|
Firefly - "Trash" Written by: Ben Edlund & Jose Molina
Episode #: 1AGE10
|
| Teaser |
|
EXT. WASTELAND - DAY
SLOW CAMERA PAN across a flat vista of shattered rock. Barren. Lunar. PAN ONTO a MAN seated a short distance away on the ground. His side is to us, and he is BUCK NAKED. It's MAL REYNOLDS. He lifts his head, nodding to himself as he takes in his surroundings.
(flatly) Yep... That went well. CUT TO BLACK: TITLE APPEARS: 'SEVENTY-TWO HOURS EARLIER...' EXT. DUST PLANET - NIGHT A LARGE CRATE slams down onto the ground, hard. The two smugglers who were hefting it straighten, turning to go. WIDEN to see that Mal stands close by, arms crossed. A PILE OF SIMILAR CRATES lies in the dust around Mal. Other SMUGGLERS carry more crates, adding to the pile. (All smugglers sport holstered firearms) They are ferrying them from the lowered FREIGHT PLATFORM of a SPACESHIP, which looms overhead. Malcolm Reynolds! A VERY LARGE MAN steps off a ladder that goes up from the platform to the belly of the ship, beaming at Mal. He's a big, gut-toting bear of a man. Not pretty. Not in the least. Think of a greasy Brad Garrett with bad teeth. Y'old son-of-a-- Com'ere!
MAL He sweeps a mildly protesting Mal up into a bear-hug, lifting him off his feet for a beat.
(wheezes) How--you--do--in'? Monty releases him, one mitt still clapped on Mal's shoulder, shaking it with rough welcome. They didn't tell me you were picking up this leg of the run.
MAL
MONTY As they speak, Monty's ND CREW continues off-loading the crates, passing in and out of frame.
Monty, two boats like ours meeting on an empty rock like this, it just screams contraband to the Fed. Or have you forgotten that time you got pinched on Beylix?
MONTY
MAL
MONTY
MAL
MONTY
MAL
MONTY
MAL
MONTY
MAL
MONTY A woman hurries to them obscured by the smuggly bustle.
Well, she must be a rare specimen indeed.
MONTY And she steps out from behind Monty, smiling -- until she recognizes Mal. A beat as he and SAFFRON look at each other. Saffron sweeps a foot under a Smuggler's leg, tripping him forward, pulling his gun from its holster as he falls, and pirouetting over his body as he hits the dirt, coming out of the spin with the gun locked on Mal's head, just as Mal's gun is flashing from his holster, locked on hers -- a Woo-off. They are frozen, Monty right in the middle, nonplussed.
So... you guys have met.
BLACK OUT.
|
| Act One |
|
EXT. DUST PLANET - NIGHT
Right where we left off. Mal and Saffron sidestep, guns trained, slowly circling, very intense. Monty stands nearby, brow knitted with confusion.
Mal -- why you got a piece trained on my wife?
MAL
MONTY
MAL Mal's cut off before he can finish, because in the instant Mal's eyes flick toward Monty, Saffron scissors up a high kick, knocks the gun out of Mal's hand. She has the drop on Mal for an instant, but doesn't fire. Mal lunges, sweeping her arm to the side, catching her wrist in his grip and squeezing hard. She drops his gun. Saffron throws her head forward, smashing into Mal's nose painfully. Gaaah!
MONTY Mal staggers back, buffeted by a series of punches from Saffron. Mal fires one punch back, catching her on the chin and knocking her to the ground. Mal! She lands on her back, mostly unfazed, and instantly rolls for the gun a short distance away. Just as she almost reaches it, Mal sails in on top of her, tackling her flat. Get OFF! She swings an elbow back, hits the side of Mal's head hard. He reels, she rolls on top of him, hands around his throat. He does the same, and now they're strangling each other. They do this for a vicious beat, until -- (roars) Gorramit! That's enough! Monty's big hands drop into frame, lifting them both off the ground and pulling them apart. They're both breathless, Mal's got a BLOODY NOSE. Now what the hell is goin' on here? Whaddya mean she ain't my wife?
MAL
SAFFRON
MAL
SAFFRON
MONTY Saffron drops all pretense -- the jig is up. Oh, hell. Fine. Be like that. She pulls away from Monty and starts neatening herself up, brushing back her hair, wiping the dirt from her face. (hurt) You said you loved me for me... Mal looks at Monty, saying with tender frankness: Believe me, Monty. She says that to all the boys. Off of Monty's crestfallen face we CUT TO: EXT. DUST PLANET - NIGHT MONTY'S SHIP as its engines FIRE UP, whipping a small cloud of dust around the tiny figures of Saffron and Mal. (Note: the design of this ship must be such that it can take off without its engines incinerating what is directly beneath it.) SAFFRON stands with her arms crossed, looking up irritably, lit by the OS glare of the ship's lights. Mal is in the BG, with the crates. He dabs at his bloody nose with a white kerchief. Monty's voice echoes down over the SHIP'S LOUDSPEAKER, choked with hurt. Damn you, Bridget! Damn you ta Hades! You broke my heart in a million pieces! You made me love you, and then y-- I SHAVED MY BEARD FOR YOU, DEVIL WOMAN!
