103 - Shindig

Episode #: 1AGE03
Story #: E01737
Firefly
“Shindig”
Written by:
Jane Espenson
Directed by:
Vern Gillum
SHOOTING SCRIPT: August 2, 2002

FIREFLY *
“Shindig”
TEASER
1 INT. POOL HALL - NIGHT (NIGHT 1) 1
It's dark, smoky. Four tables are in play. There are about 15
people in here, mostly men. A BARTENDER serves beer in heavy
wooden bowls. Small tables line the edges of the room.
MAL and JAYNE play two other men, WRIGHT and HOLDER. INARA, in
a beautiful outfit, watches and holds a small glass of pink
liqueur. She is the only color, only elegance.
WRIGHT is lining up a shot and talking at the same time. His

cue has a ring of light right before the tip.
WRIGHT
Didn't hardly have to convert the
ship, even.
(re: shot)
Six in the corner. Stronger locks,
thicker doors, keep everybody
where they're s'posed to be. Don't
even need more rations.
As he sights along his cue, all the balls on the table

flicker, disappearing for a moment, then reappearing. A
general DISGUSTED GROAN comes from every player in the room.
WRIGHT (cont’d)
< Hey! > [Way!]
He looks toward the Bartender, as do other patrons. The

Bartender points, bored, to a crude Sign: "MANAGEMENT NOT
RESPONSIBLE FOR BALL FAILURE" (It also says it in Chinese.)
Wright attempts his shot, Doesn't sink the ball.
WRIGHT (cont’d)
Flicker threw me off.
Mal's turn. He walks around, examines the table.
JAYNE
(to Wright)
You made money?
(CONTINUED)
FIREFLY “Shindig” (SHOOTING SCRIPT) 8/2/2002 2.
1 CONTINUED: 1
WRIGHT
Hand over fist, my friend. Border
planets need labor. Terraforming
crews got a prodigious death rate.
MAL
Side pocket.
Mal makes his shot, lines up another.
MAL (cont’d)
Labor. You mean slaves.
WRIGHT
They wasn't volunteers, for damn
sure.
MAL
That why you didn't hafta to lay
in more rations?
WRIGHT
I didn't hear no complaints.
Wright and Holder laugh.
JAYNE
How much money? Lots?
Mal misses a shot and steps back by Inara. She's brushing

cigarette ashes off a chair, making a place to sit.
MAL
There's a chance you may wanna
head back to the ship.
INARA
Oh, I'm all right. This is
entertaining, actually.
MAL
(amused, disbelieving)
Yeah? What's entertaining?
INARA
I like watching the game. As with
other situations, the key seems to
be giving Jayne a heavy stick and
standing back.
ANGLE ON: Jayne, sinking one of the few remaining balls. Mal
smiles at Inara, but:
(CONTINUED)
1 CONTINUED: (2) 1
MAL
Still think you might oughtta
clear out 'fore too much longer.
Seems there's a thief about.
INARA
A thief?
Mal leans in close, slips Inara a handful of paper money.
MAL
He took this right off 'em. They
earned that with the sweat of
their slave-tradin' brows.
INARA
Mal!
MAL
Terrible shame. 'Course, they
won't notice it 'til they go to
pay for their next drink --
WRIGHT (O.S.)
Hey! [Way!]
MAL
(to Inara)
Good drinker, that one.
Wright's hand falls heavily on Mal's shoulder. Mal spins and

LANDS A MIGHTY PUNCH.
Behind them, Holder jumps to help Wright. Jayne TACKLES HIM.
Inara jumps back against a wall, as Wright KICKS MAL'S LEGS

from under him. Mal falls.
Holder is up again, swinging a pool cue at Jayne.
Mal, on the floor, grabs the base of a small table and rams it
UP at Wright. Wright flies back.
It's a melee. Other patrons jump to join.
Inara jumps when a GLASS SHATTERS near her head. She heads
toward the door, fast. She passes the bartender as she goes.
INARA
(dryly)
Lovely place. I'll tell my
friends.
END OF TEASER
ACT ONE
2 EXT. SERENITY / PERSEPHONE - EFFECT 2
Descending out of orbit over Persephone.
3 INT. SERENITY - BRIDGE - DAY (DAY 2) / EFFECT 3
WASH pilots Serenity closer to the surface. ZOE stands behind

his chair, hand on Wash's shoulder, looking out.
As they approach, Persephone comes between them and this

system's sun; the planet's shadow moves over their faces. Zoe
bends down close to Wash, a couple enjoying a sunset.
WASH
It seem to you we cleared outta
Santo in a hurry?
ZOE
Seems to me we do that a lot.
Heard tell though, we're gonna
stay a while on Persephone,
upwards of a week maybe.
Wash whistles through his teeth.
WASH
Shiny.
ZOE
Yeah? Thought you'd get land-
crazy, that long in port.
WASH
Prob'ly. But I been sane a long
while now, and change is good.
Mal joins them. Looks out past them at the planet.
MAL
Well, ain't that a joyful sight.
WASH
Gotta love a sunset.
ZOE
Startin' to get familiar, too.
Like a second home.
(CONTINUED)
3 CONTINUED: 3
MAL
(firmly)
Persephone is not home. Too many
people we need to avoid. Resupply,
look for work, move along. We
sniff the air, we don't kiss the
dirt.
ZOE
Wasn't planning on the dirt-
kissing, Sir.
WASH
I wouldn't stand for it anyways,
Captain. Jealous man like me.
(re: piloting)
Closin' in.
ZOE
Planet's coming up a might fast.
WASH
Just means I'm going down too
quick. Likely crash and kill us
all.
As Mal exits:
MAL
That happens, let me know.
4 INT. INARA'S SHUTTLE - DAY 4
Inara sits facing a Cortex screen that hangs on the wall like
a mirror. There is local data across the top of the screen:
"Persephone", the local time (10 am), ship's status (docked)
The main part of the screen is labeled "Responses". The screen
features 12 small pictures -- 10 men, 2 women. Text under each
picture gives a name. Inara touches three pictures and they
disappear.
Inara looks at the ones that remain. She touches one of the
pictures and it expands to fill the screen. It's a taped
request from a pale YOUNG HOPEFUL (man).
YOUNG HOPEFUL
(on tape, nervous)
I understand your time on our
planet is limited. And if you've
selected my proposal to hear, then
the honor that you do me flatters
my...
(MORE)
(CONTINUED)
4 CONTINUED: 4
YOUNG HOPEFUL (cont'd)
(searches for words)
My honor... and I hope--
Inara taps the screen. The field of nine photos is back.

Before she can select another, a CHIME sounds and the screen
fills with the live (not recorded) image of ATHERTON WING.
Atherton is handsome, 30's with just enough charm to offset

his aura of entitlement. Inara smiles at the sight of him.
ATHERTON
(over the link)
Now there's the smile made of
sunlight.
INARA
Atherton! How wonderful to see
you.
ATHERTON
Did you get my message? I was
extra appealing.
INARA
Yesterday. I listened to yours
first. What a flattering
invitation. I had no idea I was
arriving in time for the Social
Event of the Season.
ATHERTON
We only have four or five of those
a year, you know. So you'll
accompany me, I ask, heart in my
throat? There is a certain offer
I'm still waiting to hear about.
SFX: KNOCK AT THE DOOR
INARA
Yes, I imagine there is. I'm
delighted to say I'll be there.
Now, I'm sorry, Atherton, I have
to run.
ATHERTON
I understand, I'll see you soon, <
sweetheart > [bao bay].
She severs the connection. His image freezes on the screen.
INARA
Come in.
Mal enters. Inara sets the screen on a table.

