Bigger Than Us; a Video Script
CASTING NOTE:
This must have no taint of American slave history- because it will be controversial no matter what. All the citizens should be very Roman looking; darkskinned and dark hair. The slaver can look Piratical and indeterminate racially, the slaves should represent all types of peoples. The Matron is a smoldering beauty, think Sophia Loren. The two slave girls are matched Nubians and the MajorDomo can be anything exotic, even Scandinavian; He should be young but radiate authority, and be much taller than Tracy.
FADE IN;
The scene is a dusty, archaic market. As the camera pans along the busy street we see all the stereotypical scenes we expect; Farmer’s wives argue over a squealing piglet and wicker baskets of chickens; Hands reach into barrows of vegetables; Children run through the crowd.
A slaver is coming down the street with his human merchandise. The camera follows this parade, dodging around boxes and baskets, and people. A big man in leather apron sweats over his forge and a shower of sparks obscure our vision, the hubbub dwindles away and the scene proceeds in dumbshow as we hear
the first chords of the music
CUT TO ClOSEUP
of the back of a young man within the group of slaves as they near the auction tent. Tracy’s bare shoulders are streaked with sweat and grime, his ragged garment is stained with the dirt of the road. He wears a collar of rough metal reminiscent of the leather collar that he is wearing as part of his stage costume at the moment; his trademark ponytail is tied with a piece of twine, or even vine. We follow his group to the opening of the tent.
CUT TO REVERSE
Tracy looks around this new kind of stage he’s found himself on. His face is not as dusty as his back.
CUT TO PANORAMA
The camera pans across the crowd inside, buyers and idle gawkers, food vendors picking their way among the clots of people standing or sitting on benches. Shouts and raised hands show that the auction is already in full swing.
CUT TO Medium CLOSEUP
We read hopelessness and resignation on Tracy’s face. IN a series of QUICK CUTS
we establish the rhythm of the auction.
The Slaver comes across our vision with one of his charges in hand, an Oriental male. In a
REVERSE
we see his legs stumbling up the two or three steps to the platform; Patron makes bid; vendor carrying tray throws food to customer a’la baseball hot-dog; two people discuss merits of merchandise; etc.
MIXED IN WITH THESE CUTS
we see a wealthy matron accompanied by her household retinue arrive and make a space for themselves. Her manservant moves people off a bench so that she may sit down, signals a wine-seller to come over. Her two black maids lay a shawl on the bench for their mistress, fuss over her. These
QUICK CUTS
are of varying degrees; sometimes we see this action take place as a background to some other action, sometimes the camera is closer. We see, in one shot, her scarf fall away from her face as she settles back to watch the proceedings. She is of early middle age, beautiful and pampered. One of her maids bends close to her and we see a lovely black girl in profile.
The stage is occupied by a voluptuous blond dancer (Tracy mentioned Krista Tesden, see if we can talk to her agent) and shots of her are mixed in with the scenes described above. The bidding is hot and heavy. Behind her we catch a glimpse of Tracy in the line. The roar of the crowd rises above the music for a moment as the dancer is bought.
The slaver trots down the steps to take Tracy by the arm and hustle him onto the platform. The camera revolves around him in time to the music, and in imitation of his vertigo; we see the crowd wavering as if his vision is blurring.
MID CLOSEUP
He takes a step or two; we see that the slaver is pushing at him to bring him to the center of the stage. He blinks as the garment he wears is pulled away.
The camera, still revolving, pulls back
to show that he is wearing a wrapped cloth like a dhoti that shows off his dancer’s build.
PULL BACK
so that we see the tops of the crowd’s heads- as in the standard concert shot. The slaver nudges him to turn.
THE CAMERA IS STATIONARY
for this, and he revolves instead, without altering the rhythm of the original movement; as per the music. He moves with resignation but gracefully. A hand lifts in the air as the bidding begins, is answered by another.
MID CLOSEUP
The group around the young matron are still in activity but one of the maids has noticed the slave on the block. She looks away and then back.
