Danessa's Faded Star | Neal's Home Page | ASSTR Home Page
CAUTION: This story is not politically correct. It includes the humiliation and degradation of willing and maybe not so willing black women. The "n" word is used liberally.
by Neal
Danessa had certainly enjoyed hearing Jennifer's story of how she'd gone from foster child to adopted daughter to manager of her father's film production company. She had especially liked the stops along the way where she'd become treasured pet and sexual plaything to her adopted father's daughter and then to the father himself. Rolonda had clearly been moved by the story as well, judging by the flushed look on her face.
Pleasant as it had been, though, Danessa knew why they'd come downtown to Jennifer's office. And there it was on her desk, a thick black three ring binder containing the screenplay to the movie that the former child star and her mother might have the opportunity to perform in.
"I have to run off to a meeting in a few minutes," said Jennifer. "I seem to have gotten a little carried away telling you the story of my life! I'll try to give you the gist of the film with the time I've got left."
"I ain't mind you gittin' carried away, Jenny," grinned Rolonda. "Yo' story was fuckin' hot! Now, dat's a movie I'd pay to see!"
"I appreciate that," replied Jennifer. "Unfortunately, I don't think the general public is ready for that movie. They may not even be ready for this one."
"The movie is called "Savannah",and it's set in the last years of the old Ante Bellum south, just before the civil war" she started. "The main character, Nellie, is the part you'd be playing, Nessa. At the start of the film, you're a young teenaged slave girl."
"Your owner has recently died, and his widow had decided to sell you all. So, you, your mother, and a couple other negroes are being taken to the slave market in Savannah to be auctioned off. You end up serving in the home of a rich family there just as the civil war breaks out. At some point you end up on the run and are separated. He's still working on the last act. I don't know how it turns out.
"It's not a story that hasn't been told before, however, you know Mister Gray. This story will be sexually charged and bordering on erotic, but not crossing over the line into porn. There'll be nudity; sex, simulated, of course; and some other rather graphics scenes. It'll definitely get an NC-17 rating. Daddy doesn't want to hold back enough to get an R rating.
"Whether the film makes money or not remains to be seen. I'm not sure Daddy cares. It's a fantasy of his that will be brought to the big screen, and for him, that's what matters. He has another backer in mind to share the costs, and if that additional funding works out, he can well afford to make the movie.
"You and your mother will be paid a good bit more than scale, and will share in the profits, assuming there are any. I'll be discussing the terms in more detail with your agent, Mister Kincaid. I'm sure I don't have to tell you that the exposure you'll get will be worth more than any money you'll earn from the film. Do well, and you two could be on your way to stardom again. Mister Gray will still be making more films, hopefully including a sequel to "Savannah" that he'd want you for.
"But, I don't want to get ahead of myself here," concluded Jennifer. "What's important now is that you and Natalie read the screenplay and tell me that you're interested in continuing. Then we can work out the business details and finally focus on making the film. How's that?"
Danessa was a little overwhelmed by the whole thing. The "historical drama" seemed pretty intense and the whole project was starting to feel alot more real to her.
"Uh..., I guess that's okay," replied Danessa haltingly.
"Don't worry, Nessa," smiled Jennifer. "We're not going to do everything at once. We'll just take it in simple steps. All you have to do is take the script home with you now and read it. Have your mother read it. We'll all get together in a few days and talk about and go from there. That's all you've got to worry about for now. Okay?"
"Okay," agreed Danessa, "I kin do that."
"Wonderful," said Jennifer. "Now, the one thing I will ask of you is to not share the screenplay with anyone else. Of course, Rolonda may read it, too, but that's all other than Natalie. I'll also expect it back when we meet. Is that acceptable?"
"Yeah," said Danessa. "I ain't gonna let nobody else see it."
Jennifer pushed the black ring binder across the desk towards her. Danessa picked it up.
"Well, I've got to go now," Jennifer told them. "You can find your way to the elevator, right?"
"Yep," Rolonda said, stepping for the door. "Let's go, Nessa."
"I'll be in touch," Jennifer said as Danessa and Rolonda were heading out of the office. "Talk to you then."
* * *
When they got back to the apartment, Danessa and Rolonda couldn't wait to start reading the screenplay. They sat at the dining table and opened the binder up.