SAFFRON After a beat, a DUFFEL BAG drops into the frame from above, SLAMMING into the ground. The OS ship pulls away with a burst of engine thrust, the light from it fading. [BUN tyen-shung duh ee-DWAY-RO.] She moves to the duffel bag, crouches, unzips it, and roots around inside. The barrel of Mal's pistol enters frame, pressing against her temple. You're goin' to wanna pull your claw out of that bag, nice and slow.
SAFFRON She slowly pulls a small cylinder out of the bag, and shows it to him, cranking it. It's lipstick. Just freshening up. She's about to apply it when Mal snatches it and hucks it out into the OS desert. You and lipstick is a dangerous combination, as I recall. (gestures with gun) Now get up and turn around. She does so, with some impatience. Mal moves in and frisks her, trying to be businesslike, but she responds in a way that crackles with sexual tension. Oh... Yeah... Just like old times.
MAL She writhes into him a little as he finishes frisking her. (super sexy) Mmmm. You missed a spot... Mal gives her a rough shove and she stumbles forward a step. Can't miss a place you never been. She am freaky -- turns to him not with anger, but with practiced emotion -- playing to Mal as if they have a troubled, but real marriage. Marriage is hard work, Mal, I know it... But that doesn't mean we have to give up... (moves closer to him) Sure, we've had our spats. Maybe I made some bad decisions along the way.
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON
MAL Saffron sits down on her duffel bag with a defiant pout. But she seems done with the full court press, more herself now. Why don't you just go ahead and shoot me, then?
MAL
SAFFRON
MAL Saffron flashes a tight, insincere smile. Touché, mon amour. (as she stands) Seriously, Mal. You have to give me a ride.
MAL
SAFFRON Mal SHOOTS. A bullet kicks up the dust about three feet from her. A beat. She sticks out her tongue. ANOTHER BULLET kicks up dust, two feet away. Another beat. She bends, lifting one strap of her heavy bag. She starts dragging it off, struggling. Then she stops and turns again. This was all your fault, you know. I had a perfect crime lined up.
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON Mal considers that for a beat, then looks at the kerchief, BLOODIED from his nose. He raises the gun again. INT. SERENITY - CARGO BAY - NIGHT JAYNE stands by the cargo bay door, pulling on leather work gloves. Behind him, BOOK, SIMON, KAYLEE, and ZOE stand at the ready Sure you're up to liftin' this stuff? Crates are fair heavy, I gather. The engines are HUMMING, and the bay ROCKS a bit as Serenity sets down. Kaylee nods, enthusiastic. I can handle it.
JAYNE Jayne smiles at Simon, who mocks a pained expression. Jayne hits a button -- the airlock opens, and the ramp beyond it starts to lower. The lowering ramp reveals Mal, standing in front of the pile of crates, alone. He doesn't look too happy. He has a wadded up TWIST OF TORN KERCHIEF in each nostril, to stem the blood. Woah there, cap... Tell me you didn't get into a fight with Monty.
KAYLEE
ZOE Mal stomps up the ramp, holding them all in an even glare. Ain't that so, sir?
MAL Zoe looks from the Captain to the others, then back, eyebrows raised. WASH comes down the cargo bay stairs closest to the bridge, stops by Mal Inara was asking for you. Wanted to - Mal walks away. So later with the talking then. Wash walks down toward camera, mouthing words to Zoe and Book, who carry one of the crates up the ramp. (mouthed silently) 'What happened?' EXT. SPACE Just a stock shot of Serenity for transition please. INT. SERENITY - INARA'S SHUTTLE Mal enters INARA's chamber - Heard you were looking for me? - to find her seated, preparing tea. Her whole attitude is formal, yet inviting... I was. Care to sit? He does, slowly. I was hoping to talk a little business. Would you like some tea? He stands again, less slowly. Okay, what's the game?
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA Beat. Uh, no, I think I would have noticed if you were. My keenly trained... senses would have...
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA They're right in each other's faces now, goin' at it. And you stay out of my thieving. I know my business plenty well, thank you.
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL
INARA Beat. Oops. The air goes out of both of them. Petty.
INARA
MAL
INARA
MAL
INARA
MAL
INARA
MAL He stops himself. What?
