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Old October 10 2011, 01:44 PM   #6
lvsxy808
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Re: DS9 Season 10, ep 10x08 - "Property Values"

ACT FOUR


FADE IN:


20 EXT. DEEP SPACE NINE - ESTABLISHING

The station at rest, but there are three D’Kora-class Ferengi Marauders positioned in a triangle around it (the large, crab-like Ferengi ships as seen in TNG). The smaller shuttle from earlier is still there too.

RO (o.s.)
This is getting out of hand.


21 INT. DS9 – KIRA’S OFFICE

Kira sits behind her desk, Ro in front of it.

KIRA
I never even knew the Ferengi
had a military.

RO
Strictly speaking, they don’t.
It’s more of a Merchant Navy.
But that doesn’t mean we should
underestimate them.

KIRA
How bad can it be? How are the
Ferengi in any way threatening?

RO
You don’t know how far a DaiMon
will go to protect his profits. And
those ships can do serious damage
if someone says it’s what the
Nagus wants.

KIRA
And what about Malic?

RO
Hasn’t set foot off his shuttle
in three days.

KIRA
Why doesn’t he just give up and
go home?

RO
And lose face like that? No.
He’s squatting in there, trying
to figure out how much risk
he’s willing to take over this.

KIRA
And the moment he does, Quark
gives the order and we’ve got
a shooting war.

RO
We need another plan.

They both sit back to think...


CUT TO:


22 INT. DS9 – KIRA’S OFFICE

EZRI DAX appears on the comm screen set into the wall. She’s sat in her commander’s uniform on a generic Starfleet background, and is very cheerful and enthusiastic. Kira and Ro stand at the panel, chatting amiably.

DAX (screen)
Nerys! Great to hear from you.
How’s the station?

KIRA
Ah, you know how it is. Always
something. How’s the Luna?

DAX (screen)
Amazing. The kind of people
they’ve got working here,
Nerys... you wouldn’t believe
it. My chief science officer
is a Sulamid! All those eyes
and tentacles everywhere...

KIRA
Yikes. And I thought a Gallamite
was bad enough.

DAX (screen)
There’s even supposed to be
some Pakhwa-thanh signing on.
Can you imagine?

RO
I’d love to have one of those
on my security team. You see
that barrelling down the corridor
at you, you’ll never even dream
of committing a crime again.

DAX (screen)
The tech is incredible too. Best
sensors I’ve ever seen. I heard
a rumour they’re working on
adapting the engines to work
with the quantum slipstream
drive Voyager brought back.

KIRA
That’ll take years to be ready.

DAX (screen)
Don’t be so sure. Doctor Xin
Ra-Havreii himself designed
the prototype. He’s supposed
to be a genius.

RO
So he tells everybody.

DAX (screen)
So what can I do for you? I’m
guessing you didn’t just call
to gossip.

Kira’s friendly grin falls. Down to business.

KIRA
I’m afraid not. Is this is a
secure line?

That surprises Dax. What’s going on? She taps a few keys on the panels in front of her.

DAX (screen)
It is now.

KIRA
I need to ask you a favour, Dax.
And I’ll understand if you want
to say no.

DAX (screen)
(worried now)
Nerys, what is it?

KIRA
Your family, back on New Sydney.
Do they still have connections...
to the Orion Syndicate?

Dax blinks, genuinely shocked at the question.


23 INT. DS9 – QUARK’S BAR

Quark is likewise talking to someone on the screens behind his bar – an angry Ferengi DaiMon, GROB.

GROB (screen)
Ambassador! How much longer are
we expected to sit here doing
nothing? Time is money!

QUARK
As long as the Nagus requires
you to, DaiMon Grob. But I can
assure you, the Nagus is very
grateful to all the crew of the
Flibb’s Folly for their help. He
won’t forget your name.

That’s enough to get Grob dreaming of vast profits.

GROB (screen)
Of course, of course! Whatever
the Nagus needs!

Now Grob leers lasciviously, licks his lips and strokes his lobe with his finger. It’s kinda gross.

GROB (screen)
So... where is this Orion slave
girl we’re here to protect?
I’ve always wanted to see one.

QUARK
She’s... otherwise occupied.

Quark grins at Grob, and wiggles his eyebrows suggestively. Grob chuckles along, assuming it’s something dirty. But...


24 INT. VIC’S LOUNGE

DARKNESS... until a single spotlight appears, illuminating Treir alone at the microphone. She looks fabulous – elegant cocktail dress, sexy, confident, in total control. She begins to sing in a throaty, bluesy soul voice – the Peggy Lee classic, “Why Don’t You Do Right.”

TREIR
(singing)
You had plenty money, 1922
You let other women
make a fool of you
Why don’t you do right,
like some other men do?
Get out of here
And get me some money too

Looking at the crowd, they’re absolutely spellbound. Gazing up at Treir, the men are falling in love on the spot. But even the women are drawn in by the powerful woman on stage.

TREIR
(singing)
You’re sittin’ down and wonderin’
what it’s all about
You ain’t got no money,
They will put you out
Why don’t you do right,
like some other men do?
Get out of here
and get me some money too

At the bar, more customers paying rapt attention. There’s Vic too, and he’s gazing up at her with just as much admiration as everyone else.

