small planet just beyond.
INT. THE OPERATIVE'S SHIP - BRIDGE - LATER
The Operative stares blankly at the Ensign.
THE OPERATIVE
Define "disappeared".
The Ensign just looks uncomfortable.
4
91.
INT. SERENITY: BRIDGE - LATER
Kaylee, Simon and River have left the bridge. The clouds fog
the windows, so nothing below is visible.
ZOE
Every reading I'm getting says
normal. Oceans, land masses... no
tectonic instability or radiation.
WASH
Yeah, but no power, either.
MAL
Nothing at all?
WASH
Wait. Something. Might be a
beacon, but it's awful weak.
MAL
Find it.
EXT. SERENITY - DAY
As she touches down, filling the frame. After a moment Mal,
Zoe and Jayne emerge from the airlock in full suits, armed.
Zoe reads a handheld scanner...
V0 MAL
Gravity's Earthnorm.
ZOE
02 levels check, pressure... if
there's anything wrong the scanner
isn't reading it.
Mal pulls off his helmet. Breathes, looking around him.
MAL
Well something sure as hell ain't
right...
WIDER ANGLE: They're in a CITY. Gleaming metal, spread out
for miles in every direction. Portions decimated by fires
long since cold, others overgrown with weeds, but mostly
intact. But silent, as if trapped in amber.
JAYNE
--ai-n-lt the settlement-
10
92.
ZOE
We flew over at least a dozen
cities just as big. Why didn't we
hear about this?
A0
MAL
Beacon's up ahead.
EXT. CITY - DAY
Out of their suits now, Mal, Zoe and Jayne take point as the
entire crew walks along the street, looking about them.
ZOE
Ho.
She moves rapidly, gun out, to:
ANGLE: A SKELETON
Face-down on the ground, clothes tattered. She examines it
as Mal approaches, waving the others back.
ZOE
(CONTINUING)
No entry wound, fractures...
MAL
Poison?
A0
JAYNE (O . S . )
Got another one!
ANGLE: JAYNE is by a downed hovercraft. Inside are three
skeletons: two grown-ups and a small child. Clothes in
better condition, and again no sign of violence.
JAYNE
They's all just sittin'. Didn't
crash...
ANGLE: RIVER is quietly becoming more and more upset.
CLOSE ON: KAYLEE walks in front of an office building,
staying away from the cars as she hears:
JAYNE (O.S.)
Couple more here...
0 0 orpse _of_aman is
pressed up against the glass wall right behind her. Mouth
open, skin dead blue, terribly skinny... a thing to haunt.
14
93.
SIMON
(seeing it)
Kaylee... Come this way. Come
here. Don't --
But she looks --
KAYLEE
GAAAAaaoh God --
-- and steps back, horrified, as the others approach.
It's an office. About half the employees are there, in
chairs or on the ground, all in the same state as the first
fellow. We see ANGLES of the corpses as the gang evaluates...
JAYNE
How come they're preserved?
MAL
Place must've gone hermetic when
the power blew. Sealed 'em.
KAYLEE
(very upset)
What're they doing? What's
everybody doing?
SIMON
There's no discoloration, nobody's
doubled over or showing signs of
pain...
MAL
There's gasses that kill painless,
right?
INARA
But they didn't fall down. None
of them. They just lay down.
SIMON
More than anything, it looks like
starvation.
MAL
Anybody want to bet there's plenty
of food around?
INARA
They just lay down...
They notice River now, in the middle of the street, keening.
She drops to her knees, clutching her head.
94.
As she speaks we see, as she sees, FLASHES: bodies. In
homes, in piles: an entire world, gently dead.
RIVER
, make them stop, they're
everywhere, every city every house
every room, they're all inside me,
I can hear them all and they're
saying nothing! GET UP! PLEASE,
GET THEM UP! , please God make me a
stone...
JAYNE
(UPSET)
She's starting to damage my calm.
ZOE
Jayne --
JAYNE
She's right! Everybody's dead!
This whole world is dead for no
reason!
WASH
Let's get to the beacon.
EXT. LANDING STRIP - DAY
It's small -- landing is easier in cities with flying
vehicles. At the end of a short runway, tipped and damaged,
is an Alliance Research Vessel. The gang makes its way
towards it.
INT. RESEARCH VESSEL - DAY
It's a mess, doors pried open, signs of violence but no
bodies. The gang walks through it, looking around.
River pulls away from Simon, suddenly determined. She
approaches a console, and a small cylindrical object. She
turns it slightly --
A hologram squawks to life amidst them all. First we see
images that resemble the flashes from River's mind: Corpses,
everywhere. We hear and then see DOCTOR CARON standing
exactly where she was when she recorded this message...
(As she speaks, we see angles of everyone watching, taking it
in.. River silently mouths every word.)
,two
95.
CARON
-- just a few of the images we've
recorded, and you can see it
isn't.. it isn't what we thought.
There's been no war here, and no
terraforming event. The
environment is stable. It's the
Pax, the G-32 Paxilon Hydroclorate
that we added to the air
processors. It's...
(tearing up)
.well it works... it was
supposed to calm the population,
weed out aggression. Make a
peaceful... it worked. The people
here stopped fighting. And then
they stopped everything else.
They stopped going to work,
stopped breeding... talking...
eating...
(trying for control)
There's thirty million people here
and they all just let themselves
die. They didn't even kill
themselves. They just... most
starved. When they stopped
working the power grids, there
were overloads, fires -- people
burned to death sitting in their
V0 chairs. Just sitting.
There is a loud bang somewhere behind her -- she starts,
gathers herself.
CARON
(CONTINUING)
I have to be quick. There was no
one working the receptors when we
landed, so we hit pretty hard. We
can't leave. We can't take any of
the local transports because...
The bang again.
