DEATH IS EASY by Russell Madden   Softcover, $14.95 Hardcover, $24.95     (Preview. Also available in a digital edition, $4.81.)	FREEDOM, As If It Mattered by Russell Madden   Softcover, $24.95 Hardcover, $34.95   (Preview. Also available in a digital edition, $5.63.)

 

---

---

Firefly: "Heart of Gold"

 

Written by: Brett Matthews

 

Directed by: Tom Wright

 

Episode #: 1AGE10

Story#: E01807

 

SHOOTING SCRIPT:October 29, 2002

BLUE REVISIONS:October 30,2002

PINK REVISIONS:October 31,2002

YELLOW REVISIONS:December 16,2002

 

TRANSCRIPT by Russ Madden (July, 2005)

 

---

CAST LIST

 

MAL Nathan Fillion

ZOE Gina Torres

JAYNE Adam Baldwin

WASH Alan Tudyk

KAYLEE Jewel Staite

SIMON Sean Maher

RIVER Summer Glau

BOOK Ron Glass

INARA Morena Baccarin

RANCE BURGESS Fredric Lane

NANDI Melinda Clark

PETALINE Tracey Leah Ryan

CHARI Kimberly McCullough

PRETTY GIRL  

HELEN  

EMMA  

BELINDA  

LUCY Sandy Mulvihill

NARRATOR Jim Lau

 

---

 

Teaser

 

A1 EXT. SPACE-

 

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

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

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

house in the desert --

 

1 EXT. HEART OF GOLD BORDELLO - DAY

 

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

alone and secluded on this pleasant moon.

 

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

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

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

HOOVES...

 

THROUGH THE BILLOWING SHEETS

 

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

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

zooming over its buffeting hover-current.

 

THE BOY AND GIRL register recognition. React --

 

PRETTY GIRL

Nandi! NANDI!

 

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

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

 

NANDI

Get inside.

 

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

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

them are varying degrees of pretty -- prostititutes.

 

NANDI

GO!

 

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

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

immovable.

 

NANDI

We ain't open for business.

 

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

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

 

BURGESS

Shut up, whore.

 

NANDI

And you we don't trade with at all,

Rance Burgess. You're no longer

welcome in this establishment. You

been told that.

 

BURGESS

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

here for what's mine.

 

NANDI

Ain't nothing here belongs to you.

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

within our rights to drop you.

 

BURGESS

Only rights you got are the ones I

give you.

(to his men)

Find the girl.

 

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

 

NANDI

She ain't here. Girl left this moon

more'n a month ago. It was you

chased her off.

 

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

recognizes. He smiles at the stone-faced Nandi.

 

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

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

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

terrified. They force her to her knees.

 

BURGESS (cont'd)

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

 

PETALINE

This baby ain't yours!

 

BURGESS

So you keep saying.

 

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

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

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

from her.

 

BURGESS (cont'd)

If this DNA is a match with mine --

know I will be back for my baby.

 

Rance places a hand on Petaline's face.

 

BURGESS (cont'd)

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

 

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

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

quietly sobbing. Help her to her feet.

 

NANDI

Shhh. Quiet, now. It'll all

work out.

 

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

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

hardy whore. They watch the men leaving.

 

CHARI

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

says.

 

NANDI

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

 

HELEN

How we gonna stop him, Nandi?

 

NANDI

We'll get help. That's how.

 

CHARI

Help? There's not a soul on this

moon'd go up against Rance Burgess.

 

HELEN

She's right. Ain't nobody stong

enough. And even if there was --

who'd help us?

 

2 INT. SERENITY - DINING ROOM - MAL

 

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

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

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

 

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

 

INARA

Hi.

 

MAL

BWAAA!

 

INARA

Sorry. I didn't mean to startle.

 

MAL

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

(repeating as if he

meant to, points gun)

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

It strikes fear into the...heart of

(nothin')

You know, not wise,

sneaking up on a man when he's

handling his weapon.

 

INARA

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

perhaps the dining area isn't the

place for this sort of thing?

 

MAL

What do you mean? Only place with a

table big enough.

 

INARA

Of course. In that case...

(rearranges guns)

Every well-bred petty crook knows that

the small concealable weapons always

go to the far left of the place

setting.

 

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

from the bridge.

 

WASH

Got a distress call coming in.

Some folks asking for help.

 

MAL

Really? Folks asking for help? From

us petty crooks?

 

WASH

Well...