TREIR
(singing)
If you had prepared
twenty years ago
You wouldn’t be a-wanderin’
from door to door
Why don’t you do right,
like some other men do?
Get out of here
and get me some money too

Nog sidles up to Vic, also loving the show. Vic looks down at him, shakes his head in amazement.

TREIR
(singing,
background)
I fell for your jivin’
and I took you in
Now all you got to offer me’s
a drink of gin that stage.
Why don’t you do right,
like some other men do?
Get out of here
and get me some money too

VIC
Kid, that magic show of
yours was just fine.
(re Treir)
But that... that’s real
magic right there on I
think I found my support act.

Treir winds up to the end of her song, and as she does, she looks out into the crowd, making direct, unblinking eye contact with Vic. Vic can’t help but fall into her eyes.

TREIR
(singing)
Why don’t you do right,
like some other men do?
Like some other men do.

The song ends, and the crowd goes wild with applause and cheers. But Treir only has eyes for Vic, and vice versa.


25 INT. VIC’S HOTEL SUITE

Dark, seductive lighting, late night. The door opens and Vic holds it open, allowing Treir to sweep into the room. She’s wearing a fur stole over her cocktail dress, and she is buzzing with excitement.

TREIR
That was so much fun! I don’t
remember the last time I had
that much fun. If ever.

Vic closes the door, and then gentlemanly takes the stole from her. She allows it, with a flirtatious glance over her shoulder at him. He catches it and gulps with nervousness.

Treir heads straight to the minibar while Vic hangs the stole on a coat rack. Treir grabs a champagne bottle and pops the cork. They both laugh as the bubbles overflow – Vic quickly grabs two glasses and catches the spill.

VIC
(laugh)
Whoa! Watch the carpet! What
are we celebratin’?

TREIR
A magical night... that’s only
just begun.

She clinks her glass to his and takes a sip. He does too, a bit shell-shocked.

VIC
You are one knockout up on
that stage, sweetheart. You
sure you never sung before?

TREIR
No, never. It must be your...
(smile)
...expert tutelage.

Smiling seductively, Treir begins to lead into the bedroom. She sits coquettishly on the edge of the bed, and turns to look at him. But it’s not the usual over-played seduction of a dabo girl. This is genuine, even a little nervous. Vic comes to the doorway into the bedroom. No further. He sees what she’s trying to do, but he won’t give in.

VIC
I’ll grab the spare sheets and
pillows, and set up the couch.

He turns away, but Treir plaintively calls after him.

TREIR
Vic... don’t go.

VIC
(sad smile)
Treir, sweetheart... much as I
appreciate the offer, I told
you, I ain’t that kind of guy.

He turns away again.

TREIR
Vic, please... just sit with
me. That’s all.

After a moment’s pause, he relents and comes and sits with her on the bed. No physical contact. She takes a deep breath and plucks up her nerves.

TREIR
Vic... I am grateful to you.
For taking me in... for putting
me on that stage tonight... for
being the kind of man who won’t
take advantage of a lady in
need. I haven’t met many of
those in my time.
(beat)
But I’m not doing this because
I’m grateful. I’m not doing
this because I think I have to.
I know that with you, I don’t
have to. But I want to.

She looks at him, makes a genuine connection. She’s being completely honest here... and he’s responding to it.

TREIR
Every man on this station wants
me. That’s not me being proud or
conceited. It’s pure chemistry,
Orion pheromones. They can’t
help themselves.
(quibble)
Well, okay, not every man. But
you know what I mean.
(beat)
But with you... it’s different.
The pheromones have no effect.

VIC
Because I’m just a hologram.

TREIR
Don’t say it like that. It’s a
wonderful thing. Because you’re
more real to me than any of the
others out there. And I’m real
to you. When you look at me...
like that... I know that you
mean it. And that’s...

She can’t really explain how it makes her feel. Special. She puts her feelings into action. She reaches out gently, tentatively... and kisses him. He doesn’t pull away.

The kiss grows, becoming more passionate...

and we slowly ZOOM IN...

and simultaneously DISSOLVE INTO...


26 INT. VIC’S HOTEL SUITE

Later – night. The room is dark, only the flashing lights of the hotel’s neon signs outside, coming through gently wafting lace curtains.

Vic and Treir lie in bed together, tastefully naked. He’s fast asleep. She’s awake, propped up on one elbow, and watching him sleep with a warm, wistful smile. After a while, she gently and carefully manoeuvres herself out from under the covers (making sure that we don’t see anything).

She steps across the room and grabs a negligee from a nearby hook, pulls it on. In the dim light, she turns and gazes at Vic’s sleeping form with genuine affection. She’s relaxed and truly happy.

Then in a sudden shocking rush of photons, the entire scene dissolves around her as the holosuite switches off...


27 INT. HOLOSUITE (CONTINUOUS)

...leaving her standing alone in her negligee on the bare holosuite grid. Before she has any chance to register her surprise and fear...

...two pairs of heavy green hands yank a cloth sack over her head and grab her hard. She SCREAMS...


BLACK OUT:


END OF ACT FOUR



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