CARON
(CONTINUING)
There are people... they're not
people... about a tenth of a
percent of the population had the
opposite reaction to the Pax.
Their aggressor response
increased... beyond madness.
They've become...
(MORE)
VJ
96.
CARON (cont'd)
they've killed most of us... not
just killed, they've done...
things.
V0
WASH
(QUIETLY)
Reavers... they made them...
CARON
I won't live to report this, and
we haven't got power to... people
have to know...
(loses it here)
We meant it for the best... to
make people safer... to... God!
She whirls, grabs a gun and fires -- then aims the gun at her
own head - but a Reaver is on her, knocks the gun away and
bites her face --
She screams continuously as the Reaver tops her, biting at
her and tearing at her clothes, at her skin.
JAYNE
(QUIETLY)
Turn it off.
Wash does, nobody saying anything.
10
Mal walks outside.
EXT. RESEARCH VESSEL - CONTINUING
He takes a few unsteady steps away from the vessel. Inara
appears behind him, follows -- he holds a hand out behind
him, seemingly to make her stop, but then he grabs her
shoulder, holds her for support. She puts her hand over his.
MAL
I seen so much death... I been on
fields carpeted with bodies,
friends and enemies -- I seen men
and women blown to messes no
further from me than you.
INARA
Mal...
MAL
But every single one of those
people died on their feet.
Fighting.
(MORE)
V0
97.
MAL (cont'd)
Or, hell, running away -- doing
summat to get through. This is...
40
INARA
Mal, I need your help with this.
I need you to help me, because I
can't --
He looks at her, folds her into his arms. Brings her face to
his, not kissing but touching, pressing into each other with
the urgency of pulsing, necessary life.
INT. RESEARCH VESSEL - CONTINUING
River falls to her knees, vomiting. Simon goes to her, puts
his hand on her back, lets her ride it out.
SIMON
River...
RIVER
I'm all right.
She looks at him, wet eyes full of clarity.
RIVER
(CONTINUING)
I'm all right.
V0
Wash pulls the recording cylinder out of the console.
INT. SERENITY - DINING ROOM - NIGHT
The cylinder is on the table. Mal stands at the head,
looking at his crew.
MAL
This report is maybe twelve years
old. Parliament buried it, and it
stayed buried til River dug it up.
This is what they feared she knew.
And they were right to fear,
'cause there's a universe of folk
that are gonna know it too.
(touches the cylinder)
They're gonna see it. Somebody
has to speak for these people.
He pauses. Everyone waits.
V0
98.
MAL
(CONTINUING)
You all got on this boat for
different reasons, but you all
V0 come to the same place. So now
I'm asking more of you than I have
before. Maybe all. 'Cause as
sure as I know anything I know
this: They will try again. Maybe
on another world, maybe on this
very ground, swept clean. A year
from now, ten, they'll swing back
to the belief that they can make
people... better. And I do not
hold to that. So no more running.
I aim to misbehave.
There is a beat as he eyes them all.
JAYNE
My grandma always told me: if you
can't do something smart, do
something right.
By way of emphasis he loudly cocks his big-ass rifle. Mal
takes in the fact that Jayne has spoken for them all.
MAL
That the same grandma told you
4 there was an evil dwarf spirit
living in your well?
JAYNE
(NODDING)
She was a fun grandma.
SIMON
Do we have a plan?
MAL
Mr Universe. We haven't the
equipment to broadwave this code,
but he can put it on every screen
for thirty worlds. He's pretty
damn close, too.
RIVER
Based on our orbital trajectories,
he reached optimum proximity just
before our sunset. If we make a
direct run within the hour we're
only 67,332 miles out. At full
burn we'd reach him inside of
three- hours .
4
99.
She doesn't notice the reactions to her sudden clarity --
she's still somewhat in her own world.
WASH
Still got the Reavers, and
probably the Alliance between us
and him.
ZOE
It's a fair bet the Alliance knows
about Mr Universe. They're gonna
see this coming.
MAL
No.
He takes a long moment, his jaw tightening imperceptibly.
MAL
(CONTINUING)
They're not gonna see this coming.
CLOSE ON: One of Serenity's jet engines, as it FIRES up.
EXT. CITY - AFTERNOON
Serenity is taking off, leaving the dead place behind.
INT. MR UNIVERSE'S HQ - CONTINUING
He's talking with Mal and Wash again, very animated.
MR UNIVERSE
It's no problem! Bring it on
bring it on bring it on! From
here to the eyes and ears of the
'verse, that's my motto, or it
might be if I start having a motto.
MAL (ON SCREEN)
We won't be long.
MR UNIVERSE
You're gonna get caught in the ion
cloud, it'll play merry hob with
your radar, but pretty pretty
lights and a few miles after
you'll be right in my orbit.
MAL (ON SCREEN)
You'll let us know if anyone else
comes at you?
100.
DROP BACK WIDE to see: The Operative and ten soldiers are in
the room, visible to Mr Universe but not to the screen.
MR UNIVERSE
You'll be the first.
CLOSE ON: the Operative's sword, as he unsheathes it.
EXT. SPACE - NIGHT
We are amongst the Reaver armada. Serenity slices quietly
through the ships, as we come around and see Miranda receding
in the distance.
Serenity drifts through the armada -- and suddenly another
ship fires up, running next to her...
The two ships pace each other, another vessel coming about as
though staring at Serenity, who comes closer and closer to
frame, till we see the suited corpse draped on the cannon.
It suddenly moves: it's Mal.
He swings the cannon round and fires at the ship pacing them.
It BLOWS, fragmenting into burning bits that spiral into
other ships, causing two smaller ones to blow as well.
Mal swings around and fires at another ship.
