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Season 1, Episode 22: Those Left Behind

Those Left Behind


Episode 1x22:
“THOSE LEFT BEHIND”

Written by George Krubski

Based on a story by Joss Whedon and Brett Matthews

Edited by Lisa Garvin and Shawn Morris

Producer: David Elmer
Head Writer: George W. Krubski
Art Director: Sean Young

Disclaimer: The crew of the Serenity, the ‘Verse in which they live, and their fellow inhabitants are the property of Joss Whedon, Universal Studios, and/or Fox Television. They are used in this work of fan fiction with love and respect, but without permission.





EXT. WHITEFALL – DAY – ESTABLISHING

A ghost town, little more than a small complex of RAMSHACKLE BUILDINGS, sits in a field of dust and scrub.


EXT. WHITEFALL – EDGE OF TOWN – DAY

The two BLUE HANDS stand in the dust in front of one of the buildings. A BULLET hits the ground at their feet.

BLUE HAND#2
We appreciate the warning shot…

The Blue Hands look in the direction the shot came from.

BLUE HAND#2 (cont’d)
Agent Dobson.

LAWRENCE DOBSON stands on one of the buildings, looking down, a sniper rifle in his hands. He’s mangy and tattered, worse-for-the-wear, with a bulky, ugly CYBERNETIC DEVICE covering his right eye and part of his face.

DOBSON
Don’t. My depth perception’s not exactly what it used to be.

BLUE HAND#1
You invited us here.

DOBSON
Didn’t invite you to kill my men.

In the background, the SENTRY, injured by the Blue Hands at the end of the previous episode, coughs.

BLUE HAND#2
What exactly is it you want?

DOBSON
Same as you gentlemen.
(beat)
Serenity.


INT. WHITEFALL – WORKSHOP – DAY

The three-story workshop is a converted warehouse. A half-dozen FOLKS bustle about, mostly around THE TICK, a space vehicle slightly smaller than one of Serenity’s shuttles.

The Tick is all engine, with a small two-man cockpit grafted on. The roof of the cockpit is taken up by a bizarre-looking AIRLOCK/RAMMING DEVICE that looks like it would be used to force its way through another ship’s airlock.

The rest of the workshop is filled with cots, arms lockers, tables, and workbenches. There are more than a few drawings or blueprints of Firefly-class vessels.

Dobson and the Blue Hands approach the Tick. Dobson trips over a tool, but catches himself.

BLUE HAND#1
Impressive.

RENNER (OS)
Thank you.

RENNER joins them. He’s a squat little troll of a man, legless below the knees, seated in a powered WHEELCHAIR that seems closer to a one-man mule. The man is covered in grease, and the vehicle is covered with tools.

DOBSON
Renner here’s the one who came up with the solution I needed.

RENNER
Just want to make sure those bastards pay for what they done.

Renner nods to the Blue Hands and rolls toward the Tick, joining the folk who are working on its underside.

DOBSON
He’s also the one who put me back together.
(touches his cybernetic eye)
Lost his wife when Reynolds brought the Reavers to Whitefall.

Dobson indicates all those working on the Tick.

DOBSON (cont’d)
They’ve all lost something. Or someone.

BLUE HAND#1
It seems that Captain Reynolds has quite a collection of enemies.

Dobson doesn’t need to say anything: he seethes with anger.

BLUE HAND#2
Find the ship, you find the man.

BLUE HAND#1
And we find River Tam.

DOBSON
Sounds simple enough, doesn’t it?

BLUE HAND#1
If it were, we wouldn’t be here.

The Blue Hands look around, taking in the workshop.

BLUE HAND#1 (cont’d)
You’ve clearly given this a great deal of thought.

BLUE HAND#2
You have the method. You have the men. You have the materials to make this happen.

BLUE HAND#1
What is it that you need from us?

DOBSON
Alliance access. Lost that when I lost my eye. I have the proper bait, can get Reynolds to go to it, but I need to know that there won’t be interference.
(beat)
No one kills Reynolds but me.

