1 EXT. FAMILY HOUSE (PRESENT, WINTER) - DAY 1
A venerable old house in Oslo sorely in need of a coat of
paint. Other houses in the neighborhood may be more modern
and in better condition, but there's something soulful about
this one missing from the others.
2 EXT. FAMILY HOUSE (APPROX. 2000, SUMMER) - DAY 2
The same house in a different era. Summer. Green leaves
moving in the wind. The facade paint is fresher.
NARRATOR
When she received the essay
assignment to write a story as if
one were an object, she immediately
knew that she would choose to be
their house.
Closer to the house: the two windows on the first floor and
the door make it easy to imagine the facade of the house as a
face.
3 INT. FAMILY HOUSE (1990S) - DAY 3
Close on two girls' feet stomping down the stairs from the
second floor, they step into shoes, grab their school bags
and run out. The door slams shut behind them.
NARRATOR
She described how the house’s belly
shook as she and her sister ran
down the stairs and out the back
door - the house's butt -
4 EXT. FAMILY HOUSE (1990S) - DAY 4
View from several windows: the two girls running through the
garden.
NARRATOR
- taking the shortcut to school,
through a hole in the fence and a
neighbor’s lawn, before they turned
onto the road and the house could
no longer see them.
They squeeze through an opening in the fence behind the house
and run off.
NARRATOR (CONT’D)
Her mother pointed out that it was
a bit inconsistent that the house
could also see behind its back. As
if a house couldn’t have eyes in
the back of its neck?
Blue Rev. (mm/dd/yy) 2.
The facade of the house from the back. Worn-out garden
furniture.
5 INT. FAMILY HOUSE (VARIOUS TIMES) - DAY 5
MONTAGE of rapid images of the house being used and abused as
the voice continues:
NARRATOR
She remembered wondering if the
house preferred to be light and
empty or full and heavy...
High heels scrape the parquet floor at a party (1965).
An eager dog's claws scratch the wooden floor in front of the
door (1980).
NARRATOR (CONT’D)
...if it liked being trampled on,
or that people crashed into its
walls, that eager dog claws
scratched the floorboards...
A chair scraping against the kitchen floor (1998).
Children's dirty fingers stick to the railing on the stairs
(1994).
A wine glass falls to the floor and shatters (1965).
A milk glass topples over (1955).
A laptop falls corner-first, creating a deep gouge in the
wooden floor (2000).
NARRATOR (CONT’D)
...and she thought yes, it liked
being full, and that the marks were
just scrapes like you get playing
tag or soccer.
Gustav (35) is moving his hands behind the two small windows *
over the kitchen door. The shadowplay makes it seem to Nora *
(3) that they are two eyes looking towards her. (1990S) *
Genres:
["Drama","Family"]
Ratings
Scene
2 -
Echoes of Decay
6 EXT. FAMILY HOUSE (1990S) - DAY 6
Close on the facade: a noticeable crack in the foundation.
NARRATOR
Her father said the crookedness was
and old flaw, discovered right
after the house was built a hundred
years ago.
Yellow Rev. (mm/dd/yy) 3.
7 INT. FAMILY HOUSE (1990S) - DAY 7
The crack in the foundation wall seen inside in the basement. *
The library on the ground floor. The crack is visible there
as well, making its way all the way up to the ceiling.
8 INT. FAMILY HOUSE (APPROX. 2000) 8
An adult couple arguing loudly is heard through the wall. A
girl (NORA 12) - lying on her bed - puts a pillow over her
head to drown out the sound.
NARRATOR
She wrote that it was as if the
house was still sinking, collapsing
- just in very slow motion - and
that the entire time her family had
lived there was just a split second
in mid-air.
CLOSE UP on the girl's eyes.
POV: CLOSE UP on the crack in the wall in front of her face.
NARRATOR (CONT’D)
And before them, a number of
people, pets... insects also had
their brief flash in the house's
time. Four people had even died
within the walls of the house.
9 INT. FAMILY HOUSE (1918, FALL) - DAY 9
The largest bedroom on the third floor. A man lies in bed.
Flowers on the bedspread over him. He is dead.
NARRATOR
Nora’s great-grandfather Edvard
Irgens died in the bedroom on the
second floor from the Spanish
flu... In the same room where his
granddaughter Edith was born just
seven years later.
10 INT. FAMILY HOUSE (1925, WINTER) - DAY 10
The same bedroom. A baby is lifted by a midwife and placed in
the mother's arms.
NARRATOR
Which was now her parents’ bedroom.
11 INT. FAMILY HOUSE (APPROX. 2000) - DAY 11
The same bedroom almost 75 years later. Sissel (45) and
Gustav (50) are in the midst of a fierce argument. The sound
of the argument is heavily muted - as if it is far away.
12 INT. FAMILY HOUSE (CA 2000) - DAY 12
Back to Nora's childhood room where she’s holding a pillow
over her head (the pillow muffles the sound of the argument).
13 INT. FAMILY HOUSE (1955, SPRING) - DAY 13
A man (Otto, 70) drops an orange. He bends over, but it rolls
away due to the slant in the floor. He notices something is
wrong and freezes.
NARRATOR
Edvard's son Otto died of a heart
attack one spring day in 1955.
CLOSE UP on the orange rolling until it stops against the
wall.
NARRATOR (CONT’D)
The father said it was a bit
confusing how she rattled off so
many names, but complimented how
she managed to paint vivid pictures
for the reader.
The sound of Otto’s body hitting the floor.
14 INT. FAMILY HOUSE (1958) - DAY 14
A woman (KARIN, 36) sits in the living room with her head
down. The hallway is visible behind her, the door to the
inner room ajar.
NARRATOR
In the room at the end of the
hallway, Otto's eldest daughter
Karin hanged herself in 1958 at 36
years old.
A cloud moves in front of the sun outside - the room darkens.
15 INT. FAMILY HOUSE (1985) - DAY 15
NARRATOR
Karin's little sister Edith died 30
years later in the same bedroom she
was born in.
Yellow Rev. (mm/dd/yy) 5.
Genres:
["Drama","Family","Historical"]
Ratings
Scene
3 -
Echoes of Silence
16 INT. FAMILY HOUSE (2008) - DAY 16
Back to Nora's childhood room with the crack. It is now used
more as a storage room, but her bed is still there.
NARRATOR
When she read the essay later, she
noted that she hadn't used the word
"quarrel", but wrote of all the
"noise" her parents made. A kind of
noise that the house didn't like.
Close up of the book. A teenage girl’s handwriting.
17 INT. FAMILY HOUSE (QUICK MONTAGE, VARIOUS YEARS & SEASONS)
One of the house's windows overlooking the driveway.
Outside, Gustav passes by the window on his way out. It's as
if the "eyes" of the house are watching him leave. (1990)
Then another day. He walks past the window again. (Approx.
2000)
A third day: he hurries past, looking stressed. (2000)
NARRATOR
But if there was anything the house
disliked more than the noise, it
was silence. And among all the
silences, her mother’s silence was
the worst.
18 INT. FAMILY HOUSE (APPROX. 2000) - DAY 18
In the kitchen, a woman in her 40s is staring melancholically
into nothingness (SISSEL, 45).
NARRATOR'S VOICE
When Dad was home, it was never
quiet, even when he wrote, music
thumped the floorboards, but his
trips started lasting longer and
longer. And when he left for good,
the house got lighter, the noise
between the parents disappeared,
but the house missed all his other
sounds.
A girl (Nora 12) watches her mother just sitting there, sad.
19 INT. FAMILY HOUSE, NORA’S CHILDHOOD ROOM (2008) - DAY 19
Nora, 20, sits in her old room full of old clutter. We see
her back as she reads the essay she wrote.
Yellow Rev. (mm/dd/yy) 6.
NARRATOR'S VOICE
Her teacher gave her an A, and her
father had loved it. She dug out
the essay when she was looking for
a monologue for her auditions at
the Theatre Academy, but was
disappointed because it seemed so
unemotional. She therefore chose
Nina's monologue from "The Seagull"
instead.
LATER
Nora stands upright with a sheet of paper, trying out
Chekhov's text. ("I am a seagull, no, no. What am I saying? I
am an actress... Yes, that's what I am...)
Close-up on the crack that is still on the wall.
TITLE
Genres:
["Drama"]
Ratings
Scene
4 -
Nora's Descent into Panic
20 INT. NATIONAL THEATRE, STAGE - NIGHT 20
The sound of someone breathing nervously close by.
A POV from far back on the main stage of Norway's NATIONAL
THEATRE:
The stage right in front of us is dark. There is no stage
curtain, and the square opening towards the auditorium lights
up - full of expectant theatre guests. The MURMUR of the
audience mixes in with the breathing.
CLOSE UP on the face in the dark, looking out towards the
audience from the back of the stage. This is NORA (35), she
breathes more and more nervously.
The sound of breathing is replaced by MUSIC:
21 EXT. NATIONAL THEATRE - NIGHT 21
Documentary-like images of the audience on their way to the
theatre premiere. White snow covers the square and the stairs
in front of the venerable theatre building in central Oslo.
Snow on the statues in front of the theatre: Ibsen, Bjørnson,
Holberg.
People flock up the stairs and into the theatre.
22 INT. NATIONAL THEATRE, LOBBY - NIGHT 22
The MUSIC continues over the murmur from the people in the
lobby and as heavy winter coats are hung up in the cloakroom.
The doors open to the stately theatre hall with rows and rows
of still empty red seats.
THEATRE USHERS take tickets and hand out the program for the
performance. People stream in.
23 INT. NATIONAL THEATRE, MAIN HALL & BEHIND STAGE - NIGHT 23
Hundreds of expectant theatre guests are in place, the buzz
of voices is massive. The performance is about to begin.
The camera moves over the rows towards the stage, still dark.
As we get closer, we glimpse a few chairs and a table in the
darkness. A simple stage design says little about the play
that will soon be performed.
The camera floats further past the chairs and into the total
darkness at the very back of the stage.
Nora is hidden in the darkness at the back of the stage. No
one out there can see her, but she can see the audience.
She’s breathing franticly - scared.
Suddenly, she storms off the stage.
BACKSTAGE: Practical and worn, in stark contrast to the
glamorous hall. Anxiety is running high. The young STAGE
MANAGER talks to the sound technician at the edge of the
stage (well out of sight of the audience).
SOUND TECHNICIAN
She just wanted to look at the
audience.
STAGE MANAGER
OK, but she's not miked up?
As they speak, Nora leaves the stage and hurries past them.
She is wearing a large dress that flutters as she walks.
STAGE MANAGER (CONT’D)
Nora! Nora!!
Nora doesn't react. The stage manager runs after her.
Actors in costume hang around and cast nervous glances after
them. Among them an approx. 40 year old actor, JAKOB, dressed
as a priest with a black robe and a white collar.
24 INT. NATIONAL THEATRE, DRESSING ROOM - NIGHT 24
Nora has retreated into a sparsely furnished dressing room: a
mirror, a couch, and some books. She seems to be panicking.
Someone knocks on the door.
25 INT. NATIONAL THEATRE, AUDITORIUM - NIGHT 25
The stage manager pushes past a full row out in the
auditorium.
A man in his 40s (the DIRECTOR) notices and looks *
questioningly at her. The stage manager beckons him over - *
something is clearly wrong. The director gets up.
26 INT. NATIONAL THEATRE, DRESSING ROOMS - NIGHT 26
Nora has opened the door to the dressing room. The director
is standing there talking to her. The stage manager stands *
beside him. *
DIRECTOR
But it's like this every time, and
it always turns out well.
NORA
No, this isn't like that, this... I
can’t...
She grabs her and looks seriously at her.
DIRECTOR
You can use this. Take it out on
stage.
27 INT. NATIONAL THEATRE/ BACKSTAGE - NIGHT 27
Nora is finally miked up by the sound technician. The
director has succeeded in persuading her.
The director stands with the stage manager, who is clearly
irritated with Nora.
DIRECTOR
(quietly to stage
manager)
I know, I know, but she’s ready
now. Everything will be fine once
she gets on.
Blue Rev. (mm/dd/yy) 9.
28 INT. NATIONAL THEATRE, AUDITORIUM - NIGHT 28
The director sits down in his seat. He smiles to his husband *
next to him before looking up at the stage. *
The lights in the hall begin to dim. The humming of voices
slowly fades.
29 INT. NATIONAL THEATRE, BACKSTAGE - NIGHT 29
Nora stands right by the stage with the other actors. They're
about to go on. She tries to gather herself, and breathes
calmly and deeply...
...it's not working. She looks up and makes eye contact with
Jakob, the actor in a priest's costume.
She waves at him - come! - as she slowly backs away from the
stage and towards the door to the hallway outside.
The stage manager is watching and is about to stop her.
NORA
(to stage manager)
We... we’re just gonna go over
something real quick.
A MOMENT LATER
Nora and Jakob stand next to colorful set elements from
another play (Alice in Wonderland).
NORA (CONT’D)
You have to help me.
JAKOB
Okay..?
Nora maneuvers around an absurdly large fake cake, so they
are partially hidden. The stage manager looks at her
suspiciously.
NORA
Hit me.
JAKOB
Huh?
NORA
I just need to get out of this.
Just a slap.
She slaps herself in the face to demonstrate.
NORA (CONT’D)
Come on.
Jakob looks at her. He is stressed too, and isn’t sure what
to do.
NORA (CONT’D)
Come on, it doesn't have to be...
Suddenly, Jakob slaps her on the cheek. Quite hard.
NORA (CONT’D)
(surprised)
Thanks.
JAKOB
Let’s go.
He takes the lead towards the stage, with Nora behind him.
The stage manager looks surprised at something behind Jakob.
STAGE MANAGER
Hey!
As Jakob turns back, Nora is no longer behind him. She has
bolted towards the exit.
STAGE MANAGER (CONT’D)
Hey!
30 INT. NATIONAL THEATRE, HALLWAY - NIGHT 30
Nora sprints down a hallway while her large dress flutters
around her. The stage manager rushes after her and grabs
hold.
Nora begins to let down her hair and tear up her costume.
STAGE MANAGER
No, no, no!
An older lady, the COSTUME SUPERVISOR, comes to prevent her
from ruining more of the costume. Jakob comes sprinting.
Genres:
["Drama","Theatre"]
Ratings
Scene
6 -
The Performance of Silence
31 INT. NATIONAL THEATRE, MAIN AUDITORIUM & BACKSTAGE - NIGHT
In the auditorium, a growing confusion spreads.
The lights are dimmed, but why is nothing happening?
Backstage, Nora is held at the edge of the stage. A big STAGE
TECHNICIAN holds her hands firmly while everyone works
manically to get her ready.
STAGE TECHNICIAN
Sorry.
Nora doesn't respond. She breathes quickly and looks down.
Pink Rev. (mm/dd/yy) 11.
A stressed MAKEUP ARTIST fixes her hair. The costume
supervisor patches Nora's dress - she gives up sewing and
pulls out duct tape.
The stage manager sits in a booth right next to the stage.
She throws a nervous glance at Nora before she cues the
lights.
The lights come on the stage: Jakob and two other male actors
are already standing there.
The hall goes silent. Everyone is expectant.
So is everyone backstage. They look at Nora standing there,
looking down with her hands held firmly.
The stage manager signals and the stage technician lets Nora
go.
She stands still for a second. Two seconds. Three. Then she
slowly walks onto the stage. (Her dress has duct tape on the
back, but from the auditorium, it looks fine.)
Everyone watches. Out in the hall. Backstage. Jakob on stage.
She stops. With the light in the hall dimmed, the audience is
just a black mass, but the silence suggests they're intently
watching.
Then she finally speaks. It's said softly, but the microphone
captures it and sends it out into the hall.
NORA
I don't know what to say.
The line is delivered so naturally that one could wonder if
it's a line at all. She lifts her gaze and looks straight at
Jakob and the men who are positioned higher than her. The men
who are to decide the fate of her character in the play.
Nora’s nerves seem to be gone, or rather, they are still *
there under the surface, giving her acting an edge. *
Jakob and the two other actors don’t react to her *
accusations, they stand immovable, frozen in time. Nora’s *
character is dead and is moving among them like a ghost. *
NORA (CONT’D)
Can you hear me? Listen!
She walks past Jakob, the priest, towards one of the other *
men, and places her hand over his mouth. *
NORA (CONT’D)
You said you wanted to save me, but *
all you did was chase me into the *
flames. *
Pink Rev. (mm/dd/yy) 12.
He doesn’t react. Frozen. She walks over to the last of them, *
a slightly older man. She brings her face close to his. *
NORA (CONT’D) *
(increasingly enraged) *
At least the lies have now ended.
I let your children into my home. *
And still you witnessed against me. *
No one defended my case. No one *
wanted to listen to me.
Her anger dissipates. She turns away from the immovable men. *
NORA (CONT’D) *
Now I am silent forever. Nothing is *
as quiet as a heart that has
stopped beating.
LATER
The play is over. Nora and the actors accept applause. Nora
is visibly happy, relieved, and proud. Almost euphoric.
32 INT. NATIONAL THEATRE, DRESSING ROOM - NIGHT 32
Nora's dressing room is as she left it. Empty. Her phone is
on the sofa, it starts VIBRATING.
33 INT. NATIONAL THEATRE / BACKSTAGE - EVENING 33
Nora exits the stage with the other actors. Everyone hugs and
smiles. The stage manager and others backstage join in.
Nora embraces the costume technician. They laugh. Someone
hands Nora a large bouquet of flowers.
With a slight bow, Nora passes the bouquet to the stage
technician who had to hold her back. He smiles.
Close-up on Nora, savoring the moment, happy - or is there a
hint of something bothering her?
34 INT. NATIONAL THEATRE, DRESSING ROOM 34
Back to her dressing room where her phone lights up again.
VIBRATING alarmingly.
Genres:
["Drama","Theatre"]
Ratings
Scene
7 -
A Moment of Grief
35 INT. TAXI - NIGHT 35
Nora sits in a taxi. She has changed into “civilian” clothes
and is removing her stage makeup with wet wipes, clearly
stressed.
36 EXT. NURSING HOME PARKING LOT - NIGHT 36
The taxi drives into a parking lot in front of a large
hospital looking building.
37 INT. TAXI IN THE NURSING HOME PARKING LOT - NIGHT 37
Nora has her card ready and hands it to the driver as he
stops. She unbuckles her seatbelt, impatiently placing her
hand on the door while the payment processes - ready to hop
out.
The TAXI DRIVER hands her the card back. The payment is
successful, but Nora remains seated.
TAXI DRIVER
Do you want the receipt?
Nora doesn't respond. She sits there with her hand on the
door handle.
TAXI DRIVER (CONT’D)
You all right?
NORA
Can I just sit here for a moment?
He nods. He looks at her with concern through the rearview
mirror.
38 INT. NURSING HOME - EVENING 38
Nora walks through the corridors of a nursing home. She finds
the room she's looking for and slows down.
39 INT. NURSING HOME / MOTHER'S ROOM - EVENING 39
Nora enters the room. It's empty except for an older woman
lying motionless in bed.
A winter coat on a chair next to it gives the impression that
someone has just been there. (Nora is still wearing hers).
It's clear that the woman in bed is dead: a pretty older lady
with thin white hair. Her eyes are closed. (Nora's mother
SISSEL.)
Nora walks over and slowly reaches her hand towards the
woman's hand. She touches it gently. She moves her hand to
the woman's forehead, but withdraws it.
She hears the door and turns: a woman is standing in the
doorway looking at her. This is Nora's younger sister AGNES.
Agnes has clearly been crying.
They embrace each other.
BLACK
Genres:
["Drama"]
Ratings
Scene
8 -
Silent Reflections
40 EXT. THE ROAD OUTSIDE THE FAMILY HOME - DAY 40
A taxi drives up a narrow and snow-covered road, crowded with
parked cars. Many vehicles are perched with two wheels on the
snowbanks.
The car stops in front of a house, and a figure dressed in
black steps out: This is GUSTAV BORG (71).
Gustav is a well-known film director with his heyday behind
him. On a good day, he still has the energy and charm that
once made him a force of nature. But today is not a good day.
He is tired, and his suit is creased.
Gustav looks up at the house:
It's the family home as we got to know it in the opening
scenes.
The taxi drives away, and Gustav walks towards the entrance.
Behind the windows on the ground floor, he can see people
dressed in black – a funeral reception in progress.
41 INT. FAMILY HOUSE/KITCHEN - DAY 41
Agnes enters a large kitchen (bearing the distinct imprint of
an elderly lady living alone for a long time), Nora follows
closely. They are in the middle of a conversation.
NORA
We should have just ordered
catering. I knew it was going to be
stressful.
AGNES
Not now.
Agnes opens the refrigerator. Nora watches her younger
sister, visibly stressed, taking out food and arranging it on
large serving trays. They are both elegantly dressed in
black. As we’ll soon understand, this is the reception after
their mother's funeral. The murmur of guests talking and
moving around in the adjacent rooms is audible.
Nora notices that Agnes has tears in her eyes, but it doesn't
deter her from attending to the food.
NORA
(about Agnes crying)
Oh come on, not now.
Agnes has to smile at herself.
ERIK enters (Agnes' eight-year-old son).
ERIK
Mom, can I have more cake?
AGNES
Yes, of course.
Even (Agnes' husband and Erik's dad) is hot on Erik’s heels.
EVEN
I just told him to cool it. He's
had four pieces.
A woman in her 60s, THEA, enters the kitchen - VOICES from
the guests outside grow louder as she opens the door.
THEA
So this is where you are. Do you
need any help?
AGNES
We're fine, thank you.
(to Erik)
It's not okay, Erik. When Dad
already said no.
ERIK
Please?
THEA
(to Nora)
That was such a beautiful speech
you held. S
NORA
Thank you, it was on behalf of both
of us.
THEA
She was so proud of you. She talked
about it all the time.
Agnes looks at her but is evidently used to hearing praise
about her sister without receiving any herself. Erik wants an
answer:
ERIK
Just one piece?
42 INT. FAMILY HOME, LIVING ROOM/ KITCHEN - DAY 42
Gustav enters and is met with the hum of various
conversations. He pauses in the entrance, surveying the
surroundings. It's been a while since he's been here. He
heads towards the living room where FUNERAL GUESTS guests
dressed in black stand in small clusters. No one seems to
have noticed him.
He spots Nora, walking with Erik towards the cake table.
Blue Rev. (mm/dd/yy) 16.
Before she can notice him, he retreats into an empty room: a
library with a glass door leading to a narrow covered
terrace. The room still bears traces of having been the
deceased's psychology office. (Sissel, Agnes' and Nora's
mother, received patients here until a few years ago.)
Gustav looks around, contemplative. The light changes as
outside the sun slowly peeks out from a cloud.
In the living room, Nora experiences the same change in
light; she smiles at someone but is lost in thought.
Agnes fills a water jug in the kitchen while the light
shifts. She, too, is contemplative.
43 INT. FAMILY HOUSE - DAY 43
Suddenly, the house is completely deserted. Everything goes
quiet.
The kitchen where Agnes stood is empty.
The living room and dining room where we just saw Nora and
Erik is devoid of people.
Faint MUSIC is heard from far away as the camera glides from
the living room to the office where Gustav was just present.
