The key to Fredrick Douglass’s escape and later success as an abolitionist was his ability to read. Because of how important it is, I have chosen a scene where he made “friends of all the little white boys whom [he] met on the street…[and] converted into teachers”(Douglass 23). The “bread of knowledge” would cost him bread, of which he had plenty. Going into the scene the sound will start to layer. The most distant sounds, that of the shipyard, will start at a normal volume. As the scene continues it gets quieter and more distant only to be replaced with the street sounds of Baltimore. That too will fade though slightly less, leaving the relevant sounds of the boys as the loudest.
The soft whistling of the wind between the masts forcing the sails to billow and flap and the flags to snap in the near by Durgin and Bailey’s shipyard. The soft constant slap of the waves against the hulls of the ships blends with the irregular creaking of the wooden docks as it is stepped on. The squawk of seagulls clashes with the curses of the dockworkers that are raised to be heard over the thud of crates. The sound that draws the most attention however is the crack of a whip followed but the smack of it connecting to the skin of slaves. Their cries of pain sound out afterwards.
The more immediate sounds are those of the streets of Baltimore. The horses’ shod hooves clop on the cobblestone. The carts they pull rattle at every divot in the road. The horses whinny. The people’s voices vary, male and female. Each distinct yet muffled.
The most dominant voices are those of adolescent boys. They are infused with challenge and the carefreeness of youth. One challenges the other “‘I don’t believe you. Let me see you try.’” (Douglass 26) This is followed by the scratch of chalk on a nearby brick wall as Douglass does so. The boy who is watching is busy with a loaf of bread, the crunch of the crust as it is ripped in pieces before being shoved into his mouth. It acts as a muffler and impedes the speech of the boy as he proves to Douglass the expanse of his knowledge.
In seeking to escape slavery Douglass seeks to escape the fate of his grandmother, lonely and forgotten. To emphasize the desolation of his grandmother’s cabin, the only sound would be silence. In a long camera shot of a hut surrounded by woods, the sound of silence would be broken only by the stray chirp of a cicada, the rustle of leaves in the wind, and “by day the moans of a dove and by night the screams of the hideous owl” (Douglass 29). The camera would then zoom in on the door. As it approaches the door it would emit a creek as it swings open. Inside the cabin the silence prevails except for the crackle of a dying fire and the slow rasp of the grandmother’s breath. The shot pans to the rustle of rough cloth against the dry, calloused skin of the old woman. As the viewers watch the woman gives a raspy cough and lets out a last rattling breath.