The Blue Hands share a look.

BLUE HAND#2
How long?

DOBSON
You say the word, we can have them inside two weeks.

BLUE HAND#1
Two weeks? I believe we have a deal.

Dobson and Blue Hand#1 shake hands.




Act 1
EXT. CONSTANCE – DAY – ESTABLISHING

Constance, a humble community of a few hundred, is nestled in the low-lying hills and bordered by a river.


EXT. CONSTANCE – CHURCH – DAY – ESTABLISHING

The small white church has a mix of horses and well-used vehicles parked outside. A few FOLKS enter the building.


INT. CONSTANCE – CHURCH – DAY

SHEPHERD BOOK stands at the front of the congregation. The church is a simple affair, looking almost like a schoolhouse on the inside. It contains eight rows of pews, filled by honest-looking, farmer-type FOLKS.

BOOK
And so I say to you on this fine day, citizens of Constance, that your lives are not defined by that with which you enter this world, but rather with what you leave behind.


INT. CONSTANCE – VAULT – SAME TIME

The vault is a tight room, perhaps half the size of Serenity’s cargo bay. One wall contains a STAIRWELL and ELEVATOR, but the other three are lined with two rows of LOCKER DOORS. The interior of the room is a jumble of CRATES, BOXES, and BARRELS.

MAL REYNOLDS crouches in front of one of the lockers, a small BLOWTORCH-LIKE DEVICE in his hand. ZOE and JAYNE (his hands bandaged from last episode’s injuries) are behind him, armed, standing guard.

BOOK (cont’d, VO)
Our lives, from the moment we are born to when we draw our last breath, are nothing more than a series of comings and goings.

Mal aims the device at the lock, and activates it. Smoke rises from the lock for a few beats, then Mal turns the device off and puts it down.

BOOK (cont’d, VO)
If we live our lives as we should, we give of ourselves with each entrance and exit.

Mal taps the still-smoking lock, yanking his fingers back as he burns them. As he puts his fingers in his mouth, the lock falls out.

BOOK (cont’d, VO)
If we don’t…

Using the hole created by the recently vacated lock as a handle, Mal opens the locker door. Jayne leans in close.

BOOK (cont’d, VO)
…We take.

We don’t see what Mal sees, but he smiles up at Zoe. She’s looking across the room, however, toward the elevator and stairwell.

MAL
Well, now…

He reaches into the vault, grabbing a BAG OF COIN and a smaller ITEM, which he palms up his sleeve. Then, he stands, drawing his gun. Jayne, too, turns to face the elevator.

MAL (cont’d)
This is a situation.

The stairwell door is open, and four well-armed MERCS stand blocking the exits.

OTT is a well-dressed Asian man with a headset and facial tattoos. CLARENCE is a massive man in a bowler, vest, and filthy white t-shirt. GOWE is a scrawny raptor of a man with a number of scars and facial piercings. NICO, a surprisingly petite and pretty blonde, wears a revealing outfit that shows off her figure and the military tattoos on her shoulders.

All four are armed: Ott with a pistol, Clarence with a large gun, Gowe with a knife in one hand and a revolver in the other, and Nico with a monstrously large automatic weapon that envelops her left arm up to the elbow.

JAYNE
Really? And here I was thinking it was ee da tuo da bien .

ZOE
Sir, it disturbs me that I’m inclined to agree with Jayne.

Mal and Ott’s crews posture, aiming at each other in a Tarantino-style standoff.

MAL
Makes two of us.

OTT
Surrender the coin to me, Malcolm. Or, I can shoot you in the face. Your choice.

MAL
Don’t suppose it matters to you, our being here first?

OTT
You suppose right, though I appreciate the preacher you brought along as a diversion. That was almost intelligent.

MAL
Yeah, I used to think so.

Nico, Gowe, and Jayne are all getting fidgety enough that it seems very likely violence will ensue.

OTT
Of course, that’s how I knew when to hit you.

