Read an Excerpt
Duet for Cannibals
By Susan Sontag Farrar, Straus and Giroux
Copyright © 1970 Susan Sontag
All rights reserved.
ISBN: 978-1-4668-7335-3
CHAPTER 1
CREDITS
WRITTEN AND DIRECTED BY: Susan Sontag
PRODUCER: Göran Lindgren
EXECUTIVE PRODUCER: Peter Hald
PHOTOGRAPHY: Lars Swanberg / Hans Welin
SOUND: Ulf Darin / Kjell Nicklasson
ASSISTANT TO THE DIRECTOR: Brita Werkmäster
CONTINUITY: Kerstin Eriksdotter
CLOTHING AND PROPERTIES: Katerina Lindgren
ELECTRICIAN: Ulf Björk
MAKE-UP: Tina Johansson / Barbro Holmbring
EDITOR: C. O. Skeppstedt
MIXING: Sven Fahlén
MUSIC: Dvorák, Mahler, Wagner
CAST
FRANCESCA BAUER: Adriana Asti
ARTHUR BAUER: Lars Ekborg
TOMAS: Gösta Ekman
INGRID: Agneta Ekmanner
MRS. GRUNDBERG: Brita Brunius
LARS: Stig Engström
MAN IN CAFETERIA: Gunnar Lindqvist
Duet for Cannibals was produced by Sandrew Film & Teater AB (Sweden). It is distributed by Evergreen Films in the United States and Canada and by Contemporary Films in Great Britain.
Credits, in plain, book-face black type.
Slow, rhythmic, hammering noise over the credits.
1. Ingrid's room. Day
A big, light, studio-like room with three windows, sparsely furnished: double bed; small table under the large window stacked with books; table with two wooden kitchen chairs against one wall under another window; one comfortable, seedy upholstered chair; homemade bookshelves filled with books (mostly paperbacks), some records, and a portable phonograph; a sink and small stove along another wall; posters and photographs on several walls, including a poster of Hugo Blanco, and NLF flag, photographs of the black athletes at the Mexico Olympics giving the Black Power salute and a fashion model, and the front pages of newspapers announcing the death of Robert Kennedy and the invasion of Czechoslovakia. The general appearance of the room is messy. Clothes slung over the chairs, unmade bed, dirty dishes piled up in the sink. The big window at the far end of the room gives onto the roof. The window starts about four feet off the floor, so to get out to the roof one must step up on the low table stacked with books. From the roof—it is the eighth floor of a modern apartment building—there is a spectacular view of the city and water.
The film opens with a close-up of a woman's hand. Silence. The camera pulls back a little, showing the hand picking up a hammer.
Medium shot (from behind): INGRID is nailing up a poster of ARTHUR BAUER. Continuation of the sound heard during the credits. INGRID wears slacks and a sweater. More hammering. She steps back to look at the poster.
2. Ingrid's room. Morning
Medium shot of TOMAS: standing before the small mirror left of the sink, shaving. TOMAS is an ex-student, in his late twenties, intense-looking but somewhat inexpressive facially, methodical but graceful in his movements; there is something faintly abrasive in his manner. He wears jeans and is bare-chested.
INGRID
(Off) Coffee?
TOMAS nods yes. Cuts himself. Puts a small Band-Aid on his cheek, while we hear INGRID'S voice again, still off, this time flat and impersonal as if she were reading what she says. (Such "narrative" passages will be in quotes throughout the script to distinguish them from lines that are said "off.")
INGRID'S VOICE
"Bauer asked Tomas to come at 6 p.m. tomorrow. And afterwards they would make a schedule for the work."
Medium long shot of INGRID, the first time we get any real sense of the room. INGRID stands by the phonograph. She is also an ex-student, around twenty-six, pretty, thin, slightly nervous in her movements. She has on different pants and sweater from those she wore in the preceding sequence. She puts on a record: the Prize Song from Die Meistersinger.
The camera cuts back to TOMAS, who turns his head and grimaces almost imperceptibly.
TOMAS
Getting me in the mood for Bauer?
INGRID crosses the room (coming into the shot), stands next to TOMAS.
INGRID
I love you, you know.
TOMAS smiles faintly, rubs his cheek.
INGRID
You've cut yourself.