MAL INT. SERENITY - CARGO BAY - SOON AFTER Mal, alone, descends the stairs into the cargo bay. He goes to the crates, scanning over them for a moment, finding one that has TWO BULLET HOLES in its lid. He pries it open, pulls the lid away and looks in. All right. Tell me more about this job a' yours. OVER HIS SHOULDER INTO CRATE Where, frowning with discomfort, wedged kinda sexily into a shipment of PROTEIN PACKETS, lies Our Mrs. Reynolds... CUT TO BLACK:
|
| Act Two |
|
INT. SERENITY - DINING AREA
Jayne, Zoe, Wash and Kaylee are all gathered at the dining room table. Presently they're staring a bit open-mouthed at -- MAL AND SAFFRON standing variously before them as Saffron makes her pitch.
The mark's name is Durran Haymer. Maybe one of the biggest collectors of Earth-That-Was artifacts in the 'verse. Guy's got warehouses full of stuff. But his prize piece is sitting in his parlor -- an antiquity of unspeakable value: The Mexican. The original hand-held laser pistol. One of only two known to still exist. The forerunner of all modern laser technology. Haymer got lucky, picked it up during the war for nothing.
MAL
SAFFRON
MAL Saffron tosses some future computer disks onto the table. I managed to get ahold of his schedule for the next 18 months -- the layout of the estate grounds... and every security code for the place. No one moves to touch them Saffron's got a notion we can just walk in -- take The Mexican right off his shelf. More with the staring. Finally Wash speaks.
SAFFRON
WASH
SAFFRON
(rolls her eyes)
WASH
MAL
WASH
MAL Jayne's been thinking very hard. Raises his hand Okay. I got a question. If she's got the security codes, why don't she just go in a grab it for herself -- why cut us in? A beat as they stare. Then: Good point. Getting through the door and putting our hands on the Mexican is easy. Getting out with it... that's the tricky part.
MAL
SAFFRON
INARA (O.S) They turn. Inara has entered the room. Partners.
INARA
MAL A beat as Inara and Mal hold the look between them. Saffron doesn't hate the tension that's evident here. Finally: (turns and goes) < Idiots. All of you. > [Nee mun DOH shr sagwa.]
MAL
KAYLEE
SAFFRON
KAYLEE Mal smiles, that's what he likes to hear. You dig into that, little Kaylee. (looks to Zoe) Zoe. You ain't said a word. Time to weigh in.
ZOE
SAFFRON
ZOE
MAL
SAFFRON
ZOE POW -- Zoe hauls off and slugs Saffron in the mouth. She goes down on her tush. Everyone's a little astonished. You, too. Hon. (then, to Mal) I'm in. Off nobody offering to help Saffron up -- INT. SIMON'S ROOM - DAY Jayne is dumping off a bunch of food and water packets, talking to Simon and River. Captain says you're to stay put. Doesn't want you runnin' afoul of his blushin' psychotic bride. She figures out who you are, she'll turn you in 'fore you can... say... "don't turn me in, lady".
SIMON
JAYNE
RIVER
JAYNE
RIVER
JAYNE
RIVER
JAYNE
SIMON
JAYNE
SIMON
JAYNE He goes, shutting the door behind him. Great. Another exciting adventure in sitting.
RIVER
SIMON
RIVER
SIMON
RIVER Simon is no longer amused. Afraid we'll know. INT. SERENITY - CARGO BAY - CATWALKS Zoe is headed up the catwalks from the cargo bay, Inara comes down the stairs leading from the bridge, heading to her shuttle. We should be on Bellerophon by oh- six. I figure the job should be-
INARA
ZOE
INARA
ZOE
INARA
ZOE
INARA
ZOE
INARA
ZOE
INARA
ZOE
INARA
ZOE Zoe starts to leave. Zoe. Don't let Mal trust her.
ZOE
INARA
ZOE
INARA
ZOE Inara holds up her hands. No details. I meant that. Just be careful.
ZOE They split up, Zoe heading up toward the bridge, Inara going into her shuttle ANGLE: SAFFRON - has been eavesdropping from above, near the second shuttle. Mal steps out- You give me a hand in here. No wandering about, remember? Or I'll stick you back in your crate.
WASH (V.O) Mal keeps his eye on Saffron as he hits a nearby button. Yeah?