NICO
Can we move this along, Ott? I could spray them all down in a micro and we’ll be off this miserable rock.

OTT
Yes, you could. It’s your call, Malcolm.

JAYNE
C’mon, Mal, we can do this…
(indicates Gowe)
Starting with the freaky one. Too much coin at stake not to—

Mal glances to Zoe.

ZOE
I’ll back you either way, sir.

OTT
Your decision, Mal…

Mal lowers his gun and tosses the bag of coin on the ground between the two groups.

JAYNE
But, Mal…

MAL
Stow it, Jayne.

Jayne and Zoe lower their weapons as Clarence lumbers forward to collect the bag.

OTT
I’ll have the cash, Mal… and your gun. I’ve a thing for antiques.

MAL
This thing’s going your way, Ott. Don’t make it go another.

OTT
Your gun. Now.

Mal holds the gun by the barrel.

MAL
You know, this here got me through the war.

Significant look between Mal and Zoe.

MAL (cont’d)
It’s one of only two things I can recall that did, and stuck with me afterwards.

Clarence is back next to Ott.

OTT
War’s over, Mal.

MAL
Yeah. People keep saying that.

Clarence hands the coin to Ott. While Ott’s focus is away, Mal FLINGS the gun, throwing it as hard as he can. It hits Ott in the face, drawing blood and knocking out a tooth.

OTT
Gut them! ALL OF THEM!

NICO
Hwoon dahn!
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<b>Those Left Behind</b>

<lj-cut text="Credits">
Episode 1x22:
“THOSE LEFT BEHIND”

Written by George Krubski

Based on a story by Joss Whedon and Brett Matthews

Edited by Lisa Garvin and Shawn Morris

Producer: David Elmer
Head Writer: George W. Krubski
Art Director: Sean Young

Disclaimer: The crew of the Serenity, the ‘Verse in which they live, and their fellow inhabitants are the property of Joss Whedon, Universal Studios, and/or Fox Television. They are used in this work of fan fiction with love and respect, but without permission.


</lj-cut>

<lj-cut text="Teaser">
EXT. WHITEFALL – DAY – ESTABLISHING

A ghost town, little more than a small complex of RAMSHACKLE BUILDINGS, sits in a field of dust and scrub.


EXT. WHITEFALL – EDGE OF TOWN – DAY

The two BLUE HANDS stand in the dust in front of one of the buildings. A BULLET hits the ground at their feet.

BLUE HAND#2
We appreciate the warning shot…

The Blue Hands look in the direction the shot came from.

BLUE HAND#2 (cont’d)
Agent Dobson.

LAWRENCE DOBSON stands on one of the buildings, looking down, a sniper rifle in his hands. He’s mangy and tattered, worse-for-the-wear, with a bulky, ugly CYBERNETIC DEVICE covering his right eye and part of his face.

DOBSON
Don’t. My depth perception’s not exactly what it used to be.

BLUE HAND#1
You invited us here.

DOBSON
Didn’t invite you to kill my men.

In the background, the SENTRY, injured by the Blue Hands at the end of the previous episode, coughs.

BLUE HAND#2
What exactly is it you want?

DOBSON
Same as you gentlemen.
(beat)
Serenity.


INT. WHITEFALL – WORKSHOP – DAY

The three-story workshop is a converted warehouse. A half-dozen FOLKS bustle about, mostly around THE TICK, a space vehicle slightly smaller than one of Serenity’s shuttles.

The Tick is all engine, with a small two-man cockpit grafted on. The roof of the cockpit is taken up by a bizarre-looking AIRLOCK/RAMMING DEVICE that looks like it would be used to force its way through another ship’s airlock.

The rest of the workshop is filled with cots, arms lockers, tables, and workbenches. There are more than a few drawings or blueprints of Firefly-class vessels.

Dobson and the Blue Hands approach the Tick. Dobson trips over a tool, but catches himself.

BLUE HAND#1
Impressive.

