Firefly

Heart of Gold

Man, man di, ren lei yong jin le da di de zi yuan.慢慢的，人类用尽了大地的资源。荒芜了，她无可供应。
Little by little, the tribes used the Earth up.

Cast · Intro · Act 1 · Act 2 · Act 3 · Act 4

Guest Cast

Intro

This baby ain't yours!

Transcribed:	Russ Madden
Written:	Brett Matthews
Directed:	Tom Wright
Aired:	Never aired

A1 EXT. SPACE-

We are in deep space. A planet comes into frame from above, and we

rocket towards it, past it to a circling moon, closer, see the

landm@sses, the landscape come all the way down toward a glittering

house in the desert --

1 EXT. HEART OF GOLD BORDELLO - DAY

A plain but statley-in-its-own-way multi-storied wood frame structure,

alone and secluded on this pleasant moon.

A PRETTY GIRL (late teens) and a PRETTY BOY (same age) are currently out

front, hanging the laundry. Sheets. They giggle and laugh. Picture

perfect country tranquility. They react to the SOUND of POUNDING HORSE

HOOVES...

THROUGH THE BILLOWING SHEETS

HORSES on the horizon. Coming up fast over a rise. And now, in between

them, bouncing up INTO VIEW -- A HOVERCRAFT, a bad@ss SPACE JEEP,

zooming over its buffeting hover-current.

THE BOY AND GIRL register recognition. React --

PRETTY GIRL

Nandi! NANDI!

A BEAUTIFUL WOMAN, early 30's, NANDI, the madam of this concern, appears

from the house. Sees the trouble approaching in the distance.

NANDI

Get inside.

But they are frozen to the spot as the riders and hovercraft get closer.

Some other GIRLS are appearing variously at the door and windows. All of

them are varying degrees of pretty -- prostititutes.

NANDI

GO!

The frightened girl and boy head in. Nandi mentally runs through her

options. There is only one: stand tough. The horses gallop up. She is

immovable.

NANDI

We ain't open for business.

The HOVERCRAFT glides to a stop. Piloting it is RANCE BURGESS. A

handsome, fancified imperious GENTLEMAN. But he's anything but gentle...

BURGESS

Shut up, whore.

NANDI

And you we don't trade with at all,

Rance Burgess. You're no longer

welcome in this establishment. You

been told that.

BURGESS

I've been told a great many things. I'm

here for what's mine.

NANDI

Ain't nothing here belongs to you.

You don't get gone, we'll be well

within our rights to drop you.

BURGESS

Only rights you got are the ones I

give you.

(to his men)

Find the girl.

The horsemen move to the door, push their way in.

NANDI

She ain't here. Girl left this moon

more'n a month ago. It was you

chased her off.

Nandi is poker-faced. Some SCREAMING and CRYING from inside. Crying he

recognizes. He smiles at the stone-faced Nandi.

Rance's men now hustle a struggling GIRL out through the door -- young

PETALINE. She'd be the picture of scrubbed wholesomeness -- except for

the fact that she's very, very pregnant. 'bout ready to pop. She's

terrified. They force her to her knees.

BURGESS (cont'd)

Petaline. It's a good thing you haven't left with my baby.

PETALINE

This baby ain't yours!

BURGESS

So you keep saying.

He nods to his men, who rip open Petaline's dress, exposing her belly.

Rance pulls a FUTURISTIC HYPO DEVICE from his coat, plunges it into her

belly. She winces and gasps in sudden pain. He brings the device away

from her.

BURGESS (cont'd)

If this DNA is a match with mine --

know I will be back for my baby.

Rance places a hand on Petaline's face.

BURGESS (cont'd)

And if I have to, I'll cut it out of ya.

Rance climbs on his hoverdraft, his men to their horses.

They go. Nandi and some of the other girls move to Petaline, who's

quietly sobbing. Help her to her feet.

NANDI

Shhh. Quiet, now. It'll all

work out.

Among the whores helping to steady Petaline are CHARI, a petite and

refined prostitute, maybe the prettiest one here, and HELEN, a more

hardy whore. They watch the men leaving.

CHARI

He'll do it too. He'll do what he

says.

NANDI

No he won't. We won't allow it.

HELEN

How we gonna stop him, Nandi?

NANDI

We'll get help. That's how.

CHARI

Help? There's not a soul on this

moon'd go up against Rance Burgess.

HELEN

She's right. Ain't nobody stong

enough. And even if there was --

who'd help us?

2 INT. SERENITY - DINING ROOM - MAL

in a wicked-cool CLOSE UP whips his gun at us with a stylish rack to the

barrel. He's cleaning and checking it, looking casually heroic. Spread

out on the dining room table are an assortment of his best guns and such.

INARA enters behind him. He doesn't hear her.

INARA

Hi.

MAL

BWAAA!

INARA

Sorry. I didn't mean to startle.

MAL

You didn't. I was just, uh...

(repeating as if he

meant to, points gun)

BWAAA! That's more like a... It's a warrior like...

It strikes fear into the...heart of

(nothin')

You know, not wise,

sneaking up on a man when he's

handling his weapon.

INARA

I'm sure I've heard that said. But

perhaps the dining area isn't the

place for this sort of thing?

MAL

What do you mean? Only place with a

table big enough.

INARA

Of course. In that case...

(rearranges guns)

Every well-bred petty crook knows that

the small concealable weapons always

go to the far left of the place

setting.

Mal bridles at the term "petty crook". Before he can speak, WASH enters

from the bridge.

WASH

Got a distress call coming in.

Some folks asking for help.

MAL

Really? Folks asking for help? From

us petty crooks?

WASH

Well...

MAL

(at Inara)

Maybe I should take that right away.

Mal makes to do that, but Wash stops him with:

WASH

Well, it's for her.

MAL

Hunh?

WASH

The call's for Inara.

INARA

I'll take it in my shuttle.

WASH

All right. I'll send it back there to you.

MAL

This distress wouldn't happen to be taking

place in someone's pants, would it?

She throws a look, goes one way, Wash goes the other. Mal is left alone.

A beat.

As Mal whips his gun back up into a heroic frame,

MAL (cont'd)

(all cool)

Bwaa.

BLACK OUT.

Act 1

Look, they got boy whores! Isn't that thoughtful?

3 EXT. SPACE

Serenity gently moving through the big black.

4 INT. INARA'S SHUTTLE - DAY

Inara sits at her cortex screen, where WE SEE the live image of NANDI.

NANDI

-- And I got word you were in the

area... I'm imposing, but I got no

one else to ask.

INARA

It sounds like something this

crew can handle. I can't guarantee

they'll handle it particularaly well,

but --

NANDI

If they got guns, and brains at all...

INARA

They've got guns...

NANDI

(worried)

Payment won't be a problem. We just

ain't equipped for this.

INARA

Nandi, it's gonna be all right.

NANDI

The House would tell you not to come.

I know they ordered you to shun me

when I left.

INARA

The House can <engage in a

feces hurling contest with a monkey>

[gun HOE-tze bee DIO-se]. I would

have waved you long ago. It's just...

NANDI

Doesn't matter.

(smiles)

Who'd've thought we'd both end up all

the way out here?

INARA

Who'd've thought.

NANDI

Let me know what your people say.

INARA

Of course.