 

MAL

(at Inara)

Maybe I should take that right away.

 

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

 

WASH

Well, it's for her.

 

MAL

Hunh?

 

WASH

The call's for Inara.

 

INARA

I'll take it in my shuttle.

 

WASH

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

 

MAL

This distress wouldn't happen to be taking

place in someone's pants, would it?

 

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

A beat.

 

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

 

MAL (cont'd)

(all cool)

Bwaa.

 

BLACK OUT.

 

END OF TEASER

 

---

Act One

 

3 EXT. SPACE

 

Serenity gently moving through the big black.

 

4 INT. INARA'S SHUTTLE - DAY

 

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

 

NANDI

-- And I got word you were in the

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

one else to ask.

 

INARA

It sounds like something this

crew can handle. I can't guarantee

they'll handle it particularaly well,

but --

 

NANDI

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

 

INARA

They've got guns...

 

NANDI

(worried)

Payment won't be a problem. We just

ain't equipped for this.

 

INARA

Nandi, it's gonna be all right.

 

NANDI

The House would tell you not to come.

I know they ordered you to shun me

when I left.

 

INARA

The House can <engage in a

feces hurling contest with a monkey>

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

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

 

NANDI

Doesn't matter.

(smiles)

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

the way out here?

 

INARA

Who'd've thought.

 

NANDI

Let me know what your people say.

 

INARA

Of course.

 

NANDI

I'll wait to hear from you.

(then)

<Blessing on you, dear sister.>

[TZOO-foo nee, mei-mei.]

 

INARA

And you.

 

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

quietly contemplative for a beat. Then:

 

INARA (cont'd)

I suppose you heard most of that?

 

Mal appears, peaking around the corner at the entrance.

 

MAL

Only because I was eavesdropping.

(then, no bullshit)

Your friend sounds like she's in a

peck of trouble.

 

INARA

She is. And there's no authority on that

moon she can go to. They're

totally alone.

 

MAL

Some men might take advantage of that.

 

INARA

One man.

 

MAL

And she's lookin' for someone to come

along and explain things to him?

 

INARA

That's essentially it, yes.

 

MAL

A whole house full of companions...

How they fixed for payment?

 

INARA

They're not companions.

(then)

They're whores.

 

MAL

Thought you didn't much care for that

word?

 

INARA

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

They're --

 

MAL

-- independent?

 

INARA

Yes.

(then)

If you agree to do this, you'll be

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

put a little aside...

 

MAL

You can keep your money. Won't be

needing no payment.

 

INARA

Mal. Thank you. I'll contact Nandi

at once.

(he smiles; she turns

away)

But you will be paid. I feel it's

important that we keep ours strictly a

business arrangement.

 

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

 

MAL

I'll speak with the crew.

 

INARA

Good.

 

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

 

5 INT. SERENITY - CARGO BAY

 

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

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

 

ZOE

Those who have a mind are welcome to

join. Those who just as soon stay on

the ship can do that, too.

 

JAYNE

Hmm. Don't much see the benefit in getting

involved in strangers' troubles

without a upfront price negotiated.

 

BOOK

These people need assistance. The

benefit wouldn't necessarily be for

you.

 

JAYNE

S'what I'm sayin'

 

ZOE

No one's gonna force you to go,

Jayne. As has been stated -- this

job is strictly speculative.

 

JAYNE

Good. Don't know these

folks. Don't much care to.

 

MAL

They're whores.

 

JAYNE

I'm in.

 

MAL

(moving off)

Wash -- plot a course.

 

6 EXT. PLANET - DAY

 

Serenity lands amidst cover.

 

A7 EXT. HEART OF GOLD - DAY

 

We see The Bordello, in all its tinfoil splendor.

 

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

 

JAYNE

That's the whorehouse?

 

INARA

(you're an annoying

idiot)

Yes...

 

JAYNE

How come it looks like a frozen

dinner pack?

 

KAYLEE

It's solar sheeting. Cheap power.

 

JAYNE

(genuine concern)

Hope the whores are prettier'n thn the

house...

 

7 INT BORDELLO LOBBY - DAY

 

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

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

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

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

 

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

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

uncomfortably, River inquisitively. Much adlibbing from them as have

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

 

INARA

Nandi, darling.

 

NANDI

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

 

INARA

You look wonderful.

 

NANDI

And you look exactly the same as the

day I left. How do you do that out

here?

 

MAL

Sheer force of will.