It fades into:
Genres:
["Drama","Family"]
Ratings
Scene
9 -
Echoes of Innocence
44 INT. FAMILY HOUSE (1930S, SUMMER) - DAY 44
The same room, but now in the 1930s, it's summer and sunny.
The faint MUSIC is playing at full volume from a hand-cranked
record player. A girl (KARIN, 12) sits with some FRIENDS,
enjoying the music.
NARRATOR
The room on the first floor was
just called the library - it was
rarely in use, and the eldest
daughter of the house, Karin, got
to use it freely to listen to music
and hang out with friends...
Karin gets up and closes the door (we glimpse the rooms
outside before the door shuts, also 1930s style).
The camera moves towards the fireplace and follows the *
chimney upwards (as if following the music seeping up to the *
second floor).
NARRATOR (CONT’D)
Karin's younger sister, Edith,
discovered that the sound leaked
through the chimney, reaching her
upstairs.
45 INT. FAMILY HOUSE (1930S) - DAY 45
We follow the music from a fireplace (the hatch is open) into
a girl's room on the floor above.
It's the room we know as Nora's, but decorated in 30s style
with black and white photos of movie stars on the wall.
A girl (EDITH, 10) lies by the fireplace and listens. She
hears MUSIC and GIGGLING from Karin and her friends.
46 INT. FAMILY HOUSE (1940S) - EVENING 46
The fireplace on the second floor a decade later. Voices from
the room below are heard indistinctly: an excited discussion.
Someone whispers.
EDITH (17) moves closer to the stove to listen. The MUSIC is
turned up below, drowning out the voices.
47 EXT. FAMILY HOUSE (1940S, FALL) - DAY 47
Seen from a first-floor window: Karin (20), dressed in a
coat, walks out of the gate.
48 EXT. FAMILY HOUSE (1943, WINTER) - EVENING 48
Seen from a second-floor window: Karin is escorted out of the
house by MEN FROM THE STATE POLICE (in German Nazi style
uniforms) to a waiting police car.
NARRATOR
One fall day in 1943, Edith heard
knocking downstairs and that the
State Police had taken her 20-year-
old sister.
As Karin is put in the back seat, she casts a final glance up
towards the second floor (and the camera).
49 INT. FAMILY HOUSE (1944, SUMMER) - DAY 49
A young woman's room (Karin's room) at the end of the hallway
near the entrance. Some shelves are empty, but much remains.
NARRATOR
Karin was released half a year
later. One morning her room was
empty. She had fled to Sweden.
50 INT. FAMILY HOUSE (1944, SUMMER) - DAY 50
The library on the first floor: abandoned. No one uses the
record player.
Pink Rev. (mm/dd/yy) 18.
Genres:
["Drama","Historical"]
Ratings
Scene
10 -
Shadows of Memory
51 INT. FAMILY HOUSE (PRESENT DAY, WINTER) - DAY 51
Back to the same room (Sissel's psychologist office) during
the funeral reception. Gustav is sitting on the armrest of a
chair. Thoughtful.
On the wall in the hallway, among many family pictures, there
is a portrait of Karin in her late twenties, smiling warmly.
NARRATOR'S VOICE
After the liberation, Karin
returned to Norway as Karin Borg,
wife of the Swede Lennart.
Another photograph of Karin together with a slightly older
man: Lennart. (A picture of Nora as a child hangs beside it.)
52 INT/EXT. FAMILY HOUSE (1950S, SUMMER) - DAY 52
A smiling little blond boy (GUSTAV, 3 YEARS) runs through the
house. Close on his feet on the floor. The sun is shining.
Close-up of milk spilled on a wooden table: children's
fingers draw in the milk, creating blue-white streaks.
NARRATOR
Karin gave birth to Gustav at
Ullevål Hospital, and he was
brought home to Losveien in 1951.
Gustav loved the house, Aunt Edith,
and the neighbors...
Gustav (3) stands out on the porch. The rain is pouring down.
53 INT./EXT. FAMILY HOUSE (1950S, VARIOUS SEASONS) - DAY 53
QUICK MONTAGE: The sun shining through the trees into the
living room window, creating beautiful, winding shadows on
the floor.
NARRATOR
...he loved how the reflection of
their windows created magical
shadows on the wall in the living
room and in his room.
The light reflected from a neighbor's window creates a
beautiful square on the kitchen wall.
The shadow of a sheet dancing in the wind on the house wall.
As a cloud moves away from the sun, a square light of a
window appears on the floor - a green glass vase on the
windowsill also creates a beautiful green diffused shadow at
the bottom of the square.
Yellow Rev. (mm/dd/yy) 19.
NARRATOR (CONT’D)
Many years later, when he had
become a filmmaker, Gustav liked to
say that "Nothing is more beautiful
than shadows." And as he did he
would always think of the house
where he had lived as a child.
The sun goes behind a cloud, the shadow disappears, and the
room darkens.
54 INT. FAMILY HOUSE (1958) - DAY 54
The whole living room darkens. Karin, Gustav's mother, sits
thoughtfully in the living room with her back in the dim
room. The mood is gloomy. (We recognize the image from the
opening of the film.)
She gets up with heavy movements, walks down the hallway, and
disappears into the room at the end of the hallway.
NARRATOR
When Karin died, Lennart took
little Gustav with him back to
Sweden.
She closes the door behind her. Silence.
Genres:
["Drama","Family"]
Ratings
Scene
11 -
Summer Nights and Lasting Bonds
55 INT. FAMILY HOUSE (1965) - NIGHT 55
The closed door at the end of the hallway a few years later.
It is night. Suddenly the door opens, and a pair of jovial
YOUNG WOMEN come out. LOUD, HAPPY 60s MUSIC.
The pair run down the hallway and into the living room filled
with PARTY GUESTS. Everyone is having fun. (For the time an
unusually liberated crowd, unafraid to show their different
orientations.)
NARRATOR
Karin's younger sister Edith took
over the house with her maid
Lillian. Edith was happily
childless, and never had the
house's innards shaken more from
music and laughter, nor had its
hardwood floor suffered more
scrapes.
EDITH (40) and LILLIAN (30) dance together.
56 EXT. FAMILY HOUSE (1965) - NIGHT 56
All the windows on the first floor are lit with a full party
inside.
Yellow Rev. (mm/dd/yy) 20.
57 INT. FAMILY HOUSE (1965) - NIGHT 57
From inside among the dancing guests, we look out at the
building across the street: lights in a window turn on.
NARRATOR
If anyone complained, Edith turned
up the volume. She was sure one of
the neighbors had ratted on her
sister during the war.
Then someone turns on lights in another window in another
neighboring house.
58 EXT. FAMILY HOUSE (CIRCA 1965, SUMMER) - DAY 58
Edith (40) is hanging bed linens to dry outside in the
garden. A boy, GUSTAV, 13, comes over to her. They talk.
NARRATOR
One summer when Gustav was visiting
and Aunt Edith had had one too many
drinks, she gave him advice he
later loved retelling: "Fuck as
much as you can, men and women,
whoever wants to, life is short."
Edith would never have used the
word 'fuck' like that, but the
sentiment behind it was probably
correct.
Sheets and duvet covers flutter in the wind. Gustav casts
long glances at something off screen as he talks to his aunt.
It's Lillian (30) sunbathing topless. She turns over onto her
stomach to sunbathe her back.
59 EXT. FAMILY HOUSE (CIRCA 1965, SUMMER) - SUNSET 59
The sun is low. Edith and Lillian sit on the steps down from
the small terrace, smoking in silence.
NARRATOR
When Edith died, Gustav was his
aunt's sole heir.
Lillian rests her head on Edith's shoulder.
Genres:
["Drama","Family","Historical"]
Ratings
Scene
12 -
Reflections of the Past
60 INT. FAMILY HOUSE (1986, FALL) - DAY 60
The entrance and living room. Empty and worn down. The house
has lost some of its charm since the happy 60s.
61 INT. FAMILY HOUSE (1986, FALL) - DAY 61
Gustav (35) has covered the floor of the bedroom on the
second floor with plastic and is busy painting the walls.
NARRATOR
And in 1986, he moved back to the
country and to the house with the
beautiful light.
62 INT. FAMILY HOUSE (1986, FALL) - EVENING 62
Plastic covers half the living room floor. Gustav (35) sits
with his back on a stool. Motionless. Painting equipment next
to him. Something reminiscent of his mother's melancholy.
NARRATORS
There are two stories about how
Gustav met his wife Sissel. She
said he came as a patient and
complained about sleep problems.
Moving back had triggered something
in him, she thought.
Gustav looks towards the room at the end of the hallway
(where his mother died).
NARRATOR
Gustav's version was more
extravagant:
63 INT. FAMILY HOUSE (CIRCA 2000) - EVENING 63
On a bulky tube TV, we see Gustav being interviewed as a
handsome and confident 50-year-old on a talk show.
GUSTAV (V.O.)
(Swedish)
...she was the most beautiful woman
I'd ever seen, I found out that she
worked as a psychologist, so
suddenly I developed some
psychological problems...
Laughter from the audience.
NARRATOR'S VOICE
Gustav had been the least motivated
patient Sissel had and she ended
the treatment after three
appointments.
GUSTAV (V.O.)
(on the talk show)
Nobody's got more self-insight than
me, I'm thoroughly analyzed, I live
with my goddamn therapist.
Yellow Rev. (mm/dd/yy) 22.
Laughter.
Genres:
["Drama","Family"]
Ratings
Scene
13 -
Echoes of Family: A Journey Through Time
64 INT. FAMILY HOUSE (EARLY 90S) - DAY 64
A girl with brown hair (Nora, 3) runs through the kitchen,
into the hallway, and down into the living room. The rooms
are brighter and more modern.
NARRATOR'S VOICE
Six months later, Sissel was
pregnant. They got married three
weeks before Nora was born in
December 1987. When her little
sister Agnes was born, they became
a family of four.
The girl runs out the open veranda door. Soon we see the
brown hair flash past the window and disappear.
65 INT. FAMILY HOUSE (MONTAGE, 1988 - 2020) 65
Layers of random memories from the family's life in the house
overlap as the camera pulls back:
Night (1988). White moonlight outside. Gustav (40) stands
with a baby in his arms, pointing up out of the living room
window, softly saying:
GUSTAV
Look, that's the moon.
It transitions to day (1991). A girl's voice yells, "Done!"
Sissel (45) opens a bathroom door in the hallway, and a
little girl leans forward on the toilet seat for her mother
to wipe.
Farther down the hallway another scene appears:
Evening (2000). A plate comes flying and shatters hard on the
floor in the hallway. Agnes (9) - in pajamas - is startled.
Nora (12) comes and leads her sister away. Loud arguing from
Gustav and Sissel is heard from the kitchen.
It transitions to night (circa 2020), the hallway is empty,
but inside the living room, an older female figure (SISSEL
65) slowly passes by.
NARRATOR
After the divorce, Gustav went back
to Sweden... The house became
lighter and lighter.
She turns off a lamp.
66 EXT. FAMILY HOUSE (CIRCA 2020) - NIGHT 66
Total view of the house. One by one, lights are extinguished
until only a solitary window on the first floor is lit. It
gives the feeling that the place is becoming more and more
abandoned.
NARRATOR
Nora moved out the year she turned
20. Agnes stayed until she started
studying in Bergen in 2011.
One can glimpse the female figure behind the window walking
around alone inside. She seems frail, old before her time.
67 INT. FAMILY HOUSE (CIRCA 2020) - DAY 67
A tape dispenser and a pen are misplaced in the fridge next
to a brown banana.
The fridge door closes. There are pictures of Nora and Agnes,
and Erik as a 5-year-old. A note is visible: "Turn off the
coffee maker." Another one: "Agnes (your daughter!) 48273234
Call if you need anything."
The stove. A kettle is unrecognizable. It has been left on a
hot stove plate and has melted outward. (In the background, a
reminder note "TURN OFF!" is visible.)
Total view of the living room. Sissel sits and cries. Agnes
(adult, this is just a couple of years ago) stands and
comforts her.
Genres:
["Drama"]
Ratings
Scene
14 -
Echoes of the Past
68 INT. FAMILY HOUSE (PRESENT DAY) - DAY 68
Back to the present: The living room is full of funeral
guests - a stark contrast to the scene before. Agnes’ son
Erik has a large piece of cake in his hand. Nora leads him
toward the hallway.
NORA
(pointing to the office)
You know grandma used to work in
there, right, before she got sick?
ERIK
Yes.
69 INT. FAMILY HOUSE/STAIRS TO 2ND FLOOR - DAY 69
They walk up the stairs to the second floor.
NORA
She used to sit there and talk to
those she was helping... or they
talked to her and it was...
(MORE)
NORA (CONT’D)
(smiles)
...secret things, in a way.
70 INT. FAMILY HOUSE - DAY 70
They enter the room on the second floor that was once Nora's
bedroom (and so much else), but now is filled with various
clutter. Nora goes over to the old fireplace and opens it.
Voices can be heard from the floor below. Erik is fascinated.
NORA
When I was little... a bit older
than you - I liked to sit here
after I came home from school.
ERIK
Were you allowed to do that?
Nora shakes her head. They smile together. A loud burst of
laughter is heard through the fireplace. A Swedish voice is
very clear.
GUSTAV (O.S.)
(out of the chimney)
I realize it's not easy, should you
offer condolences or
congratulations?
QUICK CUT TO THE BASEMENT as we hear the last part of the
line: The fireplace in the office (which carries the sound)
is in focus - a figure stands in the foreground and talks.
ON THE SECOND FLOOR, Nora had not expected to hear that
voice. She stands up, completely taken aback.
ERIK
Are you okay?
She doesn't answer right away. Then it sinks in.
NORA
Yes, yes. Just...
She abruptly leaves the room.
Genres:
["Drama","Family"]
Ratings
Scene
15 -
Unexpected Reunion
71 INT. FAMILY HOUSE - DAY 71
Nora stands outside the bathroom on the first floor. Agnes is
washing her hands.
NORA
Dad is here.
AGNES
(happily surprised)
What?
NORA
Did you know?
AGNES
No, or I did tell him when it was,
but...
A MOMENT LATER
Nora walks towards the room where the sound of her father
came from. She seems nervous. Agnes follows right behind.
Gustav is standing right by the fireplace with a young woman
(KAMILLA) who stands with her boyfriend (WILLIAM, 25) and a
MAN AROUND 65. Gustav seems to be in a much better mood now
and very focused on Kamilla, whom he has just recognized.
GUSTAV
You have become a woman!
She laughs.
NORA
Hi Dad.
Gustav sees his two daughters approaching.
GUSTAV
Ah, there you are!
(to the others)
Excuse me.
(to the man in his 60s:)
Barbados sounds fantastic!
Gustav and his daughters hug each other, awkwardly.
AGNES
Have you met Erik yet?
(calling for Erik)
Erik!
NORA
I didn’t see you in the church.
GUSTAV
No, it was too difficult for me...
Why was it in the church, anyway -
she didn’t find religion at the
end, did she?
AGNES
No, we just thought it would be
nice...
GUSTAV
(interrupts)
Did you see that it was Henrik’s
Kamilla? Little Kamilla is all
grown up.
Yellow Rev. (mm/dd/yy) 26.
The father looks over at Kamilla by the fireplace.
AGNES
We know Kamilla, Dad.
GUSTAV
She was so happy to see me.
Nora gives him a strange look - what does he mean by that?
AGNES
How are you doing?
GUSTAV
No, how are you two? This is all so
sad, she was a fantastic mother to
you, right? She was so beautiful.
NORA
Beautiful?
GUSTAV
Yes, beautiful - like you, right -
and sharp as hell. Was always
right.
Erik comes over to Agnes. He looks skeptical at his
grandfather.
AGNES
Aren’t you gonna say hi to your
grandfather?
Erik gives him a stiff hug. They don’t know each other well.
Genres:
["Drama"]
Ratings
Scene
16 -
Uninvited Conversations
72 INT. FAMILY HOUSE - EVENING 72
The crowd has started to thin out. Even and Erik sit together
on the sofa watching YouTube shorts on Even's phone. Erik
rests his head against his father's shoulder. It looks
peaceful.
Nora says goodbye to a guest before going into the kitchen to
clean up some things.
Suddenly, she sees the door to the back stairs move. A man's
foot tries to pry it open from the outside. An elbow becomes
visible.
Nora goes over and opens the door. Gustav comes in with his
arms full with a couple of large speakers.
GUSTAV
Thanks.
Nora looks at him questioningly.
GUSTAV (CONT’D)
I was just thinking about you.
NORA
(about the speakers)
What are these?
GUSTAV
They're mine, I got them from the
basement.
Silence.
GUSTAV (CONT’D)
How are you doing?
He touches her arm kindly; she finds it a bit unusual.
NORA
Why?
GUSTAV
We need to talk while I'm in town.
NORA
(skeptical)
Okay?
GUSTAV
I have something to tell you.
NORA
But can’t you just say it now?
GUSTAV
Not here. It's time for us to have
a proper talk, isn't it?
Silence. Gustav walks out with the two speakers.
GUSTAV (CONT’D)
Nils Fredrik could take them for me
in his car. He has one of those...
A Toyota.
With a speaker under each arm, he moves towards the exit.
Nora stands and watches him leave.
Genres:
["Drama"]
Ratings
Scene
17 -
Sisters in the Night
73 INT. FAMILY HOUSE - NIGHT 73
The two sisters are cleaning, alone in the house. Nora picks
up a half-full bottle of wine that's on a table and pours two
glasses.
She takes a sip of wine and gives Agnes the other glass.
Pink Rev. (mm/dd/yy) 28.
NORA
I don't know. I just hope he
doesn't feel like he suddenly has
to play dad and comfort me or
something.
AGNES
But it’s good that he’s trying
though. I know you think it’s hard,
but he probably feels the same way
too.
Nora sips her wine thoughtfully. Agnes takes a big gulp.
AGNES (CONT’D)
But ask him about the house. What
he wants to do with it.
NORA
What about it?
AGNES
He owns it. I mean, he gave it to
Mom when they divorced, but there
were never any papers on it.
NORA
Really?
AGNES
Yeah, I know.
Agnes drinks more wine.
AGNES (CONT’D)
It's... it's bad timing... with the
interest rates and all. We were
actually counting on that money.
NORA
But you talk to him. You never dare
to talk to him about anything
difficult.
AGNES
(gets up)
That's not true.
Agnes starts picking up coffee cups and empty bottles.
She opens the dishwasher. Steam billows out.
NORA
Were those his speakers, do you
think?
AGNES
Who knows?
Pink Rev. (mm/dd/yy) 29.
They smile.
Genres:
["Drama"]
Ratings
Scene
18 -
Fractured Bonds
74 INT. LORRY PUB - DAY 74
Nora is entering an old and traditional pub in downtown Oslo.
Some guests glance at her - they recognize her from TV or
theatre.
Gustav has been looking out for her, he lights up as soon as
he sees her and waves and smiles.
Nora smiles back - he suddenly seems sweet and eager.
NORA
Hi Dad.
They hug. It's more relaxed than at the reception.
GUSTAV
You look so good.
She sits down.
GUSTAV (CONT’D)
I've already ordered something,
what would you like?
NORA
A coffee is fine, thanks.
GUSTAV
Nothing else?
She smiles. He waves the server over.
GUSTAV (CONT’D)
A coffee for the beautiful young
lady.
SERVER
Do you have everything you need?
Does it taste good?
GUSTAV
Everything tastes good when you
serve it.
He smiles at the server, she smiles back and leaves. Nora is
embarrassed by his flirting.
GUSTAV (CONT’D)
She probably thinks we're a couple.
NORA
Ew, Dad.
The waiter goes away.
Pink Rev. (mm/dd/yy) 30.
GUSTAV
I've been thinking a lot about
you... I've been a bit worried
about you.
Nora appreciates his sensitivity but steers the conversation
away.
NORA
Okay. How are you doing?
GUSTAV
Very well! A lot is happening. You
might have heard that they want a
retrospective of my films in
France?
NORA
(smiling)
No, where should I have heard about
that? That’s good though.
GUSTAV
I don't really like that kind of
attention. But I do like France.
NORA
...yeah, they do like your films.
GUSTAV
(smiling)
But the most important thing is, I
have a new film in the works.
NORA
That's great, you don't give up.
GUSTAV
I think it might be the best thing
I've written, Michael said the
same.
NORA
Is Michael still producing?
GUSTAV
Micke says that now... now the tide
is turning for me... They are
screening a retrospective of my
films. And my documentary is being
screened here and there.
The server comes with Nora's coffee.
NORA
Thanks.
(to Gustav)
(MORE)
Pink Rev. (mm/dd/yy) 31.
NORA (CONT’D)
Yeah, that's great, but you said
you wanted to talk to me about
something?
Nora watches her father dig into a plastic bag he brought
with him. He takes out a worn bubble wrap envelope and lays
it on the table. He is nervous and his hand is slightly
shaking.
GUSTAV
The film is about a young woman,
about a young mother who...
Gustav lays the envelope in front of her.
GUSTAV (CONT’D)
I wanted... I want you to play the
lead role in my film.
Silence. Gustav smiles with satisfaction.
NORA
Okay.
Nora doesn't know what to say. She didn't see this coming.
GUSTAV
I wrote it for you. You are the
only one who can play this role.
NORA
Thank you, but... You've never
actually seen me act, have you?
GUSTAV
Yes, several times. I saw you in
Medea.
NORA
I saw you leave during the
intermission, Dad. We talked about
it.
GUSTAV
You know I can't handle theatre...
and that scenography was
dreadful... But you were good. I
can see an actor for two minutes,
and I’ll know if he’s great.
Nora just looks at him.
GUSTAV (CONT’D)
This role could be good for you, in
many ways. You deserve to do
something more personal... not a
200-year-old play for a bunch of
pensioners... This is a real film
role.
Pink Rev. (mm/dd/yy) 32.
Gustav doesn't seem to realize how insulting this feels - as
if she hasn't played real roles. Nora smiles. She's angry,
her eyes are shiny, but she tries to hide it.
NORA
Yeah, great, and since my series
did so well, maybe you can get some
money for it too?
Gustav doesn't realize she's leading him on and he gets
enthusiastic about this topic.
GUSTAV
Yes, it certainly helps, I talked
to Michael - he says that this is
the best I’ve ever done... he is
certain that he can get it
financed. And we will use the
house.
NORA
Our house?
GUSTAV
Yes, it's perfect.
Nora sits and looks at him before she pushes the manuscript
away.
NORA
No, sorry.
Gustav doesn't understand.
GUSTAV
Can't you take a break from that
stupid TV series?
NORA
It finished a long time ago.
GUSTAV
(doesn't pick up on what
she’s saying)
You can't let that stuff dictate
what you do... You're better than
that.
NORA
I thought you hadn't seen it?
GUSTAV
Yes, I have.
NORA
So you can stream it in Sweden
after all?
(he looks away, caught)
So, what did you think?
Pink Rev. (mm/dd/yy) 33.
GUSTAV
No, it's not important what I
think.
NORA
Yes, it is. I’d love to hear what
you think. Just say it.
Gustav straightens up.
GUSTAV
Okay, if you want... It’s not for
me, that kind of stuff. There’s no
imagery, no faces... You can’t see
the actors’ eyes.
(pause)
But what do I know? People like it.
NORA
(angry)
Thanks.
GUSTAV
No, Nora, please. You're not the
problem there, right... And this
part it...
