ACT 2.

INT. Castle, dining room – NIGHT

INARA, MINISTER SOONG, and ADRIAN are having dinner. Joining them is another woman, LADY VERONICA. She’s a socialite, more of a social climber than anything else, having taken on the affectation of a status one senses is beyond what she’s due.

The table is a long, thin one. Seated at one end, the “head”, is MINISTER SOONG. LADY VERONICA is seated at the other “head” of the table, the place usually reserved for the MINISTER’S wife (also known as ADRIAN’S mother). ADRIAN and INARA are seated across from each other near the middle of the table.

The room is opulent and stately. There’s a fine chandelier hanging from the center of the ceiling. The table is dressed in all its finery – china, crystal, silver candlesticks, and the like.

Dinner is over and there are a few servants clearing away the rest of the plates. Both the MINSTER and LADY VERONICA don’t even notice the servants, acting as if they’re not even there. ADRIAN, on the other hand, acknowledges their presence, thanking each of them as they clear the plates, refill the drinks, set out the coffee, etc. We can see INARA taking all of this in.

MINISTER SOONG (to INARA) Tell me, Miss, how do you find out quiet little corner of the universe?

INARA (with a great big inviting smile – she’s in Companion mode) Its really very quite charming. You have a beautiful estate.

LADY VERONICA (a little snooty) Well thank you, I’m so glad you like it.

MINISTER SOONG I was told that you only recently came to make Persephone your home.

INARA Yes.

MINISTER SOONG May I ask where you were before that?

INARA I had entered into an … arrangement … with a trading ship.

LADY VERONICA (not quite under her breath) Arrangement indeed.

At these words ADRIAN looks up and across the table at INARA, trying to gauge her reaction. INARA breezes right by the comment without even acknowledging it – she’s been here before.

INARA They were … are … an … (pauses for a second, her eyes look down and to the left but her head doesn’t move – she’s remembering them fondly) … interesting group of people.

LADY VERONICA I would imagine.

INARA How do you mean?

LADY VERONICA (condescending smile) Well, traders, isn’t that just another word for smugglers?

INARA Many words have many different meanings, Lady Veronica.

LADY VERONICA Of which I’m well aware, my dear. But its been my experience that these “traders”, as you call them, are, at best, morally ambiguous.

ADRIAN looks up and across the table again – he’s ready to mix it up with LADY VERONICA, but just as he’s about to jump in, INARA smoothly cuts him off.

INARA I suppose one could say that, if one were taken with sweeping generalities. On the other hand, I find people far more interesting than that.

LADY VERONICA (dryly) Indeed.

INARA I’m sorry?

LADY VERONICA Well, my dear, one would think you’d almost have to, given your line of work.

ADRIAN (he’s had enough of this @#$%^) You’ll have to excuse the Lady, Miss. She tends to look down on anyone that’s, well, that’s not her.

LADY VERONICA I do nothing of the sort, my boy.

ADRIAN Seems she … achieved … her status the old fashioned way – she married into it. Curious, though, how soon Lord George passed after you wed.

LADY VERONICA I don’t think I like your implication, Adrian.

ADRIAN (quips) Yeah, well, anyway … (pushes back from the table and stands, turns to his father) Father, thank you for yet another fine meal.

MINISTER SOONG Boy, sit down. Apologize to Lady Veronica.

ADRIAN (ignoring the old man) Miss? (motions as if to ask her if she wants to leave)

INARA (stands gracefully) Minister. Lady Veronica. ADRIAN (as an afterthought, turns to LADY VERONICA, says with a quiet forcefulness) I’m not your boy. You can call me anything you like, but my name is Adrian.

INARA and ADRIAN exit.

CUT TO:

INT. Castle, hallway – NIGHT (continuous)

INARA and ADRIAN are walking down a hallway that’s every bit as opulent as the dining room they just left.

INARA You didn’t have to do that.

ADRIAN Excuse me?

INARA I’m perfectly capable of defending myself.

