SCENES
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Scene Map 60
# PG SLUGLINE
1 2
1 EXT. FAMILY HOUSE (PRESENT, WINTER) - DAY 1
2 3
6 EXT. FAMILY HOUSE (1990S) - DAY 6
3 6
16 INT. FAMILY HOUSE (2008) - DAY 16
4 7
20 INT. NATIONAL THEATRE, STAGE - NIGHT 20
5 9
25 INT. NATIONAL THEATRE, AUDITORIUM - NIGHT 25
6 11
31 INT. NATIONAL THEATRE, MAIN AUDITORIUM & BACKSTAGE NIGHT
7 13
35 INT. TAXI - NIGHT 35
8 15
40 EXT. THE ROAD OUTSIDE THE FAMILY HOME - DAY 40
9 17
44 INT. FAMILY HOUSE (1930S, SUMMER) - DAY 44
10 19
51 INT. FAMILY HOUSE (PRESENT DAY, WINTER) - DAY 51
11 20
55 INT. FAMILY HOUSE (1965) - NIGHT 55
12 21
60 INT. FAMILY HOUSE (1986, FALL) - DAY 60
13 23
64 INT. FAMILY HOUSE (EARLY 90S) - DAY 64
14 24
68 INT. FAMILY HOUSE (PRESENT DAY) - DAY 68
15 25
71 INT. FAMILY HOUSE - DAY 71
16 27
72 INT. FAMILY HOUSE - EVENING 72
17 28
73 INT. FAMILY HOUSE - NIGHT 73
18 30
74 INT. LORRY PUB - DAY 74
19 35
75 INT./EXT. CAR IN DEAUVILLE, FRANCE - DAY 75
20 36
77 INT. CONGRESS CENTER, DEAUVILLE - DAY 77
21 39
78 INT. SMALLER CINEMA, DEAUVILLE - DAY 78
22 41
79 INT/EXT. TRAIN COMPARTMENT 40S - DAY 79
23 41
80 INT. SMALL CINEMA HALL, DEAUVILLE - DAY 80
24 44
83 INT. FANCY FRENCH BRASSERIE BY THE BEACH - EVENING 83
25 47
84 EXT. DEAUVILLE BEACH - NIGHT 84
26 48
85 EXT. DEAUVILLE BEACH - DAWN 85
27 51
86 EXT. DEAUVILLE BEACH (2024, SP) - SUNRISE 86
28 53
87 INT. AGNES AND EVEN’S APARTMENT - EVENING 87
29 56
88 INT. AGNES AND EVEN'S APARTMENT, ERIK’S ROOM - EVENING 88
30 58
91 EXT. NATIONAL THEATRE - DAY 91
31 61
94 INT. FAMILY HOUSE (CIRCA 2000) - DAY 94
32 62
97 INT. NATIONAL THEATRE/ REHEARSAL SPACE (PRESENT DAY) DAY
33 63
100 EXT. FAMILY HOUSE (CIRCA 2000) - DAY 100
34 65
107 EXT. FAMILY HOUSE - DAY 107
35 69
111 INT. FAMILY HOUSE - DAY 111
36 76
114 EXT. DOWNTOWN HOTEL - DAY 114
37 79
118 EXT. AGNES AND EVEN'S APARTMENT BUILDING - DAY 118
38 84
120 INT. AGNES AND EVEN'S APARTMENT/ ERIK'S ROOM - DAY 120
39 87
122 INT. AGNES AND EVEN'S APARTMENT/ BALCONY - EVENING 122
40 92
129A INT. CAR SWEDISH COUNTRYSIDE - DAY 129A
41 94
132 INT. FAMILY HOUSE - NIGHT 132
42 96
136 INT. FAMILY HOUSE - DAY 136
43 98
137 EXT. FAMILY HOUSE - DAY 137
44 100
138 INT. AGNES AND EVEN’S APARTMENT - DAY 138
45 103
140 EXT. OSLO FERRY - DAY 140
46 106
144 INT. FAMILY HOUSE - DAY 144
47 109
146 EXT. NATIONAL ARCHIVES - DAY 146
48 110
151 INT. NATIONAL ARCHIVES/READING ROOM - DAY 151
49 112
152 INT. AGNES AND EVEN'S APARTMENT - DAY 152
50 113
154 INT. OUTDOOR AREA BY AGNES & EVEN’S APT. - DAY 154 *
51 115
156 EXT. NATIONAL THEATRE - EVENING 156
52 116
163 INT. NATIONAL THEATRE/ACTORS' FOYER - EVENING 163
53 119
169 INT. AGNES AND EVEN'S APARTMENT - DAY 169
54 122
173 EXT. NORA'S APARTMENT BUILDING - DAY 173
55 126
175 EXT. NATIONAL THEATRE - DAY 175
56 127
180 INT. NATIONAL THEATRE/ MAIN STAGE - EVENING 180
57 129
181 INT. FAMILY HOUSE - NIGHT 181
58 131
182 EXT. FAMILY HOUSE - NIGHT 182
59 134
189 INT. HOSPITAL/ CORRIDORS - DAY 189
60 135
193 INT./EXT. FAMILY HOUSE - MONTAGE SALE & RENOVATION 193
INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
1 2
1 EXT. FAMILY HOUSE (PRESENT, WINTER) - DAY 1
1 EXT. FAMILY HOUSE (PRESENT, WINTER) - DAY 1
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 3
6 EXT. FAMILY HOUSE (1990S) - DAY 6
6 EXT. FAMILY HOUSE (1990S) - DAY 6
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
3 6
16 INT. FAMILY HOUSE (2008) - DAY 16
16 INT. FAMILY HOUSE (2008) - DAY 16
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
4 7
20 INT. NATIONAL THEATRE, STAGE - NIGHT 20
20 INT. NATIONAL THEATRE, STAGE - NIGHT 20
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
5 9
25 INT. NATIONAL THEATRE, AUDITORIUM - NIGHT 25
25 INT. NATIONAL THEATRE, AUDITORIUM - NIGHT 25
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 - *
6 11
31 INT. NATIONAL THEATRE, MAIN AUDITORIUM & BACKSTAGE NIGHT
31 INT. NATIONAL THEATRE, MAIN AUDITORIUM & BACKSTAGE - NIGHT
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
7 13
35 INT. TAXI - NIGHT 35
35 INT. TAXI - NIGHT 35
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.
8 15
40 EXT. THE ROAD OUTSIDE THE FAMILY HOME - DAY 40
40 EXT. THE ROAD OUTSIDE THE FAMILY HOME - DAY 40
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
9 17
44 INT. FAMILY HOUSE (1930S, SUMMER) - DAY 44
44 INT. FAMILY HOUSE (1930S, SUMMER) - DAY 44
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.
10 19
51 INT. FAMILY HOUSE (PRESENT DAY, WINTER) - DAY 51
51 INT. FAMILY HOUSE (PRESENT DAY, WINTER) - DAY 51
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
11 20
55 INT. FAMILY HOUSE (1965) - NIGHT 55
55 INT. FAMILY HOUSE (1965) - NIGHT 55
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
12 21
60 INT. FAMILY HOUSE (1986, FALL) - DAY 60
60 INT. FAMILY HOUSE (1986, FALL) - DAY 60
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
13 23
64 INT. FAMILY HOUSE (EARLY 90S) - DAY 64
64 INT. FAMILY HOUSE (EARLY 90S) - DAY 64
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
14 24
68 INT. FAMILY HOUSE (PRESENT DAY) - DAY 68
68 INT. FAMILY HOUSE (PRESENT DAY) - DAY 68
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.
15 25
71 INT. FAMILY HOUSE - DAY 71
71 INT. FAMILY HOUSE - DAY 71
71 INT. FAMILY HOUSE - DAY 71 Nora stands outside the bathroom on the first floor. Agnes is washing her hands. NORA Dad is here.
16 27
72 INT. FAMILY HOUSE - EVENING 72
72 INT. FAMILY HOUSE - EVENING 72
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.
17 28
73 INT. FAMILY HOUSE - NIGHT 73
73 INT. FAMILY HOUSE - NIGHT 73
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.
18 30
74 INT. LORRY PUB - DAY 74
74 INT. LORRY PUB - DAY 74
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
19 35
75 INT./EXT. CAR IN DEAUVILLE, FRANCE - DAY 75
75 INT./EXT. CAR IN DEAUVILLE, FRANCE - DAY 75
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.
20 36
77 INT. CONGRESS CENTER, DEAUVILLE - DAY 77
77 INT. CONGRESS CENTER, DEAUVILLE - DAY 77
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,
21 39
78 INT. SMALLER CINEMA, DEAUVILLE - DAY 78
