|
Firefly - "Objects in Space" Written & Directed by: Joss Whedon
Episode #: 1AGE11
SHOOTING SCRIPT: November 12, 2002 |
| Teaser |
|
EXT. SPACE - NIGHT
WE see a small, lonely moon sitting in space. Serenity
glides into frame, passing the moon and taking us with it.
We are above and behind the ship, and we glide with it a bit,
keeping pace.
CLOSE ON: the top of Serenity as the camera goes THROUGH it,
into the labyrinth of wires and pipe and spaceship innards,
moving about rabbit-fast, twisting and turning, ending up
looking down through a grating at:
INT. RIVER'S ROOM - EVENING
RIVER, sleeping.
Cut to EXTREME CLOSE UP on River's closed eyes. There is
talk, chatter from every shipmember, like static in her head,
rising slowly. The noise builds until --
We're all just floating... --her eyes snap open. That voice could've been in the room with her. She rises, sits on her bed. She wears a dress, no shoes, seems to be in a slightly dreamlike state. (No huge change there,- but we may do something with the lens occasionally to accentuate that.) Laughter pulls her from her room. INT. PASSENGER DORM - CONTINUING She moves slowly, finds KAYLEE and SIMON on the couch. Kaylee is lying with her legs (her feet are also bare) over the sitting Simon, innocently intimate. Laughing. You couldn't possibly have!
SIMON
KAYLEE
SIMON
KAYLEE He smiles at her, and she taps his chin with her toes playfully. So the feds came?
SIMON
KAYLEE
SIMON River has been watching them the whole time. They suddenly turn to her, the laughter draining from their faces. (to River) I would be there right now. There is coldness in his voice, and Kaylee looks at her with an expression that matches. And then, oddly, there's a JUMP CUT to the two of them laughing again, as though that moment never happened. River looks mildly confused, then starts up the stairs. It was either that or the national anthem. Reports vary.
KAYLEE
SIMON INT. AFT HALL/DINING ROOM - CONTINUING River comes into the hallway, touching the walls as she goes, looking at her hands. She finds BOOK and JAYNE, also in mid- conversation. Jayne is cooking scallion cakes on the griddle. Book is at the table. So, like... never?
BOOK
JAYNE
BOOK
JAYNE
BOOK
JAYNE
BOOK
JAYNE During all this, River wanders unnoticed right between the two of them. She turns to look at Jayne, who looks back guiltily. I got stupid. The money was too good. She turns, looks at Book, who is in her face, fiercely angry. I don't give half a hump if you're innocent or not! So where does that put you? JUMP CUT back to reality -- the men are laughing, Book still sitting, and River has walked between them unnoticed. She heads to the foredeck hall as the men continue: It ain't impossible! Saint Jayne, It's got a ring to it.
BOOK
JAYNE
BOOK
JAYNE INT. FOREDECK HALL/BRIDGE - CONTINUING River moves into the foredeck hall, is about to turn right when she sees WASH and ZOE on the bridge. The door is half shut and they are a ways away, but she is suddenly awash in their energy. Which is different than anyone else's, seeing as how Zoe is sitting on Wash's lap, facing him, smooching him. Their clothes are on, (it's the bridge, already), but though they are playful, their energy is intense, their eyes locked. We see them as River feels them, VERY CLOSE up, wide angle lens roving around them, sweat and smiles and the sound of the ocean, waves breaking as River nearly staggers back with it, suddenly perturbed to be in that intimacy. She moves away, hugging the wall, down into: INT. CARGO BAY/INARA'S SHUTTLE - CONTINUING And now she's coming down the steps as MAL and INARA are in quiet conference at the entrance to her shuttle. I've put out a few waves to some old acquaintances -- I may even be able to find something in New Melbourne, if you need the shuttle free.