NANDI

I'll wait to hear from you.

(then)

[TZOO-foo nee, mei-mei.]

INARA

And you.

Inara touches the screen. Nandi's image FREEZES there. Inara sits there

quietly contemplative for a beat. Then:

INARA (cont'd)

I suppose you heard most of that?

Mal appears, peaking around the corner at the entrance.

MAL

Only because I was eavesdropping.

(then, no bullshit)

Your friend sounds like she's in a

peck of trouble.

INARA

She is. And there's no authority on that

moon she can go to. They're

totally alone.

MAL

Some men might take advantage of that.

INARA

One man.

MAL

And she's lookin' for someone to come

along and explain things to him?

INARA

That's essentially it, yes.

MAL

A whole house full of companions...

How they fixed for payment?

INARA

They're not companions.

(then)

They're whores.

MAL

Thought you didn't much care for that

word?

INARA

It applies. They're not registered with the Guild.

They're --

MAL

-- independent?

INARA

Yes.

(then)

If you agree to do this, you'll be

compensated. I'll see to it. I've

put a little aside...

MAL

You can keep your money. Won't be

needing no payment.

INARA

Mal. Thank you. I'll contact Nandi

at once.

(he smiles; she turns

away)

But you will be paid. I feel it's

important that we keep ours strictly a

business arrangement.

Her back's to him now, so she doesn't see the stung look.

MAL

I'll speak with the crew.

INARA

Good.

She never looks back. Off Mal, waiting a beat before he goes --

5 INT. SERENITY - CARGO BAY

Mal has EVERYONE assembled (except Inara.) He's letting Zoe brief the

troops. He's to the side, the silent commander.

ZOE

Those who have a mind are welcome to

join. Those who just as soon stay on

the ship can do that, too.

JAYNE

Hmm. Don't much see the benefit in getting

involved in strangers' troubles

without a upfront price negotiated.

BOOK

These people need assistance. The

benefit wouldn't necessarily be for

you.

JAYNE

S'what I'm sayin'

ZOE

No one's gonna force you to go,

Jayne. As has been stated -- this

job is strictly speculative.

JAYNE

Good. Don't know these

folks. Don't much care to.

MAL

They're whores.

JAYNE

I'm in.

MAL

(moving off)

Wash -- plot a course.

6 EXT. PLANET - DAY

Serenity lands amidst cover.

A7 EXT. HEART OF GOLD - DAY

We see The Bordello, in all its tinfoil splendor.

Reverse on our people, in a long-lens tight group, heading towards it.

JAYNE

That's the whorehouse?

INARA

(you're an annoying

idiot)

Yes...

JAYNE

How come it looks like a frozen

dinner pack?

KAYLEE

It's solar sheeting. Cheap power.

JAYNE

(genuine concern)

Hope the whores are prettier'n thn the

house...

7 INT BORDELLO LOBBY - DAY

Our gang files into the lobby. The girls are all hanging about, some

making a bit of a show of themselves, draped about as if for customers,

some more earnest or just curious. Inara is in the process of coming

towards Nandi for a great big hug. Mal is behind her, waiting as is Zoe.

As for the rest, they politely nod and greet the whores, Kaylee

guilelessley, Simon politely, Book kindly, Jayne grinningly, Wash

uncomfortably, River inquisitively. Much adlibbing from them as have

speaking parts. (Chari and Petaline are not present).

INARA

Nandi, darling.

NANDI

It's so good to see you, Mei Mei...

INARA

You look wonderful.

NANDI

And you look exactly the same as the

day I left. How do you do that out

here?

MAL

Sheer force of will.

INARA

Nandi, this is Malcolm Reynolds.

NANDI

I appreciate your coming.

She shakes his hand, firmlike.

MAL

Well, any friend of Inara's is a strictly

businesslike relationship of mine.

The dig is not lost on Inara, nor is her reaction lost on Nandi

MAL (cont'd)

This is my first mate, Zoe. I'll

introduce you to the rest later.

They're good folk.

JAYNE

(calls out from across the room, no 'tude)

Can I start getting sexed already?

MAL

Well, that one's kind of horrific

Jayne has Helen by the shoulder, is pointing at her...

ZOE

(ugh)

Can we talk business?

NANDI

(indicating lounge)

In here.

(to the others)

The rest of you, there's food and some

liquor at the sideboard, make

yourselves to home.

The four exit. We stay with the others.

Kaylee looks at Simon and Wash, indicates the two young men.

KAYLEE

Look, they got boy whores! Isn't

that thoughtful? Wonder if they

service girlfolk at all.

WASH

Let's not ask.

SIMON

Isn't there a pregnant woman I'm to

examine?

WASH

(to Kaylee)

You'd really lie with someone being

paid for it?

KAYLEE

(pointedly forlorn)

Well, it's not like anyone else is

lining up to, you know, examine me...

Kaylee glances at Simon.

JAYNE

(joining them)

Whoop! My John Thomas is about to pop off

and fly around the room, there's so

much tasty in here.

WASH

Would be you get your most poetical

about your pecker.

Chari brings Petaline up to them.

CHARI

You'd be the Doctor?

SIMON

Yes. And this is Petaline?

PETALINE

Yes sir.

CHARI

She's feeling a mite weak right now.

SIMON

All right. Well, let's get you lying down.

JAYNE

Now that's a plan! Whoop!

He goes off with Helen, Simon goes to the back room with the two girls,

River trailing.

We see Book making up a sandwich -- he is approached by LUCY and EMMA

EMMA

Shepherd --

BOOK

No thank you!

They smile a bit.

EMMA

We were hoping we might have a prayer

meeting?

LUCY

We ain't had one in months, 'cept

what Emma here reads out on Sunday

EMMA

Last Shepherd to come by was

springtim, and he only read the one

passage, and he took it out in trade

off both of us.

Book has no response.

Kaylee watches the girls chat up Book...

KAYLEE

Everybody's got somebody...

(wistfully)

Wash, tell me I'm pretty...

WASH

Were I unwed, I would take you in a

manly fashion

KAYLEE

'Cause I'm pretty?

WASH

'Cause you're pretty.

8 INT. LOUNGE - DAY

Mal, Zoe, Nandi and Inara. Mid talk.

MAL

I take it reason doesn't enter

into this?

NANDI

Not with Rance Burgess. The man is

a taker.

ZOE

You think the kid is his?

NANDI

(firm)

I think it's Petaline's.

INARA

But the blood test...

NANDI

Well, he did favor Petaline pretty

exclusively, but she had others.

Fifty-fifty, not that it matters.

The man ain't fit to raise a cactus

plant. His barren prairie shrew

can't bear him an heir, so he takes

it into his head to pull it outta us.

That's not gonna happen.

MAL

(likes her strength)

I see that's the case.

NANDI

And you see the way we live here. Go

into town, it's the same. Some

places come up rustic 'cause they

ain't got more'n the basics. Rance

Burgess has money enough to build a

city, a real community. He keeps

people living like this so he can

play cowboy, be the one with the best

toys. Turned this moon into a gorram

theme park. Someone stands up to

him... He means to burn me out.

MAL

Yeah. He sounds like a fun guy. I'd like

to meet him.

NANDI

This won't be solved with talk.

MAL

I'm gonna fight a man, it helps to

size him up.