(CONTINUED)
4 CONTINUED: (2) 4
INARA (cont’d)
Good afternoon, Captain.
MAL
Morning. We're downing, and in
case Wash don't kill us all, local
time's gonna be in the a.m., ten
or so.
INARA
(why are you really here?)
Yes, I saw that.
Mal gestures toward the screen, trying to seem casual.
MAL
Making plans?
Inara tenses. He doesn't wait for an answer from her. He looks

closely at the screen.
MAL (cont’d)
"Atherton Wing". He's a regular,
ain't he?
Inara blanks the screen.
INARA
I've seen him before.
MAL
Well, I never did. Not what I
pictured. Young. Must be rich too,
to afford your rates.
INARA
I suppose. He has engaged me for
several days.
MAL
Days. The boy must have stamina.
INARA
He does.
Mal tries not to look stung.
MAL
Well... fine. Is he lettin' you
out at all?
INARA
Actually, we're attending a ball
tomorrow night.
(CONTINUED)
4 CONTINUED: (3) 4
MAL
Tell me, all the men there have to
pay for their dates, or just the
young rich ones with stamina?
INARA
Most of the women there will not
be Companions, if that's what
you're asking. Perhaps the other
men couldn't attract one.
MAL
Huh. Sounds like the finest party
I can imagine getting paid to go
to.
INARA
I don't suppose you'd find it up
the standards of your outings.
More conversation and somewhat
less petty theft and getting hit
with pool cues.
Inara moves to the door, a clear invitation. to leave.
INARA (cont’d)
I understand, if you need to go
prepare for that "it's ten in the
morning" issue.
MAL
Yeah. Better do that. Cuz I think
this is more of an evening look.
He exits.
5 EXT. STREET - DAY (DAY 2) 5
Outside a line of shops on Persephone. KAYLEE, Zoe, Jayne,

Wash and Mal are carrying some supplies back to the Mule.
The women and Wash walk ahead, then Jayne, then Mal. Mal
carries a heavy burlap sack.
They pass a high-class dress shop. There are three live MODELS
behind the electronic window, walking and posing, showing off
their gowns. Kaylee stops short, and Zoe almost runs into her.
KAYLEE
Ooh. Look at the pretties.
Zoe looks, and Wash joins her.
(CONTINUED)
5 CONTINUED: 5
WASH
What am I looking at? The girls or
the clothes?
Jayne stops short:
JAYNE
(immediately)
There's girls?
ZOE
(answering Wash,
overlapping)
The clothes, please.
Jayne looks too. Mal is forced to stop, wait.
KAYLEE
(pointing)
Say. Look at the fluffy one.
ZOE
Too much foofaraw. If I'm gonna
wear a dress, I want something
with slink.
WASH
(quickly)
You want a slinky dress? I can buy
you a slinky dress. Captain, can I
have money for a slinky dress?
JAYNE
I'll chip in.
ZOE
(casually, to Jayne)
I can hurt you.
KAYLEE
Only place I ever seen something
so nice is some of the things
Inara has.
MAL
We'd best be movin'--
ZOE
Guess she needs all that stuff,
life she leads.
(CONTINUED)
5 CONTINUED: (2) 5
KAYLEE
Well, sure. And sometimes the
customers buy her things. She
knows some real rich men--
MAL
Come on. T'ain't feathers I'm
toting here, you know.
KAYLEE
I like the ruffles. Inara gets to
wear whatever she--
MAL
What would you do in that rig?
Flounce around the engine room? Be
like a sheep walkin' on its hind
legs.
Jayne snorts a laugh at that. Kaylee's face shows she's hurt.

Zoe shoots Mal a hard look. She takes Mal's burden
effortlessly. She, Kaylee and Wash head o.s. toward the Mule.
ZOE
(coldly)
See you on the ship, Captain.
Mal instantly regrets what he said.
MAL
< Kick me in the bottom. > [Tee
wuh duh pee-goo.]
JAYNE
Is she mad or something?
There's a series of meaningful CLICKS behind him.
Mal and Jayne turn to find themselves facing BADGER, a cockney

criminal, a slice of local color with a fine hat.
Three of his LADS are with him, covering Jayne -- the clicks
were the cocking of their guns. Mal nods politely, as if this
is a normal way to run into an old acquaintance.
MAL
Badger.
BADGER
Captain Reynolds. Heard you was in
town. Thought we might have a bit
of a sit-down.
(CONTINUED)
5 CONTINUED: (3) 5
MAL
I'd prefer a bit of a "piss off."
BADGER
I'm very sorry. Did I give you the
impression I was asking?
6 INT. BADGER'S LAIR - DAY 6
Badger, Mal and Jayne sit uncomfortably around a cable-spool

table. Badger pours tea. Jayne eats from a plate of cookies.
MAL
Seems to me, last time there was a
chance for a little palaver, we
were all manner of unwelcome...
JAYNE
(re: tea)
That's not bad.
BADGER
(to Jayne, confidentially)
There's a trick to it. Wood
alcohol.
Mal continues as if he hadn't been interrupted.
MAL
Now, we're favored guests, treated
to the finest in beverages that
make you blind. So what is it you
need?
Jayne pours himself more tea, reaching across Mal.
JAYNE
'Scuse me.
BADGER
There's this local, name of
Warrick Harrow. He's got some
property he wants to sell off-
planet, to fetch a higher price.
MAL
But the local powers won't let him
sell off-world.
(CONTINUED)
6 CONTINUED: 6
BADGER
It's a conundrum. What my man
Harrow needs hisself, is a
smuggler. 'M willing to cut you in
on it.
MAL
Why me? You've got access to
ships. You could do it yourself.
BADGER
(reluctant)
He won't deal with me direct.
Taken an irrational dislike.
JAYNE
(mouth full)
What happened? He see your face?
BADGER
(ignoring Jayne)
He's a quality gent. Nose in the
airlike he never < smelled a fart
> [wun gwo pee]. Don't find me
respectable. You, I figure, you
got a chance.
MAL
You backed out of a deal, last
time. Left us hanging.
JAYNE
Hurt our feelings.
MAL
You recall why that took place?
BADGER
I had a problem with your
attitude, is why. Felt you was,
what's the word?
JAYNE
Pretentious?
Mal shoots Jayne a look.
BADGER
Exactly. You think you're better'n
other people.
MAL
Just the ones I'm better than.
(then)
(MORE)
(CONTINUED)
6 CONTINUED: (2) 6
MAL (cont'd)
Now, I thinkin' that very quality
is the one you're placing value on
today.
BADGER
I place value on the fact that the
stick up your < bottom > [pee-goo]
is 'bout as large as the one
Harrow's got.
Jayne barks a laugh at that. Mal shoots him another look.
MAL
How would you even set up a meet,
man won't deal with you?
BADGER
I know a place he'll be. Safe
place, using some new-tech gun
scans. High class, too. They
wouldn't let me in there, but you
might slip by. 'Course you
couldn't buy an invite with a
diamond size of a testicle. But I
got my hands on a couple.
Mal raises his eyebrows for a pregnant beat.
BADGER (cont’d)
(clarifying)
...of invites. You want the
meeting or not?
Mal considers.
BADGER (cont’d)
You want to do business in
Persephone. you do it through me.
But if you're so well off you
don't need it...
7 INT. SERENITY - ENGINE ROOM - DAY (DAY 2) 7
Kaylee is working on the engine. Mal enters.
MAL
Kaylee.
She avoids his eyes, busies herself with her work. No answer.
MAL (cont’d)
Kaylee.
(CONTINUED)
7 CONTINUED: 7
KAYLEE
I'm not speaking to you, Captain.
MAL
Got no need to speak... C'mon.
He turns to go, matching her coldness.
MAL (cont’d)
Got a job for you.
8 INT. PARTY - FOYER - NIGHT (DAY 3) 8
Atherton Wing ushers Inara into the richly decorated foyer of

a large public building. They are dressy and elegant.
ATHERTON
After you...
The ballroom is beyond, through an ornate arch -- there is no

visible machinery associated with the arch. Two couples are in
front of them, waiting to go through. A DECORATED OFFICIAL
stands to the side of the arch.
ANGLE ON THE ARCHWAY
One couple passes through. A PORTER, his back visible through

the arch, can be heard, slightly muffled, as he announces them
to the room beyond.
PORTER
William and Lady Cortland.
The next couple, equally elegant, heads for the arch. The
woman steps through, but the WELL-DRESSED MAN is held in place
by something unseen.
A PLEASANT CHIME SOUNDS.
The Well-Dressed Man is not harmed, not struggling, but he

can't move forward. He steps back, smiles at the Official.
WELL-DRESSED MAN
Terribly sorry. Oversight.
He removes a small pistol from a suit jacket pocket, hands it

to the Official. He passes though the arch to join his date.
PORTER
Colonel Cyrus Momsen and escort.
Atherton and Inara step through.

