Our Ship
4 - The Big Show

Title: The Big Show
Author: Annette Welsh-Shinya 01/99
Series: VOY
Part: 2/2
Rating: PG-13
Codes: P/T, J/C, K/7, EMH Doc, Tu, Vorick & the Engineering Gang, The Wildmans, & the "B" Crew
Summary: Spoilers for 30 Days. The crew conspires to get B'Elanna to the show for, well, a lot of reasons. This is the fourth in the 'Our Ship Voyager' series. Part 1 - The Gentlemen of the Club, Part 2 - The Stardust Trail, Part 3 - The Messhall Incident.
Disclaimer: This is the way we write our Trek, write our Trek, write our Trek. This is the way we write our Trek, so early in the morning. See Paramount. See fanfic. See Paramount see fanfic. See Paramount not sue over fanfic. Good, Paramount, good.
Warning: This is humour folks...or at least me trying to be funny.
Feedback: Encouragement/criticism gladly responded to. Flames will be consigned to the nearest airlock where proper venting procedures per Starfleet Engineering regulations will be followed.
Email: parisienne1812@geocities.com
Posting: OK to ASC, ASCEM, BLTS, & PT Fever. Please notify me if you post anywhere else...I love to see my name in lights!

Note: OK...I promised myself I would never do it...write a song-inspired fanfic. Then I started thinking, always a scary thing, and it was too good to pass up. Then I said to myself, you haven't done a 'Tom tells B'Elanna he loves her' story, or a 'Day of Honor' story, or a 'Let's Put on a Show, My Uncle's got a great barn' story, or even a 'Mary Sue' story. So I did. You may rest easy, I didn't put Mary Sue in. Well, she might be over there in the corner, but she doesn't say a word - promise. Please indulge me as I show my age and the music that *I* like to listen to. Artist credits and author's notes at the end.


B'Elanna blinked. The lights were very strong coming from the darkness. She realized that they were down in front of a raised audience seating area. To her right, there was a platform stage, with two people in old style formal wear standing in a spotlight. They were talking to the audience. The Captain led B'Elanna and the rest to an area of seats that was directly in front of the stage. The seats had been roped off and had a sign hung on them that said, "Reserved". Apparently, this was meant for the Captain's party, because she and Chakotay lifted the rope off and put it behind the seats. B'Elanna sat down, Naomi on her left, Chakotay on her right, Janeway to his right. There were looks from the others in the crowd, but no one said anything, and they went back to paying attention to the two crewmembers on stage.

The man said, "And he turned to the Ferengi, who said, 'Don't look at me, I didn't sell it to him.'" The crowd roared with laughter. The two took a few bows, and the man continued, "I'm Geller," he gestured to the woman at this side, "and she's Hart." "And we're from Reclamations Systems," she chimed in. "You've been a great crowd, thanks!" And they exited off stage right.

Just then, Tuvok, wearing a tuxedo, appeared from the wings and walked up to the pedestal style mike. He waited for the crowd's noise to die down, then said, "Geller and Hart, Ladies and Gentlemen." Geller and Hart made a quick return trip to take a few more bows to some enthusiastic applause. When the applause had crested, Tuvok spoke again, "And now to the final segment of our extended show tonight. Performing for the first time in the Warpcore Lounge, 'The Delta Quadrant Rebels'," and Tuvok gestured one arm to the upstage area, then picked up the mike and carried to the side of the stage.

The heavy, dark curtain parted to reveal a black wall. The wall then began to move, and turned out to be a rotating platform, which came around to reveal a group of musicians standing amidst an array of equipment. There was an elaborate grouping of speakers on either side of the players, black boxes stacked one upon another very high. To the right, on a small platform, a keyboard was set up. Ensign Vorick, dressed in faded jeans with a hole in one knee and a black muscle shirt, stood passively by it. To the left, Seven of Nine had a Peavey Bass strapped on and was fiddling with settings on her amp. In the back, the Doctor, was seated at a jet-black Pearl drumset, wearing a jeans jacket with the sleeves ripped off and a red bandanna rolled up and tied around his head. The caption on the bass drum read "Delta Quadrant Rebels" in goldtone script. He was examining a set of drumsticks with careful precision. Between Seven and the Doctor, standing next to two pedestal mikes were Harry Kim, Sam Wildman, Sue Nicoletti, and Neelix. Harry also had an alto sax on a stand in front of him. In the center stood Tom Paris. He had on black leather pants, engineer boots, and a black sleeveless t-shirt that had an imprinted design with wings, and bore the caption, 'Harley Davidson'. His blond hair gleamed in the lights, and he had a broad grin on his face. Slung around his shoulders was an Ibanez Les Paul Signature Goldtop, mint condition.