 

INARA

Nandi, this is Malcolm Reynolds.

 

NANDI

I appreciate your coming.

 

She shakes his hand, firmlike.

 

MAL

Well, any friend of Inara's is a strictly

businesslike relationship of mine.

 

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

 

MAL (cont'd)

This is my first mate, Zoe. I'll

introduce you to the rest later.

They're good folk.

 

JAYNE

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

Can I start getting sexed already?

 

MAL

Well, that one's kind of horrific

 

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

 

ZOE

(ugh)

Can we talk business?

 

NANDI

(indicating lounge)

In here.

(to the others)

The rest of you, there's food and some

liquor at the sideboard, make

yourselves to home.

 

The four exit. We stay with the others.

 

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

 

KAYLEE

Look, they got boy whores! Isn't

that thoughtful? Wonder if they

service girlfolk at all.

 

WASH

Let's not ask.

 

SIMON

Isn't there a pregnant woman I'm to

examine?

 

WASH

(to Kaylee)

You'd really lie with someone being

paid for it?

 

KAYLEE

(pointedly forlorn)

Well, it's not like anyone else is

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

 

Kaylee glances at Simon.

 

JAYNE

(joining them)

Whoop! My John Thomas is about to pop off

and fly around the room, there's so

much tasty in here.

 

WASH

Would be you get your most poetical

about your pecker.

 

Chari brings Petaline up to them.

 

CHARI

You'd be the Doctor?

 

SIMON

Yes. And this is Petaline?

 

PETALINE

Yes sir.

 

CHARI

She's feeling a mite weak right now.

 

SIMON

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

 

JAYNE

Now that's a plan! Whoop!

 

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

River trailing.

 

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

 

EMMA

Shepherd --

 

BOOK

No thank you!

 

They smile a bit.

 

EMMA

We were hoping we might have a prayer

meeting?

 

LUCY

We ain't had one in months, 'cept

what Emma here reads out on Sunday

 

EMMA

Last Shepherd to come by was

springtim, and he only read the one

passage, and he took it out in trade

off both of us.

 

Book has no response.

 

Kaylee watches the girls chat up Book...

 

KAYLEE

Everybody's got somebody...

(wistfully)

Wash, tell me I'm pretty...

 

WASH

Were I unwed, I would take you in a

manly fashion

 

KAYLEE

'Cause I'm pretty?

 

WASH

'Cause you're pretty.

 

8 INT. LOUNGE - DAY

 

Mal, Zoe, Nandi and Inara. Mid talk.

 

MAL

I take it reason doesn't enter

into this?

 

NANDI

Not with Rance Burgess. The man is

a taker.

 

ZOE

You think the kid is his?

 

NANDI

(firm)

I think it's Petaline's.

 

INARA

But the blood test...

 

NANDI

Well, he did favor Petaline pretty

exclusively, but she had others.

Fifty-fifty, not that it matters.

The man ain't fit to raise a cactus

plant. His barren prairie shrew

can't bear him an heir, so he takes

it into his head to pull it outta us.

That's not gonna happen.

 

MAL

(likes her strength)

I see that's the case.

 

NANDI

And you see the way we live here. Go

into town, it's the same. Some

places come up rustic 'cause they

ain't got more'n the basics. Rance

Burgess has money enough to build a

city, a real community. He keeps

people living like this so he can

play cowboy, be the one with the best

toys. Turned this moon into a gorram

theme park. Someone stands up to

him... He means to burn me out.

 

MAL

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

to meet him.

 

NANDI

This won't be solved with talk.

 

MAL

I'm gonna fight a man, it helps to

size him up.

 

NANDI

Well, he'll be at the theatre

tonight, that's a certainty.

 

MAL

Then so will I. Inara, think you

can stoop to being on my arm?

 

INARA

Will you wash it first?

 

He smiles at the light dig, turns to Zoe.

 

9 INT. THEATER - NIGHT

 

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

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

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

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

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

the destruction and fleeing of Earth-That-Was.

 

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

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

particular way. Asian and Pacific influences abound.

 

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

 

Burgess is lording it over a particularly

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

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

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

fiscally speaking. Conservative excess.

 

Mal and Inara stroll up to where the

conversation is in progress.

 

BURGESS

(midstream)

... so I told the boy: you

take a clean woman's virtue, you take

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

 

MAN IN HAT

Boy said his vows right then and there.

 

BURGESS

Took very little persuading on my

part.

