Home, Act. 1

** The usual disclaimers apply. Written in script form because that's the only way I seem to be able to write these days.

Teaser

EXT. Space

We start with a shot of space, the stars twinkling in front of us. There is no sound.

The camera pulls back and “through” the front window of one of the shuttles of SERENITY. We pause looking out the window for a moment. Still there is no sound.

The camera then pulls back further to reveal MAL, captain of the Firefly-class transport ship SERENITY, sitting in the pilot’s chair of the shuttle, staring out the window. All the lights on the console or off – the shuttle is completely powered down. Again we pause on him as he stares out the window, lost in thought.

With a barely audible sigh MAL gets up and purposely walks to the door of the shuttle – the time for thinking and remembering is done. As we see the rest of the shuttle we realize that its not INARA’S shuttle, or at least it doesn’t look like INARA’S shuttle.

MAL walks through the hatchway and into SERENITY’S cargo bay. With one quick last look through the hatch and into the shuttle, MAL pulls the door closed.

The closing of the hatch door causes the loudest sound so far – a very pronounced metallic clang, the clang of finality.

As the door slides shut, we see the number 1 on the door, revealing that it is – was – INARA’S shuttle.

MAL walks off in the direction of the bridge, his stride again full of purpose.

END TEASER

OPENING CREDITS

ACT 1:

EXT. Planet – high altitude (DAY)

An establishing shot of a planet. We see both a city and the surrounding countryside. Everything is plush, everything is green. It’s a bright and sunny day without a cloud in the sky.

A small spacecraft flies into frame, descending to the city. We descend with it, and as we go down we see a large mansion or castle-type structure on the outskirts of the city. The shuttle descends further and lands at the estate.

CUT TO:

EXT. Estate – DAY (continuous)

We see the ship land and power down. Standing next to the ship, almost dwarfed by it, is a WOMAN (SERENA). SERENA is dressed elegantly but simply – she’s a servant or an aide.

After the ship powers down a small platform extends and off walks INARA’S. She’s dressed in long flowing robes and disembarks with the grace of a dancer.

SERENA (bows) Good day, my lady.

INARA (slight nod of the head) Good day.

SERENA My Lord sends greetings and asks that you may join him. May I show you the way?

INARA (another slight nod of the head he only response)

CUT TO:

INT. Serenity, kitchen – EVENING

MAL, JAYNE, RIVER, KAYLEE, ZOE, BOOK, and SIMON sit at the dinner table, quietly eating. MAL is again lost in thought while everyone else is scared to speak.

WASH walks to the doorway leading to the bridge. When he gets to the doorway, he stops and looks at the group. He’s almost but not quite startled to find them all sitting in silence. He stares for a second and then gives a shrug – Whatever!

WASH walks into the kitchen and sits at his usual place, next to Zoe. As he sits down his gives ZOE a questioning look, to which she shrugs slightly – I don’t know. As WASH reaches across the table for some food, he exchanges meaningful glances with the rest of the crew, except for JAYNE, who’s shoveling food into his mouth as if nothing’s wrong and making quite a racket at doing it.

After serving himself some food, WASH turns and stares at MAL. Without looking up from his plate, MAL says.

MAL What?

WASH Huh?

MAL What?

WASH What what?

MAL What you staring at me for?

WASH Who, me? I wasn’t, I wasn’t staring.

MAL (squints his eyes at WASH – mind your own business – and turns back to his plate)

WASH looks up and across at KAYLEE, who’s giving him a look of “Don’t poke the bear with a stick, dummy.” WASH turns back to the captain.

WASH (tentatively) Its just …

MAL (drops his chopsticks and stares right at WASH, almost daring him to speak)

WASH Its just that … there’s a message for you … (MAL is still staring at him. WASH speaks even more hesitantly and points to the bridge) On … the … bridge …

Without another word MAL gets up from the table and marches off to the bridge.

WASH (watching him go) You know, its nice to see that some things …

Just then JAYNE, who hadn’t been listening at all, or even noticing what was going on around him, burps loudly, wipes his mouth with the back of his hand, and points across the table.