MAL
INARA
MAL
INARA
MAL River stops near the entrance. Inara looks at her, says: I'm a big girl. Just tell me. Pan over to Mal, who is looking away from us. None of it means a damn thing. That ocean noise again, and River looks pained, nothing is as it should be here, she stumbles down the steps in a jumbled series of jump-cuts... She walks along the floor of the cargo bay, steps on something. ANGLE: HER FOOT Steps on a branch. She gingerly steps off it, then bends over to look at it, her head coming into frame, staring. ANGLE: FROM HIGH ABOVE we see the entire cargo bay floor around her is littered with branches and leaves. She picks up the branch. It's smallish, curved to fit well in her hand. She studies it, uncertain. Just an object. (looks up) It doesn't mean what you think... She smiles comfortingly -- Jump-cut to reality -- Simon and Kaylee are standing in front of her, yelling -- Mal yelling as well from above... River you know that's not to be touched!
KAYLEE
MAL
SIMON River looks confused at the sudden cacophony. Looks down in her hand -- and there is a BIG DAMN GUN in it. Pointed at Simon and Kaylee, the latter of whom looks shit-scared. River lowers the gun, looking grouchily confused, as Simon comes to take it from her. She looks over at Kaylee, who fades out to the passenger dorm, unable to deal. Kaylee...?
SIMON Mal is down with them by now, takes the gun from Simon, checks it. It was in my hand...
MAL She turns to him. She understands. She doesn't comprehend.
MAL
RIVER She moves off, quickly. River --
RIVER And she's out. Mal looks at Simon. Thought she was on the mend.
SIMON
MAL
SIMON
MAL EXT. SPACE - CONTINUING Serenity continues on, as the camera comes around to see that there is another, smaller vessel RIGHT behind and above it. Sleek, quiet. They're not so much alone out here. |
| Act One |
|
EXT. SPACE - CONTINUING
We move in on the smaller craft as it hugs Serenity's wake.
Move in closer to see the windshield, and a single figure
inside the cockpit. (It's way too small to be called a
bridge -- if Serenity is a family van, this is a Harley.)
INT. EARLY'S SHIP - CONTINUING
He's called EARLY, and for the next while, he will say not a
word. He merely goes about his business with quiet, intense
efficiency. His business is hunting.
He watches the ship below him as readouts come over the
windshield 'screen'. Among them:
-- Serenity heat scanned with infrared, showing a small model
of the ship with heat signatures indicating where everyone is.
-- A blueprint of Serenity that shows her layout, names the
rooms, shows points of egress, lists components and operating
systems
-- A graph of two lines coming together that then flashes:
TRAJECTORY SYNC COMPLETE. LOCKED ON TO FLIGHT PATH.
While he works the controls beneath these readouts, the
camera pans over to see a picture stuck to the hull near his
head. A picture of River -- the one the Blue hands sported
in the Train job. Around it is a warrant showing River with
the legend, FUGITIVE, and at the bottom, REWARD 200,000
CREDITS, Alliance Bond Standard. WANTED ALIVE.
There's also a picture of River and Simon, and a beat up
picture of an older black woman with a dog on a lawn.
Early takes the first picture of River off the wall, stares
at it a moment, returns it. Then slips out of his seat.
INT. BRIDGE - EVENING
Wash is at the helm, Zoe beside him. He's talking, but also
concentrating on his readouts.
Little River just gets more colorful by the moment. What will she do next?
ZOE
WASH
ZOE
WASH
ZOE
WASH
ZOE
WASH Over this last exchange, Jayne and Mal enter, talking. The lockers were sealed. We both know --
JAYNE
MAL
JAYNE
MAL Jayne looks guilty, covers... I just don't like taking a lashing for what I ain't the cause of.
ZOE
MAL
WASH
JAYNE
WASH
JAYNE
WASH
ZOE
JAYNE
ZOE
KAYLEE She's standing in the doorway, looking upset. They give her their attention. Kaylee, you got something to say? She looks at him, not sure where to start. EXT. SPACE - LATER We are close on Early's ship, near the bottom as a door slides open and he glides out. Pushes a few keys as it shuts, then looking down, steadies himself a moment -- And pushes off, floating down toward Serenity. We pull out wide to show the three objects: The big ship, the smaller ship, and the tiny man floating rapidly from one to the other. Close on the top of Serenity as he hits the top, landing gently as possible. He walks, slowly and deliberately, pulling his feet up with the slight effort of disconnecting magnets. Walks to the window. Very slowly, looks in. INT. DINING ROOM - CONTINUING We see his head -- briefly -- by the fore window, looking in at the group that contains everyone save River. It was when... when the Captain and Wash got took by Niska.