"SAVANNAH", read the first page. Danessa eagerly turned the page.
* * *
ACT I, SCENE 1.
Fade in on a white man, LUKE, driving a horse pulling a buck board wagon. He's dressed in a floppy hat, checkered shirt, and trousers held up with suspenders. The wagon is loaded with crates and furniture. They're proceeding slowly down a country road, the sun is high and bright. The camera pulls back to reveal four negro women wearing tattered dresses in a line behind the wagon.
NELLIE as a young teenager is the last woman on the chain. Next to her is TOLLIE, her mother. The other two are incidental characters, NEGRO WOMAN 1 and NEGRO WOMAN 2.
Close up shots show that the women's wrists are bound with metal cuffs connected by a short chain. They're also each wearing a metal collar with a big ring mounted on it and a chain going from the ring to the wrist cuffs. A long chain mounted on the wagon connects the women's cuffs and keeps them from escaping.
After a couple of minutes, they come to a place where there's fencing along one side of the road. Eventually, a house with out buildings comes into view. A white man, JEFF, is standing on the porch of the house. He walks to meet the wagon as Luke brings it to a halt next to a horse trough and hand pump. The horse drinks. The negro women stop walking and stand, their heads bowed. NELLIE is looking around. LUKE climbs down from the buck board and unhooks the chain from the wagon.
LUKE: You niggers kin go 'head an' drink. Use the trough.
The four negro women move over to the horse trough and look around. Slowly, they kneel at it next to the horse. Using their cupped hands they lift water out of it to their lips and drink. JEFF stands and watches before handing a ladle to LUKE. LUKE pumps the pump and catches some water in the ladle from it and takes a sip.
JEFF: Afternoon, Luke. You movin' somewhere?
LUKE: Afternoon, Jeff. Nah, these ain't mine. They belong to the Widow Robertson. Now that Caleb's dead, she's headin' back to Atlanta. She sold the place along with the field niggers, but the new owners already got house nigger they like. So's I tol' her I'd sell the lot in Louisville. I figger these niggers 'll fetch a good price there. Figgered I'd sell the household goods at the same time while I's there.
JEFF: Yeah, I heard 'bout ol' Caleb. Damn shame. Nice lookin' niggers, though. 'specially that young one on the end.
LUKE: Caleb had plans for that one. But, he been sick for so long he never got 'round to her. Nigger's still a virgin.
JEFF: A virgin! She gonna be worth as much as these others put together!
LUKE: I'd be surprised if she ain't.
JEFF: Mind if I have a look see?
LUKE: Go 'head.
JEFF walks over to the horse trough where the negro women are still kneeling and drinking. They look up as he approaches. He stops and stands next to NELLIE and looks down at her.
JEFF: Git on your feet, nigger.
JEFF grabs the chain where it connects to NELLIE's wrist cuffs and lifts her to her feet. Without releasing his grip on the chain he uses his free hand to grab the hem of NELLIE's tattered dress and lifts it up, revealing her naked body. NELLIE stands passively while he lifts her dress up high enough to expose her naked breasts. He pauses and admires her before speaking.
JEFF: Damn nice lookin' nigger, Luke. It's a damn shame ol' Caleb never got 'round to her. I ain't never had a virgin nigger 'fore.
LUKE: You got Maybelle, ain't you?
JEFF releases NELLIE from his grip and turns to face LUKE. She stands there with her head bowed, shamed at having her naked body displayed.
JEFF: Yeah, an' she's a good one, too. Moves 'round an' everythin' while a man's inside her. Not like them niggers that jus' lay there an' take it. But, she weren't no virgin when I bought her even though she ain't but sixteen year ol'. Or so ol' Davis tol' me. I bet that ol' coot had her fo' his own self.
LUKE: Yep. He'd do that, all right.
JEFF turns back towards the negro women and looks at them carefully. He steps behind NEGRO WOMAN 1 and examines her closely.
JEFF: This nigger been beat. Recent, too.
LUKE: Yeah, she was ol' Caleb's favorite. Widow Robertson ain't take too kindly to her after Caleb passed. Took the whip to her regular like 'fore she decided to sell 'em all.