NANDI

Well, he'll be at the theatre

tonight, that's a certainty.

MAL

Then so will I. Inara, think you

can stoop to being on my arm?

INARA

Will you wash it first?

He smiles at the light dig, turns to Zoe.

9 INT. THEATER - NIGHT

A CIRCULAR SHADOW representing Earth-That-Was FILLS THE FRAME.

Silhouetted shapes appear. SPACESHIPS. They radiate out from the shadow

sphere. We're witnessing some form of Balinese puppet theater. A nattily

attired NARRATOR (speaking in Chinese: see addendum) presides before the

backlit gauze screen across which the shadows play. It's the story of

the destruction and fleeing of Earth-That-Was.

WIDER - Well-heeled PATRONS mill about as the show continues on a small

stage in the b.g. The theater itself is upscale, ornate in its own

particular way. Asian and Pacific influences abound.

Mal and Inara enter, arm-in-arm. They're dressed to kill.

Burgess is lording it over a particularly

influential crowd. He's holding court, his guests laughing with

disturbing frequency and force. Near Rance sits his wife, BELINDA.

Pale and slight, she's dressed a cut about most every woman there,

fiscally speaking. Conservative excess.

Mal and Inara stroll up to where the

conversation is in progress.

BURGESS

(midstream)

... so I told the boy: you

take a clean woman's virtue, you take

the woman. And that's for life. And...

MAN IN HAT

Boy said his vows right then and there.

BURGESS

Took very little persuading on my

part.

Burgess pats his laser pistol which hangs conspicuously on his belt.

LAUGHTER from the assembled. And now Mal is among them, laughing LOUDER

and LONGER than any of them. Finally everyone's starting at him.

MAL

Nice to know there's some places

left in the 'verse where old-

fashioned values still mean a thing.

(to Inara)

Isn't that right, dear?

INARA

(forced smile)

Mmmm.

BURGESS

I don't think I know you...

MAL

(hand extended)

Name's Malcolm. Malcolm Reynolds.

Burgess takes Mal's hand. They shake. Mal doesn't let go as he leans in

a bit closer, says:

MAL (cont'd)

And might I just say? She is quite

a beauty

Mal releases Burgess's hand. Burgess looks at him.

BURGESS

Well, thank you.

He unholsters his laser gun, offers it up to Mal.

BURGESS (cont'd)

Ever have occasion to handle

one, Mister Reynolds?

(offering it)

Silk trigger active return bolt laster

Mal takes the laser pistol, looks it over

MAL

It's lighter than it looks. Thought it'd

have more heft to it.

BURGESS

Oh, no. Don't let that fool you. Won't find

technology like that short of

Alliance. And even their issues

don't yet have the auto-target

adjust. Had that one crafted special.

MAL

I didn't think weapons such as this

were generally legal -- for a private

owner, I mean.

BELINDA

My husband makes a distinction

between legality and morality,

Mister Reynolds.

Mal glances over at Belinda, holds her eyes for a beat.

MAL

I've said that myself.

BURGESS

Bending one unjust law is a small

thing when it comes to protecting

one's family.

MAL

I think I understand you.

BURGESS

(smiles)

And as you say -- she is a beauty.

MAL

She sure is.

(hands it back)

Of course, I was referring to the lady.

(nods to Belinda)

Ma'am

Mal steers Inara away. The others watch them go.

Now Burgess' FUTURE CELLPHONE BEEPS. He takes it out of his pocket, his

eyes still on the retreating Mal --

BURGESS

Yes?

10 EXT. TOWN - NIGHT

Mal and Inara exit the theater hastily. Mal walks quickly, looking to

put distance between himself and the theater.

INARA

Well?

MAL

Well what?

INARA

You said you wanted to look him in

the eye. You've done that. So

what's the plan?

MAL

Plan is -- we get back to Serenity

and we get off this rock just as fast

as we can.

Mal hasn't slowed his pace. Off Inara, surprised --

11. INT. THEATER - NIGHT

Burgess is in a private-ish corner speaking on his future cell phone.

Belinda joins him, expectant.

BURGESS

(into cell)

And there can be no mistake? Good.

Beat. Burgess snaps the cell shut. Mulls

BELINDA

Rance?

BURGESS

The DNA matches. The child is mine.

BLACK OUT.

Act 2

It's who I am. And it's my home. I'm not going anywhere.

12 INT. BORDELLO LOBBY - NIGHT

Mal stands in the center of the bordello's lobby, his finery from the

previous scene taken down a notch. The crew and the staff of the Heart

of Gold surround him.

MAL

We run.

Nandi takes this with stoic calm.

MAL (cont'd)

Math just don't add up. Our weapon

store aren't exactly overpowerin' at

the moment, and I don't much like

what we'd be up against...

The Serenity crew looks a bit surprised by this as well.

MAL (cont'd)

Nothing worse than a monster who

thinks he's right with God. We might

turn Burgess away once, but he'll

keep comin' -- won't stop 'till he

gets what he thinks is his. So we run.

NANDI

I understand, Captain Reynolds. You

have your people to think of, same as

me. And this ain't your fight.

MAL

I don't believe you do understand,

Nandi. I said "we run."

(Nandi gives no

response)

We. My people. Your people. And

whatever bits of precious you got in

this house you can't bear to part with. We

load up Serenity and we leave Burgess in

the dust.

Nandi steps closer to Mal, all strength and resolve. Despite the

audience of listeners, she and Mal talk with intimate intensity, as if

they're the only ones there.

NANDI

Captain Reynolds... It took me years

to cut this piece of territory out of

other men's hands. To build this

business up from nothing.

MAL

Nandi--

NANDI

It's who I am. And it's my home. I'm

not going anywhere.

MAL

He'll kill you.

(re: her people)

Kill every last one of them, it comes

to that. And he'll sleep well that

night.

NANDI

Rance Burgess is just a man... And I

won't let any man take what's mine.

I doubt you'd do different, in my

position.

Eyes still locked on each other, a stalemate of personal cool, until Mal

shakes his head slightly.

MAL

Well, lady I must say--

(admiring smile)

You're my kinda stupid.

JAYNE

Ah, hell, he ain't expectin' much of a

fight. Might be we catch him with his

drawers low.

Mal raises his eyebrows. Zoe checks the chamber of her gun, cocks it.

ZOE

(nods)

He'll probably ride in by daylight,

but I figure a three point watch,

say, four hour shift, just be on the safe

side.

WASH

(nods, mock expertise)

Three-point, four-hour, should do it.

Mal gives a slight smile, then Book steps up.

BOOK

I'm fair handy with a hammer, Captain.

MAL

That so, Shepherd--?

BOOK

Been following the footsteps of a

carpenter for some time now. I think

I can do something about our

fortifications.

Mal looks over the rest of his people, Kaylee smiles and nods, Simon

looks up. We feel Mal take

understated pride in knowing them.

MAL

OK then...

His strategy wheels start turning, as UNDERSTATED 'GET sHIT DONE' MUSIC

starts to build.

MAL (cont'd)

We start shootin', they'll most like

try to burn us out, save sweat

and bullets. Nandi, What's the water

supply like here?

NANDI

Underground well. Pump that draws it

up's antiquated, but it don't break

down.