MAL
KAYLEE
MAL
SIMON
KAYLEE
SIMON
KAYLEE
JAYNE
KAYLEE
ZOE
JAYNE
KAYLEE
SIMON As they continue, the camera moves suddenly down to the floor, THROUGH the floor, pipes and wires visible, to the ceiling of: INT. CARGO BAY - CONTINUING Where River is standing directly below them, feet on the railings of the catwalk, ear as close to the ceiling as she can get, hearing every word. Or sensing them. Please don't be mad...
SIMON (O.S.) INT. DINING ROOM - CONTINUING She is. But Simon... the way she... right after, she looked at me and smiled, like nothing was wrong. Like we were playing. (to the group) Scared me. There's a moment, as the group takes this in. Could be she saved your life, Kaylee.
KAYLEE
SIMON
JAYNE
MAL Now the camera moves UP, again through pipes and wires, through hull, to: EXT. TOP OF SERENITY - CONTINUING Where Early kneels, holding a listening device to the hull. The voices are coming through, somewhat static-y. It's not a question of whether we like her... some of us have grown attached... INT. DINING ROOM - CONTINUING Kaylee, I know you have or you'd've spoken up sooner, which by the by you should have. I find River pleasant enough myself. But she's got an oddness to her, and it ain't just her proficiency with fire-arms. Girl knows things she shouldn't. Things she couldn't.
JAYNE
WASH
JAYNE
WASH
INARA
MAL
SIMON
MAL
ZOE
WASH
MAL
SIMON
WASH
ZOE
WASH
JAYNE
MAL
BOOK
JAYNE
INARA
BOOK
ZOE
SIMON His voice is quiet, but it stops them. She just wants to be... a kid.
MAL
JAYNE
MAL
SIMON
MAL He looks around, at all of them. Well, I ain't making a decision on anything till I've thought on it awhile. It's late. Looking at Inara: We hit New Melbourne in three days time. We'll see who... we'll think of what to do by then. Let's get some rest. Simon turns and goes quickly out the back. Kaylee follows. INT. AFT HALL - CONTINUING He is rounding the corner as she stops him. Simon --
SIMON
KAYLEE He turns to her. I'm not mad at you. I just... she loves this ship. I think it's more home to her than any place she's been.
KAYLEE
SIMON
KAYLEE
SIMON
KAYLEE He looks at her. Something passes between them, something that draws them closer -- G'night, you two. He passes right through the moment and blows it completely. Simon and Kaylee go back to being awkward. Uh, I --
KAYLEE
SIMON
KAYLEE He goes. She looks after him, feeling like the queen of Lame- donia. A beat, and she heads into the engine room, muttering: Space bugs...? INT. DINING ROOM - NIGHT It's later, and the Captain sits alone. He thinks a moment, then exits, killing the lights. INT. FOREDECK HALL - CONTINUING He goes to his door and kicks it in, starts climbing down. The camera moves away from him to the exterior hatch Simon and River used in Bushwacked. It opens. Early comes quietly down, looking about him. Pulls off his helmet. And pulls out his gun. |
| Act Two |
|
INT. RIVER'S ROOM - NIGHT
River is lying in her bed. She senses something, pulls the
covers over her head.
INT. FOREDECK HALL - CONTINUING
Early looks around the hall. No one around. He holsters his
gun, moves back to the hatch, puts his helmet in there
and seals it shut.
He comes back into the hall and Bumps into MAL, who's headed
back to the dining room. Mal is completely taken by
surprise -- and Early is a blur, a little bit ninja as he
pops Mal in the throat to keep him from screaming, gets in
close and punches a nerve cluster in Mal's back, Mal pushes
him off and swings, connects only glancingly --
INT. WASH AND ZOE'S ROOM - CONTINUING
Zoe stirs - - is something going on upstairs?