9 INT. PARTY - BALLROOM - CONTINUOUS 9
Atherton and Inara enter.
PORTER
Atherton Wing and Inara Serra.
We see the room now, filled with elegant party-goers,

circulating waiters, live musicians, a buffet table...
Fresh food means money, so many of the decorations feature

huge bowls of fruit. There is also a hovering chandelier.
Atherton and Inara move into the room. Inara waves at someone,
exchanges air kisses with another woman.
INARA
Roberta, it's been too long.
She greets an elderly man sitting in a chair:
INARA (cont’d)
< You're looking wonderful, old
friend >. [Lao pung yo, nee can
chi lai hun yo jing shen]
They move on. Atherton talks softly into her ear.
ATHERTON
Half the men in this room wish you
were on their arm tonight.
INARA
Only half? I must be losing my
undefinable allure.
ATHERTON
Not that undefinable. All of them
wish you were in their bed.
Inara finds that in bad taste. She looks away, changes the
topic.
INARA
I'm looking for the boy with the
shimmerwine.
ATHERTON
Oh, she blushes.
(considering)
Not many in your line of work do
that. You, you are a singular
woman and I find,
(MORE)
(CONTINUED)
9 CONTINUED: 9
ATHERTON (cont'd)
(stammering, sincere)
I find I admire you more and more.
Inara stops and looks at him,
touched. I'm trying to give you
something, you know. A life. If
you want it.
INARA
Atherton...
ATHERTON
You can live here, on Persephone.
As my personal companion.
INARA
You are a generous man.
ATHERTON
That's not a "yes".
INARA
(after a beat)
It's not a "no" either.
Inara greets another acquaintance.
INARA (cont’d)
(to a woman)
You look gorgeous, dear.
Atherton spots a glass of champagne -- a waiter is passing

with a tray. Atherton lifts the glass and offers it to Inara
in one smooth move. She smiles, delighted.
ATHERTON
You belong here, Inara, not on
that flying piece of < crap > [gos
se]. You see that, don't you?
INARA
Atherton, language.
ATHERTON
What, "piece of < crap > [gos
se]"? But it is a piece of < crap
> [gos se].
PORTER (O.S.)
Miss Kaywinnit Lee Frye and
escort.
Inara turns her head sharply and a little rudely away from
Atherton, startled into looking at the door.
(CONTINUED)
9 CONTINUED: (2) 9
INARA
Kaylee?
ON KAYLEE
She enters, eyes wide, soaking it all in. She wears the
ruffled dress from the window and looks beautiful. She carries
a glittery evening bag. She's Cinderella at the ball.
Mal steps forward to join her. He is in his Sunday best,

something dark and Rhett Butler-y, maybe a cut-away coat.
ACROSS THE ROOM,
Inara stares, locking in on Mal.
INARA (cont’d)
Oh < crap > [gos se]
END OF ACT ONE

ACT TWO
10 INT. PARTY FOYER - CONTINUING 10
Mal and Kaylee make their way into the party. Her eyes are
bright and wide as she takes it all in at once. Mal is trying
to look cool and cosmopolitan, but is actually almost as
impressed as Kaylee. He tugs at his suit.
MAL
Does this seem kind of... tight?
KAYLEE
Shows off your backside. Didja see
the chandelier? It's hovering
Mal looks up at the chandelier.
MAL
What's the point of that, I
wonder?
KAYLEE
Ooh, pineapples.
Mal is still eyeing the chandelier.
MAL
I mean, I get how they did it. I
just ain't seeing the why.
KAYLEE
These girls have the most
beautiful dresses. And so do I,
how 'bout that!
MAL
Well, careful with it. We cheated
Badger outta good money to buy
that frippery. You're s'posed to
make me look respectable.
KAYLEE
Yes sir, Captain Tightpants.
Mal starts looking around, seeking someone out.
MAL
I'm looking for our guy, Harrow.
KAYLEE
And Inara. We should look for her,
right? Just to hallo at her.
(CONTINUED)
10 CONTINUED: 10
MAL
(too casual)
If we see her. Think she's wearing
green.
Kaylee is distracted by a passing group of attractive young

men in fancy clothes.
KAYLEE
(to Mal, too loudly)
Say, lookit the boys!
Nearby party-goers glance over. Mal winces. Kaylee doesn't

notice.
KAYLEE (cont’d)
Some of them's pretty as the
doctor.
She stares, struck speechless, as a waiter passes, carrying a

huge BOWL OF ENORMOUS STRAWBERRIES to the buffet table.
MAL
Help me find our man. S'posed to
be older, kinda stocky, wearing a
red sash crossways.
Kaylee never takes her eyes off the strawberries.
KAYLEE
Why's he doing that?
MAL
Maybe he won the Miss Persephone
pageant. Help me look.
KAYLEE
That him?
Mal looks where she's pointing, at the buffet table.
MAL
That's the buffet table.
KAYLEE
How can we be sure? You know,
unless we question it?
MAL
Fine. Don't make yourself sick.
Kaylee flashes him a big smile.
(CONTINUED)
10 CONTINUED: (2) 10
KAYLEE
< Thank you > [Sheh-sheh], Cap'n!
And she's off to the buffet. Mal heads off on his own.
11 INT. SERENITY COMMON AREA / KITCHEN - NIGHT 11
SIMON, BOOK and Jayne play Chore poker. It looks like five
card draw, only instead of chips, they're playing for pieces
of paper. Each man has a collection of scraps in front of him -
- Simon has the least and Book the most. Simon shuffles.
SIMON
Ante up, gentlemen.
(antes piece of paper)
Dishes.
BOOK
(anteing)
Dishes. Could do with less of
them.
JAYNE
(anteing)
Garbage.
Simon completes the deal. The three men study their cards.
BOOK
I'll take two.
JAYNE
(re: his hand)
Speakin' of garbage.
(then)
Gimme three.
SIMON
And one for the dealer.
Simon gives out the cards.
BOOK
What do you s'pose the Captain and
Kaylee are doing now?
(betting)
Septic flush.
JAYNE
Eatin' steaks off plates made a'
solid money, like as anything. I
fold.
(CONTINUED)
11 CONTINUED: 11
SIMON
Me too.
JAYNE
Take it, Shepherd.
BOOK
Thank you, gents. That's a nice
pile of things I don't have to do.
The CAMERA FINDS River, sitting in the kitchen, next to a box

of supplies. She takes the label off a can of peaches.
RIVER
There it is, there it is. It's
always there if you look for it.
Everybody sees and nobody sees
it...
BACK AT THE GAME:
Jayne shuffles.
SIMON
The party is probably a buffet.
And there'll be dancing. And
beautiful women. Dozens of them.
JAYNE
And you can dance with any of 'em?
SIMON
Well, there are social
conventions, ways of asking, ways
of declining...
BOOK
It sounds very complicated. I'll
never understand why it's
considered a sacrifice to live a
simple life.
JAYNE
Yeah. I wouldn't trade this for
nothing, playing cards for a night
off from septic flush duty.
IN THE KITCHEN,
River has three cans unlabeled, and she's crushing a box of