WASH (V.O) INT. SERENITY - DINING AREA Mal, Zoe, Jayne, Wash, Kaylee and Saffron are gathered around the table. Kaylee has the portable display (seen in "Ariel" with the estate schematics. It gets passed around as she and Wash speak: Bellerophon Estates... Home to the rich and paranoid... gracious living... ocean views... EXT. BELLEROPHON - DAY Ocean as far as the eye can see. Floating about the blue expanse are enormous manors -- estates hovering a mile above the water, complete with greenery, landscaping, etc. ... and state-of-the-art security, including local patrols, and multi- code-keys needed at all entrances and exits... INT. SERENITY - DINING AREA - CONTINUOUS Which we have --
WASH EXT. BELLEROPHON - DAY SERENITY zooms into the shot (continuing CGI shot from before.) Shuttle II splits off from Serenity, veering slightly up. CAMERA STAYS WITH SHUTTLE II as it approaches the floating estate, other flying vehicles coming and going. There's a landing port just south of the main house. INT. SHUTTLE II - DAY Mal at the helm. Prepped for landing. You ready? Saffron appears from the back, two ENORMOUS FLOWER ARRANGEMENTS in her arms. Ready. EXT. FLOATING ESTATE - DAY The well manicured grounds. SHUTTLE II lands in the distance. CAMERA PANS to find various DOMESTICS bustling about who carry covered trays, carts loaded with fine China, a BARTENDER setting up an outdoor bar, etc. Haymer's throwing a big party this weekend, so you should have no trouble blending with the hired help who'll be there setting up. CAMERA FINDS Mal and Saffron carrying the flower arrangements, now moving through all of this. All you gotta do is get through the back door. EXT. FLOATING ESTATE - BACK ENTRANCE - DAY Mal and Saffron arrive at the back door. Saffron pulls out a punch-pad and small round "enabler." Attaches the small cylinder to the door, taps in her code, the cylinder LIGHTS -- Shouldn't be a problem, unless someone's been less than truthful -- The DOOR CLICKS open, Saffron looks to Mal, smiles... INT. SERENITY - DINING AREA Saffron's looking to Mal, here, too. The parlor with The Mexican's on the ninth floor. You'll have to disable the display. Won't be any trouble. 'course, once you got your hands on the goods, you can't take it out the front door, nor the back door, nor any door. Every piece of pretty is tagged for the scanners.
SAFFRON
KAYLEE
WASH
KAYLEE OMITTED OMITTED INT. FLOATING ESTATE - CORRIDORS - DAY Mal and Saffron exit further into the estate. WE STAY WITH the Housekeeper who moves to a chute opening. She dumps the bag down, then moves to a panel on the opposite wall. You hit one little button, and the drone whooshes off with the trash. The Housekeeper touches the panel. Words appear ONSCREEN: "READY FOR DISPOSAL. YES. NO." She touches "yes." INT. SERENITY - DINING AREA - CONTINUOUS (not really) Brilliant.
KAYLEE
SAFFRON
KAYLEE EXT. UNDERNEATH THE FLOATING ESTATE - DAY Underneath the floating estate, a futuristic dumpster (lined with computer panels) is latched onto the body of the estate. We hear the low THUD of the bag landing inside. Once I override the standard guidance protocol, I can tell the disposal bin to go wherever we want. A flying GARBAGE DRONE GLIDES INTO FRAME, flies towards the dumpster, and its forklift-like claws clamp onto the dumpster with a loud METALLIC KLANG The dumpster shudders with the impact, then detaches from the structure and the drone whisks it away. Another dumpster drops into place where the other one was. INT. SERENITY - DINING AREA And where would that be?
WASH
SAFFRON
KAYLEE OMITTED OMITTED EXT. SERENITY/UNDERNEATH THE FLOATING ESTATE - DAY WIDE - CGI. Serenity RISES INTO FRAME, hovering steadily a few feet below the dumpster. Bright sunlight and wind whipping up here. CLOSER -- THE HATCH opens and Jayne emerges. He's wearing goggles, his thrilling heroics hat and a harness with cable (which dangles at the moment.) He pulls himself out of the hatch and crawls carefully up the hull and attaches the safety latch of his cable to a rung on the ship. Now from the hatch Kaylee emerges, also wearing goggles and protection from the wind and cold. She hands up the end of her safety harness to Jayne. He clips it. She hands him out a tool kit. He takes it, then helps her up onto the top of the ship. She crawls toward him on her belly. They're under the bin, now. He makes her lie flat, one arm over her protecting her as he pulls out his com, speaks into it, telling over the ROARING WIND -- Okay! We're planted! INT. SERENITY - BRIDGE - DAY Take us up -- Wash white knuckling it. Zoe at his shoulder. He pulls back on the controls as... EXT. SERENITY/UNDERNEATH THE FLOATING ESTATE - DAY Jayne and Kaylee still lying flat. Serenity rises up. Jayne and Kaylee look up as the bottom of the estate looms closer. That's good! Hold 'er there. Kaylee, still face down, pops open her mobile tool kit, hands an electric (space age?) screwdriver to Jayne. Jayne gets to his feet with great care -- reaches up to the control panel side of the trash bin. It's all very precarious now as he sets to work on the panel, removing the face of it.... OMITTED INT. FLOATING ESTATE - CORRIDOR - DAY Mal sneaks down a corridor, Saffron standing watch at the other end of the hall. She's keeping an eye on Mal -- specifically, on his ass. Mal turns to her -- Clear. She trots down to him, looks at a Palm-like device which displays the house's blueprints. Which way?