TOMAS
It's nothing.
INGRID turns to the stove and begins making coffee while TOMAS continues shaving, his back to her. They have the air of two people who have lived together for some time, probably several years. From the stove, INGRID glances fondly at TOMAS from time to time. TOMAS finishes shaving, puts on a sweater, looks at his watch.
TOMAS
I don't have time for coffee after all. I'm supposed to meet some people now.
TOMAS kisses INGRID on the cheek.
TOMAS
See you.
He grabs a jacket from the upholstered chair, slings it over his shoulder, goes out the door. Noise of the door shutting cuts off the music.
3. Ingrid's room. Morning, next day
Medium shot of the bed. INGRID is still sleeping. TOMAS, lying next to her on his right side, propped up on his elbow, is looking at her. He touches her face lightly. Then he lies back and stares ahead.
Shot of phonograph on the bookshelf (from TOMAS'S point of view). Though the turntable isn't moving, we hear the Prize Song again.
Medium shot of bed. TOMAS, eyes open, is lying on his back. When INGRID stirs, starting to wake up, he pretends to be asleep and pulls the sheet over his head. Music fades. INGRID sits up partially, rubs her eyes, looks over at TOMAS, then reaches to the nighttable to look at her watch. She looks tired and sad. Sound of low-flying airplane.
4. Entrance to Bauer house. 6 p.m. same day
The house on the outskirts of Stockholm in which the BAUERS live is a large, well-kept "villa" built in the 1920's or 1930's, surrounded by a large, sloping garden (sundial, lawn furniture, etc.) cut through by steps and a curving flagstone walk. The garage is separate. The front and sides of the property are separated from the street by a five-foot-high stucco wall. The curtains of the windows on the upper floor are always drawn.
The sequence consists of one medium shot. We see TOMAS at the front door, ringing the bell. He seems nervous or shy. After a pause, the BAUERS' housekeeper, MRS. GRUNDBERG, opens the door. She is about fifty-five years old, surly, and limps. TOMAS is as dressed up as he's ever willing to be–a colored shirt, dark pants, jacket, and boots.
TOMAS
How do you do. I have an appointment with Dr. Bauer.
A quizzical look from MRS. GRUNDBERG. Then she stands aside and motions for him to enter.
5. Library of Bauer house. Minutes later
A medium-sized room, most of the wall space covered with bookcases containing heavy, scholarly-looking books. A fireplace and a dark brown, L-shaped couch at one end of the room near the door. On the opposite wall, under a window, a beige upholstered couch; in front of the couch, a low table, stacked with magazines; to the left of the couch, a ladder for reaching books on the top shelves of the ceiling-high bookcases. In the corner, to the right of the beige couch: a big, old-fashioned desk, on top of which is a typewriter, a telephone, some books and papers; a swivel chair behind the desk; a smaller chair on the other side of the desk; nearby, a small blackboard.
The sequence begins with the camera panning to show the room. Rests finally on BAUER seated behind the desk in the swivel chair, typing. He is a handsome, dark-haired man in his middle or late forties, wearing a conservative business suit. Sound of footsteps (TOMAS entering the room). BAUER doesn't look up, continues typing. TOMAS comes into the shot: he approaches the desk hesitantly, then comes to a stop. BAUER raises his head for a second, then turns back to type a few more words. Finally BAUER looks up. He has intense eyes. He stands perfunctorily to greet TOMAS and shake hands with him, then sits down again.
BAUER
Sit down.
TOMAS sits in the smaller chair on the other side of the desk.
Medium shot: on TOMAS (from BAUER'S point of view).
BAUER
(Off) I take it you are seriously interested in politics?
TOMAS
Yes.
BAUER
(Off) And you think you'll learn something working for me?
TOMAS
I hope so.
There is a pause. TOMAS, who probably hasn't admitted to himself until this moment how uncomfortable he is, looks away, then back at BAUER.
BAUER
(Off) Do you have a driver's license?
TOMAS
Yes.
BAUER
(Off) Do you smoke?
TOMAS nods.
Camera cuts back to BAUER, in medium shot, behind the desk.
BAUER
I trust you'll be careful about your cigarettes with all these papers around. There's a lifetime of work assembled in this room. I shouldn't like to see it all go up in smoke.