REVERSE
The slaver stops Tracy’s revolution and holds him still, gesticulating. He is trying to bring the bidding up. Tracy turns and twists as the slaver prompts, listlessly. Bidding is slow; another hand raises, faltering.
REVERSE
A maid reaches into a basket at her feet. looking up, her gaze falls on Tracy and she stands up slowly, her eyes fixed upon him.
REVERSE
We see the busy crowd, and a pair of dark eyes fixed in our direction, striking in that they, alone, are still.
THE CAMERA PULLS BACK
to show that Tracy has noticed the gaze directed towards him. His head lifts a little.
PAN FORWARD TO MIDRANGE
As the other maid sees her sister’s abstraction and looks toward the platform as well. there are now two pairs of eyes fixed in our direction, the girls drift together to give us a pretty tableau. The Matron looks for her girls; sees where their attention is- and considers Tracy for the first time.
THE CAMERA PANS FORWARD
a little closer; The Matron lifts her head and nods.
REVERSE
The Slaver, with the telepathic powers common to those in sales positions, catches her regal signal and
THE CAMERA PULLS BACK TO MIDRANGE
as Tracy, guided by the slaver’s hand at his elbow turns once more. The slaver raises Tracy’s hands above his head showing off his back. We see in the slaver’s face that the response is good. Tracy turns front, his hands still high and he seeks out the two wenches, his face alive with hope.
CAMERA PULLS BACK SLOWLY
we see a hand raised, not the right one; Tracy’s eyes flicker down towards it; With hope comes the loss of his equinamity and he raises his eyes pleadingly toward the women.
REVERSE
The matron raises her hand in another bid. Her girls dart looks at each other before one of them holds fruit out to her mistress, who takes it and raises her hand again.
REVERSE
The slaver is very pleased now; he comes to the edge of the stage, rubbing his hands together and smiling.
MEDIUM CLOSEUP
Tracy coming around once more as the instrumental bridge reaches its crescendo. On his face this time is The Look. He holds the gaze with his face as his body turns, in the manner of a Ballet turn so that we see him, at the end, looking over his shoulder.
REVERSE
The girls are staring frankly now, their heads close together. The matron is startled; she turns at this time to her Major-Domo, beckons him near.
THE CAMERA PULLS AWAY
as another bid is made from the crowd. The Major-domo straightens up and makes a gesture that halts the bidding completely.
THE CAMERA PANS
across the crowd to show heads turning, interest dawning on idle faces
MEDIUM CLOSEUP
The slaver is overjoyed as he looks around to see if anyone will top this high bid. No-one is willing; He nods and bows in the direction of the fine generous lady with the great purse.
PAN IN
behind the slaver, Tracy drops his arms and stands still. He can’t quite believe it’s all over.
REVERSE
The girls are not quite as frozen as Tracy; The matron signals her Major-domo, and her entourage begin to arise. Low-lives scramble to get out of her way as the two girls bustle about importantly.
THE CAMERA FOLLOWS
The Major-domo to the platform. Another slave is being hustled up the steps. A fat purse is tossed and the slaver catches it. The rough collar is removed and a handsome chain replaces it around Tracy’s neck. The Major-domo beckons and Tracy jumps off the stage. He stumbles at the landing and his new boss steadies him, they size each other up, they might get along. They turn to join the Matron and the two girls at the door of the tent.
CUT TO
the group walking away down the street. The Matron leads, her girls behind her; They turn to look back at Tracy walking behind them with the other man-servant.
FADE TO CLOSEUP
Tracy’s face as he walks along. he looks around him; he is happy and relieved; When he looks at the girls, he breaks into a smile and bites his lip to quell it.
FADE TO
A bathtub, roman style; Tracy laughs and ducks as one of the girls flirtingly pours water over him, washing away the dust. It is obvious that the girls regard him as theirs already.
and as the coda comes up;
QUICK CUT
A Roman room, with paintings on the walls and cushions on the floor; Tracy, clad in something sumptuous, plays an archaic stringed instrument as the two girls dance for their mistress in the flickering light of the torches… The camera holds this for a
SLOW FADE TO BLACK
END