EXT. SATELLITE - NIGHT
In close orbit waits the Alliance force, at least fifty
strong, and clearly with high tech firepower. We move in on
the Operative's ship, in the middle of the cluster.
INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING
As the Operative waits with the others.
HELMSMAN
I'm reading activity in the cloud.
THE OPERATIVE
(into com)
Lock and fire on my command.
(to himself)
You should have let me see her.
We should have done this as men.
Not with fire...
HELMSMAN
Sir!
,Wd
101.
EXT. SPACE - CONTINUING
It's the Operative's POV: the swirling Ion cloud as Serenity
breaks through and heads at us, fully Reavered out.
INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING
He looks confused, then smiles at the ruse. Hits the com:
THE OPERATIVE
Vessel in range, lock on...
(ADMIRINGLY)
Bastard's not even changing
course...
EXT. SPACE - CONTINUING
As Serenity get a bit closer, FIFTY REAVER SHIPS suddenly
burst from the cloud, also heading straight at us.
INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING
The Operative -- and everyone around him - goes big-eyed.
THE OPERATIVE
That's not good...
HELMSMAN
(FREAKING)
Sir?
THE OPERATIVE
Target the Reavers!
(into com)
Target the Reavers! Target
everyone! Somebody FIRE!
EXT. SPACE - CONTINUING
Serenity suddenly lists hard to port -- until she's almost
upside down -- the Alliance ships FIRE, missing Serenity but
tagging a few Reaver ships, none of whom have slowed down --
INT. BRIDGE - CONTINUING
Mal is back on the bridge as we look out at the upside down
Alliance fleet, missiles just passing us --
MAL
We're too close for them to arm --
ZOE
This is gonna be very tight --
4
102.
JAYNE
(ENTERING)
Hey look, we're upside down.
V0 Zoe and Mal shoot a look at Jayne.
WASH
(to himself)
I am a leaf on the wind, watch how
I soar.
EXT. SPACE - CONTINUING
Serenity slips right under the Operative's ship and ducks and
weaves between dozens more. The Reaver force hits the
Alliance head on -- and several ships do just that, smashing
into bigger ships kamikaze-style, everything exploding --
The fleet mobilizes, blasting Reaver ships, circling around,
and an air war begins, a frenzied, balletic ecstasy of
destruction that the camera hurtles through as ships and
parts of ships fly at and past it.
ANGLE: SERENITY
She nearly makes it all the way through the alliance fleet
before a barrelling chunk of debris -- which is twice their
size -- forces them to come hard about and remain in the fray.
J INT. BRIDGE - CONTINUING
Mal looks out at the chaos...
MAL
Chickens come home to roost...
They are suddenly JOLTED by a glancing blow from another
ship -- Wash struggles to control her --
MAL
(CONTINUING)
The hell --
WASH
(PANICKY)
It's okay! I am a leaf on the
wind!
MAL
(also panicky)
What does that mean?
4
103.
EXT. SPACE - CONTINUING
Serenity makes her way past the carnage and heads down toward
the tiny satellite moon.
40
INT. THE OPERATIVE'S SHIP - CORRIDOR - CONTINUING
As the vessel shakes, clearly breached, The Operative moves
to a door marked: DART. He puts his thumb to a panel and the
door slides up to reveal a standing, almost formfitting one-
man cockpit.
EXT. THE OPERATIVE'S SHIP - CONTINUING
The Dart disengages and bullets down towards the surface. As
it moves from the Operative's ship, we see that a Reaver
vessel has smashed into the main viewshield, and the ship is
spinning, explosions popping silently all over it.
EXT. SERENITY - CONTINUING
She continues down, the metallic expanse of Mr Universe's
little moon complex sprawling below them. A moment after
Serenity blows through frame, so does a Reaver ship.
It fires an electronic pulse at Serenity and sparks fly.
INT. BRIDGE - CONTINUING
4 WASH
We're fried! I got no control!
INT. ENGINE ROOM - CONTINUING
Sparks -- and arcs of electricity -- are everywhere here.
Kaylee jumps back as she is electrocuted -- Simon runs in and
pulls her out, slams the door shut on the erupting fires.
INT. BRIDGE - CONTINUING
MAL
Where's the back up? Where's the
back up?
He and Wash are frantically flipping buttons -- the ship
whirs to a semblance of life - -
ZOE
Back up reads at 20%..
(to Wash)-
Can you get us down?
WASH
I'm gonna have to glide her in!
40
104.
ZOE
Will that work?
WASH
140 Long as that landing strip is made
of fluffy pillows...
MAL
(on the com)
Everybody to the upper decks!
Strap yourselves to something!
EXT. LANDING STRIP - CONTINUING
We can see it, a long strip, which halfway along becomes a
kind of hanger. Serenity arcs at it uncomfortably fast.
INT. BRIDGE - CONTINUING
Wash is fighting the stick with extreme concentration as Zoe
pulls out a seat as well, straps in.
INT. AFT HALL - CONTINUING
Jayne, Simon and Inara pull harnesses not unlike "Batman the
Ride" seats from the ceiling, help the others in.
EXT./INT. LANDING STRIP/HANGER - CONTINUING
-40 And Serenity HITS the ground -- the landing gear folds and
snaps under the weight -- the ship keeps going, now inside
the hanger, heading towards the entrance to the facility,
slowing, fishtailing and coming about a full one eighty -- it
goes beyond the strip and crashes down into the pedestrian
area, so that the nose is sticking back out at the runway but
the body of the ship is hidden from it.
INT. BRIDGE - CONTINUING
There is a moment of quiet.
WASH
I am a leaf on the wind. Watch --
A massive harpoon CRASHES through the windshield and impales
him to his chair. It's as thick around as a telephone pole.
Wash has time to open his mouth in surprise before he is dead.
WASH!
She moves to him --
40
105.