ADRIAN I’m sorry, I never meant to imply that you weren’t. I just …

INARA Don’t like her very much?

ADRIAN (relaxing a little) No, I really don’t. Ever since my mother passed she’s treated this place as if it were her own.

INARA I’m sorry. When did …

ADRIAN Shortly after I was born. I don’t even really remember her. Just little pieces of images, really, and what I’ve seen in the vids.

INARA It must have been difficult, growing up with without a mother.

ADRIAN I shouldn’t complain. I never wanted for anything growing up.

INARA But your family …

ADRIAN Family is what you make of it, Miss. (stopping quickly) Ah, here were are.

ADRIAN and INARA have stopped in front of a large door – a door to a room in the manor.

ADRIAN I hope you find the accommodations adequate. Your things have been brought up. If you require anything in the night, please don’t hesitate to use the comm.

INARA Wouldn’t you like to come in? For a nightcap, perhaps.

ADRIAN (big smile) That sounds wonderful, but I’m afraid I can’t.

INARA (as seductively as she can) You can’t, or you won’t?

ADRIAN (sly smile, looks away for a second, then gives a quick bow) Goodnight, Miss.

ADRIAN walks off down the hallway. INARA looks like she is about to say something but then stops herself – he’s already gone. She gives the back of him a look of a woman that’s surprised she’s just been rejected. Then she rolls her eyes – Great! – and goes into her room.

CUT TO:

INT. Ranch house, upstairs hallway – NIGHT

MAL is waiting in the hallway, outside a door to one of the rooms. He’s pacing back and forth – clearly he’s worried about something. The door to the room opens and out walks SIMON. SIMON has his doctor’s bag and is just putting away his stethoscope.

MAL stops pacing and looks up at the doctor expectantly. SIMON looks right at MAL for a long second and simply shakes his head “no”. SIMON reaches up as if to touch MAL on the shoulder but, thinking better of it, walks off down the hallway.

MAL stands in front of the doorway, stunned. While the doctor never said anything to him, its obvious it was bad news.

MAL waits at the doorway for a second longer, trying to gather his courage. Just as he’s about to go in, we hear the voice of RUTH, MAL’S mother.

RUTH (O.C.) Malcolm.

MAL (calling through the door) Ma’am?

RUTH (O.C.) You gonna stand out there all night, boy?

MAL No, no ma’am.

RUTH (O.C.) Well, then, come on in and let me have a look at ‘ya.

MAL Yes ma’am.

MAL again pauses at the doorway, his hand on the knob.

RUTH (O.C.) Malcolm.

MAL turns the knob and goes into the room.

CUT TO:

INT. Ranch house, upstairs bedroom – NIGHT (continuous)

MAL walks into the room, stopping just inside the door. It’s a simple room, a twin sized bed being the main piece of furniture. There’s a dresser against the far wall, just under a window. Beside the bed there’s a nightstand with a simple wooden chair next to that.

On the bed lies RUTH RENYOLDS, MAL’S mother. She’s propped up with a few pillows behind her back. Her hair is tied into a simple bun behind her head. She’s wearing black pajamas with a frilly collar, the bed covers pulled to her waist. Her hands are folded neatly in her lap. She smiles at MAL as he enters.

RUTH Well, come here. Let me take a look at ‘ya.

MAL hesitantly walks across the room. And to the side of the bed. RUTH looks him over for a second.

RUTH (proudly, happy that her son is home) Malcolm.

MAL (worried look on his face) Momma.

RUTH A might skinny, I’d say. They been feedin’ you? Doesn’t matter, Maya’ll fix you right up.

MAL (just looks at his mother with a worried expression)

RUTH Boy, that look on yer face, you’d think someone’s up and died or somethin’.

MAL (has a look of horror on his face)

RUTH Oh Malcolm. Don’t look so horrified.

MAL But …

RUTH (cutting him off) I ‘spect you talked to that doctor ‘a yours?

MAL Yes’m.

RUTH So you know there’s nothing to be done ‘bout it. Its just the way ‘a things.

MAL Yes’m.