Tom looked out at the crowd, then turn to Seven and said, "Let's hit it!" In tandem, they hit a series of chords:

Dah da dah, dada da dah da,
Dah da dah, dada da dah da,

Tom leaned into the mike and sang in a husky, bad-boy voice:

"Get your motor running
head out on the highway
lookin' for adventure
and whatever comes our way

Yeah, darling gonna make it happen
take the world in a love embrace
fire all of your guns at once and
explode into space

I like smoke and lightning
heavy metal thunder
racin' with the wind
and the feeling that that I'm under

Yeah darling gonna make it happen
take the world in a love embrace
fire all of your guns at once and
explode into space

And like a true nature's child
we were born, born to be wild
we can climb so high
I'm never gonna die
born to be wild...
born to be wild..."

Tom spun around and made a motion to Vorick, who hit an organ solo. At the end, Vorick pointed back to Tom, who played the opening chords again:

Dah da dah, dada da dah da
Dah da dah, dada da dah da

Tom moved back to the mike:

"Get your motor running
head out on the highway
lookin' for adventure
and whatever comes our way

Yeah, darling gonna make it happen
take the world in a love embrace
fire all of your guns at once and
explode into space

And like a true nature's child
we were born, born to be wild
we can climb so high
I'm never gonna die
born to be wild...
born to be wild..."

Tom's voice trailed off as he and Vorick jammed together for a few more bars and then he made a cutoff motion with his hand. He grinned at Vorick, who raised an eyebrow at him, then he turned to Seven and pointed to her. She nodded, and began a series of killer riffs:

Ba dah, badadah da da
Ba dah, badadah da da
Ba dah, badadah da da
Ba dah, badadah da da

Tom sneered a little here and sang in a sexy, gravely voice:

"I can't get no satisfaction, I can't get no satisfaction,
'Cause I try and I try and I try and I try.
I can't get no, I can't get no,
When I'm drivin' in my car, and that man comes on the radio;
And he's tellin' me more and more about some useless information,
Supposed to fire my imagination.
I can't get no, oh, no no, no, hey, hey, hey
That's what I say.

I can't get no satisfaction, I can't get no satisfaction,
'Cause I try and I try and I try and I try. I can't get no,
I can't get no,
When I'm watchin' my T.V., and that man comes on to tell me;
How white my shirts can be,
Well, he can't be a man,
'Cause he doesn't smoke the same cigarettes as me,
I can't get no, oh, no no, no, hey, hey, hey
That's what I say.

I can't get no satisfaction, I can't get no girl with action,
'Cause I try and I try and I try and I try.
I can't get no, I can't get no,
When I'm ridin' 'round the world, and I'm doin' this and I'm signin' that;
And I'm tryin' to make some girl. Who tells me, baby, Better come back later next week, 'cause you see I'm on a losing streak,
I can't get no, oh, no no, no, hey, hey, hey
That's what I say. I can't get no, I can't get no,
I can't get no satisfaction,
no satisfaction, no satisfaction, no satisfaction."

The song cut off abruptly, then the Doctor, his expression intent, started a percussion only rhythm, giving a steady beat. Tom stood at the mike, sweating and panting slightly. The crowd was enthusiastic with its positive response. He looked down to where B'Elanna was sitting, who expression was priceless. Surprise warred with indignation, crossed with exasperation and just a hint of amusement. He would have to try harder, he supposed. Well, she never was an easy audience. He liked it that way. He was never so good, as when he was being 'bad'. His easy smile broadened into a full grin as he looked straight at her and met her eyes. Her eyebrows raised and she gave him a speculative look, but her lips were quirking, as if trying not to smile.