RENNER (OS)
Thank you.

RENNER joins them. He’s a squat little troll of a man, legless below the knees, seated in a powered WHEELCHAIR that seems closer to a one-man mule. The man is covered in grease, and the vehicle is covered with tools.

DOBSON
Renner here’s the one who came up with the solution I needed.

RENNER
Just want to make sure those bastards pay for what they done.

Renner nods to the Blue Hands and rolls toward the Tick, joining the folk who are working on its underside.

DOBSON
He’s also the one who put me back together.
(touches his cybernetic eye)
Lost his wife when Reynolds brought the Reavers to Whitefall.

Dobson indicates all those working on the Tick.

DOBSON (cont’d)
They’ve all lost something. Or someone.

BLUE HAND#1
It seems that Captain Reynolds has quite a collection of enemies.

Dobson doesn’t need to say anything: he seethes with anger.

BLUE HAND#2
Find the ship, you find the man.

BLUE HAND#1
And we find River Tam.

DOBSON
Sounds simple enough, doesn’t it?

BLUE HAND#1
If it were, we wouldn’t be here.

The Blue Hands look around, taking in the workshop.

BLUE HAND#1 (cont’d)
You’ve clearly given this a great deal of thought.

BLUE HAND#2
You have the method. You have the men. You have the materials to make this happen.

BLUE HAND#1
What is it that you need from us?

DOBSON
Alliance access. Lost that when I lost my eye. I have the proper bait, can get Reynolds to go to it, but I need to know that there won’t be interference.
(beat)
No one kills Reynolds but me.

The Blue Hands share a look.

BLUE HAND#2
How long?

DOBSON
You say the word, we can have them inside two weeks.

BLUE HAND#1
Two weeks? I believe we have a deal.

Dobson and Blue Hand#1 shake hands.

</lj-cut>

<lj-cut text="Act 1">
<b>Act 1</b>
EXT. CONSTANCE – DAY – ESTABLISHING

Constance, a humble community of a few hundred, is nestled in the low-lying hills and bordered by a river.


EXT. CONSTANCE – CHURCH – DAY – ESTABLISHING

The small white church has a mix of horses and well-used vehicles parked outside. A few FOLKS enter the building.


INT. CONSTANCE – CHURCH – DAY

SHEPHERD BOOK stands at the front of the congregation. The church is a simple affair, looking almost like a schoolhouse on the inside. It contains eight rows of pews, filled by honest-looking, farmer-type FOLKS.

BOOK
And so I say to you on this fine day, citizens of Constance, that your lives are not defined by that with which you enter this world, but rather with what you leave behind.


INT. CONSTANCE – VAULT – SAME TIME

The vault is a tight room, perhaps half the size of Serenity’s cargo bay. One wall contains a STAIRWELL and ELEVATOR, but the other three are lined with two rows of LOCKER DOORS. The interior of the room is a jumble of CRATES, BOXES, and BARRELS.

MAL REYNOLDS crouches in front of one of the lockers, a small BLOWTORCH-LIKE DEVICE in his hand. ZOE and JAYNE (his hands bandaged from last episode’s injuries) are behind him, armed, standing guard.

BOOK (cont’d, VO)
Our lives, from the moment we are born to when we draw our last breath, are nothing more than a series of comings and goings.

Mal aims the device at the lock, and activates it. Smoke rises from the lock for a few beats, then Mal turns the device off and puts it down.

BOOK (cont’d, VO)
If we live our lives as we should, we give of ourselves with each entrance and exit.

Mal taps the still-smoking lock, yanking his fingers back as he burns them. As he puts his fingers in his mouth, the lock falls out.

BOOK (cont’d, VO)
If we don’t…

Using the hole created by the recently vacated lock as a handle, Mal opens the locker door. Jayne leans in close.

BOOK (cont’d, VO)
…We take.

We don’t see what Mal sees, but he smiles up at Zoe. She’s looking across the room, however, toward the elevator and stairwell.