ZOE
(CONTINUING)
Wash baby baby no, come on, you
gotta move you gotta move baby
VW please --
Mal rips her away and to the floor as another projectile
slams through the window into the wall above them.
EXT. LANDING STRIP - CONTINUING
We see the ship that has fired the harpoons as Reavers start
out of it. A second Reaver vessel enters frame from above,
about to land next to it.
EXT. SERENITY - MOMENTS LATER
The cargo bay door opens -- just the little door housed
inside the ramp -- and Jayne comes out with his biggest gun.
He looks up, toward the edge of the runway, but no Reavers
have arrived yet.
JAYNE
Go!
The entire crew piles out, all heavily bedecked with weapons.
MAL
Head inside!
V0
INT. BLACK ROOM/INNER HALL - MOMENTS LATER
A small double-sized doorway leads to the "Black Room", which
is the entrance proper to the facility.
Mal hits a button and huge, thick, blast doors open from the
sides AND the top and bottom, creating the effect of a square
hole getting bigger. The hall itself is smaller than the
black room, but still has the arrows on the ceiling, that
point to an elevator some fifty feet away.
MAL
Come on. Jayne, rearguard.
Zoe slows, looking around her.
ZOE
Sir.
(he turns to her)
This is a good hold point_
MAL
We all stay together --
44
106
ZOE
No. They have to come through
here; they'll bottleneck and we
can thin 'em out. We get pushed
,oO
back there's the blast doors.
KAYLEE
I can rig 'em so they won't re-
open once they close.
MAL
Then shut 'em and hide til --
ZOE
We need to draw them til it's
done. This is the place. We'll
buy you the time.
JAYNE
(to the others)
Move those crates back there for
cover -- and make sure they ain't
filled with anything goes boom.
KAYLEE
Wait, Wash -- where's Wash?
Nobody (but River) realized he wasn't there. Zoe is dead calm.
,No ZOE
He ain't comin'.
Everybody takes that in, Kaylee's eyes welling up.
JAYNE
Move the gorram crates! Come on!
We hear savage SCREAMS from the hanger -- they're
approaching. Mal moves to the door, Jayne beside him.
ANGLE: HIS POV
Reavers rush toward them.
He turns to Jayne.
MAL
Tell me you brought 'em this
time...
Jayne smiles grimly, tosses Mal a grenade as he pops his own
and fastballs it at the Reavers.
J
107.
It explodes in their midst, smoke and man-parts flying about.
Mal rolls his a shorter distance, then slams the door shut.
ANGLE: THE GRENADE
40
Explodes, raining a bunch of equipment -- and part of a
catwalk -- right in front of the door.
In the black room, the door nearly buckles from the
explosion. Everyone takes positions behind the crates. Zoe
stands calmly, her back to the door, loading her sawed-off.
MAL
(continuing; moving
back to Zoe)
Zoe... are you here?
She looks up at him.
ZOE
Do the job, sir.
MAL
You hold. Hold till I'm back.
He takes off -- passes Inara, the two of them holding a look
for as long as they can. Then he's in the elevator and gone.
Jayne moves over to Zoe.
10
JAYNE
Captain's right. Can't be
thinking on revenge if we're gonna
get through this.
ZOE
You really think any of us are
gonna get through this?
He looks back at their army: A companion, a doctor, a
mechanic and a more-than-usually out of it River. A beat,
and he looks back at Zoe with forlorn hope:
JAYNE
I might...
INT. MR UNIVERSE'S HQ - MOMENTS LATER
The elevator stops and Mal makes his way to the island of
screens and machines in the center of the space.
The first thing he takes in is that every broadwave port has
been destroyed. The second:
1
108.
ANGLE: MR UNIVERSE is lying dead, eyes open, half draped on
his equally still lovebot. A trail of blood shows he crawled
from his chair.
V0
Mal comes close. Nothing. He starts to move away again and
the lovebot turns her head, her eyes focusing with an audible
whir. She speaks with surprisingly realistic expressiveness,
and a warped, computery version of Mr Universe's voice.
LOVEBOT
Mal.
Mal stops.
LOVEBOT
(CONTINUING)
Guy killed me, Mal. He killed me
with a sword. How weird is that?
I got... a short span here... they
destroyed my equipment but I have
a back-up unit... bottom of the
complex, right over the generator.
Hard to get to. I know they
missed it. They can't stop the
signal, Mal. They can never stop
the signal.
(BEAT)
Okay this is painful. On many
levels. I'm not --
A0
She turns back, powering down. Recording over.
A beat, and Mal takes off.
INT. BLACK ROOM - CONTINUING
Inara is on her knees, unwrapping the oilcloth we saw in her
shuttle. River is in the corner, clutching her head.
RIVER
I can't shut them up...
SIMON
It's okay... -
RIVER
They're all made up of rage. I
can't...
A BANG as a body slams against the door.
SIMON
Just stay low. I'm right here.
4
109.
Jayne moves past them to Zoe, takes position by her.
JAYNE
She picked a sweet bung of a time
to go helpless on us.
ZOE
(calls out)
Jayne and I take the first wave.
Nobody shoots less they get past
our fire.
Simon moves to Kaylee, who is shaky as hell. The bangs on
the door continue.
KAYLEE
Oh, I didn't plan on going out
like this. I think we did right,
but...
SIMON
I never planned... anything. I
just wanted to keep River safe.
Spent so much time on Serenity
trying to find us a home I never
realized I already had.
She looks at him with soft surprise.
140
SIMON
(CONTINUING)
My one true regret in all this is
never being with you.
KAYLEE
With me? You mean to say, as, sex?
SIMON
(SMILES)
I mean to say.
Kaylee snaps her cartridge home with way more precision than
we might expect from her, takes steady aim at the door.