SAFFRON They continue on. EXT. UNDERNEATH THE FLOATING ESTATE - DAY Jayne pulls off the front panel of the control mechanism, sets about removing the innards, hands the motherboard down to Kaylee, who begins to work on it. INT. FLOATING ESTATE - CORRIDOR - DAY Mal and Saffron move down another corridor -- one that opens into a larger room. Saffron peeks at her Palm as Mal peers into the room, addresses him in a whisper -- This should be it. Mal holds up a finger. The sound of VOICES in the other room slowly drifts away. Then he nods and they walk into -- INT. FLOATING ESTATE - PARLOR - DAY The ENTER into a room that defines opulence. Beautiful furnishings, expensive art on the walls. Memorabilia of Earth-That-Was fills the room. This room alone cost millions to decorate < Holy testicle Tuesday. > [Shun-SHENG duh gao-WAHN] And on the mantel, in the proper place of honor: a Buck Rogers lookin' Laser Gun. It is to phasers what those huge old clunky cell phones were to modern ones. Mal and Saffron set down their flower displays, move to it. She reaches out. He stays her hand. Holds up a small aerosol-looking can, sprays and a FORCE FIELD becomes visible for a moment. Mal reaches into his flowers, pulls out a mini- tool kit. Let's get to work... EXT. SERENITY/ UNDERNEATH THE FLOATING ESTATE - DAY Kaylee hands the jerry-rigged motherboard back to Jayne. Okay! She's set! (yelling over the roar of wind) Careful! It's hot! Jayne nods, starts to replace the innards. Serenity rises up a few inches, closing the distance between the bottom of the estate and Jayne's head. (sharply into com) Gorram it Wash! Hold it steady! INT. SERENITY - BRIDGE Wash and more with the white knuckles. Sorry... Wash eases off... EXT. SERENITY/UNDERNEATH THE FLOATING ESTATE - DAY As Serenity dips ever so slightly, Jayne gets a bit more "head room." Continues to work. Kaylee reacts as she watches: Jayne! No! The dyna-ram's live! He can't hear what she's saying over the ROAR. Glances at her, annoyed -- What?
KAYLEE ZAP! A BLUE BOLT of energy jumps out of the bin control innards zapping Jayne and knocking him out. He falls and lands hard on the top of Serenity and starts sliding, out like a light. Kaylee instinctively grasps for the tether as Jayne's body slides and rolls, the tether taught. This all happens very fast and off Kaylee's SCREAM! INT. FLOATING ESTATE - PARLOR - DAY Mal uses a space-aged allen wrench as he digs into an open panel under the Mexican. Where's the trash chute?
SAFFRON FOOTSTEPS... Someone's coming... Mal quickly shuts the panel, moves away just as -- DURRAN HAYMER, the master of the house, enters the room, freezing both Mal and Saffron. He looks from one to the other, in shock. (to Mal) You... Mal waits. You found her... He takes Saffron in his arms. Oh, God, you've brought back my wife! Off Mal, in jaded awe BLACK OUT.
|
| Act Three |
|
INT. FLOATING ESTATE - PARLOR - DAY
Durran holds Saffron close to him... His face is away from Mal's, hers toward Mal. She looks vexed, though she hugs him back.
Oh, my dear... Mal mimes hitting the guy. Saffron shakes her head slightly, no. Oh, my own sweet Yolanda... Mal mouths 'Yolanda?', amused. Durran holds her at arms length. I thought I would never see you again. He's fighting welling emotion. To Mal: Forgive me... I don't mean to make a show...
MAL
DURRAN
MAL
DURRAN
MAL
DURRAN
MAL
SAFFRON
MAL
DURRAN
SAFFRON
DURRAN
SAFFRON
DURRAN
SAFFRON
MAL
SAFFRON
MAL
DURRAN
SAFFRON
DURRAN
MAL
DURRAN
SAFFRON They kiss passionately. Mal looks around, at his nails, at the wall... (seductively) We have so much time to make-up...
MAL
DURRAN
SAFFRON He goes. A beat, as her loving look hardens. We gotta move fast. As Mal returns to the dismantling of the force field with his sp-allen wrench... Yeah, he might come back and hug us in the act. INT. SERENITY - FOREDECK HALL - BELOW HATCH, LOWERING Zoe (who's wearing goggles and anti-wind-clothing) and Book struggle to lower the dead weight of an unconscious Jayne into the ship. Zoe is half up the ladder, using Jayne's tether to guide him down to Book. She wears a tether harness vest now. Zoe?