crackers. It has a visible, not emphasized, "Blue Sun" on it.
She gets more violent and loud as she continues.
(CONTINUED)
RIVER
These are the ones that take you!
Little ones in the corner that you
almost don't see. But they're the
ones that reach in and do it.
They're the ones with teeth and
you have to smash them!
AT THE GAME,
River's ranting is audible now. Simon drops his cards and goes
to her. Book follows.
SIMON
River?
BOOK
Is she hurt?
JAYNE
Better see to her.
(called after)
Bad habit for a fugitive. She's
gonna do that in public some day,
get herself hauled off.
Jayne moves a few exemptions from Book's pile to his own.
IN THE KITCHEN
Simon has an arm around River, calming her down. Book looks at
the supplies. River rants the whole time.
SIMON RIVER
River, it's me. Calm down. A million things, and the
little ends of the roots go
BOOK everywhere and when you brush
She didn't harm much. your teeth or all the little
(re cans) blue things are there but no
We'll have a few mystery one says it because, because
meals. sometimes they're afraid. And
then they come....
SIMON
River, it's okay. It's okay.
She winds down, stops talking. Book and Simon relax.
JAYNE (cont’d)
So, we gonna play cards, or we
gonna screw around?
12 INT. ZOE AND WASH'S QUARTERS - SAME TIME 12
Wash and Zoe in a post-coital tangle, limbs and sheets,

exhausted and happy.
ZOE
Thought you wanted to spend time
off-ship this visit.
WASH
Seems like out there it's all
fancy parties. I like our party
better. The dress code's easier
and I know all the steps.
Zoe's eyes are closing.
ZOE
I'd say you do, at that.
WASH
Don't fall asleep now. Sleepiness
is weakness of character, ask
anyone.
Zoe starts to laugh, her eyes still closed.
ZOE
It is not!
WASH
You're acting Captain. You know
what happens, you fall asleep?
ZOE
Jayne slits my throat and takes
over?
WASH
That's right
ZOE
And we can't stop it?
WASH
I wash my hands of it. Hopeless
case. I'll read a nice poem at the
funeral. Something with imagery.
ZOE
You could lock the door. Keep the
power-hungry maniac at bay.
(CONTINUED)
12 CONTINUED: 12
WASH
Don't know. I'm starting to like
this poetry thing. "Here lies my
beloved Zoe, my autumn flower,
somewhat less attractive now that
she's all corpse-ified and
gross...
Zoe hits him with a pillow.
13 INT. PARTY 13
Back at the party, Kaylee approaches an attractive BOY (early

20s) who is watching the dancers.
KAYLEE
(re dancers)
Aren't they something? Like
butterflies or little pieces of
wrapping paper, blowing around...
The boy turns toward her and bows politely and moves away. But
there's too much going on for Kaylee to be disappointed.
She joins a group of four GIRLS her age and younger, standing
and gossiping. She waits until a group-laugh subsides.
KAYLEE (cont’d)
Hello!
One of the girls, BANNING, seems to be the queen bee. She

looks at Kaylee in surprise.
BANNING
I don't... have we been
introduced?
Kaylee grabs Banning's hand, shakes it with enthusiasm.
KAYLEE
I'm Kaylee.
BANNING
Banning. And this is Destra,
Cabott, and Zelle.
KAYLEE
Don't you love this party?
Everything's so fancy and there's
some kind of hot cheese over
there.
(CONTINUED)
13 CONTINUED: 13
CABOTT
It's not as good as last year.
KAYLEE
Really? What'd they have last
year?
CABOTT
Standards.
Destra and Zelle giggle, but Banning looks sympathetic.
BANNING
You're not from Persephone, are
you?
KAYLEE
I'm from Serenity. Neat little
Firefly class. I keep the engines.
She's a sweet runner.
BANNING
Uh-huh. Who made your dress,
Kaylee?
KAYLEE
Oh, do you like it? When I saw the
ruffles, I just couldn't--
BANNING
You ought to see to your girl.
KAYLEE
< What? > [Shah muh?]
BANNING
(confidential)
Your girl. She's not very good.
She made you a dress looks like
you bought it in a store.
The other girls giggle again, but Banning plays it off with a
straight face.
KAYLEE
Oh. I... I didn't know...
BANNING
I'm only trying to help. No one
wants you to look foolish...
A nearby guest, MURPHY, a kind-looking man in his 50s,.

interrupts.
(CONTINUED)
MURPHY
(off-hand, for Kaylee's
benefit)
Why Banning Miller, what a vision
you are in that fine dress. Must
have taken a dozen slaves a dozen
days just to get you into that get-
up. 'Course your daddy tells me it
takes the space of a schoolboy's
wink to get you out of it again.
Banning leaves, mortified. Her friends are suppressing

giggles.
MURPHY (cont’d)
(to Kaylee)
Forgive my rudeness. I can not
abide useless people.
SOME DISTANCE AWAY, MAL
Approaches HARROW, who is indeed wearing a red sash. Harrow is

upper-crust, an acute observer with a strong code of behavior.
He doesn't immediately take to rough-edged Mal.
MAL
Beg pardon, sir. But would you be
Mr. Warrick Harrow?
It's a bad start.
HARROW
Sir Warrick Harrow. The sash.
MAL
The sash.
HARROW
It indicates lordhood.
MAL
And it's, it's doing a great job.
Harrow moves a few steps away, dismissing Mal. Mal has to

follow.
MAL (cont’d)
Sir, my name is Malcolm Reynolds.
I captain a ship, name of
Serenity. I mention this because I
have been led to understand you
want to move some property off-
world...
(CONTINUED)
Mal is distracted as INARA AND ATHERTON DANCE NEARBY. No one

makes eye contact, but Mal and Inara are very aware of each
other. Harrow observes this.
MAL (cont’d)
... some property off-world,
discreetly.
Harrow takes a closer look at Mal. Still not impressed.
HARROW
You're mistaken, sir. I'm an
honest man.
MAL
Seems to me, there's nothing
dishonest about getting your goods
to people what need them.
HARROW
You're concerned about the poor.
And yet, for what you're offering,
you'd want money, I imagine.
MAL
Well, sir. I think you'll find
that working with me is giving to
the poor.
HARROW
Whom is it you represent?
MAL
"Represent" isn't exactly -
HARROW
Don't waste my time.
MAL
Fellow called Badger.
HARROW
I know him. And I think he's a
psychotic lowlife.
MAL
And I think calling him that is an
offense to the psychotic lowlife
community. But the deal is solid.
Mal is startled by a touch on his arm. He turns, surprised to

see Atherton there. Inara, unsmiling, is at his elbow.
(CONTINUED)
ATHERTON
Sorry to interrupt.
(a greeting)
Sir Harrow. I know you from the
club, I believe.
Harrow nods, coolly.
INARA
(resigned)
Captain, this is Atherton Wing.
Atherton, Captain Mal Reynolds.
Atherton and Mal shake hands, sizing each other up.
MAL
Pleased to meet'cha. Inara, I
didn't realize you were going to
this party.
INARA
(icy)
It's the only party.
MAL
And I can see why. How 'bout that
floating chandelier?
Atherton circles Inara's arm with his hand... a gesture that

is both affectionate and possessive.
ATHERTON
How do you come to be here,
Captain?
MAL
Oh I love a party. I was just
telling that to my friend here.
ATHERTON
(to Harrow)
I didn't know you were acquainted.
HARROW
It is beginning to seem
unavoidable.
Mal watches as Atherton's fingers shift on Inara's arm. We can

see the white circle the pressure of his fingers has left. Mal
sees that, makes a decision.
MAL
Ath. Can I call you Ath? Inara has
spoken of you to me.
(MORE)
(CONTINUED)
MAL (cont'd)
She made a point of your
generosity. Given that, I'm sure
you won't kick if I ask Inara the
favor of a dance.
Atherton hesitates, can't find a way out.
ATHERTON
Of course.
Atherton and Harrow end up standing side by side watching as