KAYLEE
Hell with this. I'm gonna live.
Simon looks at her a moment, then turns his attention to the
door.
Inara come up into frame with the contents of the oilcloth:
a bow and arrow, which she pulls back with focused grace.
ANGLE: THE DOOR starts to come off its hinges.
4
110.
INT. MR UNIVERSE'S HQ - CONTINUING
A panel is kicked in from the ceiling and the Operative drops
down, having clearly entered from a different location.
He looks around, carrying a laser-pistol. He moves past Mr
Universe and Lenore --
LOVEBOT
MAL
(The Operative turns)
Guy killed me, Mal.
INT. BASEMENT, OVER THE GENERATOR - CONTINUING
Mal has reached it and surveys the situation.
Before him is a railing, and he can look down on the
generator shaft. It's miles deep, with machines rotating and
grinding, and arcs of electricity ricochetting around it.
On the other side is a platform, with the broadwave console
sitting behind a clear plastic partition. Cables and chains
run along the ceiling, around a series of ladder rungs.
MAL
Hard to get to. That's a fact.
INT. BLACK ROOM - CONTINUING
lw�
The door is pried partially open -- enough for one Reaver to
squeeze through and charge.
Zoe stands up and shoots him in the head. He arcs back hard
as the second comes, Zoe shoots him, calmly walking toward
the door --
JAYNE
Zoe... Gorramnit...
But she is in a trance, and we see beneath the calm, to the
bubbling magma of rage that keeps her firing, single shots,
each one a kill, till five men down and she's out of ammo.
The sixth comes at her swinging a blade and she blocks, the
precision of military training still in her as she flips him,
wresting the blade free and swinging it down out of frame,
bringing it up bloody, swinging again as the door bursts open
and she's rushed from behind ---
But Jayne totes an automatic, sprays killing fire on the lot,
moving forward himself --
J
JAYNE
(CONTINUING)
ZOE! Get yer ass back in the line!
vo� She looks up, almost confused -- and one of Jayne's targets
comes back off the ground and slices at her back with a
blade, she screams as he cuts deep -- and an arrow lodges in
his neck.
Inara pulls up a fresh arrow, shaking only slightly.
INT. BASEMENT, OVER THE GENERATOR - LATER
Mal is on the railing, reaching for the 'rungs' on the
ceiling just above him. He can almost get them -- one wrong
move and he pitches into the jaws of death...
A laser shot nails him in the lower back -- he arches, legs
sliding off the rail -- he falls and hits the rail with the
backs of his legs, flipping painfully onto his face as he
falls, mercifully, back onto the platform.
The Operative comes around some equipment for a closer shot
as Mal gets shakily up.
MAL
(in pain)
Shot me in the back. I haven't...
made you angry, have I?
I s
THE OPERATIVE
There's a lot of innocent people
in the air being killed right now.
MAL
You have no idea how true that is.
There's no wise-ass attitude in him now. They stand, facing
off at ten paces.
MAL
(CONTINUING)
I know the secret now. The truth
that burned up River Tam's brain
and set you after her. And the
rest of the 'verse is gonna know
it too. 'Cause they need to.
THE OPERATIVE
You really believe that?
MAL
I do.
4
112.
THE OPERATIVE
You willing to die for that belief?
MAL
V0
I am.
The Operative raises his gun -- but Mal is the quickdraw
master, shoots the gun out of the Operative's hand and gets
two hits to the chest (armored) before he makes it to cover.
MAL
(CONTINUING)
Of course, that ain't exactly plan
A..
He drops out his cartridge and slams another in.
The Operative hides behind some machinery. Tries to peek out
at Mal -- and more shots send him scrambling back to cover.
Mal holsters his gun and jumps for the rung above him, starts
going hand over hand to the island, moving as fast as he can.
The Operative sees his moment, dives for his gun -- but it's
been ruined by Mal's shot. He looks over at Mal with death
in his eyes. He runs at the railing, vaults off it, and
grabs a chain -- it snaps and he swings, grabbing another.
He reaches Mal and double kicks him from behind -- Mal flies
4 off the rung but grabs a chain -- he tries to kick at the
Operative, but the guy is frikkin' Tarzan, he climbs up and
pulls a lever releasing one end of Mal's chain -- Mal goes
swinging, smacks into the wall six feet below the platform.
He scrambles up just as the Operative swings himself toward
the platform from above.
INT. BLACK ROOM/INNER CORRIDOR - CONTINUING
Jayne is still firing continuously as he drags Zoe back to
the barricades. Simon moves to help -- Kaylee firing now,
squinting with effort -- and pulls open the cut back of Zoe's
shirt, checks the wound.
SIMON
Spine's intact --
ZOE
Just gimme a bandage.
Simon pulls a spraycan from his bag, sprays the wound with a
foam that hardens instantly into an elastic covering.
40
113.
There are a few gun shots (as well as nail-balls and blades)
from the Reavers. Jayne switches weapons, tossing another to
Zoe and opening fire --
A0
JAYNE
Oh, now you're likin' guns, huh?
Cheaters!
He takes a hit in the shoulder, grimaces and keeps firing.
River watches, the gun limp in her hand. Kaylee grabs it and
starts another round -- but she's peppered with dart-like
projectiles. She screams and drops the weapon, pulling the
projectiles from her -- Inara helps her up, pulls her back as
Zoe shouts:
ZOE
Everybody fall back! Fall back!
Everyone stumbles or is dragged into the inner corridor.
Inara hits the controls and the doors start to close, from
each side and above and below. Then, when the hole is maybe
four by four, they stop.
ZOE
(CONTINUING)
Jayne! Grenade!
JAYNE
Very last one...
He tosses it through the hole. Zoe doesn't even flinch from
the blast as she thinks.
ZOE
They're gonna get in --
KAYLEE
Can close it... from outside...