ZOE
BOOK Zoe unhitches his tether line and Jayne's full weight topples toward Book. He staggers back, pinned against the wall of the corridor by Jayne's bulk. (wheezes) Lord-- this boy weighs-- a solid ton-- He lowers Jayne to the floor. Simon appears, having been summoned. Zoe hitches the tether line to her vest. Doctor, you got yourself a patient to see to. Simon nods, face clouded with subtle darkness. Yes. I'll take care of it. Simon moves to assist Book. Zoe hauls herself up out of the hatch. INT. FLOATING ESTATE - PARLOR -DAY As Mal continues his dismantling... You don't know him. He's everything I said he was.
MAL
SAFFRON He's actually being very efficient while continuing. But let's take a breath here, Yolanda. You're sneaking into a place you could walk into as welcome as glad news. What's the math on that?
SAFFRON
MAL
SAFFRON
MAL A FLASH and WE SEE the FORCE FIELD appear then DISAPPEAR. Mal reaches in easily, grabs The Mexican. My god... Could it be that I've just met your real husband? She has backed up to her flower arrangement, whips out a small gun at him, furious. Congratulations, anything else you want on your tombstone, you piece of crap?
DURRAN She puts the gun down, genuinely upset that Durran has busted her. Durran... This isn't what it looks like...
MAL As he says this, Mal has elegantly moved past Durran, dropped the Mexican into the trash cute just outside the door, hit the button. Well. I appreciate your honesty. Not, you know, a lot, but --
SAFFRON
DURRAN There is a terrible sadness in his voice. And a frantic misery in hers: Durran... Don't look at me like that. A beat. She whips the gun at him. I said don't look at me like that! She might just shoot him as we GO TO: OMITTED OMITTED EXT. UNDERSIDE OF FLOATING ESTATE - DAY Kaylee teeters on precarious tippy-toe, straining to plug a piece of HARDWARE into the top part of the control panel on the dumpster. Zoe steadies her, heels dug in, one hand gripping Kaylee's tether. Almost...done... Just have to plug the interface strike-plate back...in... There's a CLACKING of machinery from the dumpster, and a BEACON LIGHT begins flashing. That's the pick-up call -- they must have dropped the Star... How we doing? Kaylee strains but can't quite reach. (growls) Can't reach it -- Zoe looks to -- ZOE'S POV - of A (CGI) GARBAGE DRONE in the distance, taking a hard turn towards them, like a shark nosing toward its prey. Zoe speaks into her com. Wash -- we need a little more altitude -- now --
WASH (O.S.)
ZOE Kaylee fumbles with the plate as Serenity lurches up another foot or two. KayleeKayleeKaylee-- Kaylee snaps the strike-plate into place. Got it! Zoe pulls hard on Kaylee's tether -- GARBAGE BIN as Kaylee is yanked hard down OUT OF FRAME, just as the drone SLAMS into place, right where Kaylee had been a micro-second before. It attaches to the dumpster with a DEAFENING BONG. ZOE AND KAYLEE Lay prone on top of the ship, exchange a look. Start to scurry forward out of frame and we GO TO: INT. SERENITY - BRIDGE - DAY Wash pilots hard as Zoe's voice crackles in over the com. We're in! Go! Go! WASH Copy that-- Wash pulls back on his controls. EXT. UNDERSIDE OF FLOATING ESTATE - DAY Serenity drops away from the underbelly, peeling into a dive and sailing off, as the drone detaches the dumpster and flies off in the opposite direction. INT. FLOATING ESTATE - PARLOR - DAY Mal inching his way around from the door; Saffron staring down Durran, gun pointed at him... Whoa, whoa, let's not get worked up here --
SAFFRON Mal is next to his flower arrangement -- whip quick he pulls his own gun from it, is drawn and pointed at her in a heartbeat. Okay, we're not killing folk today, on account of our very tight schedule. So why don't you drop that pistola, Yo-Saf-Bridge, and we'll be about our -- (suddenly as fierce as a cop) DROP IT NOW. He comes at her as he shouts it, his whole attitude wrought with controlled fury, putting the gun to her head. She drops hers to the floor, knowing he means business, but never takes her eyes off Durran. They play everything to each other, even when talking to Mal. (Mal retrieves her gun, pockets it.) Did you think I was a princess? That I would stay locked up here in the tower? With you?
DURRAN
SAFFRON
MAL
DURRAN
MAL
SAFFRON
MAL She starts working. I feel so bad for you.