JAYNE Pass the green stuff.

There’s a pause. JAYNE finally looks up and sees everyone staring at him, although why is completely beyond his grasp.

JAYNE (confused) What?

WASH (continuing) … never change.

CUT TO:

INT. Castle – DAY

SERENA leads INARA to a large, ornate door. When they reach the door, SERENA opens it and stands aside, allowing INARA to walk through. INARA gives the girl another slight nod of the head in thanks and walks through.

As she walks into the room we follow behind her and see the expansiveness of the room. It’s a sun room with large floor to ceiling bay windows on one side. On the other side of the window is a large patio/veranda that looks out over the “back yard”, if we can call it that – it, like the rest of the castle, is enormous (think Versailles).

Standing at one of the windows, looking out, is MINISTER SOONG. He’s a tall man who, it seems, was muscular in his day but now has developed a bit of stockiness. He’s talking loudly to an aide, who is perched near his left arm and scribbling furiously in a notebook.

MINISTER SOONG … and see to it that all the arrangements have been made for the ball.

INARA walks to the MINISTER and stands behind him. Behind her is SERENA. They both wait patiently for the MINISTER to notice them, which he does not until the aide gently touches his arm and directs his attention to them.

MINISTER SOONG What? (turns around, notices the women) Oh, yes.

SERENA (taking a step forward) My Lord, may I present …

MINISTER SOONG (snappish) I know who this is, girl. After all, I did invite her here myself.

SERENA (bows head, takes a step back, waits to be dismissed)

MINISTER SOONG (takes a step towards INARA, extends his hand, all of a sudden turns gracious) Welcome, Miss.

INARA (takes his hand, bows slightly) Thank you, Minister.

MINISTER SOONG I trust your journey was uneventful?

INARA I am refreshed and ready. Thanks you for the use of the shuttle. It was very gracious of you.

MINISTER SOONG (motioning her to a pair of chairs off to one side, they sit) You were told of what is required of you?

INARA I was.

MINISTER SOONG Then I believe the only thing left to do is introduce you to …

Just then a door on the far side of the room opens and in walks the minister’s son, ADRIAN SOONG.

ADRIAN (as he walks through the door) Father, I was told you …

ADRIAN finally realizes that his father is with someone and stops dead in his tracks. He’s surprised/borderline horrified that he’s barged in on a meeting.

MINISTER SOONG (thinly veiled disappointment) Ah, there he is now.

ADRIAN Forgive me. I didn’t know … I was told …

MINISTER Come here, boy.

ADRIAN tenses ever so slightly when his father calls him “boy”. ADRIAN is a man, late 20’s or early 30’s, well built, and well kempt. But for the title he would be a prince.

Just as quickly as the flash of anger comes over him it leaves and he makes his way to his father and INARA. Once there, he stands in front of both of them, between the two chairs.

MINISTER Miss, may I present my son, Adrian.

ADRIAN (bows slightly to INARA) Miss.

MINISTER She is here to accompany you to the ball tomorrow evening.

ADRIAN (turning to his father, confused) Excuse me?

MINISTER I said, she is here to accompany you to the ball tomorrow evening.

ADRIAN Yes, I mean, no, I’m sorry, I don’t …

MINISTER (turning to INARA, laughing) You’ll have to excuse my son, Miss. He never was terribly bright, something he got from his mother.

We see another flash of anger pass across ADRIAN’S face. This time, however, his entire body tenses as if he’s about to jump the old man and beat the ever living crap out of him. But ADRIAN keeps it together, fights down the urge, and plasters the fake smile back on his face.

ADRIAN Surely, father, you mean that I am to escort her to the ball?

MINISTER What? (dismissive wave of his hand) Semantics.

ADRIAN (under his breath, knows the old man isn’t listening to him) Antics indeed.

INARA (drops her head and smiles at the joke)

MINISTER (gets up, begins to bluster off) At any rate, I’ll leave the two of you to get acquainted.

The MINISTER walks off. ADRIAN watches him go for a second, then turns to INARA.

ADRIAN Would you excuse me, please?