78 INT. SMALLER CINEMA, DEAUVILLE - DAY 78
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
22 41
79 INT/EXT. TRAIN COMPARTMENT 40S - DAY 79
79 INT/EXT. TRAIN COMPARTMENT 40S - DAY 79
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.
23 41
80 INT. SMALL CINEMA HALL, DEAUVILLE - DAY 80
80 INT. SMALL CINEMA HALL, DEAUVILLE - DAY 80
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
24 44
83 INT. FANCY FRENCH BRASSERIE BY THE BEACH - EVENING 83
83 INT. FANCY FRENCH BRASSERIE BY THE BEACH - EVENING 83
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.
25 47
84 EXT. DEAUVILLE BEACH - NIGHT 84
84 EXT. DEAUVILLE BEACH - NIGHT 84
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.
26 48
85 EXT. DEAUVILLE BEACH - DAWN 85
85 EXT. DEAUVILLE BEACH - DAWN 85
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.
27 51
86 EXT. DEAUVILLE BEACH (2024, SP) - SUNRISE 86
86 EXT. DEAUVILLE BEACH (2024, SP) - SUNRISE 86
86 EXT. DEAUVILLE BEACH (2024, SP) - SUNRISE 86 Rachel lies there under several layers of jackets. Thoughtful. GUSTAV What does your father do?
28 53
87 INT. AGNES AND EVEN’S APARTMENT - EVENING 87
87 INT. AGNES AND EVEN’S APARTMENT - EVENING 87
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
29 56
88 INT. AGNES AND EVEN'S APARTMENT, ERIK’S ROOM - EVENING 88
88 INT. AGNES AND EVEN'S APARTMENT, ERIK’S ROOM - EVENING 88
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
30 58
91 EXT. NATIONAL THEATRE - DAY 91
91 EXT. NATIONAL THEATRE - DAY 91
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.
31 61
94 INT. FAMILY HOUSE (CIRCA 2000) - DAY 94
94 INT. FAMILY HOUSE (CIRCA 2000) - DAY 94
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
32 62
97 INT. NATIONAL THEATRE/ REHEARSAL SPACE (PRESENT DAY) DAY
97 INT. NATIONAL THEATRE/ REHEARSAL SPACE (PRESENT DAY) - DAY
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
33 63
100 EXT. FAMILY HOUSE (CIRCA 2000) - DAY 100
100 EXT. FAMILY HOUSE (CIRCA 2000) - DAY 100
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.
34 65
107 EXT. FAMILY HOUSE - DAY 107
107 EXT. FAMILY HOUSE - DAY 107
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.
35 69
111 INT. FAMILY HOUSE - DAY 111
111 INT. FAMILY HOUSE - DAY 111
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
36 76
114 EXT. DOWNTOWN HOTEL - DAY 114
114 EXT. DOWNTOWN HOTEL - DAY 114
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!"
37 79
118 EXT. AGNES AND EVEN'S APARTMENT BUILDING - DAY 118
118 EXT. AGNES AND EVEN'S APARTMENT BUILDING - DAY 118
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.
38 84
120 INT. AGNES AND EVEN'S APARTMENT/ ERIK'S ROOM - DAY 120
120 INT. AGNES AND EVEN'S APARTMENT/ ERIK'S ROOM - DAY 120
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
39 87
122 INT. AGNES AND EVEN'S APARTMENT/ BALCONY - EVENING 122
122 INT. AGNES AND EVEN'S APARTMENT/ BALCONY - EVENING 122
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.
40 92
129A INT. CAR SWEDISH COUNTRYSIDE - DAY 129A
