![]() It feels very odd in the script, and I’m not surprised it was cut. Inara’s reaction to him is meant to set-up how much she has changed because of her time on Serenity, but then suddenly the whole thing is dropped, once “Jude” and his special forces arrive. But no, he was real, and a serious problem, an Alliance military man who seemed set on turning the Training House into his soldiers’ personal brothel. In the final cut, Inara’s excuse for asking Mal to the planet is to deal with some local troublemaker, but you just assume that was a fiction. ![]() I imagine this was just a time-related cut.Ī very odd part of the Kitchen Sink is “General Obun”, a Portuguese speaking Alliance commander whose troops are harassing the Companion Training House that Inara is part of. There’s a great scene for River that never made it in, where she wonders into Inara’s shuttle, now vacant, and starts to re-enact some of the more intimate moments that occurred there in monotone as they pop into her head, until interrupted by a comically disgusted Mal. Perhaps Whedon thought this was going too far with the soft reboot in regards Mal’s relationship with Simon, or more likely felt that Mal would never assume such an authoritarian position over Kaylee’s romantic/sex life. Simon gets to look more oblivious to Kaylee’s sentiments at the start, and later reveals that Mal warned him off any attempt at a relationship with Kaylee early on in his residence on Serenity, which is the major provoking factor in a Mal/Kaylee spat later (much of which is retained in the final product, the “haven’t had nothing twixt my nethers” conversation, but which gives it a bit more spice). Throughout the first act of the film, up until the Maidenhead fight, Simon and Kaylee get a bit more dialogue to set-up and add flesh to their romantic sub-plot. I imagine this had been a long thought out idea, and it works as well on paper as it did on screen (and I’ll get to it in time). I was struck at the stage direction and notes for the scene that introduces Serenity and its crew, with Whedon already planning out the one-shot voyage through the ship long before filming had started. (Also, wouldn’t Mal be a better fit for the Lost Causes thing?) In the end, I think having the character be nameless fits much better. “Jude” is much the same as his final version, but has a more complimentary streak throughout the Kitchen Sink, going out of his way to praise Mal in their encounters and as he searches for the Tam’s. It’s tempting to seek for meaning in that, and any Roman Catholic worth their salt might think of the Patron Saint of Lost Causes, but it doesn’t really fit. Copyright issue perhaps, or maybe Whedon just wanted to leave Firefly be. ![]() The final product chooses to remove the original series reference with these two men, though they retain the same basic look. The Hands Of Blue make an appearance in the Tam siblings’ escape from the Academy in the films beginning, as the two agents chasing Simon and River down. Let’s go through some of the things that didn’t make it into the final cut, per the chronology of the film itself. This is the first draft after all, and I’m sure Whedon was well aware that this initial presentation would have to be meticulously honed down. A Serenity that is over three hours long would appeal to hard-core Browncoats I’m sure, but was never likely to get made. Aside from a general expansion of nearly every scene, with the odd line of extra dialogue here and there, and the addition of many extra scenes (some of which would be filmed, but then ended up on the cutting room floor), the Kitchen Sink script included some extra elements for the story, changed characterisation, and additional action sequences.Īt 190 pages, it is a whopper, especially if you go by the standard scriptwriting rule, as espoused by Blake Snyder and co, that a page of script should generally equate to a minute of screen time. ![]() The first draft of the film, that has come to be known as the “ Kitchen Sink” script, is recognisable as what Serenity ended up as, but is also incredibly different in many fundamental ways. When Joss Whedon sat down to write Serenity, he didn’t hold back.
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