INARA (nods her head)

ADRIAN quickly walks after his father, who he catches at the door, the one INARA originally entered through. We can’t hear what they’re saying, as we’re still with INARA. We do, however, see their conversation become more animated. Soon we can hear little snippets of their conversation.

MINISTER … I will NOT have you …

ADRIAN … father …

MINISTER … why must you question …

ADRIAN … father …

MINISTER (grabs ADRIAN by the arm, just above the shoulder) … that whore, now DO AS YOU ARE TOLD, BOY!!!

With the mention of the word “whore” we see INARA visibly tense. She thinks they’re talking about her. ADRIAN, meanwhile, has stopped talking altogether and is staring at his father’s hand, the hand that is holding his arm. After a long moment of staring at the hand, he looks back up at the old man and right into his face. Still not saying a word, he stares his father down until the older man removes his hand and storms off. After the old man is gone, we barely hear him say to the back of the door

ADRIAN Yes, my Lord.

ADRIAN makes his way back to INARA, who is still seated by the window. SERENA, who is still standing in the middle of the room, begins to move out of ADRIAN’S way but he stops her with a small motion of his hand and walks around her. He walks up to INARA.

ADRIAN You’ll have to excuse my father, miss.

INARA Not at all.

ADRIAN Although, I fear, more and more there is no excuse for him. (turns to SERENA) Serena.

SERENA (takes a step forward) yes, my Lord?

ADRIAN Please see to it that miss … (realizes he doesn’t even know INARA’S name, turns to her) I’m sorry, I’m afraid I don’t even know your name.

INARA Inara.

ADRIAN (repeats it, likes the sound of it) Inara. (turns back to SERENA) Would you see to it that Miss Inara’s things are brought to the house?

SERENA Yes, my lord.

ADRIAN (to SERENA) Thank you. (turns back to INARA)

INARA (taking control of the situation, being her normal gracious, charming self) Why don’t you come and sit?

ADRIAN Nothing would please me more, Miss, but unfortunately I have another matter to which to attend. I was … unaware … of your arrival.

SERENA (taking a step forward, says tentatively) Please, my Lord.

ADRIAN (turns to SERENA) Serena, please, don’t call me Lord.

SERENA Yes, my lor … yes, sir.

ADRIAN (more to himself than anyone else) It gives me the wiggins. (to SERENA again) You were saying?

SERENA Yes, sir. Counselor Ray asked that I tell you your schedule has been cleared for the remainder of the afternoon.

ADRIAN He did what?

SERENA I’m sorry, sir, he said that …

ADRIAN (holding up a hand to stop her) No, I heard you. (thinks for a second, looking back and forth between SERENA and INARA, then turns and fixes his gaze on SERENA) Serena, would you ask Counselor Ray to join us at his earliest convenience?

SERENA Yes, sir.

ADRIAN Thank you.

SERENA gives a small curtsey and exits. ADRIAN watches her go, more thinking to himself than anything else. Once the woman is gone, he turns back to INARA.

ADRIAN It would seem as though I have some unscheduled time on my hands.

INARA (smiling at the joke) Perhaps you would like to sit, now?

ADRIAN (looking out the windows) Its such a nice day. Maybe outside?

INARA That would be nice.

INARA gets up and the two of them walk through a doorway and onto the veranda.

CUT TO:

INT. Serenity, kitchen – DAY

The crew is still sitting around the dinner table – its not very long after we left them – talking in quiet tones. We can’t hear what they’re saying, but odds are they’re talking about MAL. All, that is, except for JAYNE, who is still shoveling food noisily into his mouth.

The captain comes clunking through the hatchway, the one leading to the bridge. When they hear him approach, the crew quickly hushes up.

MAL (walking back to his chair, sits down) Change of plan.

ZOE We got a job, capt’n?

JAYNE (not looking up from his dinner) ‘Bout ruttin’ time.

MAL (ignoring the question) Wash, I need you to set a new course.

WASH What? Oh, sure. Where?

MAL Coordinates are on the bridge.

WASH (disappointed by not getting a better answer but thinks better of pushing) Yes, sir.