The Doctor's beat continued, and Seven came in with some low chords on her bass, Vorick added some higher notes on the keyboard. Tom stepped up to the mike and said in a pleasantly loud voice, "Good evening!" The crowd roared back. "I'm Tom Paris, and *we* are the Delta Quadrant Rebels!" Here Tom hit a few Jimi Hendryx style chords on his guitar, and the noise of the audience swelled.

The volume of their jamming went back down, and he continued," On bass, Seven of Nine!" He made a sweeping gesture with his arm toward Seven, who picked out a complicated riff of chords then settled back down into a throbbing bass beat.

"On keyboards, Ensign Vorick!" Vorick picked up the slack here and began jamming with some great scales and trills on his keyboard. With run last run down the keyboard with a flourish, he yielded the floor back to Tom.

"On back-up and instrumentals, Harry Kim!" Tom gestured to Harry, who had picked up his sax and was wailing out a good run into his mike. Seven looked at Harry as he finished his jam, a small smile playing around her mouth and she was nodding in sync with the beat. Harry grinned at her when he finished.

"Sitting in tonight for backup vocals, Sam "Wildwoman" Wildman, Susan "The Nickster" Nicoletti, and our very own Chief Moral Officer, don't call him "Leolaroot-boy", Neelix!" Tom stepped to one side so the crowd could see the three dance around to the beat with some smooth Mo-Town moves.

"And last, but certainly not the least, on drums, the Program for Percussion, the Syncopated Subroutine Savant, the Holographic Doctor!" Tom nodded to the Doctor, who began a drum solo that lasted a good three minutes. The Doc had his eyes partially closed as he pounded out a wicked and complicated beat. At the last, he was doing cascading rolls down the top bongos to the snare, all the while the highhat kept the beat. He looked up suddenly and grinned at Tom, his head nodding to the rhythm as he settled back into a steady beat. Applause had marked every individual performance and the crowd was loud and appreciative.

Tom moved back to the mike center stage and had his pick in his hand. He said, "This one's for Naomi, who believes..." He winked at the girl who squealed a bit and waved at Tom. B'Elanna laughed with her. Tom hit a couple of chords and then the whole band swung into a melodic, rockin' tune, and he sang:

"Do you believe in magic in a young girl's heart
How the music can free her, whenever it starts
And it's magic, if the music is groovy
It makes you feel happy like an old-time movie
I'll tell you about the magic, and it'll free your soul
But it's like trying to tell a stranger 'bout rock and roll

If you believe in magic don't bother to choose
If it's jug band music or rhythm and blues
Just go and listen it'll start with a smile
It won't wipe off your face no matter how hard you try
Your feet start tapping and you can't seem to find
How you got there, so just blow your mind

If you believe in magic, come along with me
We'll dance until morning 'til there's just you and me
And maybe, if the music is right
I'll meet you tomorrow, sort of late at night
And we'll go dancing, baby, then you'll see
How the magic's in the music and the music's in me"

Here the backup singers joined Tom:

"Yeah, do you believe in magic
Yeah, believe in the magic of a young girl's soul
Believe in the magic of rock and roll
Believe in the magic that can set you free
Ohh, talking 'bout magic"

And they faded out singing:

"Do you believe like I believe Do you believe in magic
Do you believe like I believe Do you believe, believer
Do you believe like I believe Do you believe in magic..."

Tom took off his guitar and put it on its stand. Vorick then started playing some low, very pretty music as backdrop for him. He stepped back to mike, his expression serious.

"Thank you, thank you very much. I wanted to take some time to let you know why we're here. Today is First Friday, and we're very happy to be here, playing for you. But, it's also another day. It's The Day of Honor. That means a lot to me and to someone else in the crowd. I'm sure you all know I mean B'Elanna Torres."

B'Elanna looked up at Tom with a sudden glare. Where was this going? Didn't he realize she was going to kill him for this? Tom's expression calmed her down. He was dead serious, with a determined manner that spoke that he was going to do this, no matter what she did.

"The Day of Honor is a lot of things, but mostly, it's about taking a good look at your behavior in the past year and deciding if it measures up." Tom nodded a bit ruefully here. "Everyone's concept of honor is a bit different, and I've had a kind of tough year in that department." Here he looked down at Janeway, an apology in his tone and eyes. Not for his actions, but for how it had driven a wedge between them that was just now starting to be overcome. Janeway smiled back at Tom and nodded. Chakotay looked at Tom then at Kathryn and smiled himself. He reached over and took Kathryn's hand and squeezed it. Her gaze held gratitude and she kept hold of his hand.