INT. FOREDECK HALL - CONTINUING
Early slams his foot into Mal's face, slamming the back of
his head into his own ladder, Mal starts to drop -- and Early
shoots forward, GRABS him by the shirt, keeping him from
falling.
INT. WASH AND ZOE'S ROOM - CONTINUING
Zoe rolls over. Nothing.
INT. MAL'S ROOM - CONTINUING
Early lowers Mal gently into the room, letting him drop the
last of the way, unconscious. Closes the door from above.
INT. FOREDECK HALL - CONTINUING
He goes to the com and locks the rooms from the outside --
this involves punching buttons by the com and hitting some
graphics, the legend PRIVATE QUARTERS LOCKED coming up and a
little red light appearing over each door. Except Kaylee's.
He comes to Kaylee's room and the door is open.
He listens a moment -- nothing - then looks down the length
of the ship.
INT. ENGINE ROOM - LATER
Kaylee is lying on her back, working under the engine. She
yawns, goes back to work -- hears something.
She sits up, looks out into the dark of the hall. Maybe a
little unnerved. It's dark in here, most of the light comes
from the lamp she's working by, and the hall itself is pitch.
River...? She stands, looks. Nothing. She turns back to the toolbox, squats down to toss in a part, comes back up and Early is RIGHT behind her, she spins to see his face staring impassively inches from hers. She gasps, stumbles back. She's up against the wall here. I like this ship. She says nothing. Looks frantically around. Serenity. She's good-looking. I mean she looks good.
KAYLEE
EARLY He comes closer to her. She shrinks closer to the wall. Maybe I've always been here.
KAYLEE He looks at the turning engine, mesmerized. That's her beating heart, isn't it? You pull off any one of a thousand parts, she'll just die. Such a slender thread... (still looking at the engine) Have you ever been raped? A small beat -- The captain's right by --
EARLY
KAYLEE
EARLY
KAYLEE
EARLY She slowly does, terror on her face, as he pulls out a thin roll of tape. Pulls a strip out, says: Now tell me, Kaylee... where does River sleep? INT. PASSENGER DORM/SIMON AND RIVER'S ROOMS - NIGHT Book exits the bathroom, in his sleepwear, towel over his shoulder, kit in hand. It's dark here as well, though there are safety lights enough to keep one from bumping into shit. Book heads for his room, hears something at the top of the stairs. Turns back that way, looks up. ANGLE: up the stairs -- is complete blackness. Hello? Nothing. He turns to go, hears another sound. Starts up the stairs, merely curious. Early SLIDES down the handrails on both hands, shooting down at Book with both feet out, catching the shepherd in the face at two steps up, sends him flying back as Early lands gracefully by him. ANGLE: SIMON Wakes, hearing the thumps. There is silence after, but he's not satisfied. He climbs out of bed (he's just wearing. drawstring pants) and opens his door, looking out at: ANGLE: the hall where Book got slammed -- is now empty. Simon looks 'around for a sec -- then crosses to River's room to check on her. He slides the door open -- ANGLE: RIVER'S ROOM is empty. River... He comes back into the hall, stands between the two bedrooms, not sure what to do... and the camera finds Early PERCHED on both ladders above him, almost spider-like. Simon almost has time to look up as Early drops, lands straddling Simon's head, holding the ladders and swinging the doctor up and SLAMMING him to the ground. Simon's in pain, but Early comes over him and Simon GRABS him, throws him as he himself gets up, ready for a fight -- but Early comes up with his weapon pointed at Simon. Doctor Tam, why don't you sit yourself down?
SIMON
EARLY Early waves the gun. Backed into the curved corner of the hall, Simon sits on the steps. Early peers into the rooms. Where's your sister?
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY
SIMON Early holds up his gun -- not pointed at Simon, just observing it. I think this is very pretty. I like the weight of it.
SIMON
EARLY
SIMON
EARLY
SIMON
EARLY ANGLE ON: BOOK, whose unconscious form is slumped in the other hallway. Simon (having grabbed a shirt) comes upon him quickly, checking to see he's not dead. He's not killed. Be a while before he comes to, but he'll mend.