SAFFRON
DURRAN They stop. He points to his ring. It's modern, with a stone like a button. That is a button. Emergency signal. For kidnappings and the like. I love you, Yolanda, but I couldn't think for a second you were actually here for me. The sound of approaching cops, etc. That would be them now. A beat, as Mal and Saffron fume. Men. EXT. FLOATING ESTATE GROUNDS - CONTINUING As a trio of POLICE CRUISER-SHIPS descend on the estate, sirens blaring, lights flashing. OMITTED |
| Act Four |
|
INT. FLOATING ESTATE - DAY
We hear the SIRENS and POLICE ANNOUNCING their arrival. Saffron sidles desperately up to Durran...
Durran, peaches, just call them off. Tell 'em it was a mistake.
DURRAN
SAFFRON
DURRAN She punches him into unconsciousness. I'm embarrassing? Who's the dupe on the floor? She spits on him as Mal comes up, grabs her arm. I hate to bring up our imminent arrest during your crazy time, but we gotta move. He tugs at her and they take off. EXT. FLOATING ESTATE - GROUNDS - DAY COPS (armed with those SONIC RIFLES we saw in Ariel) at the doors, speaking into a COM. ... police. Responding to emergency call code. Request entry, all points. A BEAT, then the doors BUZZ as the locks give. The cops race inside... INT. FLOATING ESTATE - CORRIDOR - DAY Mal and Saffron hoofing it out of here. A COP comes around the corner, heading right at them. The cop is more surprised than they are -- Mal takes him down with a few well- placed moves. Saffron reacts as -- TWO MORE COPS -- appear coming the other way. One of them is raising his SONIC RIFLE. [Wahg-ba DAN duh biao-tze.] Mal drags her along, over the fallen cop. They round the corner just as BOOM! From the Sonic Rifle. INT. FLOATING ESTATE - BACK ENTRANCE - DAY They bolt down the glass corridor, the way they came in. Cops appear, coming after them. They push through the door, end up -- EXT. FLOATING ESTATE - BACK ENTRANCE - DAY Saffron beelines for the security panel, hooks her device onto it, starts working. Mal braces himself against the door. What are you doing?
SAFFRON Mal backs away from the door just as her enabler BEEPS. INT. FLOATING ESTATE - BACK ENTRANCE - DAY A cop reaches for the door -- but it pulls AWAY FROM him. We hear a KA-CHUNK as the door locks. EXT. FLOATING ESTATE - BACK ENTRANCE - DAY Let's go! She runs off. Mal regards the door and the POUNDING from the trapped cops for a tiny beat. (impressed) Good security. He turns to join her as -- Mal! TWO MORE COPS, armed with sonic rifles, coming at them. Saffron is already spinning and kicking at the first one. Mal takes on the second one, hand-to-fist-to-face. (calls to Mal, as she fights) Can I have my gun back now, please?
MAL He lays out the cop he's fighting. Then reaches down and grabs the fallen sonic rifle. Spins on Saffron and the cop she's still engaged with: Move! She dives out of the way as Mal fires a (CGI) SONIC BLAST. Second cop is down for the count. Mal tosses the sonic rifle aside. Saffron goes to grab it. Mal grabs her, yanks her from it. Nope. Let's go. And they do. INT. FLOATING ESTATE - BACK ENTRANCE - DAY One of the cops is trying to work the security code pad. No luck. The Sergeant calls into his COM. Subjects have exited the residence and are on the grounds. Does anyone have visual? Off the Sergeant's frustration -- EXT. FLOATING ESTATE - DAY Shuttle II flys away, unpursued. INT. SHUTTLE II - DAY Mal pushes buttons, engages autopilot (either burned in graphics or a voice saying as much), and heads to the back as he straps on his holster, back to normal. Saffron sits on a crate, facing away from him, sullenly ignoring the welling in her eyes. That must've been tough.
SAFFRON
MAL
SAFFRON
MAL She looks away again. Her tone at first is worldly, bitter -- but there is clearly more underneath. I tried. I actually tried. I thought, "this is a decent man. The genuine article."
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON
MAL
SAFFRON
MAL She does start crying now, balled up, not making any move toward Mal. You must be loving this.
MAL She looks up at him with genuine pleading in her eyes. Can people ever change?
MAL
SAFFRON He squats before her, takes her chin in his hand. (not unkindly) A brilliant, beautiful, evil double crossing snake. Cheer up, weepy: you've earned yourself a boatload of hard cash today. You can question the meaning of life on a floaty island of your own for a while.
SAFFRON
MAL
SAFFRON He looks down. I take that as a kindness. They rise, her with the gun pointed at his belly. You just may be the most gullible fool I have ever marked. And that makes you special.
MAL
SAFFRON
MAL
SAFFRON
MAL She cocks the hammer, he starts undoing his trousers. Don't really see the benefit in all this. However I slip, you're not gonna catch my crew with their trousers down. INT. SERENITY - BRIDGE - DAY Wash at the controls. Zoe and Kaylee enter. We still clear?