JEFF leans over NEGRO WOMAN 1 and lifts her dress up high, revealing her bare back and back side. Her skin is covered in whip marks.
JEFF: (whistles)
LUKE: Yeah. These niggers is better off gittin' sold 'n stayin' with her. Widow Robertson's always had a mean streak. Ol' Caleb was all that stood between his niggers an' regular whippin's. Look at the front. She got the nigger's teats an' all, too.
JEFF: No kiddin'? Git up, nigger. Show yourself.
NEGRO WOMAN 1 stands and lifts her dress up high and hangs her head. Her naked body has welts across her breasts, belly, and thighs.
JEFF: Now, that's just a shame. Markin' up a pretty nigger girl like that. Ain't that woman got no 'preciation of beauty?
LUKE: She'll heal pretty much. 'sides, they hers to mark up if'n that what she wants to do with 'em.
JEFF: I s'pose.
LUKE: Well, Jeff, I gotta git goin' now if'n I wanna make Louisville 'for night fall tomorrow. I 'preciate the hospitality.
JEFF: You take care o' yourself, Luke.
LUKE: I sho' will.
LUKE picks up the chain connected to the negro women's wrist cuffs and addresses them.
LUKE: Drinkin' time's over. Git on up.
The negro women rise. LUKE leads them back to the wagon and reconnects the chain to it. He climbs back up on the bench of the buck board and picks up the reigns.
LUKE: Let's go.
The buck board wagon with the negro women in tow slowly moves off camera.
Fade out.
END OF ACT I SCENE 1
* * *
"Damn, Nessa!" exclaimed Rolonda. "Dat's way fuckin' hot! Is you really gonna do dat? You tol' me how you ain't gonna do no porn, but dis shit is hotter 'n any porn I seen an' dere ain't even any fuckin' or suckin' in it!"
"It ain't no porn, Londa," said Danessa. "It's a historical drama. It's a real part fo' a actress. If that's what my character does, then that's what I do."
"I bet it gets even better," Rolonda said. "Let's check out da next scene."
* * *
ACT I SCENE 2
Fade in on a camp fire. The camera pulls back to see the buck board wagon lit by the flickering fire. LUKE is sitting on one side of the fire, eating from a tin plate with a spoon. The negro women, still chained, are sitting on the other side of the fire taking turns eating out of a large pot with a wooden spoon. TOLLIE is finishing it off.
LUKE: Let's go wash up.
LUKE stands and takes up the chain. He leads the negro women through the brush to a stream. He stands over them while they kneel beside the stream and wash the pot and plate. When they're finished, they all look towards him, waiting for instructions. He walks over to NEGRO WOMAN 1 and looks down at her.
LUKE: Ya, know, I wouldn't mind a little poontang 'bout now. On your back, nigger. Hike up that dress so's I kin see yo' woman parts.
NEGRO WOMAN 1's eyes grow big. She lifts her dress up to her chin, bunching it up to reveal her welted bare breasts. She lays back on the ground. The sound of snapping twigs and rustling leaves are heard. She spreads her legs and waits.
LUKE: Put your hands up over your head, girl. I ain't wanna git poked by them chains.
NEGRO WOMAN 1 lifts her chained wrists up and over her head. She turns her head to one side and lays still. LUKE drops his pants and lowers himself between her legs. He mounts her and starts humping her. His grunting and heavy breathing can be heard along with the clanking of her chains.
Cut to a close up of NEGRO WOMAN 1's face. Her eyes are open and her face is expressionless.
LUKE continues having intercourse with NEGRO WOMAN 1. After a minute he groans and stops moving. All is silent except for night sounds. He lays still for half a minute before getting back on his feet and pulling up his pants. She remains motionless laying on the ground.
The other negro women remain kneeling in place, looking away from NEGRO WOMAN 1, as if to spare her a measure of humiliation. LUKE picks up the chain.
LUKE: Git up. Y'all better git some sleep. We gotta long ways still to Louisville.
The negro women stand up. NEGRO WOMAN 1 straightens her dress out. LUKE leads them back to the campsite. He attaches the chain to the wagon. He takes a horse blanket out and throws it down at the negro women's feet. He takes out a bed roll and lays it out on the ground.
LUKE sleeps while the negro women lay down and huddle together under the horse blanket. The camera pans to the dying campfire. Night sounds swell.