129A INT. CAR SWEDISH COUNTRYSIDE - DAY 129A
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
41 94
132 INT. FAMILY HOUSE - NIGHT 132
132 INT. FAMILY HOUSE - NIGHT 132
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.
42 96
136 INT. FAMILY HOUSE - DAY 136
136 INT. FAMILY HOUSE - DAY 136
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
43 98
137 EXT. FAMILY HOUSE - DAY 137
137 EXT. FAMILY HOUSE - DAY 137
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
44 100
138 INT. AGNES AND EVEN’S APARTMENT - DAY 138
138 INT. AGNES AND EVEN’S APARTMENT - DAY 138
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
45 103
140 EXT. OSLO FERRY - DAY 140
140 EXT. OSLO FERRY - DAY 140
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
46 106
144 INT. FAMILY HOUSE - DAY 144
144 INT. FAMILY HOUSE - DAY 144
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
47 109
146 EXT. NATIONAL ARCHIVES - DAY 146
146 EXT. NATIONAL ARCHIVES - DAY 146
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.
48 110
151 INT. NATIONAL ARCHIVES/READING ROOM - DAY 151
151 INT. NATIONAL ARCHIVES/READING ROOM - DAY 151
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,
49 112
152 INT. AGNES AND EVEN'S APARTMENT - DAY 152
152 INT. AGNES AND EVEN'S APARTMENT - DAY 152
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...
50 113
154 INT. OUTDOOR AREA BY AGNES & EVEN’S APT. - DAY 154 *
154 INT. OUTDOOR AREA BY AGNES & EVEN’S APT. - DAY 154 *
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: *
51 115
156 EXT. NATIONAL THEATRE - EVENING 156
156 EXT. NATIONAL THEATRE - EVENING 156
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
52 116
163 INT. NATIONAL THEATRE/ACTORS' FOYER - EVENING 163
163 INT. NATIONAL THEATRE/ACTORS' FOYER - EVENING 163
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
53 119
169 INT. AGNES AND EVEN'S APARTMENT - DAY 169
169 INT. AGNES AND EVEN'S APARTMENT - DAY 169
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
54 122
173 EXT. NORA'S APARTMENT BUILDING - DAY 173
173 EXT. NORA'S APARTMENT BUILDING - DAY 173
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.
55 126
175 EXT. NATIONAL THEATRE - DAY 175
175 EXT. NATIONAL THEATRE - DAY 175
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
56 127
180 INT. NATIONAL THEATRE/ MAIN STAGE - EVENING 180
180 INT. NATIONAL THEATRE/ MAIN STAGE - EVENING 180
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?
57 129
181 INT. FAMILY HOUSE - NIGHT 181
181 INT. FAMILY HOUSE - NIGHT 181
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
58 131
182 EXT. FAMILY HOUSE - NIGHT 182
182 EXT. FAMILY HOUSE - NIGHT 182
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.
59 134
189 INT. HOSPITAL/ CORRIDORS - DAY 189
189 INT. HOSPITAL/ CORRIDORS - DAY 189
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.
60 135
193 INT./EXT. FAMILY HOUSE - MONTAGE SALE & RENOVATION 193
193 INT./EXT. FAMILY HOUSE - MONTAGE SALE & RENOVATION 193
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:
INT EXT INT/EXT tap to expand