WASH
ZOE Wash nods. Pulls on the ship controls. Frowns. Can't.
ZOE
WASH
KAYLEE She turns and runs out, toward the -- INT. SERENITY - ENGINE ROOM Kaylee goes right for the engine, Zoe and Wash following. She only has to look for a second before knowing what's up -- Yep. < whores in hell! > [Tah-shr SUO-yo DEE- yure duh biao-tze duh MAH!] The filament in the grav-dampener's stripped.
WASH
KAYLEE
ZOE
KAYLEE Off their reactions, PRELAP -- That dirty dirty whore...
CUT TO:
EXT. WASTELAND - DAY MAL's FACE staring up into the sky as CAMERA CRANES UP, the engines of the departing (yet unseen) shuttle whipping wind and dust around Mal. As CAMERA CONTINUE TO PULL BACK, we see that Mal is very much naked. And standing in the wasteland where we first saw him in the opening. Mal stares at his bare feet and shakes his head as if to say "shoulda seen it coming." OMITTED EXT. MOON - DAY A different wasteland-y part of the moon. The disposal bin sits near Shuttle II, its lid open. From inside the bin, we hear -- Blaerghchh! Garbage comes flying out of the bin. INSIDE THE BIN -- -- is Saffron, digging through the trash, rummaging through moldy fruit, eggshells, and assorted sticky, wet rubbish. Her hair is matted -- basically, she's covered in shit and doesn't look happy about it. Where the hell is it... She keeps digging. Diggy, diggy, diggy -- then she stops, throws her hands up in defeat. It's not here.
INARA (O.S.) She looks up to see Inara perched on the wall of some nearby ruins, beautiful as always, in her veil and bare midriff ensemble. She points The Mexican. Wonder if it works? Pulls the trigger. Nothing. Ah-well. Still worth a fortune. (as she raises a lugar) Anyway, this one works fine. (then) Honey, you look horrific.
SAFFRON
INARA
SAFFRON
INARA Saffron makes a move; Inara points her lugar. Uh-uh. (beat) You know, I'm a little disappointed. Some of the crew's performances weren't quite as nuanced as they could have been. I thought they might tip the fact that we were playing you from the second Mal took you out of that crate. (beat) Oh, well. Guess not. As she's said this, she's set aside The Mexican and picked up a small REMOTE CONTROL. She aims it at the bin, presses a button -- and the lid SLAMS SHUT on Saffron. Wait a minute, wait, you can't -- (SLAM! the lid shuts) -- mmmf mmfff ni ffmm do hmf!
INARA INT. SERENITY - INFIRMARY Jayne fuzzily comes to, looks around. Simon is quietly notating some things, his back to Jayne. Wah guwwunoh?
SIMON
JAYNE
SIMON Jayne looks suddenly worried. Tries -- cannot move anything below his neck. Dah nod movin'!
SIMON He turns to Jayne, eerie calm on his face. Your spine. You hit it pretty hard when you fell.
JAYNE
SIMON
JAYNE
SIMON Jayne pauses. Now he's worried. Das crazy talk.
SIMON
JAYNE River leans in from the doorway looks at him calmly. It's not comforting. (Quieter) Anybody else?
SIMON He exits. We hold wide on Jayne, thinking on what Simon has said, as River's head pops in the doorway at the other end of frame. Also, I can kill you with my brain. She pops back out, leaving Jayne to contemplate even more. EXT. WASTELAND - DAY ON MAL, who sits naked on a sheared-off stump of stone. He lifts his head, and utters the now familiar: Yep... that went well. REVERSE TO INCLUDE Inara, who has emerged from Serenity's open ramp and is now standing a few feet from Mal. The line is addressed to her. You call this "going well"?
MAL
INARA
MAL He stands, starts casually walking back to Serenity with Inara, who does her best to not glance at his naughty bits. Should I start with the part where you're stranded in the middle of nowhere, or the part where you have no clothes?
MAL
INARA
MAL
INARA
MAL They reach Serenity, where Zoe, Wash and Kaylee await. As Mal moves up the ramp -- Wash, take us out of the world. Zoe, contact Brennert and Ellison, see if they're interested in fencing a priceless artifact for us. Zoe and Wash just stand there, staring at his nakedity. Yes I said nakedity. What? Zoe and Wash mutter "nothing," "I'll get right to work," etc., as Kaylee smiles at Mal, not at all thrown. Good work, Cap'n
MAL Kaylee goes off as Mal closes the ramp. As the ramp rises, Mal looks out at the wasteland with a certain fondness. Good day. Good day. The ramp shuts and we -- BLACK OUT.
|