Fade out.
END OF ACT I SCENE 2
* * *
"Fuck...," sighed Rolonda. "I wish could be in dis movie. I could be dat negro woman number one. I ain't mind bein' her in real life."
"Real life?" asked Danessa. "Girl, that nigga got whipped! You ain't gonna mind that?!"
"Maybe not, Nessa," said Rolonda. "Sometimes, I think about what it be like to be tied an' whipped. Mista Johnson gave me a belt beatin' on da ass plenty o' times. It always gits my coochie hot."
"Damn, girl!" exclaimed Danessa. "You sho' is freaky."
"Yeah, yeah," replied Rolonda impatiently. "Let's read some mo'."
* * *
ACT I SCENE 3
Fade in long shot of 1850s town street scene. Zoom in on buck board wagon with four negro women walking behind it. Cut to their arrival at the market house.
LUKE detaches the chain from the wagon and leads the negro women towards a holding area where other negroes, men and women, are standing. Some are dressed in tattered clothing while others are naked. All are chained. A scruffy looking white man, AUCTION ATTENDANT 1, takes the chain from him. He grins at them before leading them into the pen. Once they're inside, he returns and closes the gate.
AUCTION ATTENDANT 1: You're just in time, Mister. Auction 's gonna be startin' in a hour or two. Them's some prime niggers you got there. 'specially that young one.
LUKE: That young one is a virgin an' she better still be one when she goes on the block. Understand?
LUKE hands AUCTION ATTENDANT 1 a few coins.
AUCTION ATTENDANT 1: You ain't got nothin' to worry 'bout, Mister. I'll look after yo' niggers, personal like.
LUKE: See that you do.
LUKE walks away across the dirt street. NELLIE stands closer to TOLLIE.
NELLIE: I's scared, Mama. What happens if we ain't sold together?
TOLLIE: Ain't no need to fret, girl. We gonna stay together. I promise.
NELLIE and TOLLIE watch LUKE approach with a short older white man with a stubbly gray beard, ANDREW.
ANDREW: You ain't lyin', friend. This young one's gonna fetch a good price. 'course everybody say how their nigger's a virgin.
LUKE: What you think I kin git for her?
ANDREW: You're in luck, friend. I know a particular man from Savannah who jus' happens to be here today. He'll pay plenty fo' a nigger like this one. Maybe five hundred dollars... Maybe more.
LUKE: Five hundred? That'll do! How 'bout the others?
ANDREW:
ANDREW: This one's marked up...
ANDREW lifts NEGRO WOMAN 1's dress to reveal her whip marked breasts and belly.
ANDREW: Maybe folks 'll think she's trouble... Two hundred for this one. More if you's lucky. She is a purty nigger girl. Young enough to breed, too.
LUKE: She ain't no trouble, I kin vouch fo' that. Lady that owned her jus' liked beatin' on her, that's all.
ANDREW: Hmmm... Don't matter, friend. It's what folks think that matters. We'll see.
ANDREW moves on to NEGRO WOMAN 2. He forces her jaw open and peers in her mouth. Next he lifts her dress up far enough to reveal her bare breasts. He squeezes each one.
ANDREW: Good teeth. Breedin' hips. This one's good for three hundred. Ain't gittin' too many new niggers shipped in no more. Breeders like this one is real valuable. I kin tell this ones dropped a few suckers already. But that's good. Proves she's fertile.
ANDREW moves on to TOLLIE. She opens her mouth for inspection without being forced. ANDREW peers in. When he steps back, TOLLIE lifts her dress up to her chin, baring her breasts and naked body.
ANDREW: Now this is a good nigger, friend. She's kinda old, but she looks like she still got some breedin' potential. See how she does what she gotta do without no trouble? That's good trainin'. Man I got in mind fo' the young one's here lookin' for a breeder. Now, ordinarily, he'd be goin' fo' the last one 'cause she's younger. But, I know he likes 'em well trained already, so he may go for the old one.
LUKE: The Widow Richardson tol' me the old one's this young one's mama.
ANDREW: That a fact? I see it... Yes. Oh, he'll like that. He's just gonna love this young one even though she ain't old enough for proper breedin'. Breedin' 'em this young ain't healthy. He kin wait, though. An' I know he's gonna want the trained one. I'll send him your way, friend.