Sentimental Value

A struggling actress must confront her deeply flawed filmmaker father and the dark secrets of their family history when they are forced to collaborate on his final film, set in the very house where their trauma unfolded. Other loglines ›

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Overview

Poster
Unique Selling Point

The script's unique selling proposition is its innovative use of a house as both setting and character, serving as a witness to multiple generations of family trauma, artistic creation, and emotional inheritance. This architectural POV creates a distinctive narrative structure that allows for seamless transitions between time periods while exploring how physical spaces hold memory. The meta-narrative about filmmaking and artistic creation adds intellectual depth rarely seen in family dramas.

AI Verdict

OpenAI
 Recommend
Score 8.3
Grok
 Recommend
Score 8.3
Claude
 Recommend
Score 8.5
Gemini
 Consider
Score 7.3
DeepSeek
 Recommend
Score 8.0
Average Score: 8.1
Key Takeaways
For the Writer:
To elevate the script's emotional resonance and narrative cohesion, focus on refining pacing by condensing overly drawn-out sections like the Deauville festival and historical flashbacks to maintain momentum and prevent audience disengagement. Additionally, deepen secondary character arcs, such as Agnes and Rachel, by giving them more agency and interiority, ensuring themes like power dynamics and trauma are fully explored and resolved for a more impactful, unified story. Emphasize showing rather than telling through subtle visual cues and dialogue to strengthen the script's literary strengths.
For Executives:
The script has solid arthouse value with its literary depth, emotional authenticity, and festival-friendly themes of family trauma and artistic legacy, potentially attracting niche audiences and critical acclaim. However, risks include uneven pacing that could bore viewers, underdeveloped characters reducing emotional investment, and a complex structure that might confuse mainstream markets, limiting commercial appeal; it needs significant polishing to avoid niche confinement and achieve broader success.
See Details in P/C/R/HR Section
Story Facts
Genres:
Drama 70% War 15% Thriller 10% Comedy 5% Romance 5%

Setting: Spanning from the 1950s to the present day, with significant events occurring in the 2000s and 2020s., Primarily set in a family house in Oslo, Norway, with additional scenes in various locations including a theatre, hospital, and film studio.

Themes: The Weight of Family History and Legacy, Art and Expression as a Means of Processing and Understanding, Isolation and the Search for Connection, Trauma and its Lingering Effects, The Passage of Time and Memory, Identity and Self-Discovery, Betrayal and Forgiveness, Mortality and End-of-Life Reflections

Conflict & Stakes: The central conflicts revolve around familial relationships, personal trauma, and the struggle for artistic expression, with stakes including emotional well-being, career success, and the legacy of family history.

Mood: Melancholic and introspective, with moments of warmth and humor.

Standout Features:

  • Unique Hook: The intertwining of personal family history with the artistic process, particularly through the lens of filmmaking.
  • Innovative Ideas: The use of a house as a character itself, reflecting the family's history and emotional landscape.
  • Distinctive Settings: The contrast between the family home and the theatrical world, highlighting the duality of personal and professional lives.
  • Character Depth: Complex characters that navigate their past traumas while striving for personal and artistic fulfillment.

Comparable Scripts: The Hours, A Ghost Story, Little Women, The Haunting of Hill House, This Is Us, The Family Stone, The Tree of Life, The Secret Life of Bees, The Glass Castle