WASH stands and throws another set of meaningful glances around the table. Everyone remains quiet.

MAL (looking up at WASH) Wash?

WASH Yes, sir?

MAL Quick as you can?

WASH Oh, right.

WASH hurries off to the bridge. Everyone else stares down at their food.

RIVER (cheerfully, almost sing-song) Off to where the ocean meets the sky …

CUT TO:

EXT. Castle, veranda – DAY

INARA and ADRIAN are seated at an opulent table on the veranda, sipping tea. The conversation is painful to watch, its so uncomfortable and stilted, despite INARA’S best training. ADRIAN is distracted, disengaged.

ADRAIN They told you about the ball, then?

INARA They did.

ADRIAN Oh, well, good.

INARA It sounds wonderful.

ADRIAN I suppose.

INARA You disagree?

ADRIAN No, no, not at all. Its just that … (frowns, tries to think of a nice way to put it)

INARA Its just that …?

ADRIAN Its just that I’m not much for formal affairs.

INARA Well, maybe you just haven’t gone with the right person.

ADRIAN (small smile, far away look) No, I suppose I haven’t.

INARA Why don’t you tell me a little about yourself.

Just then a man appears at the doorway, the one leading back to the sunroom from earlier. He is COUNSELOR JEFFREY RAY. JEFFREY is slightly shorter than ADRIAN but has the same sort of build and look as ADRIAN, only with dark brown hair rather than ADRIAN’S sandy blonde. One might almost mistake the two for brothers.

ADRIAN (noticing JEFFREY, turns to INARA) I’m sorry, Miss, would you excuse me for just one minute, please?

INARA Of course.

ADRIAN Thank you.

ADRIAN gets up and walks over to JEFFREY. The counselor is standing with his hands clasped behind his back, a barely concealed smile on his face – he knows he’s about to be yelled at but couldn’t care less. ADRIAN and JEFFREY stand off to one side, out of earshot of INARA – not that’s she’s trying to listen in.

ADRIAN Counselor.

JEFFREY My Lord.

ADRIAN (gives him a sideways glance – don’t call me that) Jeffrey.

JEFFREY (having too much fun with this) Sir?

ADRIAN (warning) Jeff …

JEFFREY (looking over ADRIAN’S shoulder) Who’s your friend, sir?

ADRIAN You know who she is, Jeff.

JEFFREY I do?

ADRIAN Yes, you do. And you know how I know you do?

JEFFREY How’s that, sir?

ADRIAN It seems as though someone cancelled all my appointments for the afternoon, knowing full well that she was going to be here.

JEFFREY They did?

ADRIAN Yes, they did.

JEFFREY Who would do something like that without telling you, sir?

ADRIAN Turns out it was you.

JEFFREY (feigning recognition) Oh, her! You know, it must have slipped my …

ADRIAN Gorrammit, Jeff. Why didn’t you …

JEFFREY (takes a step towards ADRIAN, says softly but quickly) No, look Adrian. I didn’t tell you because I knew what your reaction was going to be.

ADRIAN You did?

JEFFREY Yes, I did. I knew you would have told me to send her right back home.

ADRIAN (knows JEFF is right, tries to talk his way out of it anyway) No …

JEFFREY (gives him a look – who are you kidding?) Adrian.

ADRIAN (relenting) Alright.

JEFFREY Its been …

ADRIAN (hurt and a little bit angry) You don’t have to remind me how long its been, Jeff, I was there.

JEFFREY (softer, knows he has to comfort his friend) Yeah, I know. Its just that …

ADRIAN I’m sorry my nervous breakdown is taking too long for you, Jeff.

JEFFREY (more forceful now) Now hang on a minute.

ADRIAN (trying to cut him off) Jeff …

JEFFREY (still forceful) No, wait. You forget, Adrian, I was there, too. I was there then and I’m here now and I’ve been here every day in between. You know I’d never do anything … (pauses, considers his words) … in your entire life have I ever done anything or put you in a position that …

ADRIAN (quietly, but still cutting him off) No.

JEFFREY (softer again) Then let’s assume for the moment that I’m not now.