LUKE: Thanks, friend.
ANDREW and LUKE walk away.
Camera pans around the pen. The inspection ritual is repeated in the background on various negroes in the pen. The camera lingers on some, but only general crowd noise is audible.
Cut to ANDREW, LUKE, and an older tall white man in a white suit, BAXTER, walking through the crowd of negroes to where NELLIE and TOLLIE are waiting.
ANDREW: Right here, Mister Baxter. Here's the niggers I was tellin' you 'bout. Now, I prob'ly shouldn't be lettin' you in on this, but you a good customer.
BAXTER: You got that right, Andrew. An' I do appreciate it. Get them rags off her so I can see her proper.
LUKE: I gotta take the chains off to get the dress off.
BAXTER: Like hell, you do! Rip them rags off o' her, son! She's gonna be naked for the auction any how. An' if I buy her, she ain't gonna be wearin' that no more.
LUKE takes a knife from a sheath on his belt and cuts NELLIE's dress off of her. She hangs her head and stands naked in the crowded pen.
LUKE: Lift them arms up, nigger. Let the man see what he be gittin'.
NELLIE lifts her arms up over head, keeping her eyes focused on the ground.
BAXTER: All right, Andrew. Bend her over.
LUKE: You heard him. Turn around, nigger. Bend over like the man said. Keep them legs open.
NELLIE bends over with her legs spread. BAXTER puts his hands on her ass cheeks and spreads them apart.
BAXTER: Cunt ain't all stretched out... Don't look like nobody's been the back door. Not bad... Now, which one is the mama? The trained breeder?
ANDREW: Right here, sir. I know she's older, but she's a good nigger.
BAXTER: I'll allow that you got the eye for that. Get them rags off her so I can see what she's got.
TOLLIE grabs the top of her dress and rips it open. Her bonds prevent her from taking it completely off despite her obvious efforts.
BAXTER: Well, help her, son!
LUKE rips the rest of garment off of TOLLIE. Once naked, she raises her manacled wrists above her head.
BAXTER: That ain't just trainin', boys. That's just a good nigger, pure an' simple. All the trainin' in the world ain't gonna do that.
TOLLIE: Thanky, suh. I's a good nigga. My chil' there be a good nigga, too, boss. I's beggin' you t' please buy us both. You ain't gonna be sorry, suh. I swears it!
LUKE: Quiet, nigger! Ain't nobody say you kin speak! You need a beatin'?
TOLLIE drops to her knees.
TOLLIE: I's sorry, suh! I ain't mean no disrespect!
BAXTER: Slow down, son. This nigger ain't gonna be beat on my account. Git up, girl.
TOLLIE struggles to her feet. BAXTER takes her breast in his hand and hefts it. He repeats the action on the other one. She opens her mouth wide. He smiles.
BAXTER: I seen enough. Let's go, boys.
NELLIE struggles to her feet and stands next to TOLLIE.
TOLLIE: See, Nellie? I tol' you everythin' 's gonna be fine.
Fade out.
END OF ACT I SCENE 3
* * *
"I can't believe how they talkin' bout them girls like animals," said Danessa indignantly. "Treatin' 'em like livestock! It ain't right."
"Dat's how it was, Nessa," said Rolonda. "Dat's all we was to dem white folks back den. I knows it ain't right. But, I can't help gittin' heated up thinkin' 'bout it. Havin' to let dem folks inspectin' you an' talkin' 'bout you like a animal when you right dere listenin'. It's nasty, but it gets my coochie fired up thinkin' 'bout it. Prob'ly helps that it ain't real fo' me."
"It's gonna be real fo' me, Londa!" exclaimed Danessa. "That's gonna be me layin' in the dirt spreadin' my legs fo' some nasty white man!"
"Well, if it helps you feel better, I wished it was me, girl," said Rolonda wistfully. "Now let's see what happens next!"
* * *
ACT I SCENE 4
Fade in on a wooden platform with a wooden podium near the front. Next to the podium is a large wooden block. White men and women are milling around in front of the platform. ANDREW is standing on the platform behind the podium holding a gavel. He begins to pound the gavel on the podium.