MAL
Well, now…

He reaches into the vault, grabbing a BAG OF COIN and a smaller ITEM, which he palms up his sleeve. Then, he stands, drawing his gun. Jayne, too, turns to face the elevator.

MAL (cont’d)
This is a situation.

The stairwell door is open, and four well-armed MERCS stand blocking the exits.

OTT is a well-dressed Asian man with a headset and facial tattoos. CLARENCE is a massive man in a bowler, vest, and filthy white t-shirt. GOWE is a scrawny raptor of a man with a number of scars and facial piercings. NICO, a surprisingly petite and pretty blonde, wears a revealing outfit that shows off her figure and the military tattoos on her shoulders.

All four are armed: Ott with a pistol, Clarence with a large gun, Gowe with a knife in one hand and a revolver in the other, and Nico with a monstrously large automatic weapon that envelops her left arm up to the elbow.

JAYNE
Really? And here I was thinking it was ee da tuo da bien <a big lump of feces>.

ZOE
Sir, it disturbs me that I’m inclined to agree with Jayne.

Mal and Ott’s crews posture, aiming at each other in a Tarantino-style standoff.

MAL
Makes two of us.

OTT
Surrender the coin to me, Malcolm. Or, I can shoot you in the face. Your choice.

MAL
Don’t suppose it matters to you, our being here first?

OTT
You suppose right, though I appreciate the preacher you brought along as a diversion. That was almost intelligent.

MAL
Yeah, I used to think so.

Nico, Gowe, and Jayne are all getting fidgety enough that it seems very likely violence will ensue.

OTT
Of course, that’s how I knew when to hit you.

NICO
Can we move this along, Ott? I could spray them all down in a micro and we’ll be off this miserable rock.

OTT
Yes, you could. It’s your call, Malcolm.

JAYNE
C’mon, Mal, we can do this…
(indicates Gowe)
Starting with the freaky one. Too much coin at stake not to—

Mal glances to Zoe.

ZOE
I’ll back you either way, sir.

OTT
Your decision, Mal…

Mal lowers his gun and tosses the bag of coin on the ground between the two groups.

JAYNE
But, Mal…

MAL
Stow it, Jayne.

Jayne and Zoe lower their weapons as Clarence lumbers forward to collect the bag.

OTT
I’ll have the cash, Mal… and your gun. I’ve a thing for antiques.

MAL
This thing’s going your way, Ott. Don’t make it go another.

OTT
Your gun. Now.

Mal holds the gun by the barrel.

MAL
You know, this here got me through the war.

Significant look between Mal and Zoe.

MAL (cont’d)
It’s one of only two things I can recall that did, and stuck with me afterwards.

Clarence is back next to Ott.

OTT
War’s over, Mal.

MAL
Yeah. People keep saying that.

Clarence hands the coin to Ott. While Ott’s focus is away, Mal FLINGS the gun, throwing it as hard as he can. It hits Ott in the face, drawing blood and knocking out a tooth.

OTT
Gut them! ALL OF THEM!

NICO
Hwoon dahn! <Bastards!>

As Nico opens fire with her massive weapon, Mal, Zoe and Jayne duck for cover behind crates.

JAYNE
(under breath)
I’ll fix this yao noo <demon woman>.

Jayne pulls out a GRENADE, bites off the pin.

ZOE
Jayne, no! We’re in a vault. The concussion alone’ll kill us—

Jayne’s standing, preparing to throw the grenade, when Gowe throws a knife into his arm. Jayne yelps in pain and drops the grenade. It rolls across the floor.

Mal sees the grenade, dives for it. Zoe gets there first.

ZOE
Can’t let you do that, sir.

She throws the grenade into the locker they previously opened.

ZOE (cont’d)
Jayne, maybe. Not you.

Steve-McQueen cool, Zoe SHOOTS the door shut.

Jayne winces and covers his ears.