 

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

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

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

 

MAL

Nice to know there's some places

left in the 'verse where old-

fashioned values still mean a thing.

(to Inara)

Isn't that right, dear?

 

INARA

(forced smile)

Mmmm.

 

BURGESS

I don't think I know you...

 

MAL

(hand extended)

Name's Malcolm. Malcolm Reynolds.

 

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

a bit closer, says:

 

MAL (cont'd)

And might I just say? She is quite

a beauty

 

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

 

BURGESS

Well, thank you.

 

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

 

BURGESS (cont'd)

Ever have occasion to handle

one, Mister Reynolds?

(offering it)

Silk trigger active return bolt laster

 

Mal takes the laser pistol, looks it over

 

MAL

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

have more heft to it.

 

BURGESS

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

technology like that short of

Alliance. And even their issues

don't yet have the auto-target

adjust. Had that one crafted special.

 

MAL

I didn't think weapons such as this

were generally legal -- for a private

owner, I mean.

 

BELINDA

My husband makes a distinction

between legality and morality,

Mister Reynolds.

 

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

 

MAL

I've said that myself.

 

BURGESS

Bending one unjust law is a small

thing when it comes to protecting

one's family.

 

MAL

I think I understand you.

 

BURGESS

(smiles)

And as you say -- she is a beauty.

 

MAL

She sure is.

(hands it back)

Of course, I was referring to the lady.

(nods to Belinda)

Ma'am

 

Mal steers Inara away. The others watch them go.

 

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

eyes still on the retreating Mal --

 

BURGESS

Yes?

 

10 EXT. TOWN - NIGHT

 

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

put distance between himself and the theater.

 

INARA

Well?

 

MAL

Well what?

 

INARA

You said you wanted to look him in

the eye. You've done that. So

what's the plan?

 

MAL

Plan is -- we get back to Serenity

and we get off this rock just as fast

as we can.

 

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

 

11. INT. THEATER - NIGHT

 

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

Belinda joins him, expectant.

 

BURGESS

(into cell)

And there can be no mistake? Good.

 

Beat. Burgess snaps the cell shut. Mulls

 

BELINDA

Rance?

 

BURGESS

The DNA matches. The child is mine.

 

BLACK OUT.

 

END OF ACT ONE

 

---

Act Two

 

12 INT. BORDELLO LOBBY - NIGHT

 

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

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

of Gold surround him.

 

MAL

We run.

 

Nandi takes this with stoic calm.

 

MAL (cont'd)

Math just don't add up. Our weapon

store aren't exactly overpowerin' at

the moment, and I don't much like

what we'd be up against...

 

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

 

MAL (cont'd)

Nothing worse than a monster who

thinks he's right with God. We might

turn Burgess away once, but he'll

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

gets what he thinks is his. So we run.

 

NANDI

I understand, Captain Reynolds. You

have your people to think of, same as

me. And this ain't your fight.

 

MAL

I don't believe you do understand,

Nandi. I said "we run."

(Nandi gives no

response)

We. My people. Your people. And

whatever bits of precious you got in

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

load up Serenity and we leave Burgess in

the dust.

 

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

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

they're the only ones there.

 

NANDI

Captain Reynolds... It took me years

to cut this piece of territory out of

other men's hands. To build this

business up from nothing.

 

MAL

Nandi--

 

NANDI

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

not going anywhere.

 

MAL

He'll kill you.

(re: her people)

Kill every last one of them, it comes

to that. And he'll sleep well that

night.

 

NANDI

Rance Burgess is just a man... And I

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

I doubt you'd do different, in my

position.

 

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

shakes his head slightly.

 

MAL

Well, lady I must say--

(admiring smile)

You're my kinda stupid.

 

JAYNE

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

fight. Might be we catch him with his

drawers low.

 

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

 

ZOE

(nods)

He'll probably ride in by daylight,

but I figure a three point watch,

say, four hour shift, just be on the safe

side.

 

WASH

(nods, mock expertise)

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

 

Mal gives a slight smile, then Book steps up.

 

BOOK

I'm fair handy with a hammer, Captain.

 

MAL

That so, Shepherd--?

 

BOOK

Been following the footsteps of a

carpenter for some time now. I think

I can do something about our

fortifications.

 

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

looks up. We feel Mal take

understated pride in knowing them.

 

MAL

OK then...

 

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

starts to build.