Tom continued, "But there's one thing I'd like to do, to satisfy my own personal sense of honor for this day. I need to say something to someone, something that's a long time in coming. I found this song on the Earth 20th Century cultural database while I was researching the rest of the music for tonight. It's not from the same time period, but it says what I haven't been able to say, what I've wanted to say, but didn't have the words." Tom looked down to B'Elanna and said in a husky, low voice, heavy with emotion, "B'Elanna, this is for you."

He went over and picked up his guitar and strapped it on. Vorick and the rest started in on a swelling, melodic song. The lights went down. A spotlight came up for Tom. Harry was playing his sax; its mellow wail a counterpoint filling into the harmony. Tom's face was serious, then he smiled a sad smile, then sang:

"It must have been cold there in my shadow
To never have sunlight on your face
You were content to let me shine, that's your way
You always walked a step behind
So I was the one with all the glory
While you were the one with all the strength.
A beautiful face without a name, for so long
A beautiful smile to hide the pain

Did you ever know that you're my hero
And everything I would like to be
If I can fly higher than an eagle
You are the wind beneath my wings
It might have appeared to go unnoticed
but I've got it all here in my heart
I want you to know I know the truth
Of course I know it
I would be nothing with out you

Fly, fly, fly away
You let me fly so high
Oh, fly, fly
So high against the sky
So high I almost touch the sky
Thank you, thank you, thank God for you
The wind beneath my wings"

Here they all stopped playing and Tom continued a capella:

I want you to know that you're my hero
And everything I would like to be
If I can fly higher than an eagle
You are the wind beneath my wings"

The crowd was absolutely silent. B'Elanna was unable to move. She felt tears running down her face, but they were unimportant. Tom put his guitar down on its stand, and stood on the stage, his demeanor pensive, almost defensive. He looked down at her, as if awaiting her decision. B'Elanna decided. She got up and walked up to the stage. Tom walked over and helped her up on the stage. The audience began to clap, and the applause swelled and grew, with cheers and whistles mixed in. Tom held her by both hands and they stood face to face for a moment. Then they were embracing; the cheers reached a crescendo. They came apart partially, still arm in arm, tears on both their faces, and they bowed.

Tom made a motion to the group and they started in with the fill music. He motioned off-stage, and Tuvok, still in his emcee's outfit, came out and took Tom's guitar from him. He strapped it on and nodded to the group. They started into a face-paced intro, and Tom went to the mike, pulling B'Elanna with him. She initially resisted, then when he said something to her, she laughed, and then went with him. Tuvok and Seven stood next to one another, and swung into the opening bars of the last number with intense concentration. Tom and his backup sang:

"Good lovin'"
Guitar riff: duh da, dah dadada
"Good lovin'"
duh da, dah dadada
"Good lovin'"
duh da, dah dadada


"I was feelin'so bad
I asked my family doctor just what I had
I said "Doctor,"


Tom (pointing at the EMH Doc):
"Mr. M.D.," (Doctor)
"Now can you tell me what's ailin' me?" (Doctor)
"He said, 'Yeah, yeah, yeah, yeah, yeah'"
(Yeah, yeah, yeah, yeah, yeah)
Yes indeed
All I, I really need

Good lovin' (Tom: Now gimme that good, good lovin')
Good lovin' (All I need is lovin')
Good lovin' (Good, good lovin', baby)
Good lovin'

Here Tuvok goes off on a riff:

duh da, dah dadada
duh da, dah dadada

Tom sings directly to B'Elanna:
Honey, please squeeze me tight (squeeze me tight)
Don't you want your baby to be all right (be all right)
I said baby (baby) now it's for sure (it's for sure)
I got the fever, yeah, and you got the cure (got the cure)

Tom shouts:
Everybody yeah, yeah, yeah, yeah, yeah
(The whole audience, including B'Elanna: Yeah, yeah, yeah, yeah, yeah)
Yes indeed
All I really need

Good lovin' (Tom: C'mon, gimme that lovin')
Good lovin' (All I need is lovin')
Good lovin' (Good, good lovin', baby)
Good lovin'

Tuvok makes a last set of riffs:

duh da, dah dadada
duh da, dah dadada

They take it home:

Good lovin'
Good lovin'
Good lovin' (all I need is lovin')
Good lovin' (all I want is lovin')
Good lovin' (lovin' early in the morning)
Good lovin' (lovin' you late at night)
Good lovin' (love... love)
Good lovin' (love, love, love, love, lovin')

They finish the song on a high, energetic note. There were people in the aisles dancing. Applause explodes. Naomi Wildman runs up to the stage and Tuvok gives her a hand up. Vorick comes out from his keyboards and Tom puts his hand out for five, and Vorick complies. Vorick then holds his hand up for a high five and, laughing, Tom gives it to him. The Doctor, Neelix, Sue, and Sam all gather around Tom and B'Elanna, talking and laughing. Seven hangs up her bass and bs to Harry, who's waiting for her. Harry glances toward her, then slips and arm around her waist, taking her over to the group. When they arrive, his arm stays, so does she. B'Elanna and Tom are surrounded by everyone, holding on to each other for dear life. Tom looks down at the Captain, still sitting, but with a big smile on her face, still hanging on to Chakotay's hand. Tom winks at the Captain, who gives him 'The Look', then spoils it by laughing. Tom then looks at Chakotay, then to their clasped hands, then back to Chakotay, and raises his eyebrows. Chakotay waggles in own eyebrows in response and Tom nods, an even wider grin lighting his face. He turns to B'Elanna, who eyes outshine the lighting on the stage. He felt good. He put that there. They turned as a group and bowed to the audience, who was still clapping.




"I have one more song I want to sing for you," said Tom, walking over to pick up an acoustic guitar that was on a stand in one corner of his room.

B'Elanna leaned back on the couch and said, "You really have been working on this a long time, haven't you?"

"Yeah," said Tom, sitting down next to her. "I wanted it to be just right."

"It was," she replied.

"Good," was all Tom said, and began tuning the guitar. When he was finished he looked up at her.


"Just looking," said B'Elanna softly.

"Like what you see?" said Tom, a trifle smart-alec.

"Yeah, I do," breathed B'Elanna, her voice serious.

"I'm glad," his voice was husky and low. "Remember a while back, when we had that conversation about where we were going with this relationship? You said something about not being sure it was going to last that long, and then I said I wouldn't presume to think so?"

"Yes," said B'Elanna, nodding, wondering where this was headed.

"Well, I've been doing some thinking about that. I decided that this was my answer," and he began strumming on the guitar. He sang:

"You ask me if there'll come a time
WBut,I grow tired of you
Never my love
Never my love

You wonder if this heart of mine
Will lose its desire for you
Never my love
Never my love

What makes you think love will end
When you know that my whole life depends on you

You say you fear I'll change my mind
I won't require you
Never my love
Never my love

How can you think love will end
When I've asked you to spend your whole life with me
Never my love
Never my love"

When he had finished the last chord, he set the guitar carefully down on the coffeetable in front of them. He looked up and saw that tears had returned to B'Elanna's eyes, and a tremulous smile was on her lips. He pulled her into a close embrace, and they held each other for a while.

Then he said, "Pretty groovy, huh?"

B'Elanna pulled back a bit and looked at Tom, then smiled and nodded, "The grooviest, Tom."



Song Credits:

1. Born to be Wild - Steppenwolf
2. Satisfaction - Jagger, Richard
3. Do You Believe in Magic - Clark, Resnick
4. Wind Beneath my Wings - Midler, 'Beaches' Soundtrack
5. Good Love - Clark, Resnick
6. Never My Love - Addrisi, Addrisi

Author's Notes: I picked these songs for many reasons. I think they really reflect the periods in Tom's life. His rebel/misfit stage for 'Born to be Wild', dissatisfaction and failure in Starfleet and the Maquis for 'Satisfaction', his redemption and new life on Voyager for 'Do You Believe in Magic', his appreciation of finding love and life with B'Elanna for 'Wind Beneath my Wings', his now great life, friends, and lover for 'Good Love', and his commitment to B'Elanna for 'Never My Love'. If you don't know the music to these lyrics, you may like to give it a try. You can usually cruise the dial for an oldies station somewhere in the city where you live. They're worth a listen. Oh, and Mary Sue, get out of Tom's dressing room, now.

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