MAL

Kaylee-- think you can swing an

upgrade for their waterworks?

KAYLEE

I'll talk to Serenity, see what she's

got we might use.

MAL

Good. Might want to scrounge up--

River is suddenly at their side

RIVER

It's starting.

Kaylee gives a little STARTLED JUMP, unseen by Mal.

MAL

And that it is. But time is on

the enemy's side so we've got to--

PETALINE

(pained yelp)

Dr. Tam--!

Mal sees Petaline, who Simon helps to her feet as she pants with

contraction.

MAL

Oh. It's starting. Okay. Okay.

(a little panicky)

It's starting! All right. Now. Yeah. Uh. Everybody relax. Be calm.

Nobody panic. Everybody...

It's going to be okay.

(to Simon)

Be all right?

Simon leads Petaline toward the bordello's back room, nodding to Mal.

SIMON

I got this one, Captain

MAL

Thanks. Okay.

Mal looks around at everyone else, who smile, at the brink of chuckling,

at his display. He CLAPS his hands, resuming his heroical authority.

MAL

Okay then. Let's get to work, people!

A13 INT./EXT. HEART OF GOLD - DAY

Various angles:

Book nailing planks.

Planks being put on windows.

Jayne checking weapons.

Wash and Zoe testing booby trap.

Feet burying rope in the sand (for booby trap).

Inara passing Nandi with steaming towels.

In labor, Petaline screams.

Jayne and Zoe prepare their weapons.

13 INT.BORDELLO LABBY - BALCONY - DAY

Book wields a hammer, boarding up windows. Lucy and Emma, the "church"

whores, assist.

EMMA

The girls and I've been talkin',

Shepherd.

He stops, turns to face her.

EMMA (cont'd)

We've been discussin' what we'd like

said over us if we should happen to

fall --

BOOK

No.

Book reaches out, places a hand on her.

BOOK

I only bury the dead, child. No

one here is going to die.

He smiles and the tension disappears.

SMASH TO:

14 INT. BORDELLO - UPSTAIRS ROOM - DAY

JAYNE

There's people gonna die.

Jayne sits in front of a large window, its field of view panoramic.

Across from him, Helen sits attentively.

JAYNE (cont'd)

And with

people dyin' comes guts and screamin'

That can bring on all sorts of

screwed-up behavior, a person ain't

used to it. When the time comes, most

important thing, keep your wits

about you. Clear?

Helen nods. Jayne reaches over to a nearby table strewn with weapons and

ammunition.

JAYNE (cont'd)

All right. Now, these are my favorites.

You're to keep 'em comin' till there

ain't no more to be had. I shoot, I

run out you hand me the next

biggest and so on. There an

understanding here?

HELEN

Yes.

JAYNE

All righty, then. Lets get to work.

Giggling, Helen hops on top of Jayne, straddles him. She plants wet

kisses all over. Jayne craning his neck to keep his mouth out of reach.

15 EXT. BORDELLO - DAY

Wash seeps a pile of dry earth over a wood-and-rope contraption,

securing and camouflaging the device.

WASH

All I'm saying is that we're living pretty

deep in the rough and tumble, and I

don't see that changing any time soon.

Zoe rises up behind him, a large spool of wire in her hands.

ZOE

Nor do I.

She crouches, begins to wind the wire between one of two stakes buried

deep in the ground, some fifteen feet apart.

WASH

Well, I'm not sure now is the best

time to bring a tiny little helpless

person into our lives.

Wash lies flat, secures the wire to the stake. He takes a pair of

WIRECUTTERS and cuts the wire.

ZOE

That excuse is getting a little worn,

honey.

WASH

It's not an excuse, dear. It's

objective assessment. I can't help that it stays relevant.

Zoe stands, starts kicking dirt over the lines of their trap.

ZOE

I don't give a good gorram about

relevant, Wash. Or objective. And I

ain't so afraid of losing something

that I ain't gonna try to have it. You and

I would make one beautiful baby. And I

want to meet that child one day.

Period.

Zoe walks away as Wash looks after her.

16 INT. NANDI'S ROOM - EVENING

Mal looks out the window. We can't see what he sees, but we hear a

cluster of gunshots, followed by the barking of Jayne:

JAYNE (O.S.)

Nothin'! Y'all are

pulling, not squeezing like I said.

Next one don't hit that board is

giving up a special treat, <you

understand?> [dong MA?]

Mal closes the window, smiling a little.

MAL

That man's gonna use up all our

credit 'fore we've earned it.

NANDI

Well, after you've saved our lives

you can do some chores, maybe.

She is getting a box from her bottom drawer. As they talk she layes it

on the bed, pulls out a few fancy looking pistols.

MAL

I'm a fair hand with a mop.

NANDI

So your legend tells.

(chuckling)

Truth is, I expected a whole lot more

of you to be taking payment in our

trade.

MAL

Well, we're an odd conglomeration.

Got a preacher, a married fellah, and

the doctor... well, he'd have to relax

for thirty seconds to get his play.

That'd be more or less a miracle.

(re: guns)

These are fetching little pieces.

Any of them work?

NANDI

Don't got many rounds for the

Chaplain there, but the rest'll be of

use.

(picks one up)

This is my favorite.

MAL

What's its history?

NANDI

Violence and crime, sad to say. What

about you?

MAL

Similar.

NANDI

No, I mean, when are you planning to

avail yourself of some of our trade?

My girls is clean and kind-spirited.

MAL

Well, I got the job on my mind. After,

I'm sure I'll... trade. They're a

fine bunch.

NANDI

You ain't looked at one of 'em as

long or as lovin' as you looked at

those pistols. You're not sly, are

you? 'cause I got my boys...

MAL

(totally comfortable

with the question)

Sly? No. I lean towards womenfolk.

Just one thing at a time. Never like

complications.

She smiles, knowingly.

NANDI

Well, I'm certain of that.

MAL

Something to be smiling at?

NANDI

I trained as a companion, remember?

I read people pretty well.

MAL

Well, that's nice for you.

He's examining the weapons, deliberately.

NANDI

She's a hell of a woman, ain't she?

(off his look)

Inara.

MAL

(casual)

Yeah. She's a cherry blossom, no

denyin'.

(still looking at gun)

'spect you know her better'n I do,

comin' up together and all.

NANDI

Imagine I do. She ever tell you why

she left Sihnon?

MAL

Never asked.

NANDI

Yes you did, and I don't know my own

self. I was gone long before. And

I'll tell you, it was a shock, her

leaving. She was special. There's

forty women in House Madrassa and

you'd pick her out in a second.

Coulda been House Priestess, few

years time.

MAL

Is that right?

NANDI

Had her eyes on it, too. Very

focused. She's like you, more than

a little.

MAL

And how exactly is that?

NANDI

She hates complications.

A moment between them. A small understanding.

MAL

They do crop up though, don't they?

NANDI

Such is life.

17 BACK ROOM - NIGHT

Petaline is in bed, letting out an impressive YELL. She's sweaty and

breathing hard. Inara is by her side, mopping her brow supportively.

Simon is at the foot of the bed, looking under the tent of sheet they've

rigged up. River looks over his shoulder, completely agape.

SIMON

You're not completely dilated yet.

It should be pretty quick but don't try

to force it. The contractions are

still preliminary.