Mal leads an angry Inara onto the dance floor.
HARROW
(to Atherton)
You're a brave man.
ATHERTON
(clipped)
I know what's mine.
Harrow scowls, disliking Atherton.
MAL AND INARA
On the dance floor.
INARA
Why are you here?
The music begins for their dance -- it's a courtly and

complicated dance, rather Regency England in style. Mal
watches the other couples. It's easy at first, lots of walking
around each other.
MAL
Business, same's you. I was
talking to a contact about a
smuggling job, and you came over
to me.
INARA
You were staring at me.
MAL
I saw you, is all. You stand out.
The dance takes them apart for a few beats, bowing and
curtsying to other couples.
Mal starts to make his curtsy mistake as in the Train Job, but
he corrects it. They come back together and now dance palm-to-
palm.
(CONTINUED)
INARA
In this company, Captain, I
believe you are the one who stands
out.
MAL
Maybe I just like watching a
professional at work, then. Is
this the hardest part, would you
say, or does that come later?
INARA
You have no call to try to make me
ashamed of my job. What I do is
legal, and how is that smuggling
coming?
MAL
My work's illegal, but it's
honest.
INARA
What?!
MAL
While this... the lie of it...
that man parading you on his arm
as if he actually won you, as if
he loves you, and everyone going
along with it. How can that not
bother you?
INARA
"Going along with it"?
MAL
He treats you like an ornament.
Other men look at you and discuss
if you're worth the cost. The
women talk behind their fans,
picturing you with their husbands.
And to your face, they're sweet as
pie.
INARA
That's not true.
MAL
Well, I guess you'd know. It's not
my world.
(CONTINUED)
INARA
These people like me, and I like
them. I like Atherton too, by the
way.
MAL
Well, sure, what's not to like?
I'm liable to sleep with him
myself.
INARA
And he likes me, whether you see
it or not.
MAL
(dismissive)
Of course.
INARA.
He's made me an offer.
Mal didn't expect that.
INARA
You may think he doesn't honor me.
But he wants me to live here. I
would be his personal Companion.
MAL
< Qow > [Wah!] That's as romantic
as a marriage proposal. No wait,
it's not.
INARA
It would be a good life, Mal. I
could belong here. Call me
pretentious, but there is some
appeal in that.
Mal reacts to the word "pretentious," startled by it. Beat.
MAL
I.. You're right. I got no call to
stop you.
Inara accepts that for the concession it is. Then:
INARA
I see Kaylee is here.
(CONTINUED)
MAL
Girl was crying Cinderella tears.
shoulda seen her, when I said she
could have that layer cake she's
wearin'.
Inara relaxes a little.
INARA
I think she looks adorable.
MAL
Well, yeah, but I never said it.
KAYLEE
She's now surrounded by a group of gentlemen farmers, Murphy

and his friends. Many of them are older, some young.
She's enjoying chocolate mints, talking with her mouth full.

The men are laughing. The dialog overlaps as they debate:
KAYLEE
I'm not saying the eighty-oh-
four's hard to repair, it just
ain't worth it.
OLDER FARMER
It's a fine machine, keep it tuned-
-
KAYLEE
< No way >. [Tsai boo shr] The
extenders ain't braced.
MURPHY
(re: older farmer)
We've been tellin' him buy an
eighty- ten for years!
KAYLEE
(overlapping Murphy)
Those 'tenders snap off, it don't
matter how good the engine's
cyclin'.
YOUNGER FARMER
(jumping in quick)
Miss Kaylee, I wonder if I could
request the honor of--
He's shouted down by the other men:
(CONTINUED)
FARMERS
Dance later!/She's talking./Let
her talk.
KAYLEE
(to Murphy)
By the way, the eighty-ten's the
same machine. They changed the
plating, hoped no one'd notice!
If you knew these machines, oh, you'd find this hilarious. The
men laugh, urging her on.
MAL AND INARA
The dance gets more complicated now, some tricky footwork.

Inara and all the other dancers do it easily. Mal stumbles. He
catches himself with hands around Inara's waist. As the music
ends, he straightens himself out, grins at her.
MAL
Possible you were right before.
This ain't my kind of a party.
Inara can't help herself and she smiles. Atherton is suddenly

there. He's seen enough. He takes her back roughly, hauling
her by the arm.
MAL (cont’d)
Watch yourself there. No need for
any hands-on.
Guests, including Harrow, look at the public display.
ATHERTON
Excuse me. She's not here with
you, Captain. She's mine.
MAL
Yours? She don't belong to nobody.
ATHERTON
Money changed hands. Makes her
mine tonight. And no matter how
you dress her up, she's still--
Without warning, Mal hauls off and PUNCHES ATHERTON, lays him
right down on the floor. Mal smiles and looks to Inara.
MAL
Turns out this is my kind of a
party!
Harrow looks impressed, watching everything.

(CONTINUED)
INARA
Oh, Mal...
MAL
What? Man was out of line--
ATHERTON
(as he rises)
I accept!
MAL
That's great. What?
GENTLEMAN
There has been a challenge!
Atherton is on his feet.
ATHERTON
I hope you're prepared, Captain.
MAL
You all talkin' 'bout a fight?
Well, fine, let's get out of here!
INARA
It's not a fist fight, Mal.
GENTLEMAN
The duel will be met tomorrow
morning, on Cadrie Hill.
MAL
why wait? Where's that guard? He
collected a whole mess a' pistols--
GENTLEMAN
If you require it, any gentleman
here can give you use of a sword.
MAL
Use of a... s'what?
END OF ACT TWO

ACT THREE
14 INT. PARTY - CONTINUING 14
People are where we left them. Mal looks confused. Harrow,

Inara and the ballroom full of people look on.
MAL
I laid the fellow out. Seems to me
the transaction is complete. Also
satisfying.
GENTLEMAN
Everyone, enjoy the party, please.
There's no farther action here.
The crowd disperses, including Atherton, who moves away with

an evil look at Mal. Kaylee separates herself from the crowd,
moving in close to Mal.
KAYLEE
(to Mal)
What's going on?
MAL
Not rightly sure.
(to Harrow)
what's going on?
HARROW
Well, first off, you'll be put up
in lodgings for the night, so you
don't disappear. I wouldn't blame
you, incidentally. Wing may be a
spoiled dandy, but he's an expert
swordsman. He's killed a dozen men
with a longblade and you're the
only one gave him a reason.
MAL
This is a joke.
INARA
And he'll need a second.
MAL
What's that?
HARROW
I'll take on the job.
INARA
He fights if you refuse--
(CONTINUED)
14 CONTINUED: 14
ATHERTON (O.S.)
Inara!
ANGLE ON ATHERTON: Waiting impatiently. She hesitates.
ATHERTON (cont’d)
Come with me, please.
MAL
(to Harrow)
You takin' this on, being my
second. Does this mean we're in
business?
Harrow chuckles.
HARROW
It means you're in mortal danger.
But you mussed up Atherton's face
and that has endeared me to you
somewhat. You might even give him
a fight before he guts you.
ATHERTON
Inara!
Inara tears herself away, eyes still on Mal. Finally she

turns, goes to Atherton. Mal watches her go.
KAYLEE
(apologetically helpful)
Up 'til the punching, it was a
real nice party.
15 INT. SERENITY - CARGO BAY - DAY 15
Jayne is in the cargo bay, working out with those hanging

rungs under the catwalk. His shotgun leans against a wall
nearby.
He's interrupted by a loud metallic BANGING.
Jayne crosses and opens the door, (not the ramp, the door into
the airlock) revealing Badger, holding a wrench. He's been
banging on the door with it.
BADGER
(off-hand)
Your captain's gone and got
hisself in trouble.
TIME CUT TO:

Badger stands near the infirmary end of the cargo bay. The
assembled crew, Zoe, Wash, Jayne, Simon, Book, are gathered
around, back to the closed ramp. (River isn't there.)
BOOK
A duel?
WASH
With swords?
SIMON
The captain's a good fighter. He
must know how to handle a sword.
Simon and Book look to Zoe hopefully.
ZOE
I think he knows which end to
hold.
SIMON
All right. So now we just need to
figure how to get him out of
there.
BOOK
We have until the morning,
correct?
(to Badger)
Do you know what lodging he's in?
BADGER
Oh, this is embarrassing. Some of
you seem to be misapprehending my
purpose in being here.
Zoe stands. It's suddenly clear that now, this is her ship.
ZOE
You're here to make sure we don't
do what these men are keen on
doing.
BADGER
Penny for the smart lady.
Persephone's my home. I gotta do
business with the people here. I
don't want it known I brought
someone in caused this kinda
ruckus.
(MORE)
(CONTINUED)
16 CONTINUED: 16
BADGER (cont'd)
We'll just settle in here 'til
this blows over one way or t'other-
Jayne is suddenly there, at Badger's back, shotgun raised. He

CRACKS BADGER OVER THE SKULL WITH IT.
Badger falls. Jayne points the gun at Badger's head.
ZOE
(calm)
Jayne. I wouldn't.
JAYNE
Why not?
Zoe looks toward the doorway. Jayne follows the look...
ANGLE ON THE DOORWAY: FOUR OF BADGER'S LADS: all of them with

guns. One of them has a scared Kaylee by the arm.
KAYLEE
(small)
Hi.
Jayne sags.
17 INT. LODGING - MALL AND RQOM - NIGHT 17
Inara slips quietly down a hallway, like a modern hotel hall,

only with Chinese numbers on the doors. And, oddly, round
SMALLOW HOLES INSTEAD OF DOOR KNOBS (the holes don't go all
the way through the doors). She stops at a closed door.
Now we get to see how a hotel key works. She is holding a

small metal sphere with a small protruding round shaft. The
sphere is about 2/3 the size of a regular doorknob. She holds
it near the hole in the door and magnets pull it in. THE SHAFT
FITS INTO THE HOLE ON THE DOOR AND, THUS, THE SPHERE BECOMES A
DOORKNOB! The mechanism hums and A SMALL LIGHT COMES ON. She
turns it, unlocking and opening the door.
She enters quietly and we see the room, again, not too
different from a modern hotel room. A sword lies on the bed.
Mal, suit coat off, shirt sleeves rolled up, stands, back to
her, brandishing a sword with ridiculous flourishes.
Inara makes a noise and Mal JUMPS. He spins to see her. His
sword swings, hits the wall and the tip embeds in the plaster.
The sword hangs there.
MAL
What are you doing here?
(CONTINUED)
17 CONTINUED: 17
He tugs at the embedded sword, trying not to be obvious.
INARA
Atherton's a heavy sleeper, night
before a big day. He's got the
killing you in the morning, then a
haircut later.
MAL
It's such a comfort having friends
visit at a time like this.
Mal tugs the sword free. Inara looks around the room.
INARA
I knew the accommodations would be
nice. Atherton doesn't skimp.
MAL
Don't s'pose I like being kept by
him s'much as others do. How come
you're still attached to him?
INARA
Because it's my decision. Not
yours.
MAL
Thought he made it pretty clear
he's got no regard for you.
INARA
You did manage to push him into
saying something, yes. Made a nice
justification for the punch.
MAL
He insulted you. I hit him. Seemed
like the thing to do. Why'd this
get so complicated?
INARA
Well, it's about to get simpler.
There's a back door. I have the
desk clerk on alert. He'll let us
out.
MAL
I'm not gonna run off.
Inara looks at him, surprised.
(CONTINUED)
MAL (cont’d)
No matter what you've got into
your head, I didn't do this to
prove some kinda point to you. I
actually thought I was defending
your honor. And I never back down
from a fight.
INARA
Yes you do! You do all the time!
MAL
Yeah, okay. But I'm not backing
down from this one.
INARA
He's an expert swordsman, Mal. You
had trouble with that wall. How
will your death help my "honor "?
MAL
But see, I'm looking to have it be
his death. 'S why I need lessons.
Mal picks the other sword off the bed and throws it to her.
She catches it expertly.
MAL (cont’d)
Figure you'd know how. Educated
lady like you.
18 INT. SERENITY - CARGO BAY 18
It's still a hostage situation here in the cargo bay.
Wash has his head down, trying to sleep. Book reads his Bible
and prays silently.
Badger leans against the wall, eating a sandwich.
Jayne, Simon and Zoe talk quietly, pretending to play cards.

Kaylee is bending over to talk to them.
KAYLEE
...but he said not to do anything.
He'll join us after he wins the duel.
JAYNE
And what if he don't win?
(CONTINUED)
18 CONTINUED: 18
ZOE
It doesn't hurt to have a
contingency plan, Kaylee.
Kaylee moves away, unconvinced.
SIMON
I'm thinking; since we're unarmed,
we should take them by surprise
all at once.
ZOE
Not necessarily. We could lure one
or two of 'em away, say, to the
infirmary, take 'em out, be on
Badger 'fore he knows what
happened.
ANGLE ON THE DOORWAY FROM THE INFIRMARY: River appears. She

looks blank and aimless. No one sees her, and the discussion
continues.
JAYNE
Only if his attention's elsewhere.
We need a diversion. I say Zoe
gets nekkid.
Wash, without raising his head:
WASH
Nope.
JAYNE
I could get nekkid.
SIMON / ZOE / WASH

No!
Book looks up and sees River. He winces, but keeps his

reaction small. He gets up casually and makes his way over to
Simon. Book puts a hand on Simon's back.
SIMON
What?
BOOK
(whispers)
Don't look now. In the doorway.
ANGLE ON: River. She's stepped over the threshold now...
Simon tenses, starts to stand up.
(CONTINUED)
SIMON
I'll get her out 'fore he spots
her.
Simon heads toward River. Badger doesn't look up. Simon is at

her, hand on her arm...
ANGLE ON: RIVER AND SIMON.
SIMON (cont’d)
(whispers)
River. You can't be here...
RIVER
(whispers)
There's things in the air in
there. Tiny things.
SIMON
Come on...
Simon tries to lead her back inside, but she pulls back,
smiling a little, thinking it's a game.
RIVER
Pull, pull...
SIMON
River! Please!
BADGER (O.S.)
Who's this then?
Simon turns to see Badger, standing close. River avoids

