Episode 1x19: “THE PERFECT SUNSET”

Written by George W. Krubski

Edited by 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. SPACE – VISTAS – ESTABLISHING

VISTAS is a Saturn-line GAS GIANT, surrounded by dozens of small MOONS and a system of RINGS composed of icy debris floating on a river-like torrent.

EXT. SPACE – THE CAROUSEL – ESTABLISHING

THE CAROUSEL is a large, run-down looking space station resting at the inner edge of the planetary rings. The space station resembles three wagon wheels stacked on top of one another, which a large central hub, and each of the spokes leading to an airlock.

The Carousel can accommodate four dozen SHIPS, and about half that number are currently docked there, with some of the larger ships tethered by lines rather than attached directly to the airlocks.

SERENITY, pretty much average for size and appearance of the ships, is docked on the “space” side of lowest level of the station (away from the planetary rings).

INT. THE CAROUSEL – THE HUB – NIGHT

The HUB is a massive, chaotic swap meet, practically the size of a football field. It seems that anything can be had here, for the right price. Illegal arms, small vehicles, livestock, even slaves are being bought, sold and auctioned by the crowd.

The Hub has a variety of large entrances, each of which leads down one of the “spokes” of the lowest level.

MAL REYNOLDS and INARA stroll through the crowd, looking for someone.

MAL You see him?

INARA In this crowd? Jayne doesn’t exactly stand out…

MERCHANT Fighting cocks! Getcher fighting cocks right here!

Inara pauses as a ROOSTER runs out in front of them.

MAL You want one? Could get it for you as a going away present. (beat) Which reminds me… When are you going away? Thought you were gettin’ off on New Melbourne. Been there and gone and it seems you’re still on my boat.

They continue walking through the crowd.

INARA (sighs) As I told you, Captain, I thought they would have a place for me on New Melbourne. I’ve spoken to the Guild Council, and they assure me they’ll send me a wave as soon—

MAL You just let me know when you want off. Got a place on Serenity til then. ‘Course, I wish you’d tell the crew.

INARA I’ll tell them when—

MAL (surly) When the time is right. Yeah, yeah, I know. You don’t tell ‘em soon, I will!

INARA Mal, I’d appreciate if you’d allow—

But Mal’s no longer listening, but glaring at a slave auction, where a large, forlorn looking MAN stands chained next to the AUCTIONEER.

AUCTIONEER Good teeth, strong back!

Inara touches his arm gently, indicating they should move on. Mal nods, but gives a backward look over his shoulder, jaw tight with anger.

PARKER (OS) Mal! Malcolm Reynolds? Captain!

Mal turns to look at the sound of the yell. PARKER, forty-ish, handsome, Mediterranean, dressed in expensive clothing, rushes up.

PARKER (cont’d) Thought I saw your bird on my way in!

The two men clasp hands.

MAL Parker. Great to see you. (looking around) You run across Jayne?

PARKER Jayne? That big bastard’s still runnin’ with you? Figured he’d’ve crossed you and wound up in a shallow grave by now!

MAL You and me both.

PARKER Hey, I heard a rumor you’ve got a preacher you use for a distraction? Folks’re calling your crew the Altar Boys. That ain’t true, is it?

MAL (deflecting) So you look like you done okay for yourself.

As the two men converse, Inara stands by, waiting to be introduced.

PARKER Leaving Badger, hookin’ up with the Holden Boys… One of the best decisions I ever made! (beat) You’re not still with his highness, are you?

MAL (shakes his head) Did a few jobs for Bernoulli, but we’re runnin’ mostly independent these days.

In the background a MERCHANT passes by on a MULE loaded down with BOXES clearly imprinted as Alliance goods. Neither Mal nor Parker bats an eye.

PARKER You want, I can put in a good word for you with Mingo and Fanty.

MAL Heard good things about those two. Also heard they’re a little… unusual.

PARKER (shrugs) Better’n Badger, anyway. They may go on too much, but they don’t make you bow and scrape like that little weasel, demanding respect. (beat) Acts like he’s the king of Londinium.

MAL The queen, more like.

Both men laugh.

MAL (cont’d) Want that kind of trouble, I’d just get me a whor—

He cuts himself off, realizing Inara’s standing there, arms crossed.

MAL (cont’d) Parker, this is Inara. Inara, Parker.

Parker executes a bow that manages to be both comical and respectful.

INARA Very nice to meet you. So you and Mal are old friends?

PARKER Used to run together a lot when we worked for Badger. (to Mal) Zoe cut Wash loose yet?

KAYLEE (OS) Smile, everyone!

KAYLEE is standing up in the passenger seat of a shiny new HOVER-MULE, JAYNE next to her, behind the wheel. She holds a CAPTURE (future camera), which she points at them, taking a picture. There are a few large PACKAGES and a PILE OF PARTS strapped to the back.

As Mal and Parker approach the hover-mule, both admiring its lines, Kaylee hops off and joins Inara.

JAYNE (proudly) Pretty cunning, huh?

Mal can’t take his eyes off the hover-mule. Parker whistles. Meanwhile, Kaylee shows off her capture to Inara, who nods and smiles.

KAYLEE Took the last of my Lassiter money, but I think it was worth it!

Inara nods, takes the capture when Kaylee offers it, and studies for a moment.

As Mal and Parker walk a slow circuit around the hover-mule, Jayne pulls out a small POUCH, which jingles with some coin (not much, but some).

JAYNE Even got us some change, Captain. Discount.

He tosses the pouch to Mal.

MAL On account of your intimidating manner?

JAYNE Nah. Seller heard we’s the crew done in Niska. Seems Niska bein’ dead’s been good business for more’n a few.

PARKER Adelai Niska?

MAL (over Parker) Word’s spreadin’ this quick?

JAYNE Sure. (beat) Well… I told ‘im.

Inara points the capture at Mal. Mal, seeing this, smiles and strikes a mock-heroic pose in front of the hover-mule.

As if in response to Inara’s handling of the capture, a loud CLAXON blares through the Hub.

MAL (looking around) What the—?

INT. SERENITY – COCKPIT – NIGHT

WASH is in the pilot’s seat, ZOE standing behind him, a hand on his shoulder. Both are looking out Serenity’s front window, and neither looks happy about what they see. Wash hits buttons on the console, not taking his eyes off the window.

WASH (into the comm) Mal!

MAL (OS) (via the comm) What’s going on?

WASH Um… You better get back here.

ZOE Now.

EXT. SPACE – THE CAROUSEL – SAME TIME

Serenity sits attached to the Carousel, facing out into space.

Approaching the Carousel are a half-dozen ALLIANCE PATROL BOATS (twice the length of Serenity), supported by a dozen and a half SMALLER VESSELS (including GUNSHIPS like the one from “The Message”, and TROOP TRANSPORTS).

The small Alliance armada closes on the Carousel like a school of hungry sharks.