ZOE
No one's coming back from that...
She tries to stand, fails.
ZOE
(CONTINUING)
How much ammo do we have?
JAYNE
We got three full cartridges and
my swingin' cod. That's all.
Inara is by the elevator, pounding for it to come.---
40
114.
INARA
Lift isn't moving...
ZOE
When they come, try to plug the
hole with 'em...
Kaylee cries out and Simon moves to her.
KAYLEE
I'm starting to lose some feeling
here... I think there's something
in them darts they throwed at me.
SIMON
Lie still. I'm gonna give you
something to counteract the --
He stands, looking around him. His bag is over by Zoe.
SIMON
(CONTINUING)
My bag.
and SHKOWW!, the bullet takes him in the belly -- everything
suddenly moving very slowly as he spins slightly, one foot
lifted, a confused expression on his face -- then speeding
right back up as he slams down on his back, gasping for air.
River's mouth opens in a scream she doesn't make.
Blood spreads from Simon's belly. Inara rushes to him, grabs
cloth and puts pressure on the wound, puts Simon's hand on it.
INARA
Keep pressure here...
SIMON
My bag. Need... adrenaline... and
a shot of calaphar for Kaylee...
I can't... River...?
She is by his side, takes his hand. She has a kind of
serenity to her, like she understands something now.
SIMON
(CONTINUING)
River... I'm sorry...
RIVER
No. No.
The lights go out. Everyone looks about them. Jayne fires
again, but all the sound has bled out save these two.
4
115.
SIMON
I hate to... leave...
RIVER
You won't. You take care of me,
Simon. You've always taken care
of me.
She stands as the emergency lights come on, giving her face
an unearthly glow as she looks down at him.
RIVER
(CONTINUING)
My turn.
She's running so fast, nobody has time to react til she DIVES
through the hole in the doors, then Simon SCREAMS her name,
the scream following us back into the Black Room where River
lands in a perfect roll, comes up in a room full of Reavers.
Without a moment's hesitation she makes it to the panel, gets
the doors closing. She dodges a blade, but a blow to,the
back of the head shakes her. She weaves around a couple of
Reavers to get to the closing doors, but at the last second
her ankle is grabbed and pulled out from under her.
The last thing we see is her being dragged back as they swarm
over her.
ANGLE: THE BLAST DOORS, as they shut with a shuddering RLUNG.
INT. BASEMENT, OVER THE GENERATOR - CONTINUING
Mal gets up the chain to the platform. The Operative is on
Mal before he gets his footing, tackles him as Mal's gun goes
skittering over the edge into oblivion. There is a railing
here or Mal would go over as well -- but he comes back with
a couple of hammer blows, gets the Operative off him.
They square off, Mal stumbling back into a tool chest,
knocking over tools and computer parts.
The Operative reaches behind him and pulls his sword
gracefully from the holster under his jacket.
Mal produces his weapon: a tiny screwdriver.
He hurls a toolbox at the Operative and rushes him, gets
inside sword range and tries for the neck with the
screwdriver -- the Operative blocks it and works the sword
point against the edge of Mal's stomach. Starts pushing
slowly, despite Mal's resistance, and breaks skin.
MO
116.
Mal looks at the Operative a moment -- and the sword slides
all the way through Mal's belly. Mal's eyes go wide.
THE OPERATIVE
You know what your sin is, Malcolm?
MAL
(shaky smile)
Aw hell, I'm a fan of all seven.
He headbutts the Operative viciously, then punches him so
hard he staggers back, losing his grip on the sword. The
Operative responds with a spin kick -- Mal holds up the
screwdriver and the Operative swings his foot right into it,
gasping as Mal pulls the screwdriver -- and leg it's stuck
in -- back as he rockets his fist into the Operative's chin.
The Operative goes down hard, dazed, as Mal grabs the sword
still in his belly.
MAL
(CONTINUING)
But right now...
He pulls the sword out, grimacing. Holds it over the
Operative. The smile gone.
MAL
(CONTINUING)
vao I'm gonna have to go with Wrath.
He stabs down at his foe's face -- but the Operative rolls
out of the way, kicks Mal from the ground and is up in a
second, grabbing Mal's sword hand -- the sword drops -- and
punching him repeatedly in his stomach wound.
INT. INNER HALL - CONTINUING
The gang is subdued -- because they are all of them injured
and Simon is slipping away. Jayne looks at Zoe.
JAYNE
You suppose he got through? Think
Mal got the word out?
ZOE
(almost convincingly)
He got through. I know he got
through.
VO
117.
INT. BASEMENT, OVER THE GENERATOR - CONTINUING
Mal goes down hard, spitting up blood. He sees the sword,
moves -- but the Operative kicks him in the face. Picks him
lod up, Mal too tired to throw a decent punch.
THE OPERATIVE
I'm sorry.
The Operative spins him and DIGS his bunched fingers right
into the same nerve cluster that he paralyzed Doctor Mathias
with. Mal goes rigid, his face a rictus of pain.
The Operative goes near the railing and retrieves his sword.
Mal trembles, trying to move -- but nothing happens.
THE OPERATIVE
(CONTINUING)
You should know there's no shame
in this. You've done remarkable
things. But you're fighting a war
you've already lost.
He lunges -- and Mal twists gracefully out of the way,
grabbing the Operative's swordhand and pulling it forward --
while driving his elbow into the Operative's neck with
staggering force.
MAL
Iwo Well, I'm known for that.
The Operative drops the blade, mouth open, stumbling back,
unable to make a sound.
Mal spins him, grabbing both his arms and working his own
through them in a twisted full nelson -- then bringing his
arms up suddenly, the Operative's mouth going wider as we
hear his arms crack.