PETALINE

What's he saying?

INARA

It's gonna be a little while, sweetie.

PETALINE

Oh! But it hurts! This child wants to be

born, I know it.

SIMON

(to Inara)

Can you get the green vial from my

bag? We can dull the pain some.

Inara crosses, pausing by Simon, whispers --

INARA

How many babies have you actually

delivered?

SIMON

As the primary? This would be the

first. You?

INARA

My first too.

RIVER

(looking even closer)

Mine too.

They look at River a moment.

SIMON

It's gonna be a long night.

Inara gives him a peck on the cheek for luck.

INARA

You'll do great, Doctor.

RIVER

(still staring)

Who do you think is in there...?

Petaline huffs and puffs...

19 INT. NANDI'S ROOM - NIGHT

It's very late, and Mal and Nandi are on the couch. He

throws back a shot. They've both been drinking for a while.

NANDI

It was the dulcimer

MAL

The Dulcimer drove you out of Sihnon.

What, did you kill a dulcimer in a

terrible passion?

NANDI

(smiles)

Actually, yes.

MAL

Ah! And now that Dulcimer's family's

out to get even. I get it.

NANDI

I was at practice. You never stop

practicing, you know, not a true

companion. Some baroque place, and

instructor keeps saying "You're

playing it, not feeling it". And the

fifth time he said it I took the damn

thing and smashed it into kindling.

Mal laughs appreciatively.

NANDI (cont'd)

And that's when it occurred to me

that a companion's life might just be

a little too constricting.

She pours two more shots.

NANDI

So I trucked out to the border,

learned to say "ain't," came to

find work. Found this place.

MAL

It's a nice place.

NANDI

It was a dungheap. Run by a pig who

had half the girls strung out on

drops. There's no Guild out here;

they let men run the houses, and they

don't ask for references. We didn't

get along.

MAL

And where's he at now?

NANDI

Let's just say he ain't playing the

dulcimer anymore either.

They clink glasses. Knock 'em back.

MAL

You are a remarkable woman, you don't

mind my saying.

NANDI

Well. as long as it's you saying it, and not

my fine rice wine.

MAL

Well, it takes more'n a few drinks to

render my judgement blurry. What

about you? Am I getting any prettier?

NANDI

By the minute.

She is so sweetly seductive that they hold on each other a moment. Then

he breaks it, all conscience.

MAL

(rising)

I should check the barricades, make

sure everyone's ready to --

NANDI

Everyone's asleep. Well, them as

can, night before a fight.

She stares into Mal's eyes.

NANDI (cont'd)

Can you?

MAL

What?

NANDI

Sleep?

Another beat, as that loaded question settles in. Mal's reply is

intimate in tone, as well.

MAL

Miss Nandi, I have a confession to

make.

NANDI

Maybe I should get the Shepherd.

MAL

Well, I ain't sinned yet, and I'd

feel little more than awkward

if he were here when I did.

NANDI

You expect to accomplish something

sinful then, do you?

MAL

If I'm overstepping my bounds, you

let me know.

NANDI

[jen mei NAI-shing duh FWO-tzoo],

Malcolm, I been waiting for you to

kiss me since I showed you my guns --

They're kissing. It's soft, but not without heat. He pulls away, looks

at her.

NANDI (cont'd)

You okay with this?

MAL

I'm just waiting to see if I pass

out. Long story.

NANDI

I want you to bed me.

MAL

I guess I mean to.

NANDI

I ain't her.

MAL

Only people in this room are you and

me.

NANDI

So, my child... How long has it been

since your last confession?

MAL

Longer than I care to say.

NANDI

You gonna remember where everything

goes?

MAL

Let's just say I plan to take it real

slow.

They kiss.

20 INT. NANDI'S ROOM - NIGHT

It is later, and they are still in the act. They are both naked, him

sitting up at the foot of the bed and her astraddle, sheets pooled about

their lower portions of them and clever camera work concealing the more

interesting details of the upper. Their movement is slow, deliberate --

and not quite so rhythmic as to be entirely specific. They are drenched

in sweat.

He runs his hands along the side of her head, his thumb sliding

indelicately into the corner of her mounth, Nandi biting down lightly,

eyes closing, then opening again, near startled as his hands slip to her

hips and they look at each other with something resembling need.

She brings his head to her breast, still moving, eyes wet

with tears not spilt.

21 EXT. TOWN - NIGHT

BURGESS

So the whore's got herself a

champion, has she?

He is standing in the light of a couple of torches, on the balcony of a

two story building, couple of his men behind him. He looks over the

railing a moment, amused. Looks back to the person he's addressing.

BURGESS (cont'd)

This great man got a name?

REVERSE to see CHARI is the one feeding him info. Why, she's a TURNCOAT!

CHARI

Reynolds. Malcolm Reynolds.

BURGESS

(thoughtfully)

Mmm. Yes, I've met the man. How many does

he got with him?

CHARI

Just a few, and only two real

fighters besides hisself. But they

got the girls stirrin' for a battle

BURGESS

I certainly wasn't expecting

a battle.

He chuckles, turns out over the railing, addressing his men.

BURGESS (cont'd)

Seems the Heart of Gold has got

itself a few mercenaries. Guess

we'd best call the whole thing off!

As he say this, the camera pans over to take in the view of the men --

and they number at least thirty, many on horseback, and total bad-asses.

A ROAR of laughter meets Burgess' statment.

Burgess grins, turns back to Chari.

BURGESS (cont'd)

Earned yourself quite a bag

of silver, little kitten. But I got a few

more chores in mind before you get it,

though.

CHARI

I'm ready.

He motions for her to come closer, puts his arm around her as he

addresses the men.

BURGESS

Now Chari here, she understands a

whore's place, don't she?

General assent and applause.

BURGESS (cont'd)

But Nandi, and those others, they

spit on our town.

They've no respect fo the sanctity

of fatherhood, for decency or family.

They have MY CHILD held hostage to

their decedent ways, and that I will not

abide!

More cheers.

BURGESS (cont'd)

We will show them what power is! We

will show them what their position in

this town is! Let us all remember,

right here and now, what a woman is

to a man!

He turns to Chari, no longer smiling.

BURGESS (cont'd)

Get on your knees.

She looks startled. Looks out at all the men watching. But Burgess is

unwavering, and she hesitantly sinks out of the frame.

ANGLE: THE MEN

There is a pause. Then an uproarious cheer.

Act 3

Wahng ba dahn -- 王八蛋 --
Dirty bastard sons-of --

22 EXT. BORDELLO - DAWN

The sun creeps over the horizon. The MORNING OF.

23 INT. NANDI'S ROOM - DAWN

Mal and Nandi are asleep together, in a tangle of sheets, in a tangle of

limbs. Content.

Sunlight streams in from the horizon, cutting her across the eyes. They

blink awake. she looks at him sleeping awhile.

24 INT. BORDELLO LOBBY - MORNING

Mal is coming quietly out of Nandi's room, doing up his shirt, just as

Inara is coming from the back hall. He stops, totally busted.

MAL

Um...

INARA

Well.

She is startled, but doesn't seem shocked. That doesn't stop Mal from

excusifying.

MAL

I...I just had to tell Nandi about, um, about time to...

(shifts topic)

Big fight today!