INT. CONSTANCE – CHURCH – SAME TIME

BOOK
And so I say to each of you, the time comes when you will have to make your decision. What to take from this world, and what to leave behind—

An ALARM sounds in the distance outside. Folks rush to the window, ignoring Book.

CITIZEN
(looking out the window)
It’s coming from the bank!


INT. CONSTANCE – VAULT – SAME TIME

Mal, Zoe, and Jayne pick themselves up. The vault is filled with smoke and debris.

ZOE
They’re getting away.

JAYNE
They’re getting away with the money.

Ott and crew are in the elevator, door beginning to close. Ott stares at Mal.

MAL
They ain’t there yet.

Mal rolls out into the room, grabs his discarded gun, and fires. Bullet hits the elevator door as it closes.

MAL
Kao! <So damned close!>


INT. CONSTANCE – CHURCH – SAME TIME

Book stands alone, at the front of an empty church.

Beat.

BOOK
Joo ah, nee ming ming jee dao wuh shr bang nee tzwo shr, yo huh bee jao wuh ma fan nuh? <Oh Lord, you clearly know I'm helping do your work, so why must there be so much trouble for me?>


EXT. CONSTANCE – BANK – DAY

The bank is a small building on a street of storefronts. The front door is open and smoke billows out. Jayne, Mal, and Zoe burst out, coughing and wiping their eyes.

ZOE
Get the datacard, sir?

Mal nods and coughs, produces a DATACARD from his sleeve.

JAYNE
What’s it matter, if we didn’t get the coin?

ZOE
Jayne’s right, Captain. Card was the job, coin was the payment.

MAL
Badger’ll see we get paid.

Zoe and Jayne exchange a look.

ZOE
Could be you got hired by a different Badger from the one me an’ Jayne know.

Jayne wipes his nose and looks around.

JAYNE
Gonna take a while for the stink of this to pass.

ZOE
Just smoke, Jayne.

JAYNE
Weren’t talking about no smoke.

Mal confronts Jayne.

MAL
Now ain’t the time, Jayne. Understood?

JAYNE
You just be sure and say when.

Mal ignores him and looks at Zoe.

MAL
We’d do best to shut our mouths, keep our heads low, and see if we can’t obtain ourselves—

A RUMBLE interrupts him as Book roars up in an OFF-ROAD VEHICLE with huge tires. The Shepherd looks none too happy.

MAL (cont’d)
—A vehicle.
(beat)
Shepherd Book. Didn’t plan on seeing you so soon.

BOOK
I imagine that’s right.

Mal climbs aboard.

MAL
Shiny ride, Preacher. Can we keep it?

BOOK
No, we certainly cannot.

MAL
So… How goes the flock?

BOOK
At the moment? To their homes. To fetch their guns.


INT. SERENITY – BRIDGE – DAY

Wash sits in his chair, hands behind his head. We see him from behind.

MAL (via comm)
Wash?

Wash is asleep.

MAL (cont’d, via comm)
Wash, you hearin’ me?
(beat)
WASH!

Wash wakes with a start.

WASH
Mother!

MAL (cont’d)
Wash, I am decidedly not your mother.

WASH
Right, but I assume you didn’t call just to tell me that…

MAL (via comm)
Change of plans. Looks like we’ll be leaving the world a bit sooner’n anticipated. I’d like that last statement to prove specific and mundane, not spiritual-like.

Wash leans forward, flipping switches, hitting buttons, and prepping the ship.

WASH
Gotcha.

MAL (via comm)
Go with plan B. And Wash…


EXT. CONSTANCE – SAME TIME

The off-road vehicle is pursued down a thoroughfare by an ANGRY MOB of townsfolk, some riding mules and other vehicles, some mounted on horseback. Those with ranged weapons fire at the crew. Jayne and Zoe are in the back, returning fire.

MAL (cont’d)
Hurry.


INT. SERENITY – CARGO BAY – DAY

SIMON TAM sits on a crate. We see him in the FRAME of a CAPTURE (“future camera”), looking straight at us.