NORA
Dad, we're never going to work
together, we can't even talk to
each other...
Nora stands up.
GUSTAV
Just read it, then I'll call...
NORA
(interrupting; stern)
And stop calling me. Yes, I can
tell you're drunk, stop calling.
Gustav is taken aback.
GUSTAV
I... I call because I'm worried
about you.
NORA
Worried? You don't have the right
to be worried about me, Dad. You
don't have the right.
Nora turns and walks towards the exit. Gustav follows her, he
takes her by the arm and holds the envelope out to her.
GUSTAV
Please. Just read it.
NORA
(not taking it)
Why should I? You haven't made
anything in 15 years, it's not
going to happen anyway.
She walks away. The waiter and one of the guests who
recognized Nora glance at Gustav as he stands watching her.
Outside the windows, the snow is falling heavily.
BLACK
Genres:
["Drama"]
Ratings
Scene
19 -
A Moment of Reflection in Deauville
75 INT./EXT. CAR IN DEAUVILLE, FRANCE - DAY 75
A French beach town in Normandy. Long sandy beaches. Sun.
Gustav sits in the back of a car, looking out. Next to him is
a slightly nervous French film journalist: CHRISTOPHE (32),
he works for the film festival that invited Gustav.
GUSTAV
Will Jean-Baptiste interview me?
CHRISTOPHE
No, I told you, I will do the...
GUSTAV
Where is Jean-Baptiste?
CHRISTOPHE
Jean-Baptiste died four years ago.
Cancer... how do you say, cancer in
the mouth.
GUSTAV
In the mouth?
Gustav is slightly shocked. The DRIVER looks at him in the
mirror.
FRENCH DRIVER
(in French; subtitled)
Il est connu lui? (Is he famous?)
CHRISTOPHE
(in French; subtitled)
C’est Gustave Borg.
(the name means nothing
to him)
Un grand réalisateur scandinave.
Anna, La rivière du temps... (He's
a great director. Anna, The River
of Time...
He looks at Gustav in the mirror. Gustav doesn't understand
what they're saying and smiles at the driver.
FRENCH DRIVER
Connais pas. (Never heard of him.)
GUSTAV
What are you saying?
FRENCH DRIVER
(to Gustav)
Are your films on Netflix?
Gustav shrugs. He has no idea.
CHRISTOPHE
(thinks it's
inappropriate)
C’est pas ce genre de film.
(It's not that kind of film)
The driver doesn't quite understand. Gustav no longer
listens, he looks thoughtfully out the window.
GUSTAV
(mostly to himself)
In the mouth...
CHRISTOPHE (O.S.)
Yes, it was very sad.
(pause)
Are you ready for your screening?
76 EXT. CONGRESS CENTER, DEAUVILLE - DAY 76
A large building. A flock of people gather to catch a glimpse
at the celebrities. Photographers.
Christoph escorts Gustav. No one is looking at them, they're
after the big stars, but A FRENCH FILM NERD yells and waves
with Gustav's picture from the festival program. Gustav signs
it.
Genres:
["Drama"]
Ratings
Scene
20 -
Festival Dynamics
77 INT. CONGRESS CENTER, DEAUVILLE - DAY 77
They walk past a long, long line and towards some doors where
they have started to let in the audience.
CHRISTOPHE
Nathalie, the festival president,
would like to meet you here.
Through the open doors, one can see an ENORMOUS movie
theatre.
GUSTAV
Not bad.
CHRISTOPHE
(realizes the
misunderstanding)
Yes, we are in another room, this
is the main room. Another film.
American film.
Sounds of excitement spread. A young woman (RACHEL KEMP) is
surrounded by fans from the line.
CHRISTOPHE (CONT’D)
It is her film. Or she is the star.
The young star signs autographs with a smile, but the
BODYGUARD and others around her make sure to get her free.
Rachel is about 30 years old. She has charisma, obviously a
star, but has a relaxed and cool vibe makeing her stand out.
GUSTAV
(about her film)
Any good?
CHRISTOPHE
(doesn't like it)
Very indie. About abortion, you
know, it is a big deal over there.
But she usually does more... you
know big things.
Rachel and her entourage pass by and stop where they can be
in peace.
CHRISTOPHE (CONT’D)
I wanted your films to be screened
here, at least ANNA, I mean it’s
the opening of your retrospective,
but... you know.
GUSTAV
Is there a dinner tonight? Jean-
Baptiste always took me to...
CHRISTOPHE
Ask Nathalie...
NATHALIE, a charismatic and well-dressed woman around 50,
comes towards them smiling.
NATHALIE
Gustav Borg... how wonderful to
meet you. I’m Nathalie Morali.
She does the French cheek-kissing thing.
NATHALIE (CONT’D)
We are so happy to screen all your
wonderful films.
CHRISTOPHE
Almost all.
NATHALIE
(ignores Christophe)
It’s a huge honor for us.
GUSTAV
Thank you.
NATHALIE
No, thank you.
Nathalie spots the star standing further away.
CHRISTOPHE
I think we should get to our
screening.
GUSTAV
Yes, Christophe said there is a
dinner later?
Nathalie is already heading off.
NATHALIE
Have a great screening. So glad you
are here.
Gustav and Christophe are left standing. Nathalie talks
effusively with Rachel and the gang. They laugh.
CHRISTOPHE
We really should be going.
Suddenly an older Latin American gentleman comes over, pats
Gustav on the shoulder, and smiles - PEDRO MORALES.
GUSTAV
Pedro? Pedro Morales?
PEDRO
Gustav!
GUSTAV
Do you have a film here?
PEDRO
(thick Spanish accent)
No, I am on the panel about the
«death of cinema» Are... are you in
the death of cinema?
GUSTAV
No, I’m not in any death of cinema.
I’m presenting my film.
PEDRO
(impressed)
You made a new one?
GUSTAV
No, this is ANNA. But my new
documentary is showing tomorrow.
CHRISTOPHE
...at noon.
PEDRO
Oh no, that is the time for Death
of cinema, sorry.
(pause)
I have to run. I’m meeting the
Death of cinema people to eat. Nice
to see you, my friend.
GUSTAV
You too.
Pedro points towards the hall (where he thinks Gustav's film
will be shown) and smiles as he walks away.
PEDRO
Anna... Great film!
Genres:
["Drama","Film Industry"]
Ratings
Scene
21 -
Retrospective Revelations
78 INT. SMALLER CINEMA, DEAUVILLE - DAY 78
Christophe and Gustav stand on stage, each with a microphone.
CHRISTOPHE
I think this is the first time all
of your feature films are
screened...
Gustav shrugs playfully - how would I know? - people in the
audience laugh.
CHRISTOPHE (CONT’D)
From the first, very bold, Le
soleil l’après-midi, Afternoon Sun
from 1978...
GUSTAV
(interrupting)
When he says bold he means there is
a lot of nudity.
More laughter from the audience.
CHRISTOPHE
... all the way to the criminally
under seen L’idylle from 2009.
GUSTAV
(uses an old joke)
Well, I always say: it was seen by
DOZENS of people.
Most don't get the joke, only a couple of people laugh.
CHRISTOPHE
So this is a rare chance to see
this... misunderstood film on the
big screen. Your last film to date.
GUSTAV
My newest screens tomorrow.
CHRISTOPHE
Yes, the premiere of Borg’s short
documentary The Last of its Species
is tomorrow at the library. It
doesn’t have a French distributor,
so this may be your only chance.
There is some noise in the back of the hall, but Gustav has
light in his eyes and cannot see anything but that some
people are standing up.
CHRISTOPHE (CONT’D)
But what a better place to start
the retrospective than with ANNA.
Grand Prix à Cannes. A nomination
for the Oscars. Your masterpiece?
A LITTLE LATER
Christophe and Gustav leave the stage as the lights in the
hall dim.
CHRISTOPHE (CONT’D)
Did you see?
GUSTAV
What?
CHRISTOPHE
(flustered)
Rachel Kemp. She is here!
GUSTAV
Who?
In the back of the hall sits the star who passed them in the
hallway. She must have done an intro to her film and sat down
here. She and her gang are still looking at their phones.
Their faces light up in the hall.
CUT TO GUSTAV'S FILM ANNA (ALL IN ONE SHOT WITHOUT CUTS):
Genres:
["Drama","Comedy"]
Ratings
Scene
22 -
A Desperate Escape
79 INT/EXT. TRAIN COMPARTMENT 40S - DAY 79
Overview of a large plain: far away, a DARK-HAIRED BOY and a
young girl run towards us. A black car stops on the roadside
a bit behind them. Two SOLDIERS jump out and run after the
children who have a solid head start.
The girl doesn't see the boy stumble behind her. The soldiers
shout in German. The LOUD SOUND of a train starting its
engine right beside us drowns them out. The boy gets up and
runs.
The girl is close now. This is ANNA in the film, played by
Gustav's daughter Agnes, 9 years old. She acts well: tears in
her eyes, convincingly scared.
The camera moves backward and reveals that we have seen it
all through a window of a train compartment. A WOMAN in her
40s sits in the compartment, unaware of the drama outside.
Anna is so close that she runs out of sight. One of the
soldiers almost catches the boy, but stumbles.
SOUND of a train door opening. Anna enters the compartment.
She sits by the window next to the woman. She tries to hide
how scared and out of breath she is.
More SOUNDS FROM THE LOCOMOTIVE. The compartment shakes.
Slowly, slowly, the train we are in begins to roll. Steam is
seen outside the window.
Anna looks out: the boy is approaching (soldiers right
behind), but the train rolls on and the boy slowly slides out
of sight.
Anna is distraught. Suddenly someone knocks on the train
window. She jumps. The boy's arms reach up and knock on the
window once more before he again slides out of sight. Then we
hear German shouts right beside us - have the soldiers caught
the boy?
Anna wants to stand up, but the lady stretches out her arm
and holds her back. It seems like she wants to protect her.
The train goes faster and faster, further and further away,
the boy will never catch it again.
The camera moves closer to little Anna. Finally, her face
fills the entire screen. She has escaped, but is distraught
and fights back tears.
The image is held for a long time before fading to black.
Genres:
["Drama","War"]
Ratings
Scene
23 -
Reflections at Dusk
80 INT. SMALL CINEMA HALL, DEAUVILLE - DAY 80
The film is over. Applause in the hall.
Close up of Rachel Kemp sitting with tears in her eyes. Next
to her, her publicist (NICKY) takes out her phone and mutters
well that was an upper. Rachel's entourage gets up, but she
doesn't notice, still captivated by the film. Nicky taps her
on the shoulder, she gathers herself and stands up. They want
to leave before the lights in the hall come on.
The lights come on. Gustav stands next to the stage, looking
at the credits still rolling. He is far away. Melancholic.
A YOUNG MAN sets up two chairs on the stage.
A LITTLE LATER
Christophe and Gustav sit and talk. The audience listens.
CHRISTOPHE
...So, the image of the child and
the rock, it’s an expression of the
lack of love, the coldness of the
parents, no?
Gustav thinks. He is less cocky than before the film.
Vulnerable.
GUSTAV
It is just a rock.
(laughter)
You can’t film a symbol. A rock is
always a rock, you know.
Gustav still seems moved. Christophe sees it.
CHRISTOPHE
I can see you are moved.
GUSTAV
I’m sorry, I watched the ending
coming back in... I haven’t seen it
in... I don’t know, 20 years... I
remember that day on set, you know.
I make films with my friends, they
are my family.
CHRISTOPHE
And in this movie even more so,
yes?
GUSTAV
Yeah, you mean my daughter, Agnes?
My youngest? Yes, she’s the one
that plays Anna.
Reactions from the hall. Impressed. A PERSON FROM THE
FESTIVAL signals to Christophe and points to his watch.
CHRISTOPHE
Just a last question before I let
you go...
(MORE)
CHRISTOPHE (CONT’D)
I am sure everyone wants to know:
no films since L’idylle 15 years
ago. Will we see another feature
film from Gustav Borg?
GUSTAV
Yes. I hope so.
CHRISTOPHE
I hope so too... Thank you,
Monsieur Borg...
81 EXT. BEACH PROMENADE IN DEAUVILLE - JUST BEFORE SUNSET 81
Gustav walks alone away from the festival area and down to
the long, straight beach promenade.
A series of beach huts line the promenade. Names of famous
actors and directors are painted in blue in front of the
doors - seemingly a festival tradition to honor guests.
Gustav walks on. He is melancholic.
The sun is low. The shadows are long. The wind blows sand
along the ground at his feet.
He notices one of the many festival banners hanging: a
picture of Agnes as Anna.
CHRISTOPHE (O.S.)
Gustav!
Gustav is lost in thought and doesn't hear right away.
CHRISTOPHE (CONT’D)
Gustav!!
Gustav turns around. A sweaty Christophe has clearly run
after him. He is out of breath.
CHRISTOPHE (CONT’D)
Rachel... Rachel Kemp wants you to
join her. She is having dinner
and... she loved your film.
Gustav is not in the mood, he doesn't feel like it.
GUSTAV
(tired)
What does she know...
CHRISTOPHE
They are at L’Excelsior...
(Gustav reacts)
And the festival is paying, of
course.
Gustav suddenly becomes interested.
82 EXT. FANCY FRENCH BRASSERIE BY THE BEACH - EVENING 82
The sun has set, but the sky is still light. Lights are on in
a venerable restaurant near the promenade.
Paparazzi and fans stand behind a barrier outside - hoping
for a glimpse of Rachel Kemp on her way out.
Genres:
["Drama"]
Ratings
Scene
24 -
A Toast to Adventure
83 INT. FANCY FRENCH BRASSERIE BY THE BEACH - EVENING 83
Inside the restaurant, he sees Rachel and her entourage. They
are seated at a large table by the window.
Gustav straightens his linen suit a bit. It's crinkled, but
that's not wrong for such a suit. He doesn't look too bad.
On his way to the table, a large man in a suit (Rachel’s
bodyguard) appears out of nowhere and stops him.
BODYGUARD
(with French accent)
Excusez-moi, Monsieur, this is a
private event.
Rachel spots Gustav and lights up.
RACHEL
Gustav Borg!
The bodyguard lets him pass with an apologetic look.
Rachel's publicist Nicky (always with her face in her phone)
moves so there's a place next to the star.
RACHEL (CONT’D)
Thanks for making the time. I’m so
impressed by your film. It was
deeply moving. A real masterpiece.
Rachel's manager, SAM, a man in his 40s, smiles at Gustav.
The festival director from earlier in the evening is also
there:
NATHALIE
(to Rachel)
Yes, it is exceptionnel. Wonderful.
Gustav sits down, pleased with the praise.
NICKY
We already ordered. Would you like
something?
Gustav picks up the menu.
RACHEL
Your film... it really struck me...
it was so touching.
Blue Rev. (mm/dd/yy) 44.
Everyone around the table agrees: yes so great, so moving.
GUSTAV
(looking at the menu)
Yes, it’s my E.T.
RACHEL
What?
GUSTAV
You know with the alien leaving and
all the crying.
Rachel can’t help but smile.
RACHEL
All the performances were so good.
I mean, the girl of course, but
everyone...
Others agree. Gustav seems more concerned with the waiter.
GUSTAV
(to the waiter)
Could I have a glass of this one.
WAITER
Non, désolé, we only do bottles of
that one.
GUSTAV
Okay... let’s do bottles then.
Nathalie from the festival looks worried - this will be
expensive.
LATER
They have eaten and are tipsy. Gustav has gained energy from
the champagne and from everyone appearing interested in him.
SAM
Do you know Björk?
GUSTAV
(laughs)
She’s from Iceland. But yes.
RACHEL *
(chiding Sam) *
That’s a different country. *
Gustav drops a piece of cheese, picks it up off the floor *
and eats it while talking. *
GUSTAV *
She did some music for a film of *
mine. *
Blue Rev. (mm/dd/yy) 45.
The waiter is next to Gustav with the wine menu.
GUSTAV (CONT’D)
Do you have the ‘96?
WAITER
I’ll check in the cave.
NATHALIE
(cost-conscious)
I think... there is another
champagne that I really like.
Gustav isn't listening. The waiter goes to check.
NICKY
My mother just loves Björk.
GUSTAV
I wanted Bernard Sumner. He’s a big
fan - I even did a music video for
New Order, shot in Cannes - but it
never worked out schedule wise.
Gustav notices that Nicky has her phone out. Sam is also busy *
texting - are they bored? Or is this how young people are? *
Rachel does not look at her phone, but is lost in thought. *
She seems almost sad. *
Gustav leans over to her, he speaks softly: *
GUSTAV (CONT’D) *
Let’s do something fun. Let’s go to *
the beach. *
Rachel looks at him and smiles. *
RACHEL *
(smiles) *
Now? *
GUSTAV *
(gets up) *
We’re going to the beach. *
NICKY
I’m sorry, there are just too many
photographers and people outside...
GUSTAV
(smiles)
We’ll just go out the back, it
opens right on to the beach and...
(snaps fingers)
SAM *
I don’t think it’s a good idea. *
Blue Rev. (mm/dd/yy) 46.
RACHEL *
Of course it is. *
GUSTAV *
I did this with Richard Dreyfus *
once, it’s no problem. *
Gustav starts giving directions like on a film set: *
GUSTAV (CONT’D)
(to Nicky)
Take a couple of bottles of the
champagne to go.
Rachel laughs. Nicky and Sam seem a bit nervous, but are in.
GUSTAV (CONT’D)
(to Nathalie about the
number of bottles)
Make that four...
Nathalie and her assistant exchange a worried look. *
GUSTAV (CONT’D)
(to the bodyguard)
Tell the cars to leave, if they
follow... everyone will know.
(to Nicky on the way
out:)
Don’t forget glasses!
Genres:
["Drama","Film Industry"]
Ratings
Scene
25 -
A Night of Laughter and Confessions
84 EXT. DEAUVILLE BEACH - NIGHT 84
Gustav, Rachel, and the manager walk in the sand on the
enormous beach. They find it amusing to “sneak away”.
A bit behind them, the bodyguard and Nicky follow with the
champagne.
A LITTLE LATER
They walk along a deserted stretch of the promenade. Gustav
opens a bottle and pours into glasses while they walk. We
hear Rachel and Gustav confidential conversation from later
in the night off-screen:
RACHEL (V.O.)
I usually just go in and out of
cars. Like really quickly. I never
do stuff like this any more.
Gustav pours for Rachel. They spill a lot and laugh.
GUSTAV (V.O.)
Well, you should.
LATER
Pink Rev. (mm/dd/yy) 47.
They have found some sun loungers and moved them a good
distance from the promenade into the sand. They sit among a
small forest of folded beach umbrellas, drinking champagne.
Mixed with direct sound, we continue to hear Rachel and
Gustav's voices talking.
GUSTAV (V.O.)
(softly and intimately)
I have to tell you something...
Gustav gets the bodyguard to take off his shoes and walk
barefoot in the sand. He enjoys it in a surprisingly
childlike way. Rachel laughs.
RACHEL (V.O.)
Okay.
GUSTAV (V.O.)
I’m sorry... I haven’t really seen
any of your films.
We catch up with the conversation as Rachel reacts to what he
says. They’re sitting next to each other on a sun lounger.
RACHEL
(laughs)
That’s ok. I hadn’t seen yours
before today.
GUSTAV
Before today, I had no idea who you
were.
Rachel finds this amusing. Sam - on a sun lounger with Nicky -
is slightly shocked overhearing this.
RACHEL
I want to make films like you do,
you know. So simple and... real.
GUSTAV
You can.
RACHEL
That’s why I did this one. The
script was really good, it just
turned into something else. I think
the reviews aren’t great. Nicky’s
trying to hide them from me.
Nicky sits with her nose in her phone and yawns.
Genres:
["Drama","Romance"]
Ratings
Scene
26 -
Dawn Reflections on Deauville Beach
85 EXT. DEAUVILLE BEACH - DAWN 85
The sun is not up, but the sky is turning brighter. The sea
is now visible. Sam sleeps on his lounger. Nicky sits leaning
against it, dozing off.
Pink Rev. (mm/dd/yy) 48.
Gustav and Rachel are a bit away from the others, walking in
the sand.
RACHEL
I’ve been thinking a lot about
taking a break... but I have all
these projects already lined up.
Good enough parts, but it’s
like... they don’t have anything
to do with me, you know.
Gustav lets it sink in before responding.
GUSTAV
Sometimes the bravest thing you
can do is to say no.
Rachel glances over at Sam and Nicky.
RACHEL
Sam would freak out if I just
walked away like that...
(smiles at the thought)
He’d be right too.
GUSTAV
I don’t know... if it doesn’t
feel right...
(shrugs and smiles)
Fuck Sam... It’s your life.
Rachel looks over at Sam (still asleep) and laughs.
RACHEL
And you, are you working on
something new?
GUSTAV
No.
(pause)
I thought I was, but...
RACHEL
You couldn’t get the money?
GUSTAV
Something like that.
Silence.
RACHEL
What’s it about?
GUSTAV
It’s about this young woman, a
young mother... Everything just
unravels for her... And she does
the unthinkable.
Pink Rev. (mm/dd/yy) 49.
She nods slightly, pensive.
RACHEL
Is there a script?
GUSTAV
I don’t think it’s your cup of tea.
RACHEL
(has to laugh)
And how would you know? I mean,
this is what I’m talking about...
You haven’t even seen me act and
still you have this idea of who I
am and what I can do.
GUSTAV
(laughs)
You are right.
They keep walking. Rachel looks out towards the water.
She takes off her jacket, hands it to Gustav to hold, and
heads off towards the ocean far in the distance. Gustav
laughs.
A MOMENT LATER
Rachel comes back, out of breath. Her trousers are soaked
halfway up her calves. She laughs, out of breath.
RACHEL
It’s too far... The water is like
this deep.
(shows with her fingers)
Gustav smiles. She throws herself down on a sun lounger and
puts on a sweater and a jacket. She's caught a chill. He
takes off his jacket and lays it over her.
Gustav gets the agent to take off his jacket too. Gustav
packs it around Rachel’s cold feet.
RACHEL (CONT’D)
Thank you.
A MOMENT LATER
Gustav pours her a new glass and sits on the edge of her sun
lounger. The sun is rising.
Gustav observes Rachel as she looks towards the horizon: her
smile fades and a sadness seems to resurface.
Gustav notices something in the distance: a horse running
along the water's edge. A man sits on a small cart behind it,
steering. They are moving fast, as if training for a race.
Pink Rev. (mm/dd/yy) 50.
Genres:
["Drama"]
Ratings
Scene
27 -
Sunrise Reflections
86 EXT. DEAUVILLE BEACH (2024, SP) - SUNRISE 86
Rachel lies there under several layers of jackets.
Thoughtful.
GUSTAV
What does your father do?
This is a difficult subject for Rachel.
RACHEL
No... I don’t really know him.
(pause)
After they divorced he... He just
wasn’t very interested in me, I
guess. And when he suddenly became
interested later it was sort of for
the wrong reasons, you know.
GUSTAV
Yeah. That’s tough.
RACHEL
My mother has been great though.
Like super supportive... driving me
to auditions since I was 7.
The water sparkles. The sun has risen above the horizon.
GUSTAV
You have the most expressive
face... a silent movie face... like
Lillian Gish. I’m sure you’re great
on screen.