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.96
Key Suggestions:
To elevate the script's creative impact, focus on deepening the development of secondary characters like Agnes and Erik by incorporating more intimate scenes that reveal their emotional struggles and motivations, which will enrich the family dynamics and make the narrative more resonant. Additionally, address pacing issues in the middle sections by tightening dialogue and transitions, ensuring that the strong emotional core and thematic elements shine through without dragging the audience.
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Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
The script excels in its thematic depth with the family house serving as a powerful metaphor for emotional states, but to elevate it creatively, focus on refining pacing to maintain momentum, introducing sharper conflicts to heighten tension, and clarifying character motivations for more authentic arcs. This will help balance the emotional intensity and prevent sentimental overload, making the story more engaging and resonant.
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Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The character analysis reveals a rich tapestry of emotional depth and conflict, particularly in Nora, Gustav, and Agnes, who are central to the story's exploration of family dynamics and personal identity. To enhance the script, focus on strengthening character arcs by incorporating more transformative moments and internal monologues, ensuring that emotional wounds and flaws drive authentic growth. Additionally, deepen dialogue and relationships to avoid superficial interactions, making the narrative more resonant and engaging, while balancing the symbolic roles of secondary characters like Erik and Jakob to prevent them from feeling underdeveloped.
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Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script's emotional core is strong in melancholy and nostalgia, but to elevate it creatively, incorporate more emotional variety and contrast to avoid monotony, such as adding moments of joy or surprise in key arcs like the film festival and family gatherings. Focus on better pacing with recovery time after intense scenes, deepen emotional layers for secondary characters like Gustav and Agnes, and strengthen connections between historical trauma and present-day struggles for a more nuanced, engaging narrative that prevents audience fatigue and enhances character empathy.
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Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The script's strength lies in its deep exploration of Nora's internal and external goals, driving character development and thematic depth, but to enhance craft, focus on tightening the philosophical conflicts—such as 'Personal Truth vs. Familial Legacy'—by introducing more nuanced, layered confrontations earlier in the narrative. This would create greater emotional tension and make resolutions feel more hard-earned, avoiding potential predictability and amplifying the script's introspective power.
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Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script's strength lies in its profound exploration of familial legacy and trauma, but to enhance its craft, focus on tightening the narrative structure to avoid overwhelming the audience with frequent time jumps and montages. Deepen character arcs, particularly Nora's, by integrating more subtle moments of growth and resolution to balance the heavy themes, ensuring that artistic expressions serve as clear vehicles for emotional catharsis rather than repetitive exposition. This will make the story more engaging and less predictable, allowing the universal themes to resonate more powerfully without alienating viewers.
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Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script's core issues stem from character inconsistencies and plot holes that undermine emotional authenticity and narrative flow. To enhance the story's craft, focus on developing character arcs that evolve naturally from their established traits rather than serving plot conveniences, and address key gaps like unexplained transitions to create a more cohesive and immersive experience. Streamlining redundant elements, such as repetitive montages, would improve pacing and allow deeper exploration of themes like family legacy and personal growth.
> Go to Logic & Inconsistencies

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
The script's poetic and introspective voice is a powerful asset, effectively personifying elements like the house to evoke deep emotional resonance, but to elevate the craft, consider varying the melancholic tone with moments of levity or tension to prevent it from becoming repetitive and to better engage audiences. This would enhance character development and pacing, ensuring the exploration of themes like memory and family bonds feels dynamic and less overwhelming.
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Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay showcases strong emotional depth and character dynamics, but to enhance its craft, focus on deepening character backstories and motivations, refining dialogue to incorporate more subtext and natural nuance, and experimenting with non-linear structures to better weave themes and arcs, ultimately creating a more immersive and resonant narrative.
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Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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Tropes
Highlights common or genre-specific tropes found in the script.
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World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The script's world-building is a strong asset, with the family house serving as a poignant symbol of decay and memory that effectively ties into themes of loss and identity. To enhance creative depth, focus on integrating technology more dynamically to underscore modern isolation without overshadowing the nostalgic core, and ensure cultural and historical elements are woven more fluidly into character arcs for greater emotional resonance and universality, avoiding potential overload that could dilute the narrative's intimacy.
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Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script excels in emotional depth and introspection, drawing viewers into rich character histories, but it often prioritizes reflection over plot advancement and tonal variety, leading to a potentially slow pace. To improve, focus on integrating more conflict-driven elements into reflective scenes, strengthening dialogue in low-stakes moments, and varying tones to enhance dynamism and ensure consistent character growth, ultimately creating a more balanced and engaging narrative.
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Loglines
Presents logline variations based on theme, genre, and hook.
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Script•o•Scope