RUTH Its my time, I suppose. Lord has a plan for all ‘a us, Malcolm. This just happens to be mine.

MAL You sound like the Shepard.

RUTH Shepard? Since when you been the kind ‘a fella to keep company with a Shepard.

MAL He’s part of the crew.

RUTH Really? They here?

MAL Yes’m.

RUTH I’ll have to meet him, see whether he’s had any luck with ‘ya.

MAL (smiles)

A silent moment passes between the two. RUTH is just happy that her son is home and takes a minute to enjoy it.

RUTH Come on and sit down. Tell me about that crew ‘a yours.

MAL walks to the chair and sits with his mother. She reaches over and takes his hand in hers.

CUT TO:

INT. Castle, hallway – NIGHT

The hallway is dimly lit – it’s the middle of the night. This is not the same hallway INARA’S room is on, it’s a different one.

INARA walks down the hallway, dressed in a long silk robe. A soft light spills out a door at the end of the hallway. We hear the faint sound of voices coming from the room at the end of the hall. As INARA approaches to investigate, we start to hear what the voices are saying. The voices belong to ADRIAN and an older woman (MARISSA).

INARA approaches the door cautiously. She doesn’t actually go into the room (the kitchen), but stands at the doorway, just out of view, behind the door frame.

MARISSA (O.C.) The woman they brought for you, she is nice?

ADRIAN (O.C.) I suppose.

MARISSA (O.C.) She is not nice?

CUT TO:

INT. Castle, kitchen – NIGHT (continuous)

INARA peers around the doorway and into the kitchen. In the center of the room is a large island. ADRIAN and MARISSA are sitting at the island, an open pie in front of them – they’re both eating it right out of the container. Each has a glass of milk in front of them. The lighting is soft and intimate.

ADRIAN She seems nice enough, Nanna. I mean, I really don’t know her all that well.

MARISSA It is good for you to spend time with a woman.

ADRIAN What do I need a woman for? I have you.

MARISSA That is exactly the reason, liebchen.

ADRIAN (distracted, remembering something) Yeah …

MARISSA She is pretty, this woman?

ADRIAN Ich vermute es.

MARISSA (finishing her milk) Then what, liebchen? She is nice, she is pretty …

ADRIAN (picks up both his and MARISSA’S glasses, moves to the refridgerator to refill them) She’s being paid to be here.

MARISSA (reprimanding) Liebchen!! Das gehört sich nicht!!

ADRIAN No, Nanna. I don’t mean … I only mean that … (pauses to consider his words) All I ever wanted was someone that liked me for me, Adrian. Not because I’m the minister’s son, not because I’m related to someone powerful, not because I may some day be someone powerful, not any of that.

MARISSA (understanding) And this woman, you do not know if she is such a person?

ADRIAN (sits back down) Yes.

MARISSA Tell me, liebchen, how do you know she is not?

ADRIAN (thinks for a second) I don’t, I guess.

MARISSA Nein, you do not.

ADRIAN So what’s your point?

MARISSA (looks up and over ADRIAN’S shoulder, notices INARA lurking in the shadows, says to ADRIAN in a kindly old woman that knows better than you way) My point, mein kind, is perhaps you should see about this woman before you have decided.

ADRIAN (conceding the point) Perhaps.

MARISSA Ja, dich sollte.

MARISSA reaches over and places her hand on top of ADRIAN’S, which had been resting on the countertop. She gives his hand a quick squeeze before she leans over and kisses him on the forehead. It’s a sweet gesture, one typically reserved for mothers and sons. As she kisses him he briefly closes his eyes.

MARISSA Gute nacht, liebchen.

ADRIAN Goodnight, Nanna.

MARISSA stands there for a second, looking at ADRIAN. Her eyes very briefly flicker to INARA before she looks back at ADRIAN. She then exits through another doorway.

ADRIAN is left with his thoughts. He absentmindedly toys with the pie, not really eating.

After a moment watching, INARA moves to leave. Just as she moves out of frame, ADRIAN calls to her.

