SCENE ONE
JAYNE: ALL THESE FOLK. ALLIANCE AND INDEPENDENTS BOTH. [quietly] IT DON'T SEEM RIGHT...
Pull back to show JAYNE, MAL, & ZOE at the doorway of a large room on one of the derelict ships. Twisted, mummified corpses float amongst the debris, each one wearing either blue or brown.
MAL: LET'S GET THIS DONE.
Cut to Serenity floating amongst the derelicts. Silently, the small green spacecraft comes to rest against her hull. Closeup of the spacecraft's cockpit.
BLUE GLOVES: AIRLOCK ESTABLISHED.
OTHER BLUE GLOVES: PREPARE TO BREACH.
SCENE TWO
SIMON: WHAT THE --
He stares in shock at the interior of the medical bay. The glass of one of the drug cabinets has been smashed in, fragments littering the floor. SIMON follows a trail of blood droplets down the hallway and comes to a blood-smeared door. He enters the room and...
SIMON: [quietly] RIVER...? RIVER!
RIVER is sitting on the bed, her arms bleeding from the broken glass. A pill bottle is spilled across the sheets and a hypodermic needle is loosely cupped in one hand, lying next to several vials.
RIVER: [quietly] SIMON.
SIMON: [lifting RIVER'S arm to examine the cuts] RIVER, WHAT DID YOU -- WHY DID YOU DO THIS? [he picks up one of the empty vials] THIS IS ANESTHETIC, RIVER. THIS IS A LOT OF ANESTHETIC. [quietly] WHY...?
RIVER: BECAUSE THEY'RE HERE, SIMON. THEY'RE HERE AND I DON'T WANT TO FEEL IT WHEN IT HAPPENS...
Cut to a photo of MAL, held by a woman's manicured hands. Reverse shot to show INARA looking at the photo, until she is interrupted by: INARA?
Wide shot reveals SIMON entering the shuttle, supporting RIVER at his side.
SIMON: I'M SORRY TO BARGE IN, BUT IT'S RIVER. SHE HAD AN... EPISODE. I WAS HOPING YOU COULD LOOK AFTER HER WHILE I RUN SOME TESTS.
INARA: OF COURSE I WILL.
SIMON: YOU'LL HARDLY KNOW SHE'S HERE. SHE HASN'T SAID A WORD SINCE--
RIVER: BELLY! NOT YOURS. NOT HERS. [collapses onto the floor] HERS...
SCENE THREE
JAYNE: S'POSE I SHOULDA SEEN THIS COMING. BETTER YET, S'POSE YOU SHOULDA, MAL.
They float into the corpse-filled room.
MAL: ZOE, WE'RE WHERE WE NEED TO BE?
ZOE: [consulting the screen of a small handheld device, which shows a ship's blueprints and a large red dot] YES, SIR. RIGHT ON TOP OF THE COORDINATES BADGER GAVE YOU.
JAYNE: AND AIN'T NOTHIN' HERE BUT US AND DEAD FOLK.
From among the corpses comes a voice: FUNNY...
DOBSON is revealed, gun in hand, floating near the wall.
DOBSON: I WAS THINKING THE EXACT SAME THING. [DOBSON'S men surround the trio.] HELLO, MAL. DROP YOUR GUNS AND WE'LL MAKE THIS SLOW...
Meanwhile, on Serenity...
KAYLEE: [opening the floor hatch in the cargo bay] DON'T THINK WE'LL FIND NOTHIN' ON SERENITY'S TUM TO GET GREASY
OVER. I RAN A FULL DIAGNOSTIC LAST TIME WE DOCKED FOR MORE'N A DAY.
SIMON: I DON'T EVEN REMEMBER WHEN THAT WAS.
KAYLEE: ME NEITHER, NOW THAT YOU--
A blue hand appears and grabs KAYLEE by the throat.
KAYLEE: AAKKK!
BLUE GLOVES tosses KAYLEE away from the open hatch. As she falls, she grabs at BLUE GLOVES' shirt, tearing it.
KAYLEE: [hushed] OH GOD.
Reverse shot to show BLUE GLOVES standing over KAYLEE. His shirt is torn open, revealing a blue torso; only his head and neck are flesh-tones. It is hard to tell if his torso is only covered by a skin-tight blue material, or if his torso IS the blue material. Suddenly BLUE GLOVES is knocked out by a barbell hefted by SIMON.
SIMON: KAYLEE, CLOSE THE DOORS.
On the derelict...