SIMON
EARLY Simon looks at Early, unsure if this is just more of his off- centerness. Early is looking down the hall. Open the rooms. INT. INFIRMARY/PASSENGER DORM - A BIT LATER The infirmary doors open. Simon steps in, Early behind, gun still held on the doctor. She wouldn't come in here anyway. She hates this room. You see, Early, the people you're planning to sell her to cut up her brain in a lab like this. Tortured her. Teen-age girl. Not some bandit on a murder run, just an innocent girl --
EARLY A small beat. No.
EARLY What seemed like a threat becomes more like a distant observation -- not that Simon is particularly comforted by this. They make Psychiatrists get psychoanalyzed before they can get certified, but they don't make surgeons get cut on. That seem right to you? Simon has no answer. INT. CARGO BAY - MOMENTS LATER The two of them enter the big, darkened bay. Early pulls out a small, powerful flashlight, shines it about. The locker with the spacesuits is near him, and the door is ajar. He moves to it -- swings it open, gun at the ready. It's empty (except for a couple of spacesuits). Early steps into the middle of the room, looks about at it. Come on out, River, the nice man wants to kidnap you...
EARLY He looks at the walls, holds his arms out, moving them up parallel to the slanted walls. I like the way the walls go out. Gives you an open feeling. Firefly's a good design. He motions with his gun for Simon to go upstairs. Heads up after. People don't appreciate the substance of things. Objects in space. People miss out on what's solid. They reach the landing as he speaks, and he looks out over the room. Simon stands by him, unnoticed. He could just give a little shove -- -- and Early's gun is in his face, Early not even looking at him. It's not your moment, Doctor. Simon takes a step back. Early points his light at Inara's shuttle. Companion lives there?
SIMON
EARLY INT. CARGO BAY - A BIT LATER Simon steps out of the empty shuttle, Early behind, moving a little faster. That room's not saying a damn thing. They get halfway to Inara's - Hold it. He stops by one of the catwalk's support beams - looks very closely at it. Sticks out his tongue and touches the end of it to the pole. Pulls back thoughtfully, as though he has learned something profound. He motions for Simon to go on. INT. INARA'S SHUTTLE - LATER Inara is sitting up in bed. Simon stands near the entrance of the room, looking tense. Inara, vulnerable and more than a little confused, looks from him to Early, who is peeking in the back room, gun trained steadily on Inara. This is pointless, you know that.
EARLY
INARA
EARLY
SIMON He heads to the exit, herding Simon ahead of him, talking to Inara. I'm not gonna waste my time threatening you, because I think you believe that I will kill people if someone upsets my plan. I'm gonna seal you in, though. You just sit.
INARA He violently pistol-whips her, pointing the gun back at Simon as she feels the blood on her lip. Don't go visiting in my intentions. Don't ever. He moves to the entrance. Before he shuts the door: (to Inara) Man is stronger by far than woman. But only woman can create a child. That seem right to you? He shuts the door on her. INT. BRIDGE - LATER Simon comes up the stairs from the front of the bridge while Early stands at the very front, looking down into the space, gun trained on Simon. He steps over to the middle with Simon, his manner tenser and the gun held with both hands at arms length. (calls out) All right! That's all the hide and seek I got time for! INT. MAL'S ROOM - CONTINUING Mal stirs, the voice barely reaching him. INT. WASH AND ZOE'S ROOM - CONTINUING She does the same. INT. JAYNE'S ROOM - CONTINUING He's sleeping right through it. INT. BRIDGE - CONTINUING Now I know you're on this ship, little girl, so here's how this goes! He points the gun at Simon's temple. You show yourself, and we finish this exchange, or your brother's brains'll be flying every which way. (to Simon) You understand, I'm sort of on a clock here, it's frustrating --
RIVER (O.S.) He looks around, what the fuck -- but realizes she's just coming over the com. He speaks in a more normal voice, knowing she can hear him. I'm not wrong, dumpling. I will shoot your brother dead if you don't --
RIVER (V.O.) INT. MAL'S ROOM - CONTINUING He is hearing this also, and is more than a mite confused. They didn't know she could do that... but she did. INT. WASH AND ZOE'S ROOM - CONTINUING Even Wash is waking up... as Early's voice also sounds on the general com. Not sure I take your meaning there... The two of them look at each other. INT. BRIDGE - CONTINUING I'm not on the ship. I'm in the ship. Simon looks almost as perturbed as Early. I am the ship.