Mal drops him sitting against the railing, picks up his
sword, saying:
MAL
(CONTINUING)
Piece a shrapnel tore up that
nerve cluster my first tour. Had
it moved.
He squats down, looks the Operative in the face.
VO
118.
MAL
(CONTINUING)
Sorry 'bout the throat. Expect
you'd wanna say your famous last
MW words now. Just one trouble.
He reaches over the railing, pulls the back of the
Operative's jacket through and shoves the sword through the
fabric, pinning the Operative in his sitting position.
MAL
(CONTINUING)
I ain't gonna kill you.
He moves to the console, starts prepping it.
MAL
(CONTINUING)
Hell, I'm gonna grant your
greatest wish.
He inserts the cylinder, turns it slightly. It hums to life.
MAL
(CONTINUING)
I'm gonna show you a world without
sin.
He hits "send all". The cylinder lights up and the broadcast
V0 begins. Here it is projected as a two-dimensional image on
the clear plastic partition, right in front of the Operative.
There are images first of the city -- of bodies, on the
street, in homes and offices... image after image, jus.t as
we saw on the research vessel -- and in River's mind.
CARON (V.0.)
These are some of the first sites
we scouted on Miranda. There is
no one living on this planet.
There is no one...
Mal hits the controls and a ramp extends towards the other
side. He begins to cross. Never even looks back.
On the Operative, trapped, watching in growing horror...
INT. BLACK ROOM - CONTINUING
CLOSE ON: A Reaver in EXTREME SLOW MOTION. Face full of
fury, he is swinging his blade in a frenzy of hate.
And a small hand smashes that face so hard that teeth fly --
the Reaver clearing frame to reveal:
4
119.
River.
She is bloodied, but not killed. She's as she was in the
bar -- moving faster and more efficiently than anyone can,
ducking and weaving and gutting and kicking and there are
piles of Reavers already, she never breaks concentration as
she uses their own blades against them, throws them, does
everything in her power to stay one step ahead of -- or
above -- the mob.
She slams backwards into a wall opposite the blast doors --
and a grappling hook punches through it, just missing her.
INT. BASEMENT, OVER THE GENERATOR - CONTINUING
The Operative watches the end of the broadcast. We are on
his face through the clear plastic, so the images projected
on it blur right before him: the Reaver, Dr. Caron -- and her
screaming doesn't stop til something is shoved in her mouth.
INT. INNER HALL - CONTINUING
The gang is still trying to patch themselves together when
the elevator doors open. Mal staggers out, holding his
bleeding side.
ZOE
Sir?
140 MAL
It's done. Report?
Zoe looks at the badly wounded Simon, is about to give a
report -- and the doors start to open behind her.
Everyone turns to look, those who can feebly raising weapons,
as the square iris of the opening blast doors widens to
reveal River, standing alone. She is holding two Reaver
blades, is bloody but unbowed. And the only one alive.
We hold on her a moment, then the wall behind her is ripped
completely away.
Behind it, grappling hooks chained to a huge tractor pull the
wall away as through the smoke come some fifteen Alliance
soldiers, who line up, rifles trained on our gang...
SOLDIER
Drop your weapons! Drop 'em now!
ANOTHER SOLDIER
Do we engage? Do we engage?
4
120.
Mal and the others tense up. River turns slowly to face the
soldiers, blades still gripped... A soldier levels his gun at
her, sweaty and frantic... others still shouting...
vp INT. BASEMENT, OVER THE GENERATOR - CONTINUING
The Operative sits in silence, the voices coming over his com:
SOLDIER (O.S.)
Targets are acquired! Do we have
a kill order? Do we have an order?
INT. BLACK ROOM - CONTINUING
CLOSE ON: THE SOLDIER'S FINGER, SQUEEZING THE TRIGGER...
BLACK OUT.
EXT. DESERT PLANET - SUNSET
We are close on a gravestone. It is rounded, looks more like
a bell than a headstone. It is topped by a jar built'into
the stone. The jar is weathered tin at top and bottom, but
glass in the middle. Inside the glass we can see one of
those slightly moving photos. It is of Mr Universe and his
lovebot, and the name Mr Universe is carved roughly in the
stone beneath.
The camera moves to the right and we see another such stone,
40 this one bearing the image and inscription: Shepherd Derrial
Book.
The third is Hoban Washburne. Wash.
The camera continues moving right, but the next stone houses
a small home-made rocket with pieces of paper taped to it
instead of a picture-jar. And fixing another slip of paper
to it is River.
She moves away from the stone as Mal does likewise. They're
flanked by the crew: Jayne, Inara (to whom Mal moves),
Simon, who stands holding River before him and hand in hand
with Kaylee. He has a crutch supporting his other side.
There is a moment, then they all move aside, saying nothing.
Between them walks Zoe, in a simple white funeral gown,
holding a burning taper.
She stands at the stones a moment, then holds the taper to
the rocket fuse. Stands back with the others.
The rocket shoots up into the darkening sky. They all watch
its sputtering tail a moment, then it it explodes in a series
of fireworks.
40
121.
WIDE ON the group, as the fireworks go off over their heads.
We are close on another explosion when it becomes:
CLOSE ON: A BLOWTORCH spitting sparks. Widen to see:
EXT. REPAIR YARD/SERENITY - DAY
Zoe is harnessed to the nose of the ship, welding on a
replacement for the very window the harpoon that impaled Wash
came through.
INT. DUCT INSIDE SERENITY - DAY
We are close on River as she works inside a crawlspace just
above the engine room, replacing wires. Some of them run to
a computer screen that she checks and adjusts.
EXT. REPAIR YARD/TOP OF SERENITY - DAY
Mal and Jayne hold onto the cannon as a crane is lifting it
off the top of the ship.
Close on Mal as he watches it go...