Badger's gaze, turning toward Simon for protection.
BADGER (cont’d)
Look at me. What's your story,
luv?
River looks around, unfocused.
SIMON
She's just a passenger.
BADGER
(to Simon)
Yeah? Why ain't she talking? She
got a secret?
SIMON
No, I'm sure not--
(CONTINUED)
RIVER
(in Badger's accent)
Sure, I got a secret. More'n one.
River raises her head, looks Badger in the eye. She's

completely sane, unafraid, and she sounds like she's from his
home town. She's also kinda pissed.
RIVER (cont’d)
Don't seem likely I'd tell 'em to
you, do it? Anyone off Dyton
Colony know's better'n to talk to
strangers.
She picks something off Badger's lapel, looks at it, wipes it

back onto him.
RIVER (cont’d)
You're talking loud enough for the
both of us, though, ain't you?
I've known a dozen like you.
Skipped off home early, minor
graft jobs here and there. Spent
some time in the lock-down, I
warrant, but less than you claim.
Now you're what, petty thief with
delusions of standing? Sad little
king of a sad little hill.
After a beat...
BADGER
Nice to see someone from the old
homestead.
RIVER
Not really.
(to Simon)
Call me f'anyone interesting shows
up.
BADGER
(to Simon)
I like her.
ANGLE ON: JAYNE and ZOE.
JAYNE
That there? 'Xactly the kind of
diversion we coulda used.
19 INT. MAL'S LODGING - PRE-DAWN 19
The furniture has been pushed to the walls. In the center of

the cleared room, Inara and Mal face off, holding swords.
INARA
Attack.
He attacks, swinging the sword. She slips out of the way.
INARA (cont’d)
How did I avoid that?
MAL
By being fast like a freak.
INARA
No. Because you always attack the
same way, swinging from the
shoulder like you're chopping
wood. You have to thrust with the
point sometimes, or swing from the
elbow;
MAL
Swinging from the shoulder feels
stronger.
She touches his arm, adjusting his swing, controlling it. It's
an intimate touch.
INARA
It's also slower, Mal. You don't
need strength as much as speed.
We're fragile creatures. It takes
less than a pound of pressure to
cut skin.
MAL
You know that? They teach you that
at the whore academy?
Inara backs away, breaking the contact.
INARA
You have a strange sense of
nobility, Captain. You'll lay a
man out for implying I'm a whore,
but you keep calling me one to my
face.
(CONTINUED)
19 CONTINUED: 19
MAL
I might not show respect to your
job, but he didn't respect you.
That's the difference. Inara, he
doesn't even see you.
INARA
Well, I'm sure death will settle
the issue to everyone's
satisfaction.
MAL
This < stupid > [yu bun duh] duel
is the result of rules of your
society, not mine.
She's angry now, waving her sword as she gestures.
INARA
Mal, you always break the rules.
It doesn't matter which "society"
you're in! You don't get along
with ordinary criminals either!
That's why you're constantly in
trouble!
Mal backs away from her sword.
MAL
And you think following rules will
buy you a nice life, even if the
rules make you a slave.
Inara, turns away, frustrated almost to tears.
Then, Mal, avoiding her eye:
MAL (cont’d)
Don't take his offer.
Inara turns and stares at him.
INARA
What?
MAL
Don't do it. Because, in the case
it comes up, that means he's the
fella killed me. And I don't like
fellas that killed me. Not in
general.
He starts practicing again, unable to look at her.
(CONTINUED)
MAL (cont’d)
I said before I had no call to
stop you. And that's true. But,
anyways... don't.
INARA
I need to get back. He'll be up
early.
And she exits, leaving him alone. He swings the sword.
MAL
Right. He's got that big day.
20 EXT. PERSEPHONE - MORNING (DAY 4) 20
A grassy hillside at dawn would be lovely. About 15

spectators, men and women, cluster around the duelling area.
Among them are a couple of Badger's lads. The crowd shifts and
CHATTERS with anticipation.
Mal and Harrow stand, heads together, to one side. Harrow is

smiling, Mal looks intense, adjusting and readjusting his grip
on his sword. He's still wearing his dressy suit.
Atherton and his Second, another young dandy, are at the other
side, talking and laughing easily. Inara stands near them, but
her eyes are on Mal.
He meets her look, holds it.
The gentleman who first announced the challenge steps to the

center. He raises his hands, commanding attention. Gradually
the crowd quiets. He clears his throat.
GENTLEMAN
Ladies and gentlemen, the field of
combat is a somber place. A man
will here today lay down his life.
Let the duel begin.
The last sentence is given no special emphasis, and there is

no sound from the crowd. MAL doesn't even realize the fight
has begun until the gentleman blends back into the crowd and
Atherton steps out, smiling and handling his sword casually.
Mal steps forward, uncertain.
HARROW has moved over by Inara. They exchange a grim look.
MAL AND ATHERTON
(CONTINUED)
20 CONTINUED: 20
face off. Atherton attacks first, an easy swing that MAL

parries.
MAL hits back, thrusting with the point of the sword. Atherton
barely gets out of the way in time, in fact, his vest is
nicked.
MAL
Best be careful, Ath. I hear these
things are sharp.
HARROW AND INARA
HARROW
He thinks he's doing well, doesn't
he?
INARA
He's being toyed with.
BACK TO THE FIGHT
MAL ducks to avoid a blow.
Atherton brings up his blade to deflect a blow. CLANG. While

MAL hesitates, Atherton tosses his blade in the air and
catches it with the other hand, showing off.
MAL gets nicked on the arm.
Atherton parries a blow away with such force it throws MAL off-
balance.
Atherton steps back, and PUTS HIS SWORD BEHIND HIS BACK.
HARROW
What's he doing?
INARA
(gritted teeth)
Don't fall for that.
Mal lunges. Atherton steps to the side, the lunge goes past
him. Atherton strikes, as he had planned, attacking sideways
with the sword from behind his back, stabbing Mal in the side.
Inara looks stricken.
HARROW
Well, this isn't going to take
long, is it?
On Mal, looking down, shocked, at his wound.
END OF ACT THREE

ACT FOUR
21 EXT. PERSEPHONE - CONTINUING 21
The crowd is more active now, sensing the end is near.
Mal fights one-handed, his left hand staunching his wound.

He's definitely losing now.
Atherton thrusts with the sword. Mal stumbles back clumsily.
Mal lunges. Atherton steps back. Mal lunges again.
Atherton steps back again, laughing.
Atherton swings, cutting Mal's defensive arm.
HARROW
(to Inara)
We're coming up on the end, miss.
You might not want to watch.
Mal thrusts. He sword CLASHES AGAINST Atherton's sword. MAL'S

SWORD BREAKS. And the momentum carries Mal to one knee.
Atherton's sword points at his chest.
INARA
Atherton! Wait!
Atherton hesitates, he may be about to get what he wants...
INARA (cont’d)
I'll stay here! Exclusive to you!
Just let him live.
ON MAL, still down, as he registers what Inara's doing.
Mal lunges to his feet, catching Atherton under the chin with
the hilt and throwing him back, face cut.
Atherton is regrouping, ready to move in for the kill again.

He brings his sword arm back...
But Mal KICKS HIS BROKEN SWORD POINT OFF THE GROUND and up
into his hand. He THROWS the broken sword point at Atherton
like a dart!
Atherton takes the sword point in the shoulder. It sticks

there, and Atherton, furious, reaches to pull it out.
MAL raises the hilt, still around his right hand, and brings
it down like a gun butt, over Atherton's head. Atherton
sprawls on the ground.
(CONTINUED)
21 CONTINUED: 21
GENTLEMAN
He's down!
MAL scoops up Atherton's dropped sword off the ground and

holds it, point at Atherton's heart. He freezes there.
HARROW
You have to finish it, lad. For a
man to lie beaten and yet
breathing, it makes him a coward.
INARA
It's a humiliation.
MAL pulls the sword back a little.
MAL
Sure. It would be humiliating,
having to lie there while the
better man refuses to spill your
blood. Mercy is the mark of a
great man.
Very quickly, offhandedly, MAL STABS Atherton!
MAL (cont’d)
Guess I'm just a good man.
He STABS him again!
MAL (cont’d)
Well, I'm all right.
MAL grins and tosses the sword aside. Inara goes to him.
Atherton gets up slowly. The crowd draws back, whispering

behind their hands.
ATHERTON
Inara! Come here!
She ignores him.
ATHERTON (cont’d)
Inara!
Harrow puts a hand on Atherton's arm.
HARROW
You've lost her, lad. Be gracious.
Atherton shakes off Harrow's hand and staggers to Inara.
(CONTINUED)
ATHERTON
You set this up, whore. After I
bought and paid for you. I should
have uglied you up so no one
else'd want you.
MAL
(to Inara)
See how I'm not punching him? I
think I've grown.
ATHERTON
(to Inara)
Get ready to starve. I'll see to
it you never work again.
INARA
Actually, that's not how it works.
You see, you've earned yourself a
black mark in the client registry.
No Companion is going to contract
with you ever again.
HARROW
You'll have to rely on your
winning personality to get women.
God help you.
Inara and Mal start to walk away. Harrow joins them.
HARROW (cont’d)
You didn't have to wound that man.
MAL
I know, that was just funny.
HARROW
You willing to fight that hard to
protect my property, I'll have it
in your hold before midnight.
Mal nods. The deal is struck. Mal and Inara walk away, Mal a
little unsteady.
MAL
(through pain)
Mighty fine shindig.
Morning. Badger stands with his lads. Simon talks quietly to