Two-shot of TOMAS and BAUER in profile seated at opposite sides of the desk. TOMAS is annoyed: BAUER isn't what he expected, too pompous and cold.
TOMAS
I'm careful.
BAUER
Good!
With this word BAUER smiles, evidently trying to change the mood and put TOMAS more at ease.
Medium close-up of BAUER. After looking at TOMAS for a moment, BAUER moves aside the typewriter and some of the papers to make a little space, and leans far over (looking straight into the camera), forearms on the desk and his chin almost touching the surface, in an exaggerated position of "confiding."
BAUER
Now then, where shall I begin? I suppose our mutual friend from Berlin has given you a general idea of the work ...
Abruptly, BAUER sits upright, drums his fingers on the table.
BAUER
To begin with, you'll work chronologically, for the time being only on the materials prior to my arrival in Sweden. First, there are these papers–
BAUER points vaguely around the desk.
BAUER
–to read through and sort out. As you'll see, they are mostly letters from colleagues in the period 1945- 47, just after the war. I imagine you'll recognize some of the names.
Medium close-up of TOMAS, who has taken out a pack of cigarettes. He is, in fact, a heavy smoker.
Two-shot of BAUER and TOMAS in profile. BAUER grins.
BAUER
Smoke, by all means! ... Then my journals of that period. They'll be somewhat harder ...
BAUER has extended a heavy cigarette lighter and lit TOMAS'S cigarette while continuing to talk.
Close-up of the lighter in BAUER'S hand as he sets it down on the desk.
Back to the two-shot. BAUER notices TOMAS looking at the lighter.
BAUER
Handsome, isn't it? Brecht gave it to me.
BAUER coughs, leans back in his chair, as if to cancel the boast.
BAUER
Where was I? Yes, my journals. I have to explain to you the principles by which they can be dated and the meaning of certain abbreviations I habitually use ...
He looks at TOMAS sharply. TOMAS is looking down, his face slack.
BAUER
You're not paying attention!
BAUER stands. TOMAS looks up, annoyed.
TOMAS
Yes I am!
BAUER
Well, maybe we should leave the indexing of the journals for next week. Going through the letters will keep you busy for several days.
TOMAS has stood up, too.
TOMAS
Shall I start now?
BAUER
Certainly. You haven't anything else to do here, have you?
TOMAS grimaces. BAUER sits down.
BAUER
One more thing.
The tone is peremptory. TOMAS sits down, slowly. He shifts in his chair. BAUER looks at him.
BAUER
I needn't tell you, I hope, that your work here is absolutely confidential. There are many people who would give a good deal to know the contents of these papers. I intend to relieve their curiosity only when I am ready, and to give them as much information as I choose. Is that clear?
TOMAS is looking to his left (in the direction of the door), at something out of the frame. Footsteps.
TOMAS
Perfectly clear.
BAUER turns. A few seconds of the Wagner phrase.
Medium shot of FRANCESCA, partly in shadow, standing against the far wall. She is around thirty-five, small, has dark hair and large eyes; she wears a black dress. She looks both frightened and defiant.
Two-shot of TOMAS and BAUER again; TOMAS is still turned.
BAUER
(To TOMAS) Have you met my wife?
TOMAS stands up.
BAUER
(To FRANCESCA) Come, darling. Don't be shy.
Another shot of FRANCESCA. She seems to hesitate, but hasn't moved yet.
BAUER
(Off) This is Tomas. He's going to stay with us for a while.
FRANCESCA walks slowly across the room.
Camera back to BAUER and TOMAS. TOMAS smiles and extends his hand.
BAUER
Don't do that! She doesn't like to be touched.
TOMAS drops his hand.
Camera back to FRANCESCA, who is looking in TOMAS'S direction, then turns to BAUER'S.
Back to BAUER and TOMAS.
BAUER
It's best to pay no attention to her. It takes time for her to get accustomed to new people. But you'll see, if she likes you she can be quite friendly.
TOMAS looks from BAUER to FRANCESCA.
Back to FRANCESCA, who glares in BAUER'S direction, then turns abruptly and goes to the window. From behind we see her pick up a book on the windowsill and hurl it through the window. Then she turns left and walks rapidly out of the shot.
Sound of door slamming.