SIMON
RIVER (V.O.)
EARLY
RIVER (V.O.) Early looks over at Simon, a bit freaked. Simon just shrugs. What are you gonna do? |
| Act Three |
|
INT. ENGINE ROOM - MOMENTS LATER
Kaylee is sitting in the corner, hands tied behind her back,
legs tied together. She hasn't moved since Early left her,
she's so scared. After a moment...
Kaylee? The voice is quieter, more intimate - this is not being broadcast for the public. Kaylee, can you hear me?
KAYLEE
RIVER (V.O.)
KAYLEE
RIVER (V.O.)
KAYLEE There is a small beat. (panicked) Is he coming back?
RIVER (V.O.)
KAYLEE
RIVER (V.O.)
KAYLEE
RIVER (V.O.) INT. BRIDGE - CONTINUING Early and Simon are very still. After a beat: Where'd she go?
SIMON
EARLY Her LAUGHTER filters over the com. It's somewhat unsettling. That's somewhat unsettling.
RIVER (V.O.) Okay, freak time. How'd she know that? Ain't nobody calls me that.
RIVER (V.O.)
EARLY
RIVER (V.O.)
EARLY
RIVER (V.O.)
EARLY
RIVER (V.O.)
EARLY
SIMON
EARLY
SIMON She giggles again. You folk are all insane!
SIMON
EARLY
RIVER (V.O.)
EARLY There is no answer. River? (beat) Serenity? INT. MAL'S ROOM - CONTINUING He's shaking off the beating he took, pulling himself up. (groggy) What in the hell is going on here?
RIVER (V.O.)
MAL
RIVER (V.O.)
MAL
RIVER (V.O.)
MAL
RIVER (V.O.) The captain rolls his eyes. Don't make faces. He looks around. That was creepy. INT. ENGINE ROOM/AFT HALL - CONTINUING Kaylee has cut her hands free, is finishing her feet. Tentatively, she stands. Are you ready? The door opens slowly and Kaylee peers out, still very afraid. A moment, then she starts down the hall, hugging the wall. INT. BRIDGE - A BIT LATER Early is getting a little more hyper. He moves to the computer screen, working it with one hand while keeping the gun loosely on Simon. Just gotta think here... These older models got locators at all?
SIMON
EARLY Early turns back to the screens. What'd he do?
EARLY
SIMON
EARLY INT. FOREDECK HALL - CONTINUING Kaylee peeks out around the corner. She can just see a piece of Early. She ducks her head back, then braves it, comes around and works the console. The red light over MAL'S room goes out. Kaylee bolts down toward the cargo bay. INT. WASH AND ZOE'S ROOM - CONTINUING They are talking with River's voice. I can take this guy out.
RIVER (V.O.)
WASH
RIVER (V.O.) Wash looks at Zoe. This is all very surreal. I hate surreal. INT. MAL'S ROOM - CONTINUING He is standing right under his ladder, waiting. It's soon now. Are you ready?
MAL
RIVER (V.O.)
MAL
RIVER (V.O.) INT. BRIDGE - CONTINUING The lights go completely out in the bridge and the hall. We may or may not see Mal scrambling up his ladder and disappearing around the corner in the far background as Early looks around, NOT seeing him. Now Early's very freaked. You're not welcome here anymore, Early.
EARLY
RIVER (V.O.)
EARLY
RIVER (V.O.)
EARLY
RIVER (V.O.)
EARLY
RIVER (V.O.) Realization dawns on Early. Well I'll be a son of a whore. You're not in my gorram mind. You're on my gorram SHIP! EXT./INT. - EARLY'S SHIP - CONTINUING We push in on River, who is in fact sitting in the pilot's seat of Early's ship, spacesuit on and helmet off. She is giggling again. It's very interesting. All these buttons... INTERCUT THE TWO LOCATIONS: Okay, we're not touching those, okay? (to Simon) How the hell did she get on my ship?