RACHEL
(laughs)
As long as I don’t speak?
GUSTAV
I’m serious. I Know. I never make
actors read. I cast amateurs.
When I know, I know.
He is sincere. Rachel accepts the compliment.
Gustav is contemplative. He looks at Rachel again. Silence.
He throws a glance towards the ocean and sees that the horse
cart has turned and are on their way back.
Rachel is shivering - despite all the layers of jackets.
GUSTAV (CONT’D)
You’re freezing.
RACHEL
I’m fine.
Pink Rev. (mm/dd/yy) 51.
Gustav gets up - he grabs an unopened bottle of champagne and
hurries down to the water's edge.
Rachel sits up and watches him. What is he doing?
Gustav positions himself in the path of the horse and waves
his arms.
Nicky and the agent are also watching the odd Scandinavian
who is stopping the horse and talking energetically with the
cart driver. He points to Rachel and down the promenade.
A deal is done. He gives the man the bottle of champagne. He
smiles at Rachel and waves her over.
A MOMENT LATER
Rachel is placed with the driver in the cart behind the
horse.
GUSTAV
He’ll take you right to the hotel.
RACHEL
Thank you. Very nice to meet you.
GUSTAV
(takes her hand)
Yes, very nice. Hope you get out of
those black cars more.
He signals to the man with the horse who takes off.
Rachel sits behind the horse - they zoom along the beach,
water splashing around them.
Back on the beach, Gustav watches them leave.
Nicky, the agent, and the bodyguard are already following the
horse. They walk heavily up towards the beach promenade. The
bodyguard waves to Gustav. He waves back.
Gustav feels dizzy and sits heavily down on the sun-bed. He
is very tired. Breathing heavily.
He looks around, stressed. He finds his jacket in the sand
and with shaking hands, he finds a small box in the pocket.
Is he having a fit? He takes out some pills and swallows them
with a swig from a champagne bottle. He puts on his jacket
and lies down on the sun lounger.
Wide shot of Gustav lying motionless on the empty beach.
BLACK
Genres:
["Drama"]
Ratings
Scene
28 -
Family Bonds and Frogs
87 INT. AGNES AND EVEN’S APARTMENT - EVENING 87
A TV FILLS THE SCREEN, IT SHOWS GUSTAV'S DOCUMENTARY:
A beautiful blue-glistening frog is lying on a stone.
GUSTAV (V.O.)
(sound from film; English
with a Swedish accent)
This is an Amazonian dragon frog.
The biologists say he is the last
of his species... I call him
Edvald... Edvald is sick, he’ll die
soon. Scientists will never be able
to reconstruct Edvald’s organism,
he’s unique.
The blue frog is evidently the one Gustav calls Edvald. There
are other frogs there, with completely different colors and
patterns.
AGNES (O.S.)
Why is he speaking English? Is
there a Swedish version?
EVEN (O.S.)
No, it's just this one.
GUSTAV (V.O.)
We will never know what we have
lost when Edvald dies. Maybe
nothing. Maybe everything.
A new image: it is revealed that the frogs are not in nature,
but behind a glass wall in a zoo.
Then an image of the jungle. The sun through dense trees.
GUSTAV (V.O.)
I met Edvald in a building of walls
and glass in Frankfurt. He was born
here, but he is really from the
Ecuadorian part of the Amazon.
Edvald likes the sun, the wet...
Agnes and Even’s living room. Nora is visiting and watching
her father's film with them on their big TV.
NORA
Why exactly “Edvald”?
Agnes laughs. Even pours more wine. Their son Erik is also
sitting on the sofa with his iPad, looking up now and then.
EVEN
(about the wine)
Did you like it? It's not totally
Burgundy, but...
NORA
(not wanting to talk
about wine)
Yeah, it works.
She takes a sip and continues watching the documentary.
GUSTAV (V.O.)
...the stars are chaos, but still
we humans need to convince
ourselves that there is some sense
in the madness of the arbitrary.
Nora takes the remote and turns the volume down.
NORA
Just dialing down the Herzog level.
On the TV, we see silent images of the frog in the zoo mixed
with beautifully composed jungle pictures.
AGNES
That was quite nice.
NORA
Actually, the images are pretty...
if he just shuts up.
On the TV, we see the frog lying on a white bench, completely
still, only its faint breathing showing it's alive.
AGNES
Have you talked to Dad?
NORA
No, why?
AGNES
He's coming to Oslo again.
NORA
What is it this time? When?
They stop talking - captivated by the images:
The last frog of its kind taking its very last breath.
A LITTLE LATER
The film ends. Even fiddles with the remote.
EVEN
It's kind of sad... that you'll
never see a frog like that again.
Pink Rev. (mm/dd/yy) 54.
NORA
(not listening to Even)
Kind of funny that he’s supposed to
make a climate-conscious film about
a frog and it turns into a self-
portrait.
Agnes picks up the thread from earlier.
AGNES
I think he's coming to sell the
house. He asked us to clear out
Mom's things by the end of the
month.
NORA
Is there still stuff there?
Agnes is slightly taken aback - of course, there is.
EVEN
Agnes has been up there a lot
working at it.
AGNES
Could you go through some of it?
EVEN
Look! That's cool.
(they look; don't
understand)
Your show is still on the front
page.
From the image on the TV, Nora's series, 'Cold Case', looks
like a standard Nordic Noir in snow-heavy surroundings. In
the picture, Nora is in a police uniform.
Nora thinks about her father's film.
NORA
How do you think Dad managed to be
there filming just when it died?
AGNES
It was sick, you know.
NORA
Yeah, but can you know exactly? I
don't think he was more than a
couple of days in Frankfurt, in
that zoo there.
A brief silence. They think the same thing:
AGNES
You don't think Dad killed the
frog?
NORA
(laughs)
No... or did he?
They laugh more. Erik listens, not quite understanding, but
he smiles too.
EVEN
He didn't kill Edvald?
CLOSE-UP ON A PHONE:
A video filmed in the bathroom by Erik and Nora doing a fun
dance. Their dancing is passably funky, yet their enjoyment
is evident.
Genres:
["Drama","Family"]
Ratings
Scene
29 -
Tender Moments and Hidden Loneliness
88 INT. AGNES AND EVEN'S APARTMENT, ERIK’S ROOM - EVENING 88
Erik's room. He lies in bed with a small night light on.
NORA
Goodnight.
ERIK
Can you lie next to me for a bit?
NORA
Of course.
Erik makes room for her in the narrow bed.
ERIK
Do you have a boyfriend?
NORA
No, not really.
ERIK
Don't you want one?
NORA
Yes, but that's not always so easy.
They lie there in silence. Erik seems very tired.
ERIK
But I love you.
NORA
I love you too.
ERIK
(smiles cunningly)
I want to marry you when I grow up.
She smiles, but answers without making fun of him.
Pink Rev. (mm/dd/yy) 56.
NORA
That's nice of you to say. That's
probably not possible, but thank
you very much.
ERIK
I know.
Nora hugs him. They lie there quietly. Erik closes his eyes.
89 INT. AGNES AND EVEN'S APARTMENT, LIVING ROOM - NIGHT 89
Even and Agnes are drinking wine in the living room. Nora
comes in.
AGNES
(smiles)
Did you fall asleep?
NORA
He's so sweet.
She pours herself a glass of wine.
NORA (CONT’D)
I think I got proposed to in
there...
AGNES
Okay?
EVEN
Congratulations.
NORA
That doesn’t happen every day.
She raises a toast. Agnes and Even laugh and toast back. Nora
sits down.
EVEN
He's quite a character actually.
Today he came to me and said that
he really wanted to...
AGNES
(interrupts)
What's the matter?
Agnes has noticed that Nora has tears in her eyes.
AGNES (CONT’D)
Is something wrong?
Nora shakes her head, but starts to cry. Agnes goes to her.
AGNES (CONT’D)
It's okay.
Yellow Rev. (mm/dd/yy) 57.
She touches Nora's arm comfortingly, but Nora pulls away and
stands up.
NORA
It's fine. I just need to go.
Sorry.
She nearly runs out of the living room. Agnes follows her.
NORA (CONT’D)
Really, it's okay.
In the hallway, Nora puts on her shoes and grabs her jacket.
A MOMENT LATER
Agnes comes back into the living room and sits down.
EVEN
Is she okay?
AGNES
Yeah, or...
Silence.
EVEN
You don’t think... she's not like,
there again?
Agnes gets what he's hinting at.
AGNES
(uncertain)
No... No, she's not. She's just a
bit lonely these days.
90 INT. NORA'S APARTMENT - NIGHT 90
Nora arrives home. She lives in a nice and practical two-room
apartment, but it lacks the cozy home feeling of Agnes’
place.
She sits at the kitchen table in semi-darkness. The light is
not turned on in the room. It's quiet and empty. A lonely
feeling.
Genres:
["Drama"]
Ratings
Scene
30 -
Balancing Act
91 EXT. NATIONAL THEATRE - DAY 91
Nora walks down a street and enters the side entrance of the
theatre.
92 INT. NATIONAL THEATRE/ OFFICE - DAY 92
A serious man in his 50s leans against the front of his desk.
Nora sits on a chair and looks up at him.
Pink Rev. (mm/dd/yy) 58.
THEATRE DIRECTOR
It’s natural to be nervous before a
performance, we've seen it before,
but when it goes this far... the
others can't do their job.
For some reason, this makes Nora smile a bit.
THEATRE DIRECTOR (CONT’D)
(sternly)
No, you need to take this
seriously. I've received
complaints.
A beat.
THEATER GENERAL DIRECTOR *
You might know that Olivia has
asked for you in the lead role in
her new production?
Nora lights up - she had hoped for this.
THEATER GENERAL DIRECTOR (CONT’D) *
I am mostly inclined to say no.
Nora is surprised.
THEATER GENERAL DIRECTOR (CONT’D) *
And it’s not because I don’t think
you’re talented... And it would be
good timing with a new female
Hamlet on the main stage now. But
we can't accept such behavior
anymore. You have to change it.
(imploringly)
Do you understand?
Nora nods seriously.
93 INT. NORA'S APARTMENT - DAY 93
Nora and a man lie naked in bed, intimate and laughing after
sex. It’s Jakob, the actor from the theatre premiere. They
talk about the conversation with the THEATRE DIRECTOR.
JAKOB
(smiling)
He does have a point, though.
NORA
What do you mean?
JAKOB
Just... have you ever thought about
therapy?
Nora laughs. Jakob smiles.
Blue Rev. (mm/dd/yy) 59.
JAKOB (CONT’D)
It might help with those type of
things.
NORA
I don’t need therapy, I know too
much about myself.
JAKOB
Okay... How's that working out for
you?
Nora laughs again.
NORA *
For example, I know exactly why I *
like you. *
JAKOB *
Okay? *
NORA *
It’s because this can never become *
something serious. Since you’re *
married. That way I can avoid this *
kind of serious relationship where *
I have to be constantly reminded of *
how fucked up I am. *
JAKOB *
And how fucked up are you? *
Nora has to laugh. *
JAKOB (CONT’D) *
On a scale from 1 to 100? *
NORA *
Honestly... 80. 80% fucked up. *
JAKOB *
And 20%, you’re... *
NORA *
Totally normal. *
They laugh. *
A LITTLE LATER *
Jakob finds his sweater on the floor and puts it on. *
He leaves. Nora lies there alone. *
Genres:
["Drama","Romance"]
Ratings
Scene
31 -
Whispers Through the Walls
94 INT. FAMILY HOUSE (CIRCA 2000) - DAY 94
The hallway in the family house about 20 years ago. The door
to the library (Sissel's office) is closed. A conversation
can be faintly heard from inside.
95 INT. FAMILY HOUSE/ SISSEL'S OFFICE (CIRCA 2000) - DAY 95
A therapy session is in progress. A woman in her 40s is
speaking. Nora's mother Sissel (about 45) sits and listens.
CLIENT #1
...I know he thinks it's
ridiculous... that a woman my age
wants to learn to play guitar...
In the middle of a sentence, it cuts to ANOTHER THERAPY
SESSION:
MALE CLIENT
I... I just spend more and more
time in the bathroom. It's the only
room where it seems okay to lock
myself in and I...
A man sits where the woman was just sitting - right by the
fireplace.
96 INT. FAMILY HOUSE/ NORA'S CHILDHOOD ROOM (CIRCA 2000) - DAY
A third voice takes over from the man (the voices blend
together). The sound comes from the fireplace in the floor
above where Nora (12) sits and listens intently.
CLIENT #3 (O.S.)
...I also think that my friends who
are in long relationships are a bit
cowardly, like they just don't dare
to be alone... It's like some kind
of Stockholm syndrome.
SISSEL (O.S.)
So that’s not something you want
for yourself?
The voice ends. Nora wonders about the silence and moves
closer to the fireplace. Some faint SOUNDS from the chimney
pipe. Is someone crying? Nora leans in even closer to hear.
CLIENT #3 (O.S.)
(choked up)
It doesn't matter what I want. I
can't do it.
Pink Rev. (mm/dd/yy) 61.
Genres:
["Drama"]
Ratings
Scene
32 -
Moments of Connection
97 INT. NATIONAL THEATRE/ REHEARSAL SPACE (PRESENT DAY) - DAY
Nora, three other actors, and the director (OLIVIA) sit each
with a script in hand. Everyone listens attentively to Nora
as she analyzes a scene in the play they are rehearsing:
NORA
So, when she says this... she's
seeking security, right. It makes
me think of my sister...
(laughter)
Dad left when she was little, so
she's never dared to criticize him,
afraid he might disappear entirely
or something. And to not be like
Mom and Dad, she just clung to the
first and best... had children
really early before she could come
to terms with how boring he is.
Someone laughs. We see that Jakob (whom she was in bed with) *
is one of the actors. He smiles. *
NORA (CONT’D)
Right, so when she says that...
98 INT. AGNES AND EVEN'S APARTMENT - EVENING 98
Nora sits with her sister Agnes talking. Even sits next to
Agnes, looking at his phone and not paying attention. The
conversation from the previous scene continues:
NORA (V.O.)
...when she says he avoids
conflict, it's because she does
too. And she hates that about
herself. Because her mother was
like that with her father, and...
Nora's voice from the rehearsal is drowned out by Agnes:
AGNES
But... You enjoy it too, right?
Even if it costs you so much to go
on stage, I mean. Maybe you should
think about what you actually like
about it?
NORA
I love it... I love it.
Nora thinks.
A LITTLE LATER
Even puts away his phone and wraps his arm around Agnes. She
smiles at him - it seems intimate and pleasant.
Pink Rev. (mm/dd/yy) 62.
Nora watches them.
99 INT. NATIONAL THEATRE/ REHEARSAL SPACE - DAY 99
The rehearsal is over for the day.
Nora glances at Jakob as he puts on his shoes. He is turned
away from her, and she looks at his neck and shoulders - it's
clear that she likes him.
As he is about to put on his bicycle helmet, he notices her
looking at him. He smiles at her - and at the same moment, he
glances around to see if anyone has seen it.
The last of the other actors have already left the room.
Olivia is busy retrieving her bag from under a chair.
Nora and Jakob wait patiently until Olivia gets her bag and
leaves the room. As soon as they are alone, he closes the
door.
JAKOB
I actually have to run... I'm
picking up today.
They kiss. She puts the helmet on his head and fastens it
while they talk.
NORA
I've actually... I've started to
lie about my age on Tinder. I'm 30.
If I say that I'm 35, only 50-year-
olds contact me.
JAKOB
(feeling like she's
calling him old)
Haha.
He kisses her goodbye and leaves with the helmet on.
Genres:
["Drama","Romance"]
Ratings
Scene
33 -
Echoes of Loneliness
100 EXT. FAMILY HOUSE (CIRCA 2000) - DAY 100
Nora (12) throws her school bag down and walks past the
closed door to her mother's office where someone is talking
(indistinctly).
She hears SOUNDS and voices from the kitchen.
She walks through the living room and looks in:
Gustav (50) is sitting with his back to her, with a
manuscript in front of him. Agnes (9) and a dark-haired boy
sit on the other side of a kitchen table. (They are doing a
read-through for the film ANNA.)
Pink Rev. (mm/dd/yy) 63.
GUSTAV
(laughs heartily)
Yes, that's good, but now we must
work.
A YOUNG ASSISTANT closes the kitchen door. She doesn’t notice
Nora, who is left standing alone in the dining room. Voices
and laughter are heard from the kitchen.
101 EXT. STREETS IN OSLO - DAY 101
Nora walks down the street, thoughtful. We hear her voice
from the earlier conversation with Agnes.
NORA (V.O.)
No, one of the things I like best
about acting - is to be someone
else... to feel things I would
never do, to think in different
ways, feel in different ways.
As she speaks, Nora walking is replaced by other women: a
WOMAN IN HER 50s walks where Nora just did, then a YOUNG
WOMAN with a yoga mat under her arm takes her place again,
then a SERIOUS CAREER WOMAN...
AGNES (V.O.)
So what you like about acting is
not being yourself?
(laughter)
What would mum have said about
that, do you think?
...then a WOMAN IN HER 30s pushing a red bike.
NORA (V.O.)
You know, I can be kind of... in my
head. But all those thoughts, all
the preparations and everything, as
soon as I step onto the stage, it's
gone, I just do it.
The woman with the bike moves on. She seems sad.
Scenes from Nora's single existence intermingle with scenes
of other lonely women:
102 INT. NORA'S APARTMENT - DAY 102
Nora (adult) sits alone in her bed, reading and making notes
in her manuscript.
103 EXT. OUR SAVIOR'S CEMETERY - DAY 103
Nora jogs alone through the green cemetery. Intense.
Blue Rev. (mm/dd/yy) 64.
104 INT. NORA'S APARTMENT - NIGHT 104
Nora sits in the living room. It's dark, but her cell phone
lights up her face. She laughs at something on the screen.
She scrolls further. Soft sound from the phone echoes in the
empty apartment.
105 EXT. STREETS IN OSLO - DAY 105
The woman with the red bike sits down to lock her bike. She
pauses. Tears are in her eyes.
106 INT. NORA'S APARTMENT - DAY 106
The 50-year-old woman - one of those who Nora was replaced by *
previously - sits at the kitchen table in semi-darkness in *
Nora's apartment.
It reminds us of when Nora came home from Agnes’s. The light
isn't turned on. It's quiet. A pressing loneliness.
As the camera approaches the woman the other women replace *
her once again - one by one - until it ends with Nora being *
the one sitting there. *
*
BLACK
Genres:
["Drama"]
Ratings
Scene
34 -
Nostalgia and Evasion
107 EXT. FAMILY HOUSE - DAY 107
Nora walks up to the family house. The house looks different
in the summer, the garden is green. Agnes stands on the
terrace outside.
They hug and smile. Nora seems happy and unaffected.
108 INT. FAMILY HOUSE - DAY 108
They enter through the terrace door and the mother's old
office. Nora looks around. Sissel's chair stands where it did
in the earlier flashbacks, but the shelves are empty.
They go into the living room. Most of their mother's things
are packed in boxes or arranged in piles.
Agnes misinterprets how Nora looks around as nostalgia.
AGNES
It's strange... when Mom got sick.
Part of me thought I should take
over and live here. With Even and
Erik...
Blue Rev. (mm/dd/yy) 65.
NORA
(surprised)
Do you want to live here?
Agnes is a bit taken aback by Nora's reaction.
AGNES
No, not really. We couldn’t afford
it anyway... We can't buy anyone
out.
A LITTLE LATER
Nora glances at some stacks of papers.
AGNES (CONT’D)
I think we'll throw that away, but
you're welcome to go through it.
NORA
It's great that you've done all
this. Thank you so much. But I
think it's fine with me, really...
whatever you don't want, we can
just have someone get rid of it.
AGNES
But there are lots of nice things,
things with sentimental value. At
least take a look.
(pause)
I would really like to have that
vase, for example.
It's a nice, simple glass vase.
NORA
That one is kind of nice.
AGNES
(smiles)
Because I wanted it?
NORA
No, you take it.
AGNES
No, that's not it, we have to
agree, that's what I'm saying.
NORA *
So I’ll take it then. *
Agnes smiles, bemused. *
LATER
Nora is tired of going through things and looks around the
house.
In the kitchen, she removes a worn note taped ("Turn off!")
above the stove, the paint peeling with the tape. On the
kitchen counter, there is a plate with crumbs and a tin of
liver pâté that hasn't been put away. A man's jacket hangs
over a chair.
NORA (CONT’D)
How long is he going to stay here?
A bound manuscript lies open on the kitchen table.
AGNES
(from another room)
He didn't say.
Nora examines the manuscript. Is it the movie he offered her?
She leafs through it, curious. On the cover is the title of
the film: "Homesickness". Agnes stands in the doorway,
looking at her. Something bothers her.
NORA
So he's here to deal with the sale,
or what?
AGNES
He...
(evasively)
He said he would be here around
two, so you can ask him.
NORA
No, I don't think so.
AGNES
You can't just pretend he's not in
town.
NORA
I can try.
AGNES
You know, you'll see him at Erik's
birthday anyway.
Silence. Agnes turns and goes back into the dining room.
AGNES (CONT’D)
(quietly)
He... he's not here to deal with
the sale. I thought so, but he
apparently has a project.
NORA
What did you say?
Nora walks towards her. Agnes struggles to say it outright.
AGNES
(hesitantly)
Well, actually it's good, but he's
making a film again.
(Nora smiles)
It's true. Michael is flying in and
everything.
NORA
What's the project?
AGNES
The one he talked to you about.
NORA
My film? The one he wrote for me?
AGNES
Yes, the one you didn't want to act
in.
Nora is taken aback.
NORA
And he's got funding for it?
AGNES
Yeah, he must... he didn't say
much. I think maybe he wanted to
tell you in person. He also asked
if you were going to be here.
NORA
Okay?
Outside we hear car doors slamming. Agnes goes to the window.
NORA (CONT’D)
Is that him?
Outside the house, two large black cars are parked. Two
people we recognize (Sam and Nicky, the star's manager and
publicist) are looking around the Norwegian villa
neighborhood.
A DRIVER opens the door of the second car and their father
steps out. Following him, a young woman gets out.
AGNES
Oh shit.
Nora doesn't see what Agnes sees.
NORA
What is it?
Nora goes over and looks out the window: Rachel Kemp is
talking to their father. The sisters can't believe it.
The father says something to Rachel that makes her laugh. He
points to the house, and they all start walking towards the
entrance.
Nora steps back from the window in shock and bumps into the
table with the vase they discussed. She saves it on pure
reflex.
She casts a confused look at Agnes and hurries out.
109 EXT. FAMILY HOUSE - DAY 109
Nora hurries out the back way, as we previously saw her as a
child taking a shortcut to school: through a hole in the
fence, still holding the vase in her hand.
110 EXT. FAMILY HOUSE - DAY 110
On the other side of the house, Gustav opens the door for
Rachel but then blocks the way for the agent and Nicky.
GUSTAV
Nicky! Sam! So great to see you
again, there is a café a couple of
minutes that way. Rachel will let
you know when we’re done.
Sam is about to protest, but Gustav closes the door.
Genres:
["Drama"]
Ratings
Scene
35 -
Revelations in the Family House
111 INT. FAMILY HOUSE - DAY 111
Rachel smiles at how Gustav got rid of the entourage.