WIDER ANGLE:
EXT. REPAIR YARD - CONTINUING
t f o And here we see the whole ship for the first time, harnessed
by the wings above the ground so she can be worked on all
over. The cannon is being hoisted away from her as a crew of
repairmen wheel new landing gear under her belly.
INT. ENGINE ROOM - DAY
Kaylee, deeply greasy, tweaks a part on the engine and
crosses to the back where Simon, shirtless and not entirely
ungreasy himself, is wrenching a bolt into place above his
head. A moment looking at him and she can't help herself -
she slides her arms around his chest...
EXT. SERENITY - DAY
On a scaffold, Inara repaints the name on the nose with
elegant precision.
INT. ENGINE ROOM - DAY
Kaylee and Simon are just making out like fiends, work
completely forgotten. With nothing resembling elegant
precision, they sink out of frame to the floor.
V0
122.
A beat, and River's head appears from the crawlspace above,
looking down at them with detached curiosity.
EXT. REPAIR YARD/SERENITY - DAY
It's raining as Mal is hauling in the last of the repair
equipment. The camera moves around him, skirting the ground
of the junkyard, till it lands on a figure in foreground,
standing watching him from some twenty feet away.
Mal stops, doesn't turn. Hand near his gun.
MAL
If you're here to tell me we ain't
finished... then we will be real
quick.
The Operative stands just under the canopy of the nose of the
ship, framed by the rain behind.
THE OPERATIVE
Do you know what an uproar you've
caused? Protests, riots -- cries
for a recall of the entire
Parliament.
MAL
(TURNING)
We've seen the broadwaves.
THE OPERATIVE
You must be pleased.
MAL
'Verse wakes up a spell. Won't be
long 'fore she rolls right over
and falls back asleep. Taint my
worry.
THE OPERATIVE
I can't guarantee they won't come
after you. The Parliament. They
have a hundred men like me and
they are not forgiving.
MAL
That don't bode especially well
for you... giving the order to let
us go, patching up our hurt...
THE OPERATIVE
I told them the Tams were no
longer a threat -- damage done.
(MORE)
VO
123.
THE OPERATIVE (cont'd)
They might listen, but... I think
they know I'm no longer their man.
W MAL
They take you down, I don't expect
to grieve overmuch. Like to kill
you myself, I see you again.
THE OPERATIVE
You won't. There is...
(small, grim smile)
.nothing left to see.
Mal looks at him a moment, then picks up his gear to head
inside. The Operative starts away into the rain, then stops
to look up at the nose of the ship.
ANGLE: the newly painted Serenity, standing tall in the rain.
THE OPERATIVE
(CONTINUING)
"Serenity". You lost everything
in that battle. Everything you
had, everything you were... how
did you go on?
Mal hits the button to close the inner doors, steps inside as
they slide together. Glances at the Operative, unimpressed.
VAO
MAL
You still standing there when the
engine starts, you never will
figure it out.
The Operative watches the door shut. A moment, and he goes.
INT. CARGO BAY - CONTINUING
Mal stows the gear as Zoe approaches.
MAL
(to himself)
What a whiner...
ZOE
Sir, we have a green light.
Inspection's pos and we're clear
for upthrust.
MAL
Think she'll hold together?
J
124.
ZOE
She's tore up plenty. But she'll
fly true.
VW
A beat between them before:
MAL
Make sure everything's secure.
Could be bumpy.
ZOE
Always is.
She takes off and Mal heads up the stairs.
INT. FOREDECK HALL - CONTINUING
Mal comes in and runs into Inara. Jayne passes through as
they talk, heading down into his bunk. Pays them no mind.
Neither do Simon and Kaylee, in the dining room stowing
supplies.
MAL
We're taking her out. Should be
about a day's ride to get you back
to your girls.
INARA
Right.
VW
MAL
(moving past her)
You ready to get off this heap and
back to a civilized life?
INARA
I, uh...
(he stops)
I don't know.
He looks at her, a smile in his eyes.
MAL
Good answer.
He turns and heads into the bridge.
INT. BRIDGE - CONTINUING
Mal eases himself into his seat. Takes a moment to adjust
one of Wash's dashboard dinosaurs, then looks to his left.
4
125.
MAL
You gonna ride shotgun, help me
fly?
V0 River is in the copilot's seat, looking intently at the
screens and buttons.
RIVER
That's the plan.
MAL
Think you can work out how to get
her in the --
She is flipping switches without even looking, as the ship
hums to life.
EXT. SERENITY - CONTINUING
Her engines fire up and tilt. She lifts gently off the
ground.
INT. BRIDGE - CONTINUING
Mal looks slightly, only slightly nonplussed.
MAL
Okay, clearly some aptitude for
the... but it ain't all buttons
A0 and charts, .
You know what the first rule of
flying is? Well, I suppose you
do, since you already know what
I'm about to say.
RIVER
I do. But I like to hear you say
it.
He looks out at the rain on his windows, at his screens,
taking her up as he says:
MAL
Love. You can learn all the math
in the 'verse, but you take a boat
in the air you don't love, she'll
shake you off just as sure as the
turning of worlds. Love keeps her
in the air when she oughta fall
down, tells you she's hurting
'fore she keens. Makes her a home.
River also looks out at the sky.
126.
RIVER
Storm's getting worse.
MAL
We'll pass through it soon enough.
EXT. SERENITY - CONTINUING
As we shoot up with her through sheeting rain, towards the
top of the sky.
EXT. SPACE - MOMENTS LATER
We are looking down on the stormclouds as Serenity bursts out
of them, comes at us, flared by the sun behind the planet as
she passes us, her Firefly effect lighting up, about to shoot
off into the heavens --
There is a spark and a piece of paneling pops off, whips at
camera, blacking out the frame.
MAL (0. S . )
What was that?
THE END