SIMON
RIVER
EARLY
SIMON He glares at Simon. Puts it away. I'm putting it away 'cause we're all reasonable people, don't want to be doing anything rash, fiddling with any dials.
RIVER
EARLY
RIVER
EARLY
RIVER Now it's Simon's turn to be unhappy. River, what are you --
RIVER INT. WASH AND ZOE'S ROOM - CONTINUING They listen in, somber. Can't be controlled. Can't be trusted. Everybody could just go on without me, not have to worry. INT. PASSENGER DORM - CONTINUING Where Kaylee is tending a groggy Book, also hearing this. People could be who they wanted to be, could be with the people they wanted... could live simple. No secrets. We move in on Kaylee, the words clearly effecting her. INT. BRIDGE INTERCUT WITH EARLY'S SHIP - CONTINUING The realization of what she's saying truly hits him. (quietly) No...
RIVER Early smiles. Heads for the door. Well, finally something goes according to -- Simon throws himself at him, they clatter to the ground, tussling -- Simon? Early throws him off, pulls out his gun -- and fires. Simon's eyes go wide. River starts screaming. |
| Act Four |
|
INT. BRIDGE - CONTINUING
Early stands, looking at Simon, who's shot in the upper
thigh. He holds his hand over the spilling wound, face
blanching.
See? That's what it feels like. He takes off -- INT. FOREDECK HALL - CONTINUING Takes a moment to make sure no one is waiting in the hall -- You just hang tight, Darlin'... Early's on the move. Come down the steps just as Simon launches himself at him, flying, knocking them both down, getting a couple blows in before Early recovers enough to ninja his face. Early takes off, rounding the corner -- Spirited boy... ANGLE ON SIMON trying to shake it off. Simon...
SIMON
RIVER (V.O.) EXT. TOP OF SERENITY - CONTINUING Early comes out the hatch, helmet on. He looks up to see his ship following perfectly, smiles. You made the right move, darlin'. Best for you to go with old Early.
MAL Early turns awkwardly (magnetic boots) to see Mal, suited up and cabled to the ship, right behind him. Some of us feel differently. Mal double palms him in the chest, an inelegant move, but the force of it sends Early flying off the ship, gone, just like that, long gone. Mal watches him go a moment, then looks up. After a long beat, River floats down to him. He steadies her as she lands. Looks at her affectionately. Permission to come aboard?
MAL
RIVER
MAL
RIVER INT. INFIRMARY/PASSENGERDORM/CARGO BAY - LATER (This is possibly a one-er.) Simon is on the table, talking Zoe through pulling out his bullet. He watches her progress on the screen... To the left -- your left. Now, very gently, pull that aside.
ZOE
WASH
SIMON We find Mal and Inara at the entrance, watching. So we live to fight another day.
INARA
MAL He touches her face to look and she pulls away. They look at each other a moment, and she goes off, into the cargo bay, where we find Book and Jayne coming downstairs to do some weights. (Jayne going first, Book spotting.) I just feel such a fool.
JAYNE
BOOK
JAYNE
BOOK
JAYNE We are moving off them to find, in the corner, the girls, Kaylee and River, sitting in the corner. They are playing, of all things, jacks. It's Kaylee's turn, and she's tellin' a tale, the ease between them returned... And then his folks come by to fetch him, and it turns out he's fourteen years old! (they both laugh) I mean, he must have been some kind of genetic experiment, 'cause I swear he was... my daddy whupped me so hard... She misses -- Dyah! I'm at fours. Let's see you match that.
RIVER
KAYLEE River looks at the ball in her hand. CLOSE ON the ball, as she contemplates it. The solidity of the thing. We might notice it has a similar coloring to the moon we saw at the beginning of the show. CLOSER STILL as she throws it down, camera goes slowly with it, it hits ground but the camera keeps going down, through the ship one last time, and out the bottom to: EXT. SPACE - CONTINUING Looking up at Serenity and panning left as she rockets away into the distance. EXT. SPACE - ELSEWHERE - LATER We see him, floating, turning slowly in place. His helmet comes into view, his face amusedly resigned. Well... here I am... Tiny, alone, he floats.
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