Gustav takes off his shoes and puts on some worn old wool
socks lying in the hallway. He goes into the living room.
Rachel hesitates, then takes off her shoes and tiptoes after
him in her socks. Is this how they do it in Norway?
GUSTAV
Hi. Is Nora here?
Agnes shakes her head. She tries not to stare at Rachel.
GUSTAV (CONT’D)
Rachel, this is my daughter Agnes.
They shake hands.
RACHEL
So nice to meet you.
Agnes can't say a word but smiles kindly.
Pink Rev. (mm/dd/yy) 69.
RACHEL (CONT’D)
(to Agnes)
So this is your family home?
AGNES
Yes.
RACHEL
It’s beautiful, I can see why you
want to use it.
(to Agnes)
Are you in the business as well?
AGNES
Oh god no.
GUSTAV
Agnes helps me with research
sometimes.
AGNES
I’m an historian... Academic.
(to her father in
Norwegian)
My god, I can barely speak.
(Gustav laughs.)
RACHEL
Did you do any research for this
film?
AGNES
No, I don’t think this is a
historical film, is it?
(Gustav shakes his head.)
GUSTAV
Agnes was Anna in the film you saw.
It dawns on Rachel that Agnes played in the film she saw.
RACHEL
You’re Anna! I totally see it
now... Wow! I’m really star struck.
AGNES
Yeah, right.
RACHEL
Seriously, can I take a photo with
you?
Agnes doesn’t know what to say. This is surreal.
AGNES
Sure.
Rachel takes a picture.
Pink Rev. (mm/dd/yy) 70.
RACHEL
(trying Norwegian)
Tusen takk. (thank you so much)
Agnes smiles at the attempt.
AGNES
Tusen takk.
(in Norwegian to her
father:)
Is she going to act in Norwegian? *
GUSTAV
(answering in English)
No, everything will be in English.
Lars Von Trier-style.
RACHEL
Yes, unfortunately I don’t speak
Norwegian. It’s such a beautiful
language.
A LITTLE LATER
Gustav and Rachel walk alone through the house. Faint sounds
of Agnes cleaning elsewhere in the house.
RACHEL (CONT’D)
I really love the script.
She glances into the kitchen: breakfast that hasn't been
cleared away. Dirty laundry thrown on a chair. If Gustav has
a strategy for the meeting, it must be to not give the big
star any special treatment.
GUSTAV
Thank you. Are you hungry?
RACHEL
No, I’m fine.
(about the script:)
It’s very moving. So radical. In
the US you would get all these
notes about it being a downer, how
can it be less of a downer and...
GUSTAV
Is that what your manager said?
RACHEL
(smiles)
Well, it’s not his decision.
A LITTLE LATER
Gustav is explaining to Rachel how they will film the final
scene of the film.
Pink Rev. (mm/dd/yy) 71.
GUSTAV
So she’s here, talking to her son.
(walks to the kitchen
counter)
You know, this is the last scene...
this is the ending. She’s preparing
him something to eat. It’s
important for her, a last motherly
touch, maybe...
They walk out towards the hallway and the front door. Gustav
is full of infectious energy, has the characters under his
skin, and a precise idea of how the shots should be.
GUSTAV (CONT’D)
They hug and he leaves. And the
moment the door closes something in
her changes, almost like she
relaxes. Don’t you think?
Rachel nods.
GUSTAV (CONT’D)
The boy’s meeting up with his
father, so she isn’t in a hurry.
(points)
Here there will be the... you know,
the wire used to dry clothes.
RACHEL
A clothes line?
GUSTAV
And then... she goes in here and
starts preparing.
He goes into the room at the end of the hallway. He brings a
stool and places it in the middle of the floor.
GUSTAV (CONT’D)
But suddenly she hears the veranda
door opening.
He walks a bit down the hallway.
GUSTAV (CONT’D)
He has forgotten his flag...
Norwegian flag.
RACHEL
Yeah, the script said it was the
17th of May, that’s like the
National Day?
GUSTAV
Yes, so sometimes we’ll hear
marching bands and like joyous
sounds in the distance. No score
music here.
Pink Rev. (mm/dd/yy) 72.
RACHEL
I thought, is that a bit too
symbolic? I mean, killing yourself
on the National Day?
She might have a point. Gustav has to think for a moment. *
GUSTAV
Yeah... And did I say: all this
will be one shot... no coverage.
RACHEL
A oner? This whole thing?
GUSTAV
The whole ending... just one shot.
Gustav sees that this makes Rachel a bit nervous.
GUSTAV (CONT’D)
When you pull that off no one can
deny how good you are. No
editing... Nowhere to hide.
This makes an impression on her. She likes the challenge, but
it scares her. Gustav continues with the scene.
GUSTAV (CONT’D)
So he stands there, looking at her.
Something’s off, but he just grabs
his flag and runs out again.
Gustav stands in the mother's place and watches where the boy
disappears. Thoughtful. Rachel can't help but look over there
as if something is happening there.
GUSTAV (CONT’D)
(walks to the window)
She goes here and makes sure that
this time he really leaves - we
only hear the garden gate closing
behind him, because the camera is
here, on her. And this is key, the
expression she has here.
RACHEL
What is she thinking?
GUSTAV
Exactly. And she walks back here...
They go back into the room at the end of the hallway.
RACHEL
And this is where she does it.
(looks up at the ceiling)
Will there be like a beam installed
for the shoot?
GUSTAV
No, she’ll use that.
He points to a white-painted metal hook in the ceiling for
hanging a lamp.
RACHEL
Would that really bear her weight?
A brief silence. Gustav looks at her.
GUSTAV
You know, it happened like that.
With my mother.
Rachel can't believe it.
RACHEL
Not... not here?
GUSTAV
Yes.
RACHEL
No?
She has to sit down on the stool by the door.
GUSTAV
It’s a very long time ago, you
know.
Rachel is taken aback. A devilish smile appears on Gustav's
face, he points to the stool she's sitting on.
GUSTAV (CONT’D)
She used that...
(he can't find the word)
Rachel jumps up and looks at the stool in shock.
RACHEL
This one?
(Gustav nods)
This actual stool?
GUSTAV
You know, to get high enough.
(pause)
But we won’t see that. We’ll end
the shot with her going back in and
closing the door. And we’ll just
hear the sound -
(he knocks over the stool)
- as the camera moves away.
Rachel is taken aback.
Pink Rev. (mm/dd/yy) 74.
RACHEL
Are you serious? Did it really
happen here?
(Gustav nods)
Can I ask... why didn’t you just
leave after that?
GUSTAV
We did, my father took me to
Sweden. He was Swedish.
He walks back through the kitchen. Rachel follows.
RACHEL
Well, I’d love to hear more about
her?
GUSTAV
(smiles)
It’s not my mother in the script,
you know.
A LITTLE LATER
Rachel talks with the others on the phone and puts on her
shoes. Agnes goes to her father, who is pleased.
GUSTAV (CONT’D)
(in Norwegian to Agnes)
This will be good. She's motivated.
(Agnes smiles)
I told her that stool -
(points to the stool
visible through the door)
that's what my mother used to hang
herself.
AGNES
The IKEA stool?
Gustav smiles. Agnes gives him a strange look.
112 EXT. MEDIEVAL CASTLE (TV SERIES SHOOTING) - DAY 112
A majestic horse is led past, revealing MICHAEL (Danish
producer, 75 years old, still active in the industry)
standing in a castle courtyard and speaking on a hands-free
device. He is excited.
MICHAEL
Are you sitting down?
Behind him are both extras in medieval armor and crew members
in jeans and t-shirts. An ASSISTANT tries to interrupt.
MICHAEL (CONT’D)
(to the assistant)
Not now!
(MORE)
Pink Rev. (mm/dd/yy) 75.
MICHAEL (CONT’D)
(to Gustav on the phone:)
She's in, she's in, damn it!
113 INT. FAMILY HOUSE - EVENING 113
Gustav sits on the couch, trimming his toenails with Michael
on speakerphone. Music from the band New Order plays from the
stereo.
GUSTAV
(smiles confidently)
Yes, of course she is.
He concentrates on a toenail as Michael cheers.
MICHAEL (V.O.)
We'll have to get a move on
regarding her availability in...
This probably won't be a spring
film.
(hears the music)
Is that New Order? Are you still *
listening to that old crap? *
Gustav smiles. He leans over and turns the volume up. *
BLACK SCREEN
Genres:
["Drama","Family","Film Industry"]
Ratings
Scene
36 -
Press Day Tensions
114 EXT. DOWNTOWN HOTEL - DAY 114
A group of young RACHEL KEMP FANS stands at the entrance to a
hotel in downtown Oslo, hoping to catch a glimpse of their
idol. Some have posters with Rachel's name and hearts on them
or "Welcome!"
115 INT. DOWNTOWN HOTEL - DAY 115
A large room in a hotel has been prepared for an informal
press day with selected JOURNALISTS from the press and TV.
A PHOTOGRAPHER takes pictures of Gustav and the lead actors
in the film. It's Rachel, a 60-year-old actress (INGRID
BERGER), and a man in his 30s (ANDERS).
A LITTLE LATER
Michael and Gustav stand apart while a sound technician
attaches a small wireless microphone to Gustav.
GUSTAV
Have you spoken to Peter?
MICHAEL
(has been dreading this)
Gustav, Peter is an old man, he
hasn’t shot a film in ten years.
Pink Rev. (mm/dd/yy) 76.
GUSTAV
I haven't either.
Gustav helps attach the microphone to his shirt collar.
MICHAEL
He has quit working.
GUSTAV
He will do it for me. I will talk
to him. I am not doing a film
without Peter behind the camera.
Michael sighs but sees that Gustav is determined.
MICHAEL
Okay, but go and see him first, is
that alright?
A LITTLE LATER
A TV interview is underway - focused on Rachel:
TV-JOURNALIST
(to Rachel)
How do you like Norway?
Gustav is bored. He stifles a yawn.
RACHEL
I love it, it’s so beautiful. The
people are very friendly.
Rachel's publicist Nicky (with her phone out) and a LOCAL
PRESS OFFICER stand behind the camera with Michael.
The journalist turns to Gustav - Michael looks nervous.
TV-JOURNALIST
This is a Netflix production. Will
the film be shown in theaters?
GUSTAV
(doesn't understand the
question)
Where else?
Michael intervenes from behind the camera.
MICHAEL
There's an ongoing negotiation. But
that's the plan, yes.
Gustav looks at Michael strangely.
A MOMENT LATER
Pink Rev. (mm/dd/yy) 77.
TV-JOURNALIST
Just another question for Rachel
Kemp. It’s about the reception of
your last film, “Cathy's Choice”...
it must have been a bit of a
disappointment to you?
Nicky looks up from her phone, she doesn’t like this.
RACHEL
I... I am proud of that film, but I
don’t think we’re all here to talk
about that, are we.
The journalist is fishing for a bigger reaction.
TV-JOURNALIST
Yes, but knowing how negative some
critics were about your
performance, were you nervous about
taking on another serious role like
this one?
Rachel hides her unease. The CAMERAMAN zooms in on her. *
RACHEL
No... I mean, like I said, I’m
doing this film because I wanted to
work with Gustav and... and...
GUSTAV
(intervenes)
You are a very rude man.
The camera eagerly pans over to Gustav, who is visibly upset.
GUSTAV (CONT’D)
Rachel Kemp is the best actress of
her generation. I’m lucky she’s
here. You’re lucky she’s here.
She’s going to be fantastic.
Rachel looks at Gustav, grateful.
GUSTAV (CONT’D)
Your jaws will drop to the fucking
floor.
Rachel smiles; he's going a bit overboard, but it's nice to
be defended like that. She looks away and meets the gaze of
the other actors, Ingrid and Anders, who are studying her.
Gustav is fed up, gets up and tears off his microphone.
GUSTAV (CONT’D)
(in Swedish)
Fucking idiot.
Blue Rev. (mm/dd/yy) 78.
116 INT. NORA'S APARTMENT - DAY 116
Nora sits and eats cereal while looking at her phone. We hear
sounds from the press day - Gustav saying, "your jaws will
drop to the fucking floor..." and then in Swedish, "fucking
idiot” (sound of microphone being removed)."
117 INT. TUBE STATION (2024, SU) - DAY 117 *
Nora stands on the escalators in a tube station. She glides *
past a large row of digital billboards. Suddenly, Rachel *
Kemp’s face appears on all the screens (an international ad *
campaign). *
Nora looks at the ad. Rachel on the screen is looking *
straight at the camera. It almost seems like they are looking
at each other.
118 EXT. AGNES AND EVEN'S APARTMENT BUILDING - DAY 118
Nora approaches the door to where Agnes lives, carrying a
gift. She seems slightly nervous and rings the doorbell.
119 INT. AGNES AND EVEN'S APARTMENT - DAY 119
Agnes and Even’s place is decorated for Erik's 9th birthday.
A large silver balloon shaped like the number 9 hangs from
the ceiling.
Nora has just arrived and hugs Agnes.
NORA
Is Dad here?
AGNES
Not yet.
Erik comes rushing over and hugs Nora.
NORA
Happy Birthday!!
LATER
The birthday boy sits on the couch with Nora, holding an
iPad. An open kitchen layout allows us to see Even (wearing
an apron) preparing pizza while regularly checking a football
game on his phone. Even's mother THERESE (65, dressed nicely)
and Agnes place candles on Erik's birthday cake.
The doorbell rings. Nora sees Agnes heading towards the front
door, and they exchange a look - here he comes...
A MOMENT LATER
Gustav enters with a big smile and a lot of energy. He hugs
Agnes.
Pink Rev. (mm/dd/yy) 79.
GUSTAV
(sees Erik)
Happy birthday!
Erik walks over and hugs his grandfather. Nora gets up from
the couch but remains at a distance.
AGNES
(referring to Therese and
Gustav)
And you two haven't seen each other
since... since the wedding?
Gustav takes Therese in his arms, bends her down, and kisses
her on each cheek. He is effusive and charming.
GUSTAV
I'll never forget a woman like
Therese.
Therese is a bit taken aback but blushes and smiles. Even is *
about to hug him too, but Gustav hands him a bag with some *
wine bottles instead. *
Even picks up the wine Gustav gave him and reads the label.
EVEN
Wow. That terroir is actually kinda
underrated. It's...
GUSTAV
(wants to drink, not
talk)
Yeah, yeah, go get some glasses.
Gustav looks over at Nora who observes from the living room. *
Their eyes meet.
NORA
Hi, Dad.
GUSTAV
Hi.
A LITTLE LATER
Nora goes over to her father.
NORA
How's the movie going?
GUSTAV
Good.
Even and Therese appear with wine glasses. Gustav notices
that Erik is back with his iPad on the couch.
THERESE
I heard about it, it's so exciting.
NORA
How is it working with Rachel Kemp?
AGNES
(worried about an
argument)
Hey...
NORA
I'm just asking what she's like to
work with.
GUSTAV
She has a long way to go, but she's
on her way.
NORA
Yes, she's the best actress of her
generation, after all.
A beat. Agnes looks worried. Gustav chooses to interpret it
humorously.
GUSTAV
We're having fun. I think she has a
little crush on me.
(laughs)
AGNES
No, Dad.
NORA
Oh my god.
GUSTAV
I'm not saying I want to do
anything about it.
AGNES
Stop it.
NORA
I heard you scared her with an IKEA
stool.
Gustav and Agnes laugh, relieved that Nora is joining in on
the joke.
THERESE
(to Nora)
What are you up to these days?
Gustav interrupts before Nora can answer.
GUSTAV
(to Nora)
Where did you buy those pants?
Pink Rev. (mm/dd/yy) 81.
NORA
These? Do you like them?
EVEN
(to Therese about Rachel)
She shared a selfie with Agnes.
AGNES
(laughs)
I got 10,000 followers.
EVEN
Yes, yes, but she has 15 million.
Even takes this as a cue to glance at his phone and the
football game.
Nora notices that Gustav is holding up his phone to take a
picture of her. She smiles uncertainly, but he seems to aim
the camera down towards her pants as he takes the picture.
Nora finds her way back to Therese's question.
NORA
I'm actually going to play Hamlet
on the main stage...
THERESE
That's great!
NORA
You're all invited. It's not a
typical main stage thing, a bit
more edgy...
GUSTAV
(only talks about
himself)
We start rehearsing for real next
week. It's going to be non-stop.
AGNES
That soon?
GUSTAV
Yes, Michael got all the money from
Netflix.
NORA
What's it like making a Netflix
movie, then?
Gustav looks over at Erik with the iPad (out of earshot).
GUSTAV
Is he just going to stare at the
screen all the time like that?
(puts his hand in front
of his face)
Pink Rev. (mm/dd/yy) 82.
AGNES
He only has 20 minutes of screen
time left.
NORA
(pretending to
misunderstand)
Even?
Gustav sees Even engrossed in his phone and smiles.
A MOMENT LATER
Erik struggles to open a clumsily wrapped gift. He gives up
and tears it open - a bunch of DVDs spill out. He's not quite
sure what they are.
AGNES *
And then what do you say? *
ERIK
Thank you, Grandpa.
GUSTAV
This is all you need.
Erik goes through the movies. Except for "The Red Balloon",
there are no movies suitable for a 9-year-old.
AGNES
Thank you, Dad... but we don't have
a DVD player.
NORA
(seeing "Blue Velvet" and
"Irreversible" among
them)
Thank goodness for that.
Gustav picks up "Irreversible" and holds it up to Erik.
GUSTAV
(smirking at Erik)
Monica Bellucci, for heaven's sake!
(picks up "The Piano
Teacher")
And here: the only movie you need
to understand women...
(looks at his daughters)
...and their relationships with
their mothers.
(laughs heartily)
THERESE
Oh, that sounds nice.
AGNES
(trying to salvage the
situation for Erik)
We'll find a way to watch them.
Or... the ones that are
appropriate.
EVEN
(to Gustav)
I hardly watch movies anymore.
Gustav looks at him oddly.
AGNES
(trying to save Even)
You did watch Dad's documentary
though.
EVEN
Yes, it was nice.
NORA
You didn't kill Edvald, Dad?
THERESE
Who is Edvald?
GUSTAV
(laughs)
No, no, Edvald was my friend.
EVEN
(to Therese)
Edvald is a frog, Mom.
GUSTAV
And besides, he didn't have much
time left.
A silence. What did he mean by that?
EVEN
What?
Gustav laughs.
Genres:
["Family Drama","Comedy"]
Ratings
Scene
38 -
AI Creativity and Family Bonds
120 INT. AGNES AND EVEN'S APARTMENT/ ERIK'S ROOM - DAY 120
Erik sits in his room in front of a PC with a stack of DVDs
next to him.
On the PC screen, we see that he is on an artificial
intelligence website where you can input keywords and prompts
to have it create something that matches the description.
Erik has apparently been on such a site before. He types
various instructions in English (Gustav Borg style, film...).
Pink Rev. (mm/dd/yy) 84.
He checks the title of one of the DVDs he received and writes
something more.
121 INT. AGNES AND EVEN'S APARTMENT/ LIVING ROOM - DAY 121
GUSTAV
(about Erik)
You should just make sure he
doesn't become stuck in that stuff.
Gustav looks at Even (who is once again on his phone) - to
Nora and Agnes, it's clear that what he's saying is a jab at
Even.
GUSTAV (CONT’D)
If he's always staring at a
screen... It's like that guy... the
one with Facebook.
NORA
Mark Zuckerberg.
GUSTAV
Yes, one of those pale guys who
can't talk to women. That’s not a
fun life. Right, Even?
EVEN
(looks up)
What?
Nora laughs. The two of them have obviously bonded over
making fun of Even. Agnes notices.
AGNES
(wants Even to get off
his phone)
Hey, come join us.
EVEN
(to Agnes as if it were a
valid argument)
It's Coventry against Leeds.
AGNES
Is the pizza oven hot enough?
EVEN
It's hot, it just needs to stand
for a bit to get the steel properly
hot.
Gustav and Nora both find this amusing.
LATER
Pizza is eaten, and everyone has gathered around the TV. Even
fidgets with the remote control and his phone.
Pink Rev. (mm/dd/yy) 85.
EVEN (CONT’D)
I just have to... they need to be
on the same network. Okay, are you
ready, Erik?
He presses play, and a film starts playing on the TV.
GUSTAV
So Erik made this?
AGNES
Yes, just now, all by himself.
A strange 30-second short film unfolds on the TV, created
using artificial intelligence - Erik asked it to emulate
Gustav's style and was also inspired by a couple of the
movies Gustav gave him as a gift.
When it's finished, everyone claps, politely impressed.
Despite a few nice compositions, it's mostly a random
compilation of computer-generated images. But Grandpa Gustav
gets up enthusiastically.
GUSTAV
Bravo! The boy is a genius...
He enthusiastically puts his arm around Erik.
GUSTAV (CONT’D)
(doesn't understand how
it was made)
When did you film this?
(to the others)
This is the Mozart of cinema for
fuck’s sake!
EVEN
It's AI. Erik gets to use my
account. It’s...
Gustav isn't listening. Agnes tries to stop Even from taking
the credit away from Erik, who smiles at the impression the
film has made on his grandfather.
GUSTAV
(to Erik)
Have you seen my films?
(to the others)
That shot was like the final shot
of River of Time.
EVEN
Yes, because the computer analyzed
them, and that...
GUSTAV
(interrupts)
Orson Welles, go home, right?
(MORE)
Pink Rev. (mm/dd/yy) 86.
GUSTAV (CONT’D)
He got this from me. It just
skipped a generation.
AGNES
(laughs)
Thank you very much.
NORA
(to Erik)
That was really cool.
Erik smiles.
Genres:
["Drama","Family","Comedy"]
Ratings
Scene
39 -
Tensions Unveiled
122 INT. AGNES AND EVEN'S APARTMENT/ BALCONY - EVENING 122
Gustav and Nora are standing on the balcony, smoking. The
mood is light.
GUSTAV
I think Therese likes me.
NORA
Therese? Well, that's nice then.
GUSTAV
She held my hand, did you see that?
NORA
(laughs)
No... Don't try to sleep with
Therese, Dad.
123 INT. AGNES AND EVEN'S APARTMENT - EVENING 123
Leftover cake and coffee cups. Erik has gone to bed. Even
comes in with a bottle of calvados and glasses. He pours a
drink for Gustav and Therese.
GUSTAV
You... you should start writing.
NORA
Yes, Dad, you always say that.
GUSTAV
It's wrong for you to just sit
around waiting for some fucking guy
to decide that maybe you can play
Ophelia...
NORA
Hamlet. I'm going to play Hamlet.
THERESE
(impressed)
Oh, you are?
Pink Rev. (mm/dd/yy) 87.
GUSTAV
(not listening)
I talked to Rachel about it; she
started developing things on her
own. She has a production company.
(to Therese)
You see, it’s really tough being an
actress.
NORA
We just say actor now, Dad.
GUSTAV
(continuing to Therese)
You don't decide anything for
yourself; you just sit and wait for
someone to desire you. It's not
good in the long run.
NORA
Well, in the last five years, I've
been in ten plays at the National
Theatre and three seasons of a TV
series. What have you been doing?
GUSTAV
(not paying attention;
continuing to Therese)
I could never marry an actress.
Silence. It's a terrible thing to say in front of Nora, but
it's hard to know if he meant it that way.