JAYNE: [hands raised over his head] UH, MAL... DIDN'T YOU SHOOT THIS GUY IN THE HEAD --
DOBSON: NO, YOU MORON. THE POUND OF METAL GRAFTED TO MY FACE, IT'S PURELY COSMETIC.
MAL: [as henchman takes his gun] WHAT IS IT YOU WANT, DOBSON?
DOBSON: YOU. DEAD.
MAL: ALL THIS TIME, YOU BEEN TRACKIN' US. THE TROUBLE AND RESOURCES THAT MUST HAVE TOOK. GOT TO BE MORE TO IT THAN THAT...
DOBSON: YOU TRIED TO KILL ME -- YOU SHOT MY FREAKING EYE OUT -- AND DUMPED ME TO DIE. I MIGHT AS WELL HAVE -- THE LAW MARKED ME AS DEAD WITHOUT SO MUCH AS A SEARCH. AND SO I DECIDED TO STAY THAT WAY. YOU MADE ME A FREAK AND THE ONLY THING I'VE WANTED SINCE IS TO RETURN THE FAVOR... AN EYE FOR AN EYE. I'D SAY THAT ABOUT COVERS IT.
JAYNE: SOUNDS FAIR TO ME.
MAL: SHUT UP, JAYNE. YOU WERE ALWAYS A FREAK, DOBSON. I JUST MADE IT PLAIN TO SEE. BUT SAY YOU DO IT. YOU KILL ME. WHAT THEN?
DOBSON: I DUNNO. I IMAGINE I'LL GET A HOBBY OR SOMETHING...
MAL: ZOE, THE SECOND HE SHOOTS ME YOU AND JAYNE KILL THEM ALL.
ZOE launches herself at one of the henchman, throwing him in front of DOBSON. DOBSON fires his gun at MAL, but hits the henchman instead. The henchman's gun flies out of his hand toward MAL, who grabs it and turns it on DOBSON.
DOBSON: [quietly, sweating] NOT AGAIN...
MAL pulls the trigger.
JAYNE: [grabbing a henchman and ramming his knife through the man's back] YOU MISSED THIS ONE.
Two more henchman fire at JAYNE, but the bullets are blocked by the man he has just killed. JAYNE pushes off from the wall, ramming the dead man (and the point of his knife) into one of the henchmen. The other henchman prepares to shoot, but is taken out by:
ZOE: [her gun muzzle smoking as she chambers another round] AND AFTER WE KILL 'EM ALL, SIR?
MAL: [watching DOBSON'S body floating nearby, trailing blood] HONESTLY, MY THINKING HADN'T GOTTEN THAT FAR.
JAYNE: MAN COULD HOLD A GRUDGE. I ADMIRE THAT.
MAL: YEAH. LET'S GET OUT OF HERE. [As the others leave the room, MAL fires one last shot] JUST MAKIN' SURE.
A few minutes later, aboard Serenity's bridge...
=WASH, WE'RE HEADED BACK YOUR WAY. RAN INTO A BIT OF A PROBLEM.=
WASH: I CAN BEAT IT...
Cut to KAYLEE sitting on top of the hatch doors, working frantically, while directly below her, the two BLUE GLOVES men are attempting to bypass her efforts.
KAYLEE: I'M RUNNIN' OUTTA WAYS TO REWIRE HER, WASH. I'M A STEP AHEAD OF 'EM, BUT IT AIN'T GONNA LAST...
Closeup of a hand reaching for a large wrench: KEEP AT IT, KAYLEE. THEY COME THROUGH, YOU GET YOURSELF TO INARA'S SHUTTLE. SHE'LL KNOW WHAT THAT MEANS.
Pull back to show BOOK, holding the wrench, standing next to SIMON, who is still holding the barbell.
SIMON: SHEPHERD --
BOOK: PLEASE DON'T CALL ME THAT. [quietly] IT MAKES THIS HARDER...
Back on the bridge: =WASH, WHAT THE HELL IS GOING ON OVER THERE?=
WASH: I'D LIKE TO EXPLAIN, MAL, BUT I'M FLYING AT 
(1) SPEED THROUGH A MESS OF POINTY STUFF AT THE MOMENT.
=AND WHY THE HELL ARE YOU DOING THAT?!=
WASH: [to himself] JUST LOOKIN' FOR A GOOD FIT. [louder] THERE. EVERYBODY HOLD ON...
Cut to Serenity scraping through a clutter of debris, knocking the green spaceship off her hull.