 

MAL (cont'd)

We start shootin', they'll most like

try to burn us out, save sweat

and bullets. Nandi, What's the water

supply like here?

 

NANDI

Underground well. Pump that draws it

up's antiquated, but it don't break

down.

 

MAL

Kaylee-- think you can swing an

upgrade for their waterworks?

 

KAYLEE

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

got we might use.

 

MAL

Good. Might want to scrounge up--

 

River is suddenly at their side

 

RIVER

It's starting.

 

Kaylee gives a little STARTLED JUMP, unseen by Mal.

 

MAL

And that it is. But time is on

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

 

PETALINE

(pained yelp)

Dr. Tam--!

 

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

contraction.

 

MAL

Oh. It's starting. Okay. Okay.

(a little panicky)

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

Nobody panic. Everybody...

It's going to be okay.

(to Simon)

Be all right?

 

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

 

SIMON

I got this one, Captain

 

MAL

Thanks. Okay.

 

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

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

 

MAL

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

 

A13 INT./EXT. HEART OF GOLD - DAY

 

Various angles:

 

Book nailing planks.

 

Planks being put on windows.

 

Jayne checking weapons.

 

Wash and Zoe testing booby trap.

 

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

 

Inara passing Nandi with steaming towels.

 

In labor, Petaline screams.

 

Jayne and Zoe prepare their weapons.

 

13 INT.BORDELLO LABBY - BALCONY - DAY

 

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

whores, assist.

 

EMMA

The girls and I've been talkin',

Shepherd.

 

He stops, turns to face her.

 

EMMA (cont'd)

We've been discussin' what we'd like

said over us if we should happen to

fall --

 

BOOK

No.

 

Book reaches out, places a hand on her.

 

BOOK

I only bury the dead, child. No

one here is going to die.

 

He smiles and the tension disappears.

 

SMASH TO:

 

14 INT. BORDELLO - UPSTAIRS ROOM - DAY

 

JAYNE

There's people gonna die.

 

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

Across from him, Helen sits attentively.

 

JAYNE (cont'd)

And with

people dyin' comes guts and screamin'

That can bring on all sorts of

screwed-up behavior, a person ain't

used to it. When the time comes, most

important thing, keep your wits

about you. Clear?

 

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

ammunition.

 

JAYNE (cont'd)

All right. Now, these are my favorites.

You're to keep 'em comin' till there

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

run out you hand me the next

biggest and so on. There an

understanding here?

 

HELEN

Yes.

 

JAYNE

All righty, then. Lets get to work.

 

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

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

 

15 EXT. BORDELLO - DAY

 

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

securing and camouflaging the device.

 

WASH

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

deep in the rough and tumble, and I

don't see that changing any time soon.

 

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

 

ZOE

Nor do I.

 

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

deep in the ground, some fifteen feet apart.

 

WASH

Well, I'm not sure now is the best

time to bring a tiny little helpless

person into our lives.

 

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

WIRECUTTERS and cuts the wire.

 

ZOE

That excuse is getting a little worn,

honey.

 

WASH

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

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

 

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

 

ZOE

I don't give a good gorram about

relevant, Wash. Or objective. And I

ain't so afraid of losing something

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

I would make one beautiful baby. And I

want to meet that child one day.

Period.

 

Zoe walks away as Wash looks after her.

 

16 INT. NANDI'S ROOM - EVENING

 

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

cluster of gunshots, followed by the barking of Jayne:

 

JAYNE (O.S.)

Nothin'! Y'all are

pulling, not squeezing like I said.

Next one don't hit that board is

giving up a special treat, <you

understand?> [dong MA?]

 

Mal closes the window, smiling a little.

 

MAL

That man's gonna use up all our

credit 'fore we've earned it.

 

NANDI

Well, after you've saved our lives

you can do some chores, maybe.

 

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

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

 

MAL

I'm a fair hand with a mop.

 

NANDI

So your legend tells.

(chuckling)

Truth is, I expected a whole lot more

of you to be taking payment in our

trade.

 

MAL

Well, we're an odd conglomeration.

Got a preacher, a married fellah, and

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

for thirty seconds to get his play.

That'd be more or less a miracle.

(re: guns)

These are fetching little pieces.

Any of them work?

 

NANDI

Don't got many rounds for the

Chaplain there, but the rest'll be of

use.

(picks one up)

This is my favorite.

 

MAL

What's its history?

 

NANDI

Violence and crime, sad to say. What

about you?

 

MAL

Similar.