NORA
But sleeping with them was okay.
AGNES
Enough now.
GUSTAV
(answers Nora with a
smile)
No comment.
Gustav laughs. Therese also chuckles at this.
GUSTAV (CONT’D)
(to Therese)
Now, artists have to be like
everyone else, equally dull and
bourgeois. You can't write Ulysses
if you have to drive to soccer
practice and... compare car
insurance, right?
(pause)
Artists must be free.
NORA
Sure, but maybe don’t have children
then, Dad.
Gustav turns towards Nora. He suddenly seems worried.
GUSTAV
No, don't say that, Nora. Don't
give up on that.
Nora is caught off guard by this turn.
GUSTAV (CONT’D)
You just need to find a smart guy;
he doesn't have to be boring.
He smiles - perhaps an invitation to make fun of Even, as
they have been doing all evening. But Nora doesn't smile.
GUSTAV (CONT’D)
How old are you now?
NORA
Don't you know?
GUSTAV
I mean... when Sissel was your age,
she had two kids. And she wasn't a
young mother.
Nora is silent, her eyes vacant. Agnes feels like she should
say something.
AGNES
Times are a bit different now, Dad.
GUSTAV
I'm just saying that children are
wonderful. And time flies... You
two are the best thing that ever
happened to me; you mustn't...
NORA
The best thing that happened to
you?
(dismissive)
Okay? But maybe you should have
been home with us a bit more, then?
Gustav senses Nora's anger.
GUSTAV
(smiles at Therese)
In this family, everyone is mad at
Dad.
(to Nora and Agnes)
But you two, you've turned out so
well. I must have done something
right.
Pink Rev. (mm/dd/yy) 89.
NORA
How would do you know that?
(Gustav doesn't
understand)
You don't even know us, so how
would you know?
Therese and Even don't know how to react. Agnes feels the
awkward tension and tries to smooth things over.
AGNES
Nora, now don't exaggerate.
NORA
Am I exaggerating? You think?
AGNES
You don't have to make everything a
drama, is all.
Nora just looks shocked at Agnes - how can she take her
father's side like this? Agnes looks away.
Gustav is also taken aback but can't help but keep talking.
GUSTAV
I know it's been tough for you. I
can relate to it. But you're so
damn angry... you should open up to
others...
NORA
(feebly)
Stop.
GUSTAV
It's not easy to love someone who
has so much anger inside them...
You don't want to end up alone...
As he keeps talking, we see Nora. The air has gone out of
her. She looks away, struggling not to cry. Gustav continues
to ramble.
GUSTAV (CONT’D)
And it's not good for art either.
You... you need something to care
about. Children or something.
(to Therese)
You don't regret having children,
right?
Nora looks up at Agnes, reproachful. Agnes looks down.
124 EXT. STREETS IN OSLO - NIGHT 124
Nora walks pensively through the streets. It's deserted.
Blue Rev. (mm/dd/yy) 90.
A lone car passes by and disappears.
125 EXT. OTHER STREETS IN OSLO - NIGHT 125
Gustav walks alone on the road, looking troubled.
126 INT. FAMILY HOUSE - NIGHT 126
Gustav enters the house. It's dark and quiet. He turns on a
small lamp in the hallway.
He sits down to take off his shoes but just remains seated,
exhausted.
The light from a passing car sweeps through the room.
127 INT. NORA'S APARTMENT - NIGHT 127
Nora arrives home, she switches on the hallway light.
A MOMENT LATER
Nora opens the refrigerator. The faint refrigerator light
spreads in the dark kitchen. The refrigerator HUMS.
LATER
She sits in the living room with a beer in her hand.
Her phone lights up: it's Agnes.
She lets it ring. Soon, it becomes silent again.
128 INT. TRAM - DAY 128
Nora sits on the tram, looking tired.
129 INT. NATIONAL THEATRE/ REHEARSAL SPACE - DAY 129 *
Nora walks onto the stage where they usually rehearse. The
stage floor creaks. She is completely alone on the stage, no
set design.
She looks out into the auditorium. It's too dark to see if
anyone is sitting there.
Nora suddenly appears very sad. Tears start to flow.
She lets it out, crying more and more. It seems raw and
desperate. She falls to her knees, sobbing. Is this part of a
performance? It seems so real.
Pink Rev. (mm/dd/yy) 91.
View from the audience with a couple of heads in the
foreground (Colleagues from the auditions?): Nora lies down
on the stage floor. She is empty. There is no more crying,
just small sobs.
BLACK
Genres:
["Drama"]
Ratings
Scene
40 -
A Bittersweet Reunion
129A INT. CAR SWEDISH COUNTRYSIDE - DAY 129A
Gustav sits in a car. Outside, we see vast landscapes and
fields. It reminds us of the landscape in his film "ANNA." *
130 EXT. BEAUTIFUL HOUSE BY THE SWEDISH COAST - DAY 130
Gustav arrives at a beautiful modern house with large
windows.
Through the windows he sees a man lying in a sunbed at the
back of the house, sleeping in the shade of a parasol. This
is PETER (soon 80), Gustav’s go-to cinematographer.
Gustav smiles.
A MOMENT LATER
Gustav has walked around the house and over to his sleeping
friend. Peter has an open shirt (noticeably tanned) and
shorts. On his lap, he has a copy of Gustav’s script.
GUSTAV
Peter. Hey.
PETER
Gustav!
Gustav expects Peter to get up and give him a hug, but he
just sits up a bit in the chair.
Gustav bends down and gives him a proper hug. They seem
genuinely happy to see each other.
PETER (CONT’D)
Great to see you!
Peter points to another sun lounger, signaling for Gustav to
sit down. Gustav sits and admires the beautiful surroundings.
The view of the sea is breathtaking.
GUSTAV
What a place you have.
PETER
Thanks to Lasse Hallström, not you,
huh?
GUSTAV
Lasse would have never booked you
if he hadn't seen "River of Time”.
(referring to the place:)
This must be fantastic for the
grandchildren?
PETER
(a painful subject)
No, it's still a bit tough with
Daniel...
(tries to brush it off)
The worst part is that it's his
children who are affected... who
can't come here and see their
grandfather.
He lifts up the script.
PETER (CONT’D)
But what a script, huh?
(Gustav smiles)
It's absolutely wonderful.
GUSTAV
So, you're in?
PETER
I have to do this... Come, let's
have a little drink.
Peter starts to get up. It immediately becomes clear that
he's in very poor physical condition.
Gustav looks shocked as Peter slowly picks up a cane from the
ground, stands up, and limps toward the house.
PETER (CONT’D)
(noticing Gustav's gaze)
My hip gets a bit stiff in cold
weather.
The sun is shining, and it looks warm and inviting.
Gustav tries to hide his shock about how old his friend has
become. Can this man shoot a feature film?
They walk up a small staircase from the terrace to the house.
Peter groans softly, trying to hide the pain.
PETER (CONT’D)
(excited about the film)
I don't think this is a film with a
lot of handheld. I'm thinking dolly
and tripod.
Gustav nods, closely watching his friend's movements: how he
has to carefully lean the cane against the wall to use both
hands to open the door.
131 INT. BEAUTIFUL HOUSE BY THE SWEDISH COAST - DAY 131
Gustav sits at the kitchen table. He watches Peter pour
whiskey into two glasses - are his hands shaking as well?
GUSTAV
(softly)
Maybe you could work with an
operator?
Peter sits down next to Gustav.
PETER
No, it's fine. As long as I get my
eye to the viewfinder, my body
starts to... just wait and see.
(raises his glass)
Cheers.
Gustav raises his glass and smiles, but his eyes are empty.
Michael was right: Peter is too old.
Gustav looks around. There are a few movie posters on the
wall along with fine abstract art. An old photo of a younger
Peter with a blonde boy (his son, Daniel) is the only visible
family picture.
GUSTAV
Sorry I haven't kept in touch, I'm
so bad at it when I'm not filming.
PETER
Same here.
Silence. Gustav finds this hard to say.
GUSTAV
I have to... I'll let you know if
this works out. It's... You know,
Netflix wants us to talk to someone
else too.
Peter realizes the implication.
PETER
I get it. That's how it is, huh.
Gustav nods, sadly.
GUSTAV
That's how it is...
Genres:
["Drama"]
Ratings
Scene
41 -
Echoes of Regret
132 INT. FAMILY HOUSE - NIGHT 132
Gustav sits alone in the house in the evening, drinking wine.
It's clear that the meeting with Peter has affected him.
Two duty-free bags of wine are on the living room table.
A BIT LATER
Close-up of Gustav's wine glass being filled.
A BIT LATER
Gustav is drunk. He has to support himself on the kitchen
door frame.
He notices that the frame is full of dates and names - the
heights of Nora and Agnes measured and marked over the years.
133 INT. FAMILY HOUSE - NIGHT 133
Gustav is upstairs in the large bedroom. Empty. Only a bed
frame remains (the mattress has already been removed.)
This was like we have seen Gustav and Sissel's bedroom a long
time ago. Surely hers, alone after he left.
He sits down on the bed frame, melancholic.
134 INT. FAMILY HOUSE - NIGHT 134
Gustav lies on the couch in the living room with his phone to
his ear, clearly drunk. It RINGS and RINGS. Soon, we hear
Nora's voice on the phone. "Hi, you've reached Nora Borg,
please don't leave a message, but send a text..."
GUSTAV
Nora... Hi Nora... I miss you. I
have so much I should have said,
but... you're always so angry with
me... I can't find the moment to
say... you...
Gustav is tired. His eyes flutter.
135 INT. FAMILY HOUSE - DAY 135
Gustav wakes up on the couch in the living room - fully
clothed. His phone is next to his head. Did he fall asleep
while leaving a message?
He sits up. Coughs and clears his throat, trying to gather
himself.
A BIT LATER
Gustav clears away traces of last night's excess, dirty wine
glasses, a plate, an empty wine bottle, and half-eaten duty-
free candy bags, all shoved straight into a trash can.
He wipes the kitchen table with a whole roll of paper towels
he has dampened with water. He turns it over and wipes with
the dry side.
Pink Rev. (mm/dd/yy) 95.
He has to stop and collect himself. Clearly hungover.
The DOORBELL RINGS.
Genres:
["Drama"]
Ratings
Scene
42 -
Emotional Rehearsal
136 INT. FAMILY HOUSE - DAY 136
Gustav and Rachel sit in the kitchen of the family house,
engaged in script readings. Ingrid (the actress in her 60s
from the press day) is also there with her script. She's not
part of this scene. If Gustav is still hungover, it doesn't
show. Rachel dryly reads the script to familiarize herself
with it.
RACHEL
(reading from the script)
You know, I don’t believe in God,
We weren’t even baptized, my sister
and I - we both did the civil
confirmation thing just so we
wouldn’t miss out on the gifts.
Gustav interrupts. He's focused, energetic, and attentive;
the work invigorates him. He looks over at his ASSISTANT
sitting in the corner with a Mac.
GUSTAV
What's in the original?
ASSISTANT
(looking up in the
original script)
“both my sister and I did civil
confirmation just for the money...”
GUSTAV
It feels weird in English.
(to Rachel in English) *
Is civil confirmation a thing?
RACHEL
Not really in the US, but I looked
it up and we have something
similar.
Rachel flips through her script - Ingrid notices it's full of
post-it notes and annotations, someone has been working hard.
GUSTAV
(to the assistant)
We should cut that - make a note.
(to Rachel)
Continue, sorry.
RACHEL
Can I ask... who is the “you”? She
says “you know”, and... who is the
you?
GUSTAV
Who do you think?
RACHEL
(looks at Ingrid)
I don’t think it’s her mother,
she’d never say that to her. It
feels more like an inner voice...
but it’s weird to speak and not
talk to anyone.
GUSTAV
Great, let’s try that... do it like
Ingrid over there is listening.
INGRID
(smiles)
I am.
Gustav stands up energetically and pushes a chair over.
GUSTAV
(to Ingrid)
Sit here... just to see.
Ingrid sits down next to Rachel.
GUSTAV (CONT’D)
(to Rachel)
Pick it up at...
(looks in the script)
...at “I had this kind of crisis”
and talk to Ingrid, you don’t have
to look at her, but you know she’s
listening.
(to Ingrid, in Norwegian)
And you can... if you want, you can
touch her. It's nice to feel that
you're her mother.
(to Rachel, in English)
And... remember, she has never told
anyone about this. She’s
embarrassed about praying like
that. You might try to hide it or
laugh at yourself, but you’re
ashamed... ashamed of being so
weak.
RACHEL
Okay.
(takes a breath; reads)
I had this kind of... crisis. I was
alone in the house again. Lying in
my bed, crying, I know, everyone
lies in bed crying, but...
She reads with more emotion, smiling at herself, embarrassed.
Blue Rev. (mm/dd/yy) 97.
RACHEL (CONT’D)
Someone said praying isn’t really
talking to God, it’s acknowledging
the despair, to throw yourself on
the ground because that’s all you
can do... not unlike lying with
your heart broken, thinking: please
call me, please forgive me, please
take me back. And I had fucked up,
and I was alone and crying and
then... For the first time... I sat
down on the floor and prayed, I
don't know who I said it to, but I
said it out loud: “Help me. I can’t
do this anymore, I can’t do it
alone. I want a home. I want a
home.”
Rachel’s acting is good, it’s very good. As she says the last *
lines, Ingrid touches her, comfortingly. Rachel looks up and
their eyes meet. Ingrid embraces her. Rachel breaks and looks
at Gustav. She's moved.
RACHEL (CONT’D)
(about the embrace)
I kind of wish her mother was like
that in the film.
GUSTAV
Exactly.
Genres:
["Drama"]
Ratings
Scene
43 -
Coffee Break Confusion
137 EXT. FAMILY HOUSE - DAY 137
They have moved out to the garden for a short break. The
assistant serves coffee on the terrace.
RACHEL
Are you sure it works... doing this
in English?
GUSTAV
Yes, of course.
RACHEL
But should I... should I have like
a Norwegian accent like Ingrid.
INGRID
I don’t have an accent.
GUSTAV
Ingrid is Swedish.
RACHEL
(to Ingrid)
I mean your accent is non-existent -
(to both)
(MORE)
Pink Rev. (mm/dd/yy) 98.
RACHEL (CONT’D)
But wouldn’t it be weird if
everyone has a Scandinavian accent
and I just sound like... me?
Gustav thinks. She might have a point.
GUSTAV
Maybe. I’ll think about it.
RACHEL
And also can I ask you... Just a
little bit more about the
character.
(pause)
My biggest question is still why?
Why she decides to kill herself.
GUSTAV
What do you think?
RACHEL
I get that she’s depressed, like
her mother, but she has a child.
I’m still struggling with the why,
you know?
GUSTAV
Well, that is the question the film
is asking, isn’t it?
(pause)
I think you have to find your own
reasons.
(serious)
She belongs to you now.
This makes an impression on Rachel. Gustav empties his coffee
cup, but Rachel is not entirely done with this subject.
RACHEL
Can I ask you about your mother? I
don’t want to pry, but I can’t help
but to feel she’s relevant in some
way.
GUSTAV
(laughs)
This is not about my mother.
Gustav looks at her.
GUSTAV (CONT’D)
What would you think of dying your
hair? A shade darker?
(looks towards Ingrid)
Wouldn’t that be good?
(to Rachel:)
Or even brown?
Rachel is confused. *
Pink Rev. (mm/dd/yy) 99.
Genres:
["Drama"]
Ratings
Scene
44 -
Unraveling Family Ties
138 INT. AGNES AND EVEN’S APARTMENT - DAY 138
Rachel has just arrived at Agnes's home. They walk through
the apartment, Rachel has a lot on her mind.
RACHEL
He drops that bomb about his
mother, but then he says she’s not
important, and...
AGNES
Can I get you anything?
RACHEL
Coffee maybe? Or maybe not, I
haven’t really been sleeping well.
A beat.
RACHEL (CONT’D)
But it did happen like that... like
in the script?
AGNES
I haven’t read the script, but she
did do it... in the house and
everything. But you know, it’s more
than... 60 years ago.
RACHEL
Do you know what happened to her? I
mean, why she did it?
AGNES
(uncertain)
She’d been in prison during the
war, I think that had something to
do with it.
RACHEL
Oh. I didn’t know that... That’s
awful.
Agnes feels she doesn't have good answers.
AGNES
I’m sorry, I should know much more
about this stuff... But she died
like way before I was born and...
my dad doesn’t really like to talk
about it.
Rachel moves towards the dining table and sits down.
RACHEL
When I ask him about her he just
subtly changes the subject... or
not even that subtly.
(smiles)
Pink Rev. (mm/dd/yy) 100.
Agnes follows and sits down.
AGNES
A few years ago the records from
the war became public here... I
asked dad if we should look her up
in the archives and he just...
(shakes her head)
RACHEL
He didn’t want to?
AGNES
I don’t think he even understood
the question.
(smiles)
He really doesn’t like to talk
about uncomfortable things.
RACHEL
That’s weird... I mean his films
are so... unafraid.
AGNES
Yeah, that’s my dad, I guess. He’s
more open in his films than in he
is in life.
RACHEL
I guess... He’s amazing though, so
much energy.
(smiles)
I wish I had a dad like that.
Silence. Agnes feels that Rachel is uncertain.
AGNES
It’s just his way of working you
know. He doesn’t give answers - he
wants you to find them yourself I
think.
Rachel is comforted to hear that he is always like this.
A BIT LATER
They walk towards the front door. Rachel notices a poster of
the "ANNA" movie on the wall, featuring Agnes as a child. *
RACHEL
I started as a child too, you
know...
AGNES
Yeah, I know.
RACHEL
Why did you stop?
Pink Rev. (mm/dd/yy) 101.
AGNES
I don’t know. I’m very proud of it,
but... My sister is the real
actress, it’s not my thing, really.
RACHEL
Your sister is an actress? Has she
worked with Gustav too?
Rachel puts on her shoes.
AGNES
They’re not really speaking. It’s
complicated... so she didn’t want
to do the part.
RACHEL
In this film?
(Agnes nods)
Not my part?
AGNES
Yes. She has her reasons, but...
She can be a bit difficult too, you
know.
Agnes doesn’t notice Rachel’s surprise.
139 INT. RACHEL’S HOTEL SUITE - EVENING 139
A large suite with a beautiful view over Oslo. Yet, it feels *
impersonal and empty. It has started to get dark outside. *
Rachel sits with headphones and a cell phone, practicing
pronunciation. She has a darker hair color and a new
hairstyle. She works on the typical Scandinavian mistakes in *
English: w to v, th-sound to t, and strongly accented j. *
RACHEL
(listening and repeating)
I vant tree glasses of juice.
She repeats it several times in the empty suite varying the
exaggerated accent.
LATER
Rachel looks at her phone. She has found Nora’s Instagram:
PICTURES OF NORA: At the theatre (Hamlet mentioned). With
friends. Her hair resembles Rachel’s new style and color.
RACHEL (CONT’D)
(Scandinavian accent)
Vhat the føkk.
Genres:
["Drama"]
Ratings
Scene
45 -
Unresolved Tensions
140 EXT. OSLO FERRY - DAY 140
Nora stands on the ferry deck with director Olivia, Jakob,
and four other actor colleagues from the new play.
141 EXT. GRESSHOLMEN ISLAND - DAY 141
They are on an island in the Oslo fjord. It's sunny and nice
weather, but cold in the air. They sit on a blanket and eat.
Olivia is in the middle of making a kind of toast.
OLIVIA
...it's just so cool to work with
you guys. I know, Nora, I know
there are some things left...
(Nora smiles)
...we'll fix that when we move to
the main stage. And Jakob, I know
you're going through some tough
times at home right now...
Nora is surprised - she hasn't heard about this. Jakob looks
at her - their eyes meet before he looks up at Olivia again.
OLIVIA (CONT’D)
...and if there’s anything, just
say, you know that.
Jakob smiles at Olivia.
LATER
Nora and Jakob are alone on the picnic blanket, talking
seriously.
NORA
It's not because of us, is it?
JAKOB
No, no, it's not that.
Silence. The noise of some PLAYFUL RUCKUS down by the water
edge. A young actor dives into the cold sea and sprints back
up. Olivia and the other actress watch and laugh.
Jakob looks down at them. Nora is thoughtful.
NORA
But... but why haven’t you told me
you’re getting divorced?
JAKOB
Well, you know... We've been in the
middle of rehearsals and... I don't
know.
Nora touches his arm comfortingly. He smiles at her.
Pink Rev. (mm/dd/yy) 103.
NORA
I'm here... if you want to talk or
just...
It feels like an invitation to something more. Jakob doesn't
answer. He's pensive.
LATER
Everyone is gathered - they've been drinking for a while and
are talking freely.
FEMALE ACTOR
Yeah, but I don't think you realize
how lucky you are just...
NORA
Oh, I don’t know...
FEMALE ACTOR
Your parents, they understand what
you do. My mom and dad just get
scared and weird when they have to
go into a theatre.
Jakob observes Nora as she speaks.
NORA
Yeah, I know my family and Dad can
seem cool like that from the
outside, but don't you get the idea
that he cares...
(almost laughs at the
thought)
He left this extremely long message
on my phone... Shitfaced of course,
just talking about himself. I
should play it for you guys.
Nora pretends to search her phone as if she's really going to
play it. Laughter. Jakob looks skeptical.
JAKOB
Here.
Jakob holds out a bottle and diverts Nora. She forgets her
phone and lets him fill her glass.
JAKOB (CONT’D)
But your mom was cool, wasn’t she?
Nora nods, thoughtful. She looks at Jakob.
NORA
Yes, Mom... Mom was the sweetest,
coolest, warmest person, even
though she also worked a lot,
but... But when she was down...
(MORE)
NORA (CONT’D)
Well, there was nobody who did the
laundry at home... to put it that
way.
It feels sore. Silence. Nora becomes self-conscious, she
raises her glass and smiles.
NORA (CONT’D)
Cheers!
OLIVIA
Cheers to moms!
(everyone cheers)
Blame the mom!
142 EXT. GRESSHOLMEN ISLAND/ON THE WAY TO THE FERRY - DAY 142
They are on their way to the ferry. The sun is low, shadows
are long. Nora and Jakob walk a little behind the others.
She looks at him, he is turned slightly away. She glances at
the others - they are now a bit ahead and not paying
attention to what's happening behind them.
She grabs Jakob and pulls him to her for a kiss, but he pulls
away.
NORA
It's not that big of a deal
anymore... if they see us. We can
do whatever we want.
She tries to kiss him again, but he won't.
Nora looks at him, hurt. Jakob avoids her gaze.
JAKOB
Nora, I... I don’t know.
He turns and follows the others.
Nora is left standing, rejected.
143 EXT. OSLO FERRY - SUNSET 143
They are on the ferry back to the city. Everyone is a bit
tired, and sit scattered. Jakob is talking with Olivia.
Nora sits by herself. She casts a glance at Jakob - their
eyes meet - then he looks away.
Nora looks out to the sea. The boat surges forward.
Pink Rev. (mm/dd/yy) 105.
Genres:
["Drama"]
Ratings
Scene
46 -
Intimacy and Vulnerability
144 INT. FAMILY HOUSE - DAY 144
A break in the script readings with Rachel, Ingrid, and
Anders. The assistant sits with the Mac and takes notes.