ADRIAN Why don’t you come in and have some pie, Miss.

INARA freezes in her tracks. She’s surprised that he knows she’s there. She momentarily toys with the idea of just leaving, but she decides against it. As she turns around she makes a face of “well, here goes!”. With that she walks in to the room and stands just inside the doorway.

INARA I’m sorry, I didn’t mean to overhear, I just …

ADRIAN Couldn’t sleep?

INARA How did you know …?

ADRIAN Marissa’s never been good at hiding things.

INARA Oh.

ADRIAN Would you like some pie?

INARA OK.

INARA moves to take MARISSA’S seat at the center island. ADRIAN gets up, takes MARISSA’S glass to the sink, gets a new glass, and fills it with milk for INARA. He also gets INARA a fork.

They sit together in silence for a few moments. INARA takes a bite of the pie, surprised that its so good.

ADRIAN About what you heard, I didn’t mean any disrespect.

INARA I never thought you did.

ADRIAN Oh. Good.

INARA Is she …?

ADRIAN Marissa? I guess you could call her my nurse. My mother … I was so young … and afterwards, Marissa just …

INARA You’re very lucky, to have someone like that.

ADRIAN Yes, I am.

A moment of silence goes by. There’s still some awkwardness between the two of them.

INARA What was that she kept calling you?

ADRIAN Liebchen? Its ancient German, from the Earth that Was. It means “sweetheart”. Marissa’s family sort of kept it alive.

INARA Does she have children of her own?

ADRIAN No, she never married. Sometimes I feel guilty that she never had a family of her own.

INARA She does. She has you.

CUT TO:

INT. Ranch house, kitchen – NIGHT

The kitchen of the ranch house is a large room. In the center of the room is a large, rectangular dining table. The entire crew, except for MAL, is seated around the table. MAYA is walking back and forth, from the table to the countertops, laying out the food. Its an impressive spread – plates and plates of food.

Once the food has been served, MAYA takes her seat at the head of the table. Just as she sits, JAYNE reaches across the table for a plate of food. As he looks up, he notices MAYA staring him down. He immediately realizes he’s done something wrong and puts the food plate back down. Sitting back in his seat he mutters a quiet and embarrassed apology. MAYA watches him the entire time and stares at him for just an extra moment after he’s sat back down. She then turns to BOOK.

MAYA Shepard, would you say grace?

BOOK (surprised) Of course.

MAYA (noticing glances exchanged by the crew) Did I miss sumthin’?

BOOK No, no, not at all. The Captain isn’t much for prayer.

MAYA Figures. He never was. But ‘round here, in this house, we are.

MAYA reaches over and takes the hands of the people sitting next to her. Everyone else around the table gets the idea and joins hands. They bow their heads.

Just before BOOK can begin a prayer, RIVER speaks.

RIVER Our father, who art in heaven …

Everyone around the table looks up at the girl with a confused expression. But they decide to go along with it. They bow their heads again and join in the familiar prayer.

CUT TO:

INT. Ranch House, upstairs hallway – NIGHT (continuous)

It’s the hallway in front of RUTH’S bedroom door. The prayer from the kitchen continues as a voice over.

RIVER (V.O., continuing) … hallowed be they name. Thy kingdom come …

MAL walks out the door of the room. He turns and looks back in the room for a second before closing the door.

RIVER (V.O., continuing) … thine will be done, on Earth as it will in Heaven.

MAL slumps against the door, face first, his arm cushioning his head against the frame, and begins to sob.

RIVER (V.O., continuing) Give us this day our daily bread.

MAL turns around and puts his back to the wall. Still sobbing, he slides to the ground and buries his head in his arms.

RIVER (V.O., continuing) And forgive us our trespasses.

MAL stares up at the ceiling – he’s praying, also, but we can’t hear what he’s saying. Tears are streaming down his face.

RIVER (V.O., continuing) For thine is the kingdom, the power, and the glory, forever and ever. Amen.

EVERYONE (V.O.) Amen.

END OF ACT 2.