INARA

Mal. Please.

MAL

No, I, no, I, well, I, uh...

INARA

(sincerely)

So you took to bed with Nandi. I'm

glad.

MAL

You know, I was up... I got to thinkin' and ponderin'...

Glad?

INARA

Yes! She's a dear friend, and

probably in need of some comfort

about now.

MAL

Well, uh...

INARA

(amused)

One of the virtues of not being

puritanical about sex is not feeling

embarressed afterwards. You should

look into it.

MAL

Well, I just, I... didn't want you

thinking that I was taking advantage of your

friend.

INARA

She's well worth taking advantage of,

I sincerely hope you did.

MAL

So you're okay. Well, yeah. Why, why

wouldn't you be?

INARA

I wouldn't say I'm entirely okay.

I'm a little appalled at her taste.

Smiling, she turns and exits, leaving him come-backless.

25 INT. UPSTAIRS ROOM - MORNING

The sun's a mite higher now. Jayne stirs, stretches, as does Helen. Jayne pulls a gun free from between them. They spoon then go back to sleep.

26 INT. BACK ROOM - MORNING

We see Petaline, having dozed off. Track across the room to find Inara

sitting on the floor in the corner. Sobbing her eyes out.

27 EXT. PLAINS - MORNING

Wash and Kaylee trek towards Serenity. Wash sips his coffee from a lidded MUG. He

has a PISTOL holstered at his side.

Mal's voice comes in over Wash's RADIO HANDSET.

MAL (O.S.)

Wash -- you there yet?

Wash pulls his radio off his belt and answers.

WASH

All but. Nice day for a last stand,

innit?

MAL

Nope. Plan to make a healthy few

stands after this one. Just hopin'

for some air support from your

quarter, is all.

WASH

(nods)

Couple of low fly-overs, engines

tipped earthward at full blast,

should give our guests something

other than killin' you to think about.

MAL (O.S.)

What I like to hear... Out.

Wash clicks off his radio and clips it back to his belt.

KAYLEE

Captain seem a little funny to you at

breakfast this morning?

WASH

Oh, Kaylee. We all know I'm the

funny one.

28 INT. BORDELLO - MORNING

Mal walks behind some of the women, who stand in position at the bottom

floor lobby windows, holding rifles. He himself is now armed for battle.

He wears a RADIO EARWIG.

MAL

You ladies and gentlemen all locked and loaded?

VARIOUS PEOPLE

Locked and loaded. Got it. Yes, sir.

MAL

Good. Remember, shoot the man, not

the horse. Dead horse is cover, live

horse, great pile of panic.

He stops as a TRANSMISSION crackles in over his earwing.

JAYNE (O.S.)

(lewd chuckle)

Whoa now, girl, that is just plain

dirty --

He holds a finger up to his ear and hits the transmit switch.

MAL

Jayne -- You are aware your radio's

transmittin'?

29 INT. UPSTAIRS ROOM - MORNING

CLOSE ON RADIO HEADSET - which sits in a twist of bedspread. Jayne's

hand enters frame, fumbling for it.

MAL (O.S)

Cause I don't feel particularly

girlish or dirty at the moment.

Jayne picks up the radio and speaks into it as he untangles himself from

Helen. He's dressed for war. She, not so much.

JAYNE

Oh, ah, yeah, just up here waitin'

Captain. Ready one-hunnert-percent.

He grabs his weapon and looks out his window.

MAL (O.S.)

Better be.

Jayne gives Helen a sharp businesslike nod, and she nods back.

A30 INT. BACK ROOM - MORNING

CLOSE ON Petaline, who writhes in the throes of a contraction.

PETALINE

(continued scream)

Her legs are up and spread apart, concealed by a sheet. Inara holds her

hand.

Inara leans in towards Petaline's face.

INARA

You're stonger than this thing,

honey. I can feel it in your grip...

(Petaline SCREAMS again)

Petaline, look at me--

Petaline looks up at Inara, who catches her eyes in an intense, almost

hypnotic stare.

INARA (cont'd)

This is just a moment in time... Step

aside and let it happen...

As River watches intently, Petaline nods.

Nandi enters, stopping at Inara's side.

NANDI

How is she, Doctor?

Simon speaks from a counter a short distance away, as he fits a VIAL OF

MED into his HYPO-GUN.

SIMON

She's at ten centimeters. Not long now.

Nandi turns to Inara. They share a subtle exchange of looks. This should

be cut to show they're communicating via expression alone -- Companions

wordlessly reading each other.

Nandi smiles sadly, rest a hand on Inara's shoulder.

NANDI (O.S)

Inara... I thought it was just him...

Inara turns to Petaline. Then quietly:

INARA

Nandi, believe me. I'll be fine.

They share a look and Nandi exits.

Simon comes to the bedside and injects something into Petaline's arm.

31 INT. HEART OF GOLD - A BIT LATER

Nandi comes to where Mal is. They get rifles ready over:

MAL

Morning. How'er you doing?

NANDI

Mite tense.

MAL

(indicating upstairs)

I'd like you best on the balcony with

me. We can see everyone from up there,

and if anything goes...

NANDI

You didn't give me the whole truth, Mal.

MAL

'bout what?

NANDI

'Bout her feelings for you.

MAL

I really don't know --

JAYNE

(on cam)

Mal! Looks like we got some imminent

violence!

30 EXT. PLAINS - ELSEWHERE - MORNING

A beat of quiet. Then the FAR-OFF SOUND of horses as a cloud of dust

rises on the horizon. SMASH CUT TO --

-- MID-THUNDER with the MERCENARY HORSEMEN surging forward at full

gallop, flanking Burgess' hovercraft.

Burgess pilots the hovercraft, expressionless, behind stylish mirrored

goggles. Over his face, PRE-LAP Petaline's SCREAM OF PAIN --

32 EXT. BORDELLO - MORNING

Burgess and his riders, charging forward in the

distance, trailing a plume of dust.

33 INT. BORDELLO LOBBY - MORNING

Mal, now standing on the interior balcony, looks through a slim pair of

BINOCULARS.

We see many men and guns approaching. Rance drives his hovercraft. A machine gun

is mounted on its rear with a man ready to fire.

Mal, now standing on the interior balcony, lowers a slim pair of

BINOCULARS. He is not at all pleased.

Rance and his men approach even closer, ready for action.

MAL

Zoe, Jayne -- you seein' this?

JAYNE (O.S.)

Gotta be thirty men out there.

ZOE (O.S.)

Confirm that. Plus a mounted gun on

that hovercraft.

JAYNE (O.S)

What's that you said about runnin'

for it?

Mal takes a moment, visibly adjusting to the new odds. He lifts up his

RIFLE.

MAL

Okay, folks. We got no

shortage of ugly ridin' in on us. But

that don't change the plan.

Nandi climbs the stairs, gun in hand, addressing the whores.

NANDI

Anybody here goes down, you drag 'em

to the back, then get back to

shooting. Only way to help them is to

finish this.

She cocks her rifle then turns to Mal, smiles at him sweetly for a quick

beat.

Mal smiles back.

34 INT. SERENITY - CARGO BAY - DAY

Kaylee and Wash enter through the SMALL DOOR. Kaylee closes the door

behind them; something's not right-- She scans the bay as they start for

the stairs. Mal CRACKLES IN over Wash's radio:

MAL (O.S.)