Gustav takes Rachel aside for a private conversation.
GUSTAV
You seem a little distracted.
RACHEL
It’s nothing... Just nerves, I
guess. A bit tired.
GUSTAV
You can’t go wrong here, I don’t
care about the words - the only
thing you can do wrong is not to
listen... And don’t rush it.
Rachel listens intently, clearly nervous.
GUSTAV (CONT’D)
Let’s try once without the accent,
Just speak like you normally do.
They walk back. Rachel gets ready to continue working with
the scene, but the accent thing has thrown her off.
Ingrid sits, watching and thinking.
145 INT. HOTEL ROOM - DAY 145
Gustav and Ingrid lie in bed in Ingrid's large hotel room.
They've obviously just had sex and lie catching their breath.
INGRID
I’m worried about the young ones...
They don’t fuck.
GUSTAV
All young people fuck.
INGRID
Not like we did, I read about it in
the newspaper... and if they do,
they feel guilty afterward.
(he laughs)
They take everything so seriously.
GUSTAV
We did too.
INGRID
No, you did.
Pink Rev. (mm/dd/yy) 106.
GUSTAV
They are right, the world is
ending.
INGRID
Another reason to fuck.
Gustav laughs heartily.
GUSTAV
Do you have a cigarette?
Ingrid puts her feet on the floor and picks up a T-shirt.
INGRID
I’m glad you saw me naked when we
were young.
GUSTAV
You're still beautiful.
INGRID
That’s not what I meant.
Gustav lifts the duvet and shows her his 70-year-old body.
GUSTAV
I look exactly the same.
She smiles as she puts on the T-shirt and stands up.
Ingrid talks as she gets a glass of water from the bathroom.
INGRID
I think you're taking her to some
good places. When you're not
confusing her, poor thing.
GUSTAV
What do you think?
Ingrid sits down.
INGRID
I like her, I think some of the
others are a bit skeptical. They
don't think she fits in. Anders
doesn't like having to act in
English.
GUSTAV
And you?
INGRID
(re: acting in English)
It doesn’t bother me.
GUSTAV
Do you think she fits in?
Pink Rev. (mm/dd/yy) 107.
Ingrid sits down.
INGRID
She doesn’t think she fits in,
that’s the problem.
Gustav stretches his arm out towards her water glass.
INGRID (CONT’D)
(takes the glass for
herself)
Get your own.
(continues)
She's not dumb, she has good
instincts. That thing with the boy
and the flag.
(gives him the glass
anyway)
It’s about your mother and the war.
That's not what this film is about.
He takes a sip and hands the glass back to her.
GUSTAV
Well, it's about many things.
Ingrid puts the glass down and sits closer to him:
INGRID
I’m fine with playing yet another
variant of your wife in this. It's
fine for me that she doesn't have
any redeeming features, she's a
function, I see that, but why
doesn't the dad have a role in
this? ... You see Rachel's
character so well, but why don't
you see that the reason she's
depressed, it's just as much her
father?
Gustav looks at her, he is surprised by this.
INGRID (CONT’D)
He has left her with this unstable
mother, he doesn't care what... If
she feels worthless, it's also his
fault.
Silence. Are his eyes a bit blank?
GUSTAV
Are you sure you don't have a
cigarette?
Ingrid doesn't answer. Gustav thinks about what she said.
GUSTAV (CONT’D)
Sissel wasn’t that bad, was she?
Pink Rev. (mm/dd/yy) 108.
INGRID
I liked Sissel, she was great, but
she was a manic depressive... And
not often manic.
Gustav is silent. He suddenly becomes very emotional.
GUSTAV
I couldn’t pull it off... Not with
Sissel and not with the children...
I thought... they were better off
without me.
Ingrid wraps her arms around him comfortingly.
BLACK
Genres:
["Drama"]
Ratings
Scene
47 -
Unveiling the Past
146 EXT. NATIONAL ARCHIVES - DAY 146
A functionalist building from the 70s on the outskirts of
Oslo near the forest.
147 INT. NATIONAL ARCHIVES (MONTAGE) - DAY 147
Pictures of the entrance to the mountain halls.
The rough, wet concrete hall where archive material is
delivered.
The long corridors, 70s and 90s style, where archives are
stored.
An ARCHIVIST with a document trolley stands in a long
corridor with shelves packed closely on both sides.
She presses a button so the shelves move apart: the contents
of two large shelves are revealed: protocols, archive boxes,
and more.
A sign at the end of the shelf: "RA/S-1329 - State Police -
Main Office/Oslo Department" Some documents are loaded on the
trolley which is now wheeled through another long corridor
with different colored shelves.
New shelf meters of archive material come into view. "Archive
after German prisons in Norway."
The trolley drives on - more folders are loaded on.
Another corridor. Here, the archivist turns a handle to move
the shelves: a multitude of archive boxes is revealed.
The archivist's hands take out a box of archive material.
Just one of many boxes on the shelf. And there are many
shelves.
The trolley now has many folders, rattling as it is wheeled.
It is taken into an elevator. The elevator goes up.
The trolley is placed in a room. A tag is attached to it with
a name: Agnes Borg-Pettersen.
148 EXT. NATIONAL ARCHIVES - DAY 148
Agnes enters the large main door.
149 INT. NATIONAL ARCHIVES - DAY 149
Agnes enters the end of the building and goes up a staircase.
150 INT. NATIONAL ARCHIVES/RECEPTION - DAY 150
She stands at the reception desk in the reading room. ANOTHER
ARCHIVIST comes in with the trolley we followed in the
previous sequence.
He lays the archive material in front of Agnes.
ANOTHER ARCHIVIST
This is her registration card from
the State Police archives... and
the entry from Grini. It's limited
to name, reason for imprisonment,
and dates of stay.
The archivist points to a very thick folder.
ANOTHER ARCHIVIST (CONT’D)
This is the case against Ole
Wilhelmsen from the treason trials.
Karin Irgens’ testimony is here,
but you requested to see the entire
folder.
(re: a folder within the
folder)
As part of the case, there are also
photos of reconstructions of his
torture methods. This is...
Genres:
["Drama","Mystery"]
Ratings
Scene
48 -
Unearthing the Past
151 INT. NATIONAL ARCHIVES/READING ROOM - DAY 151
Agnes sits in a reading room with the archive material in
front of her.
Close-up of a registration card: Karin Irgens, b. 22/5.22.
Law student, Losveien 14. Admitted 13/10.43 at 10:30,
transferred to Grini - Spreading anti-Nazi propaganda.
She looks at the card. It's yellowed old paper, blurred
typewriter font. Some handwritten numbers in red pencil.
The content is mundane, but the paper still feels like proof
of something. If nothing else, that her grandmother existed.
Agnes glances at more documents. Then she takes out the thick
folder and starts flipping through it.
Close-up of a worn folder full of papers. Typewriter font:
Case 390/45 B. Ole WILHELMSEN. Torture treatments.
Agnes notices the name she was looking for.
Close-up: the folder is open at a typewritten testimony, the
name Karin Irgens is clear. She has testified against a
torturer and this is the transcription of what she said in
court:
“I was taken on the 13th October 1943 by two Gestapo men and
state police constable Ole Wilhelmsen.”
Agnes flips and reads.
“One of the Gestapo men beat me with a heavy stick (4-5 cm in
diameter) while Ole Wilhelmsen and the other Gestapo man
threatened me with a gun to make me talk.”
Fragments of a story: “I was driven to...” “Strangely enough,
I was given a glass of water and allowed to sit on a chair”
“They kept at me all morning...” “...they put on leg clamps”,
“left me tied with a heater next to my head...”
Agnes leans back, affected. She looks around the reading
room. It's almost empty, an ELDERLY LADY flips through some
documents. A MAN comes in and sits down.
Agnes pulls out another folder:
“The German Security Police - T O R T U R E -” “22
photographs and a sketch showing various methods...”
“...taken with the assistance of 2 people who had been
subjected to torture as well as Ole Wilhelmsen”
Black and white pictures of torture methods recreated for the
trial. Ways to tie people so it hurts. Heaters placed so
close to the head that it must feel like burning... It's
unsettling, not least because it's so mundane, amateurish;
they used what they had at hand: electrical cables, shelf
brackets, heaters...
Agnes closes the folder.
She sits thoughtfully in the reading room, moved.
NARRATOR'S VOICE
Later, when she tried to tell Even
about it, it didn't feel like she
was bringing much new information.
They probably knew most of it...
Genres:
["Drama","Historical"]
Ratings
Scene
49 -
Echoes of Innocence and Trauma
152 INT. AGNES AND EVEN'S APARTMENT - DAY 152
Agnes sits at home with Even on the sofa. The TV is on.
NARRATOR'S VOICE
It was hard to describe what had
made such a strong impression...
Was it her grandmother's testimony,
how dryly and unsentimentally she
had described it? Or was it that
she was just one of many victims
who testified in the same folder?
QUICK CUTS: The folder with testimonies against Ole
Wilhelmsen. It's stuffed full - hundreds of people.
A picture of reconstructed torture - it has a strange feeling
to it - is that not a smile on the face of one who is being
tied up?
PICTURE: Police report: Karin Borg (née Irgens)
BACK IN THE LIVING ROOM: Agnes is thoughtful.
NARRATOR'S VOICE (CONT’D)
The police report on the suicide
fifteen years later was thin, there
were no pictures, but her father's
name was there... He hadn't been
interrogated, probably because he
had only been 7 years old when it
happened.
Agnes looks out to the backyard: outside in the sunshine,
Erik is running around with the neighbor's dog. Happy and
innocent as only a child can be.
153 EXT. FOREST - DAY - CLIP FROM FATHER'S FILM ANNA: 153
The dark-haired boy from ANNA jogs through a rain-soaked
forest. He is covered in mud, cold and scared. The sound of a
TRAIN passing in the distance.
He reaches a clearing in the forest where there's a large
stone. He stops. All is quiet around him - is he safe?
He approaches the stone. It looks a bit out of place,
oversized, like something from a fairy tale. But it's also
just a large stone. Moss covers one side.
The boy sits down next to it. Exhausted.
He lies down. The stone is shaped such that one could say he
lies in the stone's embrace. His eyes flutter.
Wide shot of the clearing: The boy lies motionless, close to
the stone.
Blue Rev. (mm/dd/yy) 112.
A girl stands at the edge of the forest watching him. It's
Anna, played by Agnes as a child.
Genres:
["Drama","Family"]
Ratings
Scene
50 -
Comedic Aspirations
154 INT. OUTDOOR AREA BY AGNES & EVEN’S APT. - DAY 154 *
Agnes (as an adult) watches her father:
He holds a long plastic shovel squeezed between his arm and *
upper body. He talks to someone off screen (Erik) and waves *
his arm in a quick motion: *
GUSTAV *
You have to do it like this... *
quickly. *
(to Erik) *
Now! *
At the same moment Gustav reacts in shock and grips the *
shovel as if it has just impaled him. He falls to the ground. *
Erik films the entire parodical death scene with his phone *
and runs closer to capture his grimaces in a closeup shot. *
Gustav goes all the way and lets his body spasm as his life *
drains from his body. Erik can’t help but laugh behind the *
camera. *
Gustav lies motionless... then turns towards Erik. *
GUSTAV (CONT’D) *
How was it? *
He gets up gleefully and brushes away grass from his clothes. *
Agnes suddenly gives him a small hug - Gustav smiles *
satisfied and a bit surprised - where did that come from? He *
is out of breath. *
GUSTAV (CONT’D) *
Physical humor, it always works. *
CLOSEUP OF A PHONE: Gustav (throws the plastic shovel with *
murderous intent - the camera swiftly pans over in the *
direction of the throw (and hides a cut) - and catches Gustav *
who falls over and dies, impaled by the shovel. *
ANOTHER CLIP: Erik looks like a giant staring down at a tiny *
Gustav. Erik hits his miniature-grandfather over the head *
with the plastic shovel to comical effect. Agnes laughs *
behind the camera. Erik laughs and walks towards her. The *
moment he moves, the illusion breaks: Gustav was smaller *
because he was standing much further away from the camera, *
they were just cheating the point of view so it looked like *
they were standing right next to each other. *
A BIT LATER *
Pink Rev. (mm/dd/yy) 113.
Gustav and Agnes sit on some benches in the backyard. Erik *
walks around, looking pleased with his recording. *
GUSTAV (CONT’D)
(to Agnes about Erik)
He's just like I was, walking
around with his camera.
AGNES
(smiling)
Yeah, with his phone.
They look at Erik who is filming something with his phone. *
AGNES (CONT’D)
Why don’t we just go together to
Nora's premiere? Therese will
babysit, but we could have a drink
with her here first.
GUSTAV
I'll probably have to take a car
directly from the office.
AGNES
But you're coming?
GUSTAV
Yes, of course.
Gustav looks over at Erik. *
GUSTAV (CONT’D)
Agnes... I want Erik to be in my
film... He's perfect.
Agnes is caught off guard.
AGNES
Ok?
GUSTAV
There aren't many lines, but it's a
very important role. Rachel's son.
Agnes isn't sure what to say, but it's clear she isn't fond
of the idea. Gustav doesn't seem to notice.
AGNES
That's really nice, Dad, but... I
don't know... He's not exactly the
actor type.
GUSTAV
I don’t want an actor type. There
is nothing worse than kids in films
coming at you with fucking jazz
hands as if they’re about to sing a
musical number.
(MORE)
Pink Rev. (mm/dd/yy) 114.
GUSTAV (CONT’D)
(looks at Erik)
Erik has something, he has a
secret.
(looks at her)
You were also a bit shy. But you
were damn great on film. You should
have continued.
Agnes is thoughtful - does she not like the idea of Erik
acting?
Erik notices that his mom is looking at him and waves at her. *
Genres:
["Drama","Family"]
Ratings
Scene
51 -
Opening Night Tensions
156 EXT. NATIONAL THEATRE - EVENING 156
Documentary-like images of the audience on their way to the
theatre.
It is reminiscent of the film's opening, but now the place is
snow-free and it's light outside. On the theatre wall, one
can see a large poster for the Hamlet performance with Nora.
People cluster together on their way up the stairs to the
main entrance.
157 INT. NATIONAL THEATRE - EVENING 157
In the middle of the full hall, director Olivia is nervous,
neatly dressed, she sits with her closest family.
The theatre manager sits elsewhere among the audience,
talking to someone.
A few rows back in the middle sit Even and Agnes - a seat is
vacant next to Agnes.
The hall BUZZES with voices from hundreds of expectant
theatregoers.
158 INT. NATIONAL THEATRE/DRESSING ROOMS - EVENING 158
Nora in her dressing room. She seems calm. She puts a cork in
her mouth and recites some absurd sentences to warm up: Ten
topped cups of unpopped popcorn. Ten topped cups of unpopped
popcorn... Five flat flounders in a flooded flat.
Someone KNOCKS on the door.
STAGE MANAGER (O.S.)
10 minutes.
159 INT. NATIONAL THEATRE/BACKSTAGE - EVENING 159
Nora gets "miked up": the sound technician attaches a
portable microphone and transmitter to her costume.
Jakob and some of the other actors stand close by. Nervous
glances are cast in her direction.
Nora doesn’t meet anyone’s gaze, she is focused - but she
doesn't seem nearly as nervous as last time.
The stage manager (the same as before) watches her like a
hawk - just waiting for something to happen.
Nora walks towards the edge of the stage where the others are
waiting. Suddenly she turns abruptly and walks the other way.
The stage manager is immediately alert - is she going to run
off?
False alarm: it was the microphone that had come loose, Nora
was just going back to the sound station.
A LITTLE LATER
Nora stands waiting for her cue to go on stage. She hears it
and goes out to meet the large hall...
160 INT. NATIONAL THEATRE/MAIN STAGE - EVENING 160
The play is well underway, we hear Nora on stage as Hamlet.
Gustav stands right at the back of the hall, watching, hidden
in the darkness. We don't see the stage, only Gustav's face
watching his daughter far ahead.
Something happens to him - he seems moved.
Suddenly, he leaves.
161 INT. NATIONAL THEATRE/FOYER - EVENING 161
Gustav comes out of the hall. The sound from the play faintly
echoes in the room.
He crosses the large empty foyer and leaves the theatre.
162 INT. NATIONAL THEATRE/MAIN STAGE - EVENING 162
The play is over. APPLAUSE.
People in the hall stand up and give a standing ovation. Nora
receives an extra large swell of applause as she bows.
Genres:
["Drama","Family","Theatre"]
Ratings
Scene
52 -
Silent Distress Amidst Celebration
163 INT. NATIONAL THEATRE/ACTORS' FOYER - EVENING 163
Hugging and kissing and flowers in a large room where the
audience doesn't have access. Everyone looks happy. Nora too.
It's a chaos of guests and actors. JAKOB'S DAUGHTER comes
running and hugs him. What must be his (soon-to-be ex-) WIFE
stands beside them and smiles.
Agnes and Even enter. They stand shyly at the door, waiting
for the right moment to interrupt.
She looks at Nora who smiles and laughs at all the well-
wishers, but something seems a bit off - her eyes don't
smile.
Agnes approaches. Even hangs back. Nora smiles when she sees
her, but seems a bit reserved.
AGNES
Congratulations, it was fantastic.
NORA
Thank you!
EVEN
(from a distance)
Really good.
Agnes leans closer to her sister.
AGNES
(quietly)
Are you all right?
Nora looks at her, puzzled.
NORA
Why wouldn't I be?
AGNES
Well, you haven't been answering
your phone lately and...
NORA
Did you come here with Dad?
AGNES
No, I don't think he made it.
Nora looks away. Agnes feels something is off with her.
AGNES (CONT’D)
We have a babysitter and are going
for a drink at Teketopa. You're
probably busy, but drop by if you
want to.
Nora is about to answer, but someone else comes to
congratulate her and she turns away.
164 INT. NATIONAL THEATRE/DRESSING ROOMS - EVENING 164
Nora sits alone in her dressing room.
165 INT. NATIONAL THEATRE/ACTORS' FOYER - NIGHT 165
Nora (without makeup and costume) walks past the door to the
room where she just celebrated with the others, she sees
Olivia, Jakob, and the others from the play sitting at a
table, drinking and laughing. The windows outside are dark -
it has gotten late.
She continues walking.
166 INT. NORA'S APARTMENT - DAWN 166
Nora sits quietly in a dark apartment. The sky outside has
just begun to brighten. She is wearing the same clothes as
after the performance - she has been up all night.
167 INT. NORA'S APARTMENT - DAY 167
Nora's POV: under the sofa in the living room there is a
thick layer of dust. A large dust bunny moves slightly in
rhythm with Nora's breath.
Nora lies on the living room floor, staring blankly ahead.
Motionless.
168 INT. NORA'S APARTMENT - DAY 168
Nora sits at the kitchen table with her back turned. She
talks on the phone - her voice sounds flat. Drained of
energy.
NORA
(on the phone)
...no... I don't know if I'll be
better tomorrow. I'm going there
now, then I'll let you know, but I
can't make it tonight. I'm sorry,
but... Thanks.
She hangs up. She sits motionless. SOUND of some children
shouting in the distance.
She slowly gets up, walks slowly down the hallway into the
bedroom and out of sight.
A cloud passes in front of the sun. The rooms suddenly become
darker.
Pink Rev. (mm/dd/yy) 118.
Genres:
["Drama"]
Ratings
Scene
53 -
Confrontation and Reflection
169 INT. AGNES AND EVEN'S APARTMENT - DAY 169
Agnes stands at the kitchen counter. Thoughtful. The light
changes here too.
A LITTLE LATER
Gustav has just arrived at Agnes's place. He is in a good
mood.
GUSTAV
Where's Erik?
Agnes is angry at him.
AGNES
He'll be here soon... Why weren’t
you at Nora's premiere? You said
you would be.
GUSTAV
(avoidant)
No, she didn't want me there. And
you know, I hate theatre.
He smiles. Agnes doesn't find it funny.
Gustav sits down on the sofa. He takes two scripts from his
bag and lays them on the coffee table.
GUSTAV (CONT’D)
Here is the original and this is
the translated one. So Erik can
practice the English lines.
(sees that she is
skeptical)
It's okay to have an accent, he
talks like he does, you know. Has
Michael spoken to you? There's some
school leave that needs to be
arranged.
Agnes has actually already made up her mind.
AGNES
I don't know if this is a good
idea.
GUSTAV
Of course, it is. It will be great.
(smiles)
AGNES
I don't know... I don't know if he
wants to.
GUSTAV
Yes, it will be fine, he wants to.
Pink Rev. (mm/dd/yy) 119.
AGNES
How do you know that?
(realizes)
Did you ask him?
GUSTAV
I just mentioned it. He was very
happy.
AGNES
Oh my God, Dad. You can’t just...
She sits down.
Silence. He takes her hand.
GUSTAV
You playing in my film, that's the
most beautiful memory I have.
AGNES
For me too, but...
GUSTAV
(interrupts)
This will be good. We’ll start off
really soft, just so I can see them
together. I think Rachel will like
doing those scenes with him... a
bit more joy.
Gustav talks and talks without noticing that Agnes isn't
listening - something is building up in her.
GUSTAV (CONT’D)
I think she needs to feel other
sides of the film.
Suddenly, Agnes withdraws her hand. She is upset.
AGNES
Can you stop talking for a bit.
Please!
Gustav has never seen her like this.
AGNES (CONT’D)
I don't want Erik to be in the
film.
GUSTAV
But Agnes, then it...
AGNES
(interrupts him)
And yes, it was nice, Dad, it was
nice when we worked together... You
made me feel like the most
important person in the world...
(MORE)
Pink Rev. (mm/dd/yy) 120.
AGNES (CONT’D)
And then... then you were gone
again.
GUSTAV
(can’t get a word in)
You were amazing. I...
AGNES
(continues; emotional)
I don’t understand it... how you
can just turn it off... how you can
be so close and real... and then
just disappear and make someone
else the most important person in
the world.
Gustav is taken aback.
GUSTAV
Agnes..?
Agnes just looks at him.
GUSTAV (CONT’D)
Please. I don't need this now. Not
from you.
He's about to get up, but he's in pain. Or is he faking it
for sympathy? Either way Agnes doesn’t seem to care.
AGNES
Do you know why Nora is always
angry with you? ... It's because
she expects something from you, I
gave up on that a long time ago...
We never got the best of you,
that's okay... I've accepted that,
but I don't want Erik to... to be
disappointed in that way.
Gustav is clearly shaken by everything Agnes says, as a last
argument he touches the script lying on the table.
GUSTAV
(feebly)
But read it... just read it.
AGNES
(angrily)
Don't you get it... I don't care if
it's good or not. I care about
Erik.
Gustav tries to get a word in, but she talks over him.
AGNES (CONT’D)
And you're old, Dad. This is a big
production, and I don't think
you're in control. Sorry.
Silence. Gustav is devastated.
SOUND of the front door.
Soon, Erik comes running in and hugs his grandfather.
GUSTAV
Hi Erik.
AGNES
(apparently cheerful)
Hi... Grandpa was just about to
leave.
She gives Gustav a stern look. He gets up slowly. He looks
much older than usual.
170 INT. AGNES AND EVEN'S APARTMENT - EVENING 170
Agnes walks alone, tidying up before going to bed. She seems
almost light on her feet. Maybe it was good to speak up?