Another two-shot of TOMAS and bauer. TOMAS leans in alarm over the desk; BAUER, still sitting, looks down pensively.
TOMAS
Is she ill?
BAUER
Not exactly. It's hard to explain. You'll have to be patient.
Shot of broken windowpane and curtain blowing in breeze from outside. Camera moves slowly down the window and rests on the broken glass on the sill.
BAUER
(Off) Would you clean up that glass before you get to work?
6. Ingrid's room. Morning
Medium shot of TOMAS (from behind): he is standing at the mirror, shaving. He has his shirt on. Sound of running water. INGRID (not in the shot) is speaking in the neutral "narrative" tone.
INGRID'S VOICE
"His wife's name is Francesca."
7. Dining room of Bauer house. Evening
The dining room has a fireplace, a long window framed by plants, prints of various species of fish on the walls, a large sideboard, and a long table with eight chairs.
The sequence starts with a long shot of the table: TOMAS, FRANCESCA, and BAUER are at the far end, eating dinner. BAUER in the same suit as before, but with a napkin tucked under his chin; FRANCESCA in an elegant dress. TOMAS wears a jacket. BAUER has abominable table manners. He serves himself gross portions, wolfs down his food, talks with his mouth full, reaches across FRANCESCA'S plate to drag a serving dish nearer to him, etc. Only BAUER is talking, but his mouth is so full his words are barely intelligible. The camera begins to track in as we hear TOMAS speaking part of the "narration."
TOMAS'S VOICE
"Bauer told me it might be necessary to live at the house for several weeks, because the initial cataloguing of his papers had to be done quickly."
The track ends in a medium shot of all three at the end of the table. So far we haven't seen either TOMAS or FRANCESCA speak. BAUER helps himself to still more food. Then, abruptly, he pushes back his chair, presses his napkin to his lips, then throws it down on the table, rises–making a choking sound–and rushes out of the room. TOMAS, startled, moves to follow him.
Medium shot of FRANCESCA.
FRANCESCA
Don't get up!
Camera back to TOMAS, who has frozen, halfway out of his seat. He sits down, surprised and pleased that she has spoken.
TOMAS
Perhaps he's ill.
Medium shot of FRANCESCA (TOMAS'S point of view).
Her voice is cajoling now.
FRANCESCA
It's nothing, absolutely nothing. I've often seen him do that.
Medium close-up of TOMAS, who hesitantly begins to eat again. Sound of violent retching comes from the next room. TOMAS'S fork stops in mid-air. He looks at FRANCESCA.
Camera back to FRANCESCA, who shakes her head firmly and smiles.
FRANCESCA
It's nothing. Believe me. Go on eating.
Long shot of that end of the room. TOMAS valiantly tries to go on eating. More disgusting retching sounds. Sound of toilet flushing. MRS. GRUNDBERG enters from the kitchen, bringing the dessert. She clears the table of the dinner plates, not reacting in any way to the noises BAUER is making.
Medium-long shot of TOMAS and FRANCESCA eating silently. Their eyes meet, TOMAS starts to smile, then freezes and looks down at the sound of a door opening, footsteps. BAUER comes into the frame, sits down again vigorously in his chair, tucks his napkin under his chin, and ladles several big helpings of fruit salad onto his plate.
Closer shot of the three BAUER looks from one to the other, genially.
BAUER
I hope nothing has happened while I was gone.
FRANCESCA slams her fork down on the table in rage.
BAUER
Darling, I was only teasing. Just a little joke.
BAUER winks conspiratorially at TOMAS, then shovels several heaping spoonfuls of whipped cream on his plate.
8. Bauer library. That night
Medium shot. TOMAS, fully dressed, his head propped up on a cushion, is dozing on the L-shaped couch near the fireplace. He has an open book in his hand. FRANCESCA, in a nightgown, half kneels on the couch, leaning toward him.
TOMAS'S VOICE
"I thought Francesca came into the library that night."
Close-up of TOMAS. He opens his eyes for a second, then turns his face away from her.
Medium shot: FRANCESCA leans over, and pulls at the cushion so that TOMAS'S head rolls back toward her. TOMAS opens his eyes.
(Continues...)
Excerpted from Duet for Cannibals by Susan Sontag. Copyright © 1970 Susan Sontag. Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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