ANDREW: All right folks... (pounds gavel some more) We're gonna start now.
The crowd gradually quiets and focuses their attention on ANDREW.
ANDREW: We've got some fine lookin' niggers goin' on the block today. First one up for bids is a buck... 'bout twenty five years old...
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 lead NEGRO MAN 1, naked and chained, up the platform steps and force him up on the auction block.
ANDREW: (pounding gavel) Opening bid is one hundred dollars... Who'll offer one hundred for this buck?
Camera cuts to the holding pen where TOLLIE and NELLIE are watching the proceedings.
NELLIE: When dey gonna sell us, mama?
TOLLIE: I ain't know, chil'. Ain't be too long. Ain't look like dere's too many niggas gittin' sol'.
ANDREW's voice off camera: Sold! Two hundred fifty dollars. Thank you, sir!
NELLIE watches, her mouth open wide. Camera cuts to AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 leading NEGRO MAN 1 from the auction block.
ANDREW: Next we got a fine lookin' negress... (looks around, annoyed) Hurry up, boys, git her on up here.
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 lead NEGRO WOMAN 3, naked and in chains, up the platform stairs. She steps up onto the block.
ANDREW: Like I was sayin', this here's a fine negress. Thirty years old. Strong, healthy..., still plenty o' breedin' left in her.
ANDREW reaches up and lifts one of NEGRO WOMAN 3's breasts as if judging the weight.
ANDREW: Just look at these teats! She's a breeder, all right. Let's start at one fifty. Do I hear one hundred fifty dollars for this nigger?
Camera cuts back to TOLLIE and NELLIE as bids are heard in the background. NELLIE watches the proceedings with a look of apprehension on her face.
TOLLIE: Don't fret. It's gonna be over wit' soon.
Camera cuts back to the platform with ANDREW at the podium and NEGRO WOMAN 3 on the block.
ANDREW: Three hundred fifty once... Three hundred fifty twice... Sold to the gentleman for three hundred fifty dollars! Thank you, sir!
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 climb the platform steps and guide NEGRO WOMAN 3 down from the block and down the steps.
Camera cuts back to TOLLIE and NELLIE. AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 arrive and take NELLIE. NELLIE looks back at TOLLIE as they lead her towards the platform.
TOLLIE: I be be wit' you soon 'nough, Nellie. Ain't no need to be 'fraid.
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 lead NELLIE, still naked and chained, up the platform steps. The force her up on the block. She turns and faces the crowd of bidders.
Camera cuts to a view of the crowd from NELLIE's perspective and pans across them. White men and women, some fanning themselves, all with their eyes fixed forward. The pounding of the gavel is heard.
Camera cuts to the platform view with ANDREW behind the podium and NELLIE naked on the auction block.
ANDREW: I'm told that this here nigger girl is still a virgin! Only fourteen, but I bet she's breedable now. Nice li'l nigger body... easy on the eyes. I'm gonna start her off at two hundred dollars.
BIDDER 1: Two hundred!
BIDDER 2: Two fifty!
BIDDER 1: Three!
ANDREW: I have three hundred dollars... Who'll go three fifty? Three fifty anyone?
BIDDER 2: Three fifty!
BIDDER 3: Four!
BIDDER 1: Four fifty!
BIDDER 3: Four seventy five!
BIDDER 2: Five!
ANDREW: Five hundred dollars! Do I hear more? Five twenty five?
NELLIE scans the crowd nervously.
BIDDER 1: Five twenty five.
BAXTER: Five fifty.
BIDDER 1: Five sixty.
BAXTER's voice: Six!
ANDREW: I've got six... Who'll go six fifty...
Crowd murmurs are heard.
ANDREW: Six, going once... Going twice... Sold! Six hundred dollars for the young nigger to the gentleman. Thank you, sir!
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 lead NELLIE down the platform steps. Her eyes are wide. BAXTER steps forward and hands AUCTION ATTENDANT 1 a stack of bills. BAXTER takes NELLIE by the wrist and pulls her back into the crowd.
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 go to the pen and return with TOLLIE. They lead her, naked and chained, up the platform steps. She steps up on the auction block.
ANDREW: This negress may be thirty five, but she still got some breedin' left in her! Healthy and strong, she's a good buy!