In the living room, Gustav's script lies on the edge of the
coffee table. The camera holds it in the foreground, while we
see Agnes in the background, going about tidying up.
Finally, she notices it. She picks it up, looks at it for a
second before she opens it and glances through it.
She flips back to the beginning.
171 INT. AGNES AND EVEN'S APARTMENT - NIGHT 171
Agnes sits on the toilet, reading her father's script.
Clearly captivated.
172 INT. AGNES AND EVEN'S APARTMENT - NIGHT 172
Agnes reads in the nightstand light. Even sleeps beside her.
She finishes and puts the script away. Thoughtful.
Genres:
["Drama"]
Ratings
Scene
54 -
Breaking the Silence
173 EXT. NORA'S APARTMENT BUILDING - DAY 173
Agnes (with her father's script in hand) stands at the
entrance to a tall functionalist building. She rings the
bell. For a long time. It’s clear she has been trying for a
while.
She steps back and looks up at Nora's windows.
She goes back and presses the bell again. This time, she
holds the button down.
Pink Rev. (mm/dd/yy) 122.
174 INT. NORA'S APARTMENT - DAY 174
Nora opens the door and lets in Agnes.
AGNES
Sorry for just showing up like
this, but... Why don't you pick up
when I call?
Nora doesn’t respond. Agnes looks around the apartment:
It's dark and unwelcoming. The blinds are down. No lights are
on, only the laptop is on with a reality show playing.
There's take-away on the kitchen table, but the food seems
untouched.
Nora herself looks unkempt and tired.
AGNES (CONT’D)
Are you okay?
Nora nods, but avoids looking at her.
AGNES (CONT’D)
You have to answer... You know I
get nervous when you don't answer.
Nora nods again.
AGNES (CONT’D)
What’s up? Are you ill or
something?
Nora shrugs.
Agnes goes over and shuts the laptop. Silence.
She goes over to Nora with her father's script in hand.
AGNES (CONT’D)
Dad was at my place yesterday, we
fought really bad... he wants Erik
to act in the film and I don’t want
him to... But... I read it. I've
read Dad's film. I know you don't
want anything to do with it, but...
But I think you should read it. It
is completely different from what I
though, I was very moved by it.
Nora doesn't understand, but she sees that this is important
for Agnes.
AGNES (CONT’D)
It's not so much about his mother
actually. I think he has written it
for you, I feel it is about you.
Pink Rev. (mm/dd/yy) 123.
Nora doesn't quite understand. Agnes calms down.
AGNES (CONT’D)
It’s hard to explain, it's just...
Just... read this for example.
She finds something in the script and gives it to Nora.
Nora looks at it.
AGNES (CONT’D)
It's a bit overwritten, or a bit
stylized, maybe.
Nora looks at it, she begins to read internally.
AGNES (CONT’D)
Just read it out loud.
Nora reads the monologue we know from when Rachel read it, *
but now we hear it in Norwegian. *
NORA
(reading dryly)
You know, I don't believe in God at
all, we came from a home where all
that was completely unimportant, we
weren't even baptized, and my
sister and I had a civil
confirmation just for the money.
She glances at Agnes when the sister is mentioned. She
continues to read, not performing it, but we see it becoming
more and more emotional for her.
NORA (CONT’D)
But then I had this crisis. I was
all alone in the house again. I lay
in bed and cried, I know, everyone
lies in bed and cries at some
point, but... Someone said that to
pray is not to talk to God, but to
realize despair, to throw yourself
down on the ground because that's
all you can do... a bit like having
a broken heart and thinking over
and over: call me, you must regret,
take me back... And I was there, I
had ruined everything and was alone
and I lay there crying. And then,
for the first time... I sat down
and prayed. It's hard to explain...
I don't know who I prayed to, but I
just said: "help me, I can't do
this, I can't do it alone, I want a
home, I want a home."
The last lines hit her hard. She is moved. Without saying
anything more, she sits down and begins to read.
Pink Rev. (mm/dd/yy) 124.
LATER
Agnes is tidying up the kitchen, trying not to make noise.
She glances at Nora in the living room reading - intensely
focused.
She goes over and opens the blinds, letting in daylight. Nora
doesn't seem to notice that the light changes around her.
LATER
Nora is done. She puts away the manuscript. Agnes, who has
been watching from the couch, comes over.
NORA (CONT’D)
You haven't talked to Dad about...
about my suicide attempt and stuff
back then?
AGNES
No, of course not.
Nora is silent. She is clearly affected by what she has read.
AGNES (CONT’D)
I thought the same... how did he
know all that...? I mean, it’s
mixed in with Dad’s Dad's stuff
with his mother, but... There are
scenes where I feel like he almost
must have been there while you were
going through those things.
NORA
But he wasn't...
(pause)
It was you who were.
Agnes places her hand on her arm. Nora is thoughtful.
NORA (CONT’D)
Why can't he just talk to me?
Silence.
AGNES
I don't know.
Nora looks down at the script.
NORA
This is probably what he can give.
Agnes nods.
A LITTLE LATER
The sisters sit in intimate conversation.
Pink Rev. (mm/dd/yy) 125.
NORA (CONT’D)
How did it end up like this... how
did you turn out so good and I so
fucked up?
AGNES
That's not true.
NORA
I mean, how did you become such a
good person with our upbringing?
AGNES
It hasn't always been easy for me
either.
NORA
No, but... you've managed to...
have a family. You have a home.
AGNES
You know, there's a big difference
in how you and I grew up.
(Nora doesn’t understand)
I had you.
(pause)
I know you think like you can't
show care and stuff, but you were
there for me, in those periods when
Mom was flaky... you washed my hair
and combed it... Got me to school.
(smiles)
I felt safe.
Nora is moved. But she's still sad.
NORA
I'm so scared... scared of going
back there.
Agnes hugs her.
Genres:
["Drama"]
Ratings
Scene
55 -
A Shared Moment at the Theatre
175 EXT. NATIONAL THEATRE - DAY 175
A new day. Nora enters the theatre through the side entrance.
176 INT. NATIONAL THEATRE/DRESSING ROOMS - EVENING 176
Nora in her dressing room. NOISE and conversations outside.
177 INT. NATIONAL THEATRE/MAIN STAGE AND AUDITORIUM - EVENING 177
Nora and the others come off stage after the performance.
Everyone is excited. APPLAUSE continues inside the
auditorium. They turn and go back on stage to bow once again
to the audience.
Pink Rev. (mm/dd/yy) 126.
In the auditorium, people clap as the actors come out.
Nora bows.
As she looks up, she catches sight of a familiar face. Rachel
is in the audience, clapping.
178 INT. NATIONAL THEATRE/FOYER - EVENING 178
Next to the entrance to the stage, Rachel waits.
Nora - who has changed into civilian clothes - opens a door
to the backstage area.
They look at each other. Rachel's hair resembles Nora’s. They
both wear the same pants. They notice it and have to smile.
NORA
I couldn’t really believe it when
they said you were here to see me.
RACHEL
Thanks for taking the time.
179 INT. NATIONAL THEATRE/BACKSTAGE - EVENING 179
They move through the backstage towards the stage.
RACHEL
(about the performance)
It was great.
NORA
(smiles)
Oh yeah? Did you understand
anything?
RACHEL
I got the feel of it... It’s not
like I don’t know the plot. You
were very good.
Nora leads her onto the empty stage. Rachel stands in the
middle of the stage and looks out over the auditorium,
becoming a bit reverent.
Genres:
["Drama","Family","Theatre"]
Ratings
Scene
56 -
Conversations in the Dark
180 INT. NATIONAL THEATRE/ MAIN STAGE - EVENING 180
They sit in the auditorium among the empty seats.
NORA
So... why did you come to see
Norwegian Hamlet?
Silence. Rachel gets to the point:
Pink Rev. (mm/dd/yy) 127.
RACHEL
Why didn’t you want to do the role?
A beat.
NORA
I can’t work with him, you know.
RACHEL
Why?
NORA
We can’t really talk.
RACHEL
But he wanted you to do it?
Silence.
NORA
I don’t know.
Rachel sighs.
RACHEL
I really thought this was right for
me. Everyone thought it was a bad
idea, you know. I had to fight for
it.
Nora understands where this is heading.
NORA
Are you thinking about not doing
it?
RACHEL
I don’t know... I just keep
thinking he made a big mistake.
Nora waits for her to continue.
RACHEL (CONT’D)
I just can’t get a handle on her -
the character, I mean - it’s
frustrating how she... Everyone is
trying to help her, but she keeps
pushing everyone away.
A beat.
NORA
She’s a complex character. She
doesn’t really like herself, and
that... that makes her real.
(pause)
It’s tough to be in that place, you
know. She feels everyone is better
off without her.
Pink Rev. (mm/dd/yy) 128.
RACHEL
No, she’s a great character, she
broke my heart reading the script,
but... the more I study her the
more lost I feel trying to be her,
you know? Like her sadness, it’s
such an overwhelming part of her, I
mean, is it the cause of everything
or just a symptom of something
deeper? I don’t know...
(pause)
She’s just... She’s just so... so
broken.
Silence.
NORA
I don’t know. Maybe.
Silence. A STAGEHAND crosses the stage far up ahead. He seems
to be looking for something before he disappears off stage. *
RACHEL
I don’t want to disappoint him, you
know.
NORA
So is that why you came here - to
the angry daughter - so I’d tell
you it’s okay to drop out?
Rachel looks at her, surprised.
NORA (CONT’D)
He is a deeply flawed individual,
but... he’s a great director. And
he obviously sees something in you.
(pause)
You’d be stupid to walk away.
This makes an impression on Rachel.
Genres:
["Drama"]
Ratings
Scene
57 -
Facing Doubts and Embracing Trust
181 INT. FAMILY HOUSE - NIGHT 181
The two friends Michael and Gustav sit together in armchairs
in the living room, drinking. MUSIC plays from a stereo.
GUSTAV
I think... we may need to find
another boy. Erik... I don’t think
he can do it.
Michael looks at him, it’s clear something is bothering his
friend.
GUSTAV (CONT’D)
It usually doesn’t feel like this,
I usually have control...
(MORE)
Pink Rev. (mm/dd/yy) 129.
GUSTAV (CONT’D)
and what I didn’t have control
over, I used to like not having
control over, you understand?
MICHAEL
No.
GUSTAV
I just mean... I'm too old.
(Michael laughs)
There's barbed wire on the
prairie... The last of the
mohicans, for fuck’s sake...
(Michael laughs more)
The new guy keeps sending me
moodboards... I miss Peter. When
did he become so fucking frail?
(pause)
I'm too tired, Micke. What the hell
happened, 15 years ago I was 55...
Michael takes him seriously, he becomes thoughtful too.
MICHAEL
You might be right, maybe we have
become too old and that this is our
last film... But Gustav, fuck being
current! You have to make this
film... and you have to make it
your way.
Gustav notices his friend’s seriousness and listens.
MICHAEL (CONT’D)
You have dabbled a bit with these
themes before, but you have never
approached it so purely,
personally, as this. So, it took
all these years to get here. That’s
just how it is. But you have to
make this film.
This makes an impression on Gustav.
LATER *
*
Michael gets ready to leave.
GUSTAV
(tired)
Do we have to do it now?
MICHAEL
Yes, for fuck’s sake. I mean, she’s
on her way, she insisted. We have
no film without her so...
Michael seems nervous.
Pink Rev. (mm/dd/yy) 130.
MICHAEL (CONT’D)
And if she has cold feet, you
reassure her. You’re good at that.
They hug.
GUSTAV
Trust me.
MICHAEL
Call me when she has left.
Genres:
["Drama"]
Ratings
Scene
58 -
Echoes of Isolation
182 EXT. FAMILY HOUSE - NIGHT 182
A black car stops outside. Rachel gets out. She looks up at
the family house.
The windows on the first floor light up. Gustav comes out on
the terrace. He waves to her.
Rachel walks up to the porch.
GUSTAV
So to what do I owe the honor? Are
you okay?
RACHEL
Yeah, I guess.
GUSTAV
A drink? I must admit I already had
one.
RACHEL
I’m fine, thanks.
GUSTAV
A cup of tea, maybe?
Gustav opens the veranda door for her.
RACHEL
Yes, why not. It’s so cold.
GUSTAV
I have some warm socks you can use.
183 INT. FAMILY HOUSE - NIGHT 183
Gustav puts the kettle on the stove.
GUSTAV
So... You don’t want to do the film
anymore?
A beat. He's right.
RACHEL
I... I don’t want to let you down,
you know. I won’t drop out on you,
if you really want me to stay.
Gustav nods. He pours water into a cup with a tea bag.
RACHEL (CONT’D)
The last thing I want is to
disappoint you, you know.
He hands her the cup.
GUSTAV
Come.
A LITTLE LATER
They sit at the kitchen table.
GUSTAV (CONT’D)
Most actors would do the role, even
if it felt wrong... or just leave
and let the agents sort it out.
You’re a good person.
Rachel is suddenly moved. Gustav sees it.
GUSTAV (CONT’D)
I let you down, Rachel, I’m sorry.
Rachel starts to cry. Gustav slides his chair closer and
holds her in a comforting, fatherly way.
GUSTAV (CONT’D)
You go home, Rachel. I’ll be fine.
Gustav holds her.
GUSTAV (CONT’D)
I’ll be fine.
184 INT. FAMILY HOUSE - NIGHT 184
Gustav walks Rachel out. He helps her with her coat.
She can’t help but to glance towards the room where Gustav's
mother took her life.
RACHEL
I’m never going to get it... how a
mother could do that.
GUSTAV
Me neither... me neither.
She walks towards the door. Before she leaves, he says:
GUSTAV (CONT’D)
Don’t think back on this as a
failure.
(she turns)
I meant it, you would have been
great. Now go...
(waves her away)
Go and be great in something else.
Rachel smiles. She leaves.
Gustav is left alone.
185 INT. FAMILY HOUSE - MONTAGE OF DIFFERENT TIMES 185
The camera moves around the house, from room to room. The
movement is continuous, but the time in the house shifts,
from one period to another, from night to day. The view
through the windows goes from summer to winter... It's as if
all the times in the house overlap. It creates a dreamlike
effect, almost ghostly: we hear voices, laughter, snippets of
conversations as we move between the rooms.
We glimpse some of the people who have lived in the house,
but always move on. The sequence ends in the present:
186 INT. FAMILY HOUSE - NIGHT 186
Gustav stands in the living room in a house full of memories.
Oppressive silence.
He goes and turns on MUSIC to drown out the silence.
LATER
The music continues. Gustav sits drinking whiskey. His phone
RINGS. It's MICHAEL.
He lets it just ring and ring until it stops.
He takes a sip. The phone starts RINGING again. Gustav goes
and turns the music up loud so it drowns out the ringing.
It's almost uncomfortably loud.
187 EXT. FAMILY HOUSE - NIGHT 187
Gustav escapes out the back door and into the garden. He's
not dressed for the cold - without a coat - and frosty breath
comes out of his mouth, but he doesn't seem to be bothered.
MUSIC plays loudly inside the house.
He walks down the stairs to the garden.
Gustav sits down on a garden chair and looks up at the house.
He gives the house the finger and laughs to himself.
He's clearly drunk, and we see that he's only wearing wool
socks on his feet.
He feels the cold a bit and wraps his arms around himself.
He's clearly tired and his eyes flicker.
188 EXT. FAMILY HOUSE - DAWN 188
Day is beginning to break, but all the lights are still on in
the first floor of the house, and MUSIC plays loudly inside.
Gustav lies motionless on the ground by the garden chair.
Genres:
["Drama"]
Ratings
Scene
59 -
A Moment of Light in the Hospital
189 INT. HOSPITAL/ CORRIDORS - DAY 189
Nora walks through some corridors, she seems stressed.
LATER
Nora and Agnes stand in a hospital corridor. Agnes tries to
reassure.
AGNES
It's going to be okay, he got very
cold, but... he's been conscious
and all.
190 INT. HOSPITAL/GUSTAV’S ROOM - DAY 190
Nora enters a quiet room in a hospital.
A bed is empty. On the other side of a curtain lies a figure
(Gustav) connected to a heart monitor.
She walks over. Her father is sleeping. (The scene reminds us
of the start of the film when the mother had just died.)
Nora sits down next to him. He looks disheveled, unshaven,
and his thin hair in all directions. Frail. He writhes in his
sleep.
She takes his hand and sits there with him in silence.
191 INT. HOSPITAL/CORRIDOR - DAY 191
Agnes is about to buy coffee from a coffee machine. The
machine GRINDS coffee loudly. Nora stands next to her, they
both seem lost in thought.
Agnes takes the paper cup with coffee. At the same moment,
Nora hugs her. Agnes is unprepared and has the coffee in her
hand but accepts the hug.
They stand like that. Two DOCTORS walk by.
192 INT. HOSPITAL/CORRIDOR OUTSIDE GUSTAV’S ROOM - DAY 192
Nora and Agnes hold their paper cups of coffee as they walk
towards their father's room. The door is open and they can
hear his voice. He sounds surprisingly energetic.
GUSTAV (O.S.)
Oh, but it's wonderful to see
something so beautiful when you
wake up.
They hear a woman's laughter. They look at each other: what's
happening?
They walk closer to the door and see that a YOUNG NURSE is
caring for their father. The curtain covers his upper body
and face, but it's clear he likes her.
YOUNG NURSE
Do you want some more juice?
She brings a glass with a straw over to him.
GUSTAV (O.S.)
You have such beautiful skin...
do people say that often?
(she laughs)
Does your boyfriend say that? ...
He should.
Nora and Agnes are embarrassed by their father's flirting,
but they have to smile.
Genres:
["Drama"]
Ratings
Scene
60 -
Echoes of Home
193 INT./EXT. FAMILY HOUSE - MONTAGE SALE & RENOVATION 193
The house is completely empty. Images of the now familiar
empty rooms. The garden. There are for sale signs at the
entrance and on the door. The house is being sold.
MONTAGE of the house being renovated beyond recognition:
Soulful wooden planks and old wallpaper are covered with
plasterboards. Everything is painted white.
The kitchen, where we spent so much time, is torn out.
The old fireplace in the office is broken into pieces. A new
modern stove is ready to be installed.
Finally, the house stands finished as a typical soulless
white box. Like most other Norwegian interiors.
The beautiful shadow of the sun through the trees and window
(as we saw in the sequence about the house's history) reminds
us that this is the same place.
Blue Rev. (mm/dd/yy) 135.
194 INT. FAMILY HOUSE (FILM STUDIO) - DAY 194
Nora stands making sandwiches in the kitchen of the family
house. It's disorienting; here is the old kitchen counter we
just saw being torn out: Have we gone back in time?
It’s a home someone lives in, clutter, children's drawings
and pictures on the fridge (including Erik in a soccer kit). *
ERIK *
Can I bring some cookies? *
NORA *
You know that... *
ERIK *
(interrupts) *
Omar gets cookies every day... many *
others too. With chocolate and *
stuff like that too. *
Nora wraps the sandwiches in wax paper. A short moment passes *
before she replies. *
NORA
But then you can't just eat the *
cookies.
ERIK
(pleased) *
Sure. *
Nora grabs a packet of oat crackers from a drawer and places *
three of them in a small tupperware box. She closes it and *
puts it in his lunchbox. Everything is done quickly and *
efficiently, it is clear that she has made many lunchboxes *
before. *
She walks over to Erik and puts the food into his backpack. *
Outside the windows we see not the view we are accustomed to *
seeing outside the house, but a green screen. (This is a film *
set built in a film studio.) *
This is the final shot of Gustav’s film - the long *
uninterrupted take that he described to Rachel. Now we are *
inside this shot, with Nora and Erik acting. Their *
interaction is lively, they are believable as mother and son. *
Nora follows Erik out into the hallway. She walks behind him - *
her face (which he doesn’t see) shows that something is not *
entirely right. *
ERIK (CONT’D)
Bye!
Erik gives her a quick hug and runs out. *
Pink Rev. (mm/dd/yy) 136.
The camera stays on Nora as she hears the SOUND of the front
door opening and closing.
A shadow passes over her. Finally, she can drop the facade *
that cost her so much.
She sees a jacket on the floor. She picks it up and hangs it *
on a hook. Automatic gestures - her thoughts are somewhere *
completely different. *
She walks towards the room at the end of the hallway. The
camera remains in the doorway looking in: she drags a chair
onto the floor and finds a wire. *
She steps onto the chair and stands on her toes to loop the
wire over the hook in the middle of the ceiling, a fiddly
task.
The SOUND of someone trying to open the veranda door. She *
stops what she's doing, steps down from the chair, and walks
out into the hallway. She closes the door behind her. A *
knocking sound. *
The camera follows her in the direction of the sound. Erik *
stands outside the veranda door in the library, wanting to be *
let in. *
She walks over and opens the door. *
ERIK (CONT’D)
I forgot my phone.
He runs to fetch the cell phone he has forgotten in the *
living room. (The script has been changed following Rachel's
input.)
He walks back towards the door again.
She just stands there looking at him as he says goodbye and
walks out. He looks at her, notices that something is a bit
off, but runs away.
She says nothing, just shuts the door behind him.
The camera pans with his movement and lands on Nora's face
watching him.
Nora walks over to the window, where Gustav described that we
would see the boy leave the garden and disappear, but outside
this window, there is also just a green screen. The camera
moves and captures Nora's face looking out.
GUSTAV (O.S.)
And there... there you see me
disappear.
Gustav gives instructions from somewhere behind the camera.
Nora is not surprised and doesn’t break character, but what
he says (that he says “me”?) affects her. Sadness surfaces.
Pink Rev. (mm/dd/yy) 137.
She turns away, determined now. She goes back into the room.
The camera remains outside as she closes the door behind her.
HERE WE LEAVE WHAT GUSTAV'S CAMERA IS FILMING:
The inside of the door with Nora. As soon as she closed the
door, she is no longer in the shot and is now just waiting
for her father to say cut.
We now see the team working behind the camera. A CAMERA
OPERATOR sits on a dolly filming the closed door. A GRIP
stands wide-legged with a firm grip on the dolly. A BOOM
OPERATOR holds a long pole with a microphone overhead.
ANOTHER BOOM OPERATOR is inside the door with Nora in the
office.
Only the HUMMING of the film breaks the concentrated silence.
Gustav sits behind a monitor. Peter - his old cinematographer
- sits next to him, watching the screen where the filmed
footage is displayed. (Behind them, many others, including
Michael, are visible.)
GUSTAV (CONT’D)
Cut.
The camera stops. Gustav is clearly moved. Nora comes out of
the door and looks at him. Everyone looks at Gustav, waiting
for him to give his opinion. He looks straight at Nora as he
says:
GUSTAV (CONT’D)
Perfect.
At that moment, everyone in the team starts to move. Voices
BUZZ, work on the next shot is already underway. Nora and
Gustav stand motionless in the bustle, looking at each other.
They are clearly moved by what they have achieved together.
Wide shot of the film set: The family house - or at least
most of the first floor - is built inside a large film
studio. There are lights and cables everywhere. Erik comes
over to Gustav, who puts his arm around him. Nora walks over
to them. The camera moves even further away: People work like
busy ants on the outskirts of the set. Erik runs over to
Agnes who stands on the edge, watching.
Nora and Gustav stand motionless in the center.
THE END