ADRIAN (taking a deep breath) yeah …

JEFFREY Just, you know …

ADRIAN Yeah …

JEFFREY (pauses a second) Is there anything else?

ADRIAN No, I guess not.

JEFFREY (looking over ADRIAN’S shoulder again, smiles widely) She’s cute.

ADRIAN (smiling at his friend, says loud enough for INARA to hear) That will be all, counselor.

JEFFREY (also loud enough for INARA to hear) Yes, my Lord.

ADRIAN (gives JEFF a glare - don't call me that!!)

JEFFREY (turns to INARA and bows slightly, calls to her) Miss.

INARA (yet another regal nod of the head and calls back) Counselor.

JEFFREY exits through the door he came in. ADRIAN walks back to the table and sits down.

ADRIAN I apologize. Where were we?

INARA You were going to tell me about yourself.

ADRIAN (disappointed that she remembered - hates talking about himself) I was?

CUT TO:

EXT. ranch – DAY

SERENITY has landed in a pasture near a ranch, some distance from the ranch house. The cargo bay door is already open and we see the entire crew, including WASH and KAYLEE (who normally stay with the ship), disembarking.

KAYLEE (looking around) Wow. Itn’t this great?

SIMON Yes, very, um, nice.

RIVER (sing-song) Off to where the ocean meets the sky …

KAYLEE Not very outdoorsy, are ya, Simon?

SIMON (balking) I enjoy the outdoors as much as the next guy.

JAYNE (walking by) Which guy would that be, doc?

MAL (looking over his shoulder) Don’t go strayin’ too far. There’s things out here might not take too kindly to the sight a ya.

SIMON (uncomfortable) Like what?

MAL (half under his breath) Like me, fer instance.

MAL walks off in the direction of the ranch house. It’s a large, two story house. There’s a deck across the front that wraps around one side, the right side as you’re facing the house. On the left hand corner of the front porch is a swing that hangs from chains bolted to the ceiling. It’s a real western style ranch house.

As MAL approaches, the screen door opens and a woman (MAYA) walks out. She’s in her mid/late 50’s with streaks of grey in her hair.

The crew hangs back a little bit.

Without a word she descends the steps and hugs MAL.

MAYA (quietly) Malcolm.

MAL Maya.

SIMON I’m just guessing here, but I’d say they know each other.

ZOE, BOOK and KAYLEE are watching the scene before them unfold. RIVER is further back, toying with a dandelion. JAYNE is absently looking around, almost as if he’s casing the place.

WASH turn to stare at the doctor.

SIMON (to WASH) What, you’re the only one that gets to be “Mr. Happy Fun Guy”?

WASH (incredulously) Yes. How would you feel if I all of a sudden started acting like a doctor?

SIMON (deadpan) Frightened.

ZOE (over her shoulder, whispering) Settle down, you two.

MAL How is she?

MAYA As well as can be expected.

MAL (starts to walk off into the house) OK, I’m going to …

MAYA (says louder so everyone can hear her) Malcolm, aren’t you going to introduce me to your friends?

MAL What? Oh. (almost dismissively) This is my crew.

MAYA Now Malcolm, that’s not how I raised you.

KAYLEE (getting excited) Wait, how YOU raised him? You mean, you’re his …?

MAYA No. I guess you could call me his … (looks at MAL for a second) … his aunt.

KAYLEE (a little disappointed) Oh.

MAYA His momma’s inside. She’ll be wantin’ to meet all of ya, I suppose.

KAYLEE (voicing the shock of the rest of the crew) Oh … (takes a second for it to register) Cap’n, why didn’t’cha tell us …

MAL has already disappeared through the door. We only see it swing shut.

KAYLEE (continuing) (disappointed that he’s gone, a little hesitantly) … you were coming home?

MAYA (covering) Come on inside. There’ll be time enough for explanations. Are you hungry?

JAYNE Food?

MAYA holds the door open for everyone. As they pass by, they each give her a little nod and a “thank you” or “ma’am” or something similar.

BOOK Come along, River.

RIVER (still sing-song) Off to where the ocean meets the sky …

END OF ACT 1.