Book. Jayne pours coffee for Kaylee and Wash and Zoe.
(CONTINUED)
22 CONTINUED: 22
JAYNE
(softly to Zoe)
Doc is filling the Shepherd in on
the plan. We're ready to move on
your signal. Doc's the diversion--
MAL (O.S.)
Did you ever see such a lazy crew?
CAMERA FINDS Mal and Inara in the doorway. Inara is helping

hold him up, and he's still got a hand over his wound.
KAYLEE
Captain!
Kaylee runs to him. The others follow.
SIMON
You're hurt.
Badger approaches Mal.
BADGER
You get us a deal?
ZOE
(to Badger)
Back off, he's injured.
MAL
I got a deal. Now get off my ship.
Badger's heard all he needs to. He's a happy man.
BADGER
Ta very much for a lovely night
then.
Badger exits. Inara and Simon guide Mal into a chair. The
others gather around. Quickly:
BOOK
Are you badly hurt?
JAYNE
We was just about to spring into
action, Captain. A complicated
escape and rescue op.
WASH
I was gonna watch. It was very
exciting.
23 EXT. SERENITY - IN FLIGHT - EFFECT 23
Serenity against a star field.
24 INT. SERENITY - DAY (DAY 5) 24
In the Engine Room, a grease-smudged Kaylee finishes

installing a replacement engine part. Humming, she wipes her
hands on a rag and heads out...
Down the hall...
Down the ladder into her quarters...
She crosses to her Cortex screen. Kaylee's Cortex has no

casing. The circuitry is exposed so she can tinker with it.
Kaylee hits some keys. Nothing happens. She frowns, presses a

chip more firmly into place in the machine's guts.
TINNY DANCE MUSIC plays, like the kind at the party. This is
what she's been humming.
PULL BACK FROM THE CORTEX
To find Kaylee, sitting on the bed, eating some of the

CHOCOLATE MINTS from the party. Pull further back to see she
is looking at her party dress, which hangs from an exposed
pipe.
25 INT. SERENITY - CARGO BAY - DAY (DAY 5) 25
Mal and Inara sit on the catwalk/balcony over the bay. Mal's
midsection is bandaged. Inara wears another elegant kimono-
type robe.
A bottle of wine sits between them and they drink from

battered metal cups.
Inara sips her wine, makes a little face.
INARA
Thank you for the wine. It's
very... fresh.
MAL
To Kaylee and her inter-engine
fermentation system.
He raises his cup to toast, winces from the wound.
(CONTINUED)
25 CONTINUED: 25
INARA
Are you in pain?
MAL
Absolutely. I got stabbed, you
know. Right here.
INARA
I saw.
MAL
Don't care much for fancy parties.
Too rough.
INARA
It wasn't entirely a disaster.
MAL
I got stabbed. Right here.
INARA
You also lined up exciting new
crime.
MAL
It is good to have cargo. Makes us
a target for every other scavenger
out there, a' course, but
sometimes that's fun too.
INARA
(beat, then)
I am grateful, you know, for the
ill-conceived and high-handed
attempt to defend my honor
although I didn't want you to.
MAL
Gracious as that is, as I look
back, I probably shoulda stayed
outta your world.
INARA
My world. If it is that. I wasn't
going to stay, you know.
MAL
Yeah? Why's that?
A little disingenuous:
INARA
Oh, someone needs to keep Kaylee
out of trouble.
(MORE)
(CONTINUED)
INARA (cont'd)
And all of my things are here...
Besides, why would I want to leave
Serenity?
We ARM BACK to REVEAL
The cargo bay is full of mooing milling CATTLE.
MAL
Can't think of a reason.
BLACKOUT.
END OF SHOW

103 - Shindig

Uploaded by

Copyright:

Available Formats

103 - Shindig

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

103 - Shindig

Uploaded by

Copyright:

Available Formats

Episode #: 1AGE03

SHOOTING SCRIPT: August 2, 2002

1 INT. POOL HALL - NIGHT (NIGHT 1) 1

WRIGHT is lining up a shot and talking at the same time. His

As he sights along his cue, all the balls on the table

He looks toward the Bartender, as do other patrons. The

Wright attempts his shot, Doesn't sink the ball.

Mal's turn. He walks around, examines the table.

Mal makes his shot, lines up another.

Wright and Holder laugh.

Mal misses a shot and steps back by Inara. She's brushing

Mal leans in close, slips Inara a handful of paper money.

Wright's hand falls heavily on Mal's shoulder. Mal spins and

Behind them, Holder jumps to help Wright. Jayne TACKLES HIM.

Inara jumps back against a wall, as Wright KICKS MAL'S LEGS

Holder is up again, swinging a pool cue at Jayne.

It's a melee. Other patrons jump to join.

2 EXT. SERENITY / PERSEPHONE - EFFECT 2

Descending out of orbit over Persephone.

3 INT. SERENITY - BRIDGE - DAY (DAY 2) / EFFECT 3

WASH pilots Serenity closer to the surface. ZOE stands behind

As they approach, Persephone comes between them and this

Wash whistles through his teeth.

Mal joins them. Looks out past them at the planet.

4 INT. INARA'S SHUTTLE - DAY 4

Inara taps the screen. The field of nine photos is back.

Atherton is handsome, 30's with just enough charm to offset

SFX: KNOCK AT THE DOOR

She severs the connection. His image freezes on the screen.

Mal enters. Inara sets the screen on a table.

Mal gestures toward the screen, trying to seem casual.

Inara tenses. He doesn't wait for an answer from her. He looks

Inara blanks the screen.

Mal tries not to look stung.

Inara moves to the door, a clear invitation. to leave.

5 EXT. STREET - DAY (DAY 2) 5

Outside a line of shops on Persephone. KAYLEE, Zoe, Jayne,

Zoe looks, and Wash joins her.

Jayne stops short:

Jayne looks too. Mal is forced to stop, wait.

Jayne snorts a laugh at that. Kaylee's face shows she's hurt.

Mal instantly regrets what he said.

There's a series of meaningful CLICKS behind him.

Mal and Jayne turn to find themselves facing BADGER, a cockney

6 INT. BADGER'S LAIR - DAY 6

Badger, Mal and Jayne sit uncomfortably around a cable-spool

Mal continues as if he hadn't been interrupted.

Jayne pours himself more tea, reaching across Mal.

Mal shoots Jayne a look.

Jayne barks a laugh at that. Mal shoots him another look.

Mal raises his eyebrows for a pregnant beat.

7 INT. SERENITY - ENGINE ROOM - DAY (DAY 2) 7

Kaylee is working on the engine. Mal enters.

He turns to go, matching her coldness.

8 INT. PARTY - FOYER - NIGHT (DAY 3) 8

Atherton Wing ushers Inara into the richly decorated foyer of

The ballroom is beyond, through an ornate arch -- there is no

ANGLE ON THE ARCHWAY

One couple passes through. A PORTER, his back visible through

A PLEASANT CHIME SOUNDS.