 

NANDI

No, I mean, when are you planning to

avail yourself of some of our trade?

My girls is clean and kind-spirited.

 

MAL

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

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

fine bunch.

 

NANDI

You ain't looked at one of 'em as

long or as lovin' as you looked at

those pistols. You're not sly, are

you? 'cause I got my boys...

 

MAL

(totally comfortable

with the question)

Sly? No. I lean towards womenfolk.

Just one thing at a time. Never like

complications.

 

She smiles, knowingly.

 

NANDI

Well, I'm certain of that.

 

MAL

Something to be smiling at?

 

NANDI

I trained as a companion, remember?

I read people pretty well.

 

MAL

Well, that's nice for you.

 

He's examining the weapons, deliberately.

 

NANDI

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

(off his look)

Inara.

 

MAL

(casual)

Yeah. She's a cherry blossom, no

denyin'.

(still looking at gun)

'spect you know her better'n I do,

comin' up together and all.

 

NANDI

Imagine I do. She ever tell you why

she left Sihnon?

 

MAL

Never asked.

 

NANDI

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

self. I was gone long before. And

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

leaving. She was special. There's

forty women in House Madrassa and

you'd pick her out in a second.

Coulda been House Priestess, few

years time.

 

MAL

Is that right?

 

NANDI

Had her eyes on it, too. Very

focused. She's like you, more than

a little.

 

MAL

And how exactly is that?

 

NANDI

She hates complications.

 

A moment between them. A small understanding.

 

MAL

They do crop up though, don't they?

 

NANDI

Such is life.

 

17 BACK ROOM - NIGHT

 

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

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

 

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

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

 

SIMON

You're not completely dilated yet.

It should be pretty quick but don't try

to force it. The contractions are

still preliminary.

 

PETALINE

What's he saying?

 

INARA

It's gonna be a little while, sweetie.

 

PETALINE

Oh! But it hurts! This child wants to be

born, I know it.

 

SIMON

(to Inara)

Can you get the green vial from my

bag? We can dull the pain some.

 

Inara crosses, pausing by Simon, whispers --

 

INARA

How many babies have you actually

delivered?

 

SIMON

As the primary? This would be the

first. You?

 

INARA

My first too.

 

RIVER

(looking even closer)

Mine too.

 

They look at River a moment.

 

SIMON

It's gonna be a long night.

 

Inara gives him a peck on the cheek for luck.

 

INARA

You'll do great, Doctor.

 

RIVER

(still staring)

Who do you think is in there...?

 

Petaline huffs and puffs...

 

19 INT. NANDI'S ROOM - NIGHT

 

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

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

 

NANDI

It was the dulcimer

 

MAL

The Dulcimer drove you out of Sihnon.

What, did you kill a dulcimer in a

terrible passion?

 

NANDI

(smiles)

Actually, yes.

 

MAL

Ah! And now that Dulcimer's family's

out to get even. I get it.

 

NANDI

I was at practice. You never stop

practicing, you know, not a true

companion. Some baroque place, and

instructor keeps saying "You're

playing it, not feeling it". And the

fifth time he said it I took the damn

thing and smashed it into kindling.

 

Mal laughs appreciatively.

 

NANDI (cont'd)

And that's when it occurred to me

that a companion's life might just be

a little too constricting.

 

She pours two more shots.

 

NANDI

So I trucked out to the border,

learned to say "ain't," came to

find work. Found this place.

 

MAL

It's a nice place.

 

NANDI

It was a dungheap. Run by a pig who

had half the girls strung out on

drops. There's no Guild out here;

they let men run the houses, and they

don't ask for references. We didn't

get along.

 

MAL

And where's he at now?

 

NANDI

Let's just say he ain't playing the

dulcimer anymore either.

 

They clink glasses. Knock 'em back.

 

MAL

You are a remarkable woman, you don't

mind my saying.

 

NANDI

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

my fine rice wine.

 

MAL

Well, it takes more'n a few drinks to

render my judgement blurry. What

about you? Am I getting any prettier?

 

NANDI

By the minute.

 

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

he breaks it, all conscience.

 

MAL

(rising)

I should check the barricades, make

sure everyone's ready to --

 

NANDI

Everyone's asleep. Well, them as

can, night before a fight.

 

She stares into Mal's eyes.

 

NANDI (cont'd)

Can you?

 

MAL

What?

 

NANDI

Sleep?

 

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

intimate in tone, as well.