ANDREW squeezes TOLLIE's right breast.
ANDREW: You kin tell by the way her teats hang she's a milker, too! Who's gonna offer up one fifty for this nigger?
BIDDER 3: One fifty.
BAXTER: Two hundred.
BIDDER 3: Two twenty five.
BAXTER: Two fifty.
BIDDER 3: Two seventy five.
BAXTER: Three.
ANDREW: I got three... Who'll say three twenty five? Three twenty five? All right, three hundred... Once... Twice... Sold, to the gentleman! Thank you, sir!
AUCTION ATTENDANT 1 and AUCTION ATTENDANT 2 lead TOLLIE down the steps. BAXTER steps forward and pays for her, while still holding the chain attached to NELLIE's collar.
Camera cuts to NELLIE showing an expression of relief.
Camera cuts back to BAXTER taking TOLLIE's chain and leading both women through the crowd. They make their way down the street to a wagon hitched up to two horses.
BAXTER: All right, get in.
TOLLIE and NELLIE climb up into the back of the wagon, whose floor is covered in straw. BAXTER climbs up to the bench at the front of the wagon and takes up the reigns.
TOLLIE: Thanky, suh, fo' buyin' me an' lettin' me an' my chil' be together.
BAXTER: Serve me an' mine well, girl. That's the thanks I want.
TOLLIE: Yes, suh, boss! We good niggas, suh. You ain't gonna be sorry.
BAXTER: There's a blanket back there along with some women's clothes. Ain't much, but it'll do you 'til we get back to Savannah. We'll be there by night fall tomorrow.
TOLLIE and NELLIE find a couple of old dresses and put them on as BAXTER guides the horses down the street and out of town.
Fade out.
END OF ACT I SCENE 4
* * *
"Goddamn!" exclaimed Rolonda. "You gonna have to stand up in front o' a crowd o' white folks wearin' nothin' but chains! Nattie, too! She is gonna shit!"
"It's just a actin' part, Londa," said Danessa dismissively. "Ain't no big deal."
In spite of her words, Danessa's nervousness was already starting to build. Yes, it was just a movie role, but she'd still have to stand naked and chained on the auction block in front of a large crowd. She felt a knot growing in her stomach.
* * *
ACT I SCENE 5
Fade in on the back of the wagon. It's night and the wagon is off the road and under a tree. BAXTER, TOLLIE, and NELLIE are sleeping under a blanket in the back of the wagon. Close up on BAXTER and TOLLIE.
BAXTER: Wake up, nigger.
TOLLIE: Huh?
BAXTER: I'm gonna take my pleasure with you, nigger. Make yourself ready.
TOLLIE: Yes, suh.
TOLLIE moves around under the blanket. The sound of her chains on the wooden wagon floor are audible. BAXTER mounts her and begins thrusting into her. Close up on TOLLIE's face looking over at NELLIE, who is still asleep.
BAXTER: (grunts)
BAXTER lays still for a few seconds before rolling off of TOLLIE and laying facing away from her. Soon he is snoring. TOLLIE remains awake, staring up at the sky.
Zoom out.
Fade out.
END OF ACT I SCENE 5
* * *
"Nattie's gonna love this!" laughed Rolonda. "Gittin' fucked in da back o' a wagon! I ain't lyin', neither! From what you been tellin' me, Nessa, yo' mama jus' can't git 'nough white dick!"
"It ain't gonna be real," Danessa explained. "It's jus' actin', that's all. It ain't like she's really gonna be fuckin' some actor. Don't git crazy, girl!"
"Bullshit!" Rolonda replied. "Nattie ain't gonna settle fo' dat! She wants some dick!"
"Londa!" exclaimed Danessa. "That's my mama you talkin' 'bout!"
"I's sorry, girl," said Rolonda. "I's jus' havin' some fun. Nattie 's always been so stuck up... I's still gittin' used to her bein' all hot in da tail fo' white dick! An' white pussy, I might add!"
Danessa rolled her eyes. She knew there was no stopping Rolonda when she got on a roll. The thing was, there was truth in what her cousin was saying. Truth that Danessa hadn't even suspected until a few weeks earlier when this whole movie thing started and all her mother's secrets started coming to light.
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