SIMON
Really, Kaylee, I don’t understand why you would even want my picture…

KAYLEE lowers her camera. She and INARA stand at one side of the cargo bay, Simon at the other.

KAYLEE
(to Inara)
All that schoolin’, he’s gotta ask.

WASH (via comm)
Kaylee? Kaylee?

KAYLEE
What’s up, Wash?

WASH (via comm)
The usual. Crime and us trying to avoid punishment. Captain says go with Plan B. Ready to make like a kite?


EXT. CONSTANCE – SAME TIME

The crowd’s drawing a bit closer to the off-road vehicle, one mule and a pair of riders on horseback almost pulling parallel.

MAL
Prayerful group you’ve found yourself here, Shepherd. And here I thought that book of yours had a thing in it about not killing folks.

BOOK
It does. Comes a bit before the one about not stealing.

Mal shoots the mule that’s sneaking up on their side. Book glares.

MAL
What? Just doin’ unto him as he’d a done to me.

In the back of the vehicle, Jayne and Zoe fire at those following them, more to distract than to hit.

JAYNE
Stop chasing us! We don’t got your gorram money! Go chase the people with the money!

ZOE
Jayne, you yelling like that’s only going to make them want to shoot you more.

JAYNE
How ya figure?

ZOE
Because it makes me want to shoot you.

MAL (into comm)
Wash, how’s Plan B coming?


EXT. SERENITY – SAME TIME

Serenity hovers over a farmlike building on the edge of a river. The ship is next to and above a WATER TOWER, and Kaylee, strapped into a harness and wearing a hat and goggles, hangs from Serenity’s underbelly, hooking the last of three CABLES to the water tower.


INT. SERENITY – BRIDGE – SAME TIME

Wash sits waiting, hands on the controls.

WASH
You’re a whisper away from us, Mal.


EXT. CONSTANCE – SAME TIME

Mal points at the water tower in the distance ahead. Serenity’s still hovering over it.

MAL
You want I should take the wheel for this, Shepherd?

BOOK
Thank you, but no. I’d prefer to survive.


INT. SERENITY – CARGO BAY – DAY

Simon helps Kaylee up through the cargo bay doors.

WASH (via comm)
Kaylee, we ready for this?

KAYLEE
Almost.

She runs across the room, grabbing a railing, indicating that Simon should too.

KAYLEE (cont’d)
(to Simon)
Hold on. TIGHT.
(to comm)
Wash, we’re good.


INT. SERENITY – BRIDGE – SAME TIME

Wash concentrates.

WASH
Well, here goes… Kan wuh-mun tzun muh suh bah! <Let's see how we die!>


EXT. CONSTANCE – SAME TIME

Book drives the vehicle through the legs of the water tower.

ZOE
(looking behind them)
Gonna be close…

Serenity pulls away, tugging the water tower over. A TORRENT OF WATER floods the pursuers.


EXT. SPACE – MOMENTS LATER

Serenity sails away through the black.

INT. SERENITY – CARGO BAY – SAME TIME

Mal, Zoe, Jayne, and Book are wet. Jayne looks miserable, and Book is clearly annoyed at Mal. Kaylee, chipper as always, hands out towels, while Simon lingers nearby.

MAL
(to Zoe)
You tell that husband of yours to set a course for Persephone. Badger said he might have another job ready for us after we get this datacard to him.

ZOE
We really want to deal with Badger again?

MAL
Don’t have much of a choice, do we?

Kaylee hands Mal a towel.

KAYLEE
(brightly)
Well, that was the dampening sort of heroic…

JAYNE
(drying himself off)
Gorram it, I’m wet like a diaper.

KAYLEE
(to herself)
Not how I meant it.
(to Jayne)
Don’t be such a grouch, Jayne. It’s a hard ‘Verse out there. Ain’t easy gettin’ paid.
(beat)
We did get paid, didn’t we?

Mal looks down.

JAYNE
Is now when, Mal?

Mal throws his towel on the floor and walks away.



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