Wash -- gonna be tradin' injuries in

under two minutes. Like my sky a

little less empty --

WASH

Copy that, Mal. We--

Kaylee sees SHADOWY FIGURES on the catwalk above, and tackles Wash just

as GUNFIRE rains down at them, SPARKING off the metal.

Wash slams down behind some metal crates, Kaylee on top of him. The

radio skitters off into open floor; unreachable. But they have cover for

the moment. Wash looks up into her face.

35 EXT. BORDELLO - DAY

The hovercraft HUMS forward, just ahead of the horsemen.

Lead horse SNAPS A TRIPWIRE, and the ROPE springs up out of the dirt,

singing taut, catching THREE RIDERS in teh throats and pitching them off

their horses. The other riders duck, some slide sideways in thier

saddles, clearing the line.

Burgess calls back to KOZICK, the man on the crafts large MOUNTED GUN.

BURGESS

Open her up, Kozick--

Kozick nods, cranks back a lever and starts shooting -- MASSIVE MACHINE

GUNFIRE flares.

36 INT. BORDELLO LOBBY - CONTINUING

Mal sees it coming and swings behind his shielding.

MAL

Cover!

The women do the same, just as a HAIL OF MACHINE GUNFIRE rips through

everything that isn't fortified.

MAL (cont'd)

(into earwig)

Jayne -- I do believe that's our first

hurdle. You might --

37 EXT. BORDELLO - CONTINUING

Kozick, FIRING AWAY, is plugged in the chest and FLIPS BACKWARD off the

hovercraft.

INT. UPSTAIRS ROOM - CONTINUING

Jayne pulls his eye away from his sight long enough to speak into his radio:

JAYNE

Think I might, Cap'n.

39 INT. BORDELLO LOBBY - CONTINUING

Mal calls to his troops.

MAL

Fire!

They all swing out and unleash a BARRAGE OF FIRE from their positions. General mayhem,

inside and out. A BOY WHORE falls away from a window down the line, bloodied by a

gunshot. Mal RETURNS FIRE.

In the confusion, Chari crawls out of the room. Another whore is shot.

Nandi sees this and bristles, aiming another shot --

NANDI

<dirty bastard sons-of--> [Wang bao

DAHN--]

She FIRES.

40 EXT. BORDELLO - CONTINUING

A HORSEMAN takes it in the neck and flops off his horse.

INT. SERENITY - CARGO BAY - DAY

Wash and Kaylee under fire. Wash is trading shots with his pistol, as

THREE OF BURGESS' MEN work their way along the upper catwalk. Wash and

Kaylee fall back behind different crates, finally getting close to the

door that leads to the COMMON AREA.

WASH

GO!

Kaylee darts out, Wash behind her, fire a FLURRY OF SHOTS to cover their

exit.

They get through the door.

The men race down the stairs after them. CAMERA FINDS the radio

MAL (O.S.)

Wash -- Where the hell is my

spaceship!?

42 EXT. BORDELLO - CONTINUING

Horsemen criss-crossing, SEVERAL get hit by GUNFIRE from the whorehouse,

dropping them from their steeds.

A HORSE GOES DOWN, crashing into the FG and throwing its rider.

The REST RETURN FIRE.

Burgess angles the hovercraft, flying parallel with the house front,

still a ways off. He lifts his laser and FIRES a CONTINUOUS BEAM.

The BEAM sears along the front of the house, wavering between the second

story windows and the eaves of the roof, which already started SMOKING.

43 INT BORDELLO LOBBY - CONTINUING

As the LASER BEAM races a RED-HOT LINE along their barricade, FLASHING

through the gun-slits as Mal and the others hunker away.

Mal looks up, where he sees SMOKE pouring in from a TORN UP PATCH OF

CEILING.

MAL

Ruttin' lasers --

(into earwig)

Book -- Zoe -- Second hurdle --

44 EXT. BORDELLO - CONTINUING

FIRE HAS BROKEN OUT on the front facade of the whorehouse.

Book holds a hose.

Zoe covers his back with her rifle. He starts up the hose, and a HISSING

JET OF WATER sprays up toward the wall.

A HORSEMAN turns toward them, levelling his gun at Book. Zoe FIRES,

taking him out.

45 INT. BORDELLO LOBBY - CONTINUING

Mal, Nandi, and the others continue BLASTING AWAY. Petaline's SCREAMING

comes in from the back room.

46 INT. BACK ROOM - CONTINUING

Simon is in position, Petaline is bearing down hard and SCREAMING

between breaths. River is fascinated and smiling. Inara holds Petaline in support.

PETALINE

[screams again]

SIMON

That's it, Petaline, one more push--

She bears down.

SIMON

That's the shoulders... Good--

47 EXT. BORDELLO - CONTINUING

The horsemen are in chaos now, riderless and wounded horses stymie their

efforts to fire on the house. Our guys are kicking ass!

Book catches sight of PAIR OF RIDERS behind Zoe, taking aim. He swings

the hose around, BLASTING them off their horses with its powerful stream.

Zoe shoots one of the men

48 INT. BORDELLO LOBBY - CONTINUING

Up on the balcony, Mal talks into his earwig as he scans the battlefield.

MAL

Jayne -- I lost visual on Burgess --

JAYNE (O.S.)

Same here --

49 INT. SIDE OF HOUSE - CONTINUING

Burgess' hovercraft is up close to the house, and he's leaping off of it

to the ground. A BULKHEAD CELLAR DOOR swings open. Chari is there, and

ushers Burgess inside.

50 INT. SERENITY - DINING AREA - CONTINUING

The three Mercenaries move through the dining area, grimfaced, covering

it with their guns, cursorily checking its nooks and crannies for their

prey.

MERCENARY 1

(pointing)

Take the right.

A DOOR LOCKING SHUT calls their attention to the aft corridor.

They see Wash at its end and raise their guns.

WASH

[that weird Robert Mitchum 'hoot!'

from Night of the Hunter]

MERCENARY 1

Hey! There he is. Get him!

Wash darts into the engine room, narrowly missed by their FIRE as they

move into the AFT CORRIDOR.

Kaylee pops out of CLEVER HIDING PLACE and swings the door shut behind

them, then locks it.

51 INT. SERENITY - AFT CORRIDOR - CONTINUING

Before they can react, Wash swings the ENGINE ROOM DOOR shut as well,

locking it. The passage leading off from the middle of the corridor is

BARRED BY ITS DOOR. They're trapped.

52 INT. SERENITY - ENGINE ROOM - CONTINUING

Wash peers in through the thick glass porthole, issuing

adrenaline-charged laughter.

WASH

Ah-ha-ha-ha! Got you, you <piss-soaked pikers>

[niao SE duh DOO-gway]

(laughs again, then

realizes he's

trapped in engine room)

Nobody's going...anywhere...

53 INT. BACK ROOM - DAY

Simon lifts up a SWADDLED BABY, purple, newborn, squealing. Inara and

River look on. Petaline is near delierious from childbirth.

SIMON

It's --

RIVER

It's a boy. Healthy.

A DOOR behind Inara opens, and Burgess is there, laser covering them.

BURGESS

(points his gun)

Good mornin', Petaline...