=ALL RIGHT, MAL. I SCRAPED THE BURR OFF OUR BUTT. I'M HEADED YOUR WAY NOW.=
=WE'LL BE ABOARD JUST AS SOON AS YOU DOCK. YOU CAN EXPLAIN THE BURR THING THEN.=
Closeup on WASH: SOUNDS GOOD. EXCEPT FOR THE DOCKING PART...
MAL, ZOE, & JAYNE push away from the derelict, launching themselves toward Serenity as she nears. They grab onto handholds on her hull as she flies past and make their way to an airlock hatch. Looking back as they climb inside, MAL sees the green spacecraft closing on them.
MAL: 
(2)
The spacecraft fires at MAL as he dives for the airlock.
MAL: [pulling the hatch closed as he joins the others in the airlock] =WE'RE IN. A BIT OF ADVICE, WASH -- AFTER YOU PULL A TICK... STEP ON IT.=
Serenity makes like a firefly and prepares to blast away, the green spacecraft directly in the path of her burn.
SCENE FOUR
Wideshot of Serenity parked at the edge of a cliff overlooking a lush green valley. A waterfall is visible nearby and flocks of birds fill the air. A cluster of figures are assembled under Serenity, while one lone figure stands apart from them, near the cliff's edge. Cut to the assembled group, who watch as INARA hugs RIVER. Two unknown women stand nearby, wearing decadent clothing similar to INARA'S. Closeup on INARA as she looks toward the lone figure, his back to her.
INARA: [to herself] YOU'RE IT, CAPTAIN. [to MAL] I'VE SAID GOODBYE TO ALL THE OTHERS, BUT I MUST ADMIT I'VE NOT FOUND THE WORDS THAT DO OUR... ARRANGEMENT PROPER JUSTICE. WOULD YOU SPARE A LADY THE EFFORT...?
Closeup on MAL'S face, then second closeup of same, with indoor lighting.
MAL: I'LL MISS YOU, INARA. I KEEP COMING UP WITH ALL MANNER OF THINGS TO SAY BUT THAT'S WHAT THEY ALL MEAN, IT COMES RIGHT DOWN TO IT. I DON'T WANT YOU TO --
From offscreen: AM I INTERRUPTING SOMETHING, CAPTAIN?
Pull back to show MAL standing in the empty dining area with BOOK at the doorway behind him.
BOOK: NOT THAT I KNOW WHAT THAT WOULD BE, YOU STANDING HERE ALONE IN THE MIDDLE OF THE NIGHT.
MAL: WE'RE IN SPACE, SHEPHERD. IT'S ALWAYS THE MIDDLE OF THE NIGHT. WHAT'S ON YOUR MIND?
BOOK: I'M LEAVING THE SHIP. DON'T KNOW WHERE FOR JUST YET, BUT IT'S TIME FOR ME TO MOVE ON. I THOUGHT YOU SHOULD BE THE FIRST TO KNOW.
MAL: LOOK, SHEPHERD, I'LL MAKE THIS PLAIN... IT DON'T MATTER TO ME THAT YOU HIT ME.
BOOK: WHICH IS EXACTLY WHY I NEED TO BE AWAY FROM YOU. BECAUSE SOONER OR LATER, IT WON'T MATTER TO ME, EITHER.
SCENE FIVE
MAL is sitting on the bed in his quarters, his elbows on his knees and his head bowed when: CAPTAIN? YOU DOWN THERE, SIR?
MAL: [looking up] WHAT IS IT?
ZOE: GOT ME A HUSBAND, NEEDS TO SET COURSE. WHERE ARE WE GOING, SIR?
MAL: FORWARD. THE SAME WAY AS ALWAYS.
SCENE SIX
A large Alliance spacecraft floats among the debris of the Sturges battle. At the end of a long docking arm is the remains of the small green spacecraft.
=OUR INDEPENDENT CONTRACTORS HAVE DISAPPEARED.=
Closeup of two skeletal corpses in the smoking remains of the spacecraft's cockpit: MUCH OF THEM, YES.
Cut to image of a man's face projected on a large screen in what appears to be the bridge of a ship. The man is wearing an Alliance uniform.
He addresses a dark-skinned man who is standing in front of the screen: =THEIR WORK FALLS TO YOU.=
MAN: I ACCEPT IT.
A photograph begins to emerge from a slot on the console.
=I AM TRANSMITTING THE ASSIGNMENT NOW...=
Closeup of photograph. It is an image of RIVER TAM...