Act 4

Say goodbye to your daddy, Jonah.

54 INT. BORDELLO - LOBBY - CONTINUING

Nandi hears PETALINE'S SCREAM first:

PETALINE

Rance! NO!

Mal is caught in the ebbing FIREFIGHT, but Nandi races down the stairs,

toward the rear hall.

A55 INT. BORDELLO - REAR HALL - CONTINUING

Burgess backs out of back room, where Petaline screams. He's got the

BABY in one arm, laser pistol in the other. Nandi appears behind him,

entering from the lobby, confronts him.

NANDI

Rance. Most of your men are either dead, dyin',

or run off.

BURGESS

(aims his laser at Nandi)

Oh, that don't matter none. i got what I came

here for.

NANDI

Ain't leaving here with it.

BURGESS

This is my blood, woman.

Burgess gestures towards the baby with his pistol.

Suddenly a slim arm snakes a nasty curved RAZOR in under Burgess' chin

from behind, digging its tip into the side of his throat, DRAWING BLOOD.

It's Inara, accompanied by two ND whores, as cold dead serious as we've

seen her.

INARA

(re: blood dripping

down his neck)

No. This is your blood.

(nods to a whore)

Now you hand that child over nice and

slow, or I'll spill more than you can

spare.

Burgess complies, wincing at the wound, handing the baby over to a

whore, who backs out of the scene to safety.

As this happens, Burgess takes the pause to ELBOW Inara hard in the

stomach. As she staggers back, he FIRES his laser from the hip, searing

straight through Nandi's chest. He escapes out a side door.

Mal gets to the lobby end of the hall and moves to the fallen Nandi.

Mal touches Nandi. She's stone dead. He shares a look with Inara,

there's murder in both their eyes. He hears the OS THRUM of the

hovercraft starting up and turns for the front door.

56 EXT. BORDELLO - CONTINUOUS

ANGLE ON FRONT DOOR

The front door slams open and Mal stalks out, eyes forward.

Without dropping a beat, Mal PLUGS a horseman off his horse, and swings

up into the saddle just as the man finishes falling.

Burgess' hovercraft rumbles out from behind the house, heading out for

the plains.

Mal spurs the horse hard, and it tears off --

MAL

Hyah!

57 EXT. OPEN LAND - DAY

A WIDE LANDSCAPE SHOT of Burgess speeding away in his hovercraft and Mal

in pursuit, his horse kicking up dust as he whips and spurs it into a

breakneck gallop.

Burgess sees Mal behind him and stands in his craft, steering with one

hand as he turns back. He FIRES his laser--

The LASER BEAM cuts the air by Mal's head. Mal whips a burst of speed

out of his horse as another BEAM sears past him.

Mal is closing in on the hovercraft, an easy shot. Burgess takes careful

aim, and pulls his trigger. We hear a RAPID BEEPING. Burgess checks the

display screen on his gun--

LASER GUN

The LCD screen flashes "CHECK BATTERY"

Burgess GROWLS, looking up just as Mal flies from his horse tackling

Burgess off the hovercraft.

They slam into a hard roll on the plain.

Burgess has had the wind smashed out of him and writhes on the ground.

Mal ain't much better, but drags himself to his feet using sheer force

of will.

He grabs Burgess' shirtfront and hauls him up, pulling his pistol from

his holster, bringing its barrel up to Burgess' head.

MAL

You're gonna pay for what you've took.

BURGESS

(still out of breath)

She was just a whore.

Mal seethes with vengeful fury, he's about to pull the trigger, but then

-- he flips the gun in his hand and smashes the butt across Burgess'

face. Burgess collapses, unconscious.

CUT TO:

EXT. BORDELLO - DAY

Mal and Inara push Rance to the ground and

tie the kneeling Burgess' hands behind his back.

TWO MEN CRASH INTO THE FRAME, as Jayne dumps the bruised and bloodied

Serenity-crashers before the bordello steps.

Burgess' other men are also tied up.

BURGESS

(calling out)

PETALINE! YOU BRING MY BABY OUT!

RIGHT NOW! YOU HEAR ME? I WANT TO

SEE MY SON!

Petaline appears at the bordello door, the baby held at her shoulder.

All eyes watch as she descends the steps and approaches Burgess.

PETALINE

Rance, this is Jonah.

(beat)

Jonah, say hi to your daddy.

Burgess smiles like a proud papa. He's actually moved at the sight of his son.

Petaline raises her free hand in which she holds Nandi's favorite gun.

She aims it at Burgess' head. She fires. Rance drops face down to the ground.

PETALINE (cont'd)

Say goodbye to your daddy, Jonah.

Petaline looks up from Burgess' dead body, icy.

PETALINE (cont'd)

Go on. Go on home.

Petaline points her gun at Chari.

PETALINE (cont'd)

You go with them.

Chari breaks eye contact, falls in step with

Burgess' men as they walk away.

Mal looks down.

DISSOLVE to Nandi in peaceful repose.

HIGH ANGLE

LUCY (V.O)

Amazing Grace, how seet the sound...

59 EXT. HILLTOP - DAY

LONG SHOT: A score of mourners have gathered around a makeshift cross

beneath a large oak. This is a fusion of BUDDIST and CHRISTIAN ceremony.

A number of mourners are dressed in white robes, with Tibetan prayer

beads draped over their clasped hands.

Lucy sings in a simple, quiet voice. (Think Margo Timmins.)

LUCY

That saved a wretch like me/ I once

was lost, but now am found/ Was blind

but now I see...

Lucy continues to sing. One by one, Nandi's staff steps up to the wooden

cross marking her grave. At its foot is a low asian-looking table, on

which sits a bowl of smoking incense. They bow as they drop pinches of

incense into the bowl. The crew of Serenity looks on, each sad, each lost in his or

her own thoughts.

Lucy's singing continues as we --

CUT TO:

Serenity lifts off into a gorgeous, golden sunset.

61 INT. SERENITY - CARGO BAY - NIGHT

Mal and Inara stand on the catwalk outside her shuttle. They are

contemplative, subdued.

MAL

Think those girls'll do all right.

INARA

She taught them well.

MAL

Yeah.

A beat.

INARA

I'm, um... I'm glad you were with

her. Her last night. I am.

MAL

Yeah, well. I ain't. Hell, I wish I'd never met

her. Then I wouldn't've failed her.

INARA

That wasn't the way of it.

MAL

It's a kindness, but nothing you

say'll convince me different.

INARA

Well, I'm still glad.

A small beat.

MAL

So you weren't before?

He's looking at her direct. She looks away.

MAL (cont'd)

Inara, I ain't looking for anything

from you. I'm just, uh, just feeling kind of

truthsome right now. But, uh... Life is too

damn short for ifs and maybes.

INARA

I learned something from Nandi. Not

just from what happened, but from

her. The family she made, the

strength of her love for them.

That's what kept them together.

When you live with that kind of

strength, you get tied to it, you

can't break away. And you never want

to.

They're getting closer to each other, Mal's eyes locked on hers.

INARA (cont'd)

There's something... There's something I

should have done a long while ago.

And I'm sorry -- for both of us --

that it took me this long.

A beat.

INARA

I'm leaving.

Another moment, and she goes past him into her Shuttle.

He doesn't move.

END OF SHOW