"SENTIMENTAL VALUE" (2025)

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.

The same house in a different era. Summer. Green leaves moving in the wind. The facade paint is fresher.

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.

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.

View from several windows: the two girls running through the garden.

They squeeze through an opening in the fence behind the house and run off.

Blue Rev. (mm/dd/yy) 2.

The facade of the house from the back. Worn-out garden furniture.

MONTAGE of rapid images of the house being used and abused as the voice continues:

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).

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).

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) *

Close on the facade: a noticeable crack in the foundation.

Yellow Rev. (mm/dd/yy) 3.

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.

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.

CLOSE UP on the girl's eyes.

POV: CLOSE UP on the crack in the wall in front of her face.

The largest bedroom on the third floor. A man lies in bed. Flowers on the bedspread over him. He is dead.

The same bedroom. A baby is lifted by a midwife and placed in the mother's arms.

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.

Back to Nora's childhood room where she’s holding a pillow over her head (the pillow muffles the sound of the argument).

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.

CLOSE UP on the orange rolling until it stops against the wall.

The sound of Otto’s body hitting the floor.

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.

A cloud moves in front of the sun outside - the room darkens.

Yellow Rev. (mm/dd/yy) 5.

Back to Nora's childhood room with the crack. It is now used more as a storage room, but her bed is still there.

Close up of the book. A teenage girl’s handwriting.

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)

In the kitchen, a woman in her 40s is staring melancholically into nothingness (SISSEL, 45).

A girl (Nora 12) watches her mother just sitting there, sad.

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.

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

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:

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.

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.

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).

As they speak, Nora leaves the stage and hurries past them. She is wearing a large dress that flutters as she walks.

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.

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.

Blue Rev. (mm/dd/yy) 8.

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.

Nora has opened the door to the dressing room. The director is standing there talking to her. The stage manager stands * beside him. *

She grabs her and looks seriously at her.

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.

Blue Rev. (mm/dd/yy) 9.

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.

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 maneuvers around an absurdly large fake cake, so they are partially hidden. The stage manager looks at her suspiciously.

She slaps herself in the face to demonstrate.

Jakob looks at her. He is stressed too, and isn’t sure what to do.

Suddenly, Jakob slaps her on the cheek. Quite hard.

He takes the lead towards the stage, with Nora behind him.

The stage manager looks surprised at something behind Jakob.

As Jakob turns back, Nora is no longer behind him. She has bolted towards the exit.

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.

An older lady, the COSTUME SUPERVISOR, comes to prevent her from ruining more of the costume. Jakob comes sprinting.

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.

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.

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. *

She walks past Jakob, the priest, towards one of the other * men, and places her hand over his mouth. *

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. *

Her anger dissipates. She turns away from the immovable men. *

LATER

The play is over. Nora and the actors accept applause. Nora is visibly happy, relieved, and proud. Almost euphoric.

Nora's dressing room is as she left it. Empty. Her phone is on the sofa, it starts VIBRATING.

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?

Back to her dressing room where her phone lights up again. VIBRATING alarmingly.

Nora sits in a taxi. She has changed into “civilian” clothes and is removing her stage makeup with wet wipes, clearly stressed.

The taxi drives into a parking lot in front of a large hospital looking building.

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.

Nora doesn't respond. She sits there with her hand on the door handle.

He nods. He looks at her with concern through the rearview mirror.

Nora walks through the corridors of a nursing home. She finds the room she's looking for and slows down.

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.

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.

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.

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.

Agnes has to smile at herself.

ERIK enters (Agnes' eight-year-old son).

Even (Agnes' husband and Erik's dad) is hot on Erik’s heels.

A woman in her 60s, THEA, enters the kitchen - VOICES from the guests outside grow louder as she opens the door.

Agnes looks at her but is evidently used to hearing praise about her sister without receiving any herself. Erik wants an answer:

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.

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:

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.

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).

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.

The fireplace on the second floor a decade later. Voices from the room below are heard indistinctly: an excited discussion. Someone whispers.

Seen from a first-floor window: Karin (20), dressed in a coat, walks out of the gate.

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.

As Karin is put in the back seat, she casts a final glance up towards the second floor (and the camera).

A young woman's room (Karin's room) at the end of the hallway near the entrance. Some shelves are empty, but much remains.

The library on the first floor: abandoned. No one uses the record player.

Pink Rev. (mm/dd/yy) 18.

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.

Another photograph of Karin together with a slightly older man: Lennart. (A picture of Nora as a child hangs beside it.)

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.

Gustav (3) stands out on the porch. The rain is pouring down.

QUICK MONTAGE: The sun shining through the trees into the living room window, creating beautiful, winding shadows on the floor.

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.

The sun goes behind a cloud, the shadow disappears, and the room darkens.

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.

She closes the door behind her. Silence.

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.)

EDITH (40) and LILLIAN (30) dance together.

All the windows on the first floor are lit with a full party inside.

Yellow Rev. (mm/dd/yy) 20.

From inside among the dancing guests, we look out at the building across the street: lights in a window turn on.

Then someone turns on lights in another window in another neighboring house.

Edith (40) is hanging bed linens to dry outside in the garden. A boy, GUSTAV, 13, comes over to her. They talk.

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.

The sun is low. Edith and Lillian sit on the steps down from the small terrace, smoking in silence.

Lillian rests her head on Edith's shoulder.

The entrance and living room. Empty and worn down. The house has lost some of its charm since the happy 60s.

Gustav (35) has covered the floor of the bedroom on the second floor with plastic and is busy painting the walls.

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.

Gustav looks towards the room at the end of the hallway (where his mother died).

On a bulky tube TV, we see Gustav being interviewed as a handsome and confident 50-year-old on a talk show.

Laughter from the audience.

Yellow Rev. (mm/dd/yy) 22.

Laughter.

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.

The girl runs out the open veranda door. Soon we see the brown hair flash past the window and disappear.

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:

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.

She turns off a lamp.

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.

One can glimpse the female figure behind the window walking around alone inside. She seems frail, old before her time.

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.

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.

They walk up the stairs to the second floor.

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 shakes her head. They smile together. A loud burst of laughter is heard through the fireplace. A Swedish voice is very clear.

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.

She doesn't answer right away. Then it sinks in.

She abruptly leaves the room.

Nora stands outside the bathroom on the first floor. Agnes is washing her hands.

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.

She laughs.

Gustav sees his two daughters approaching.

Gustav and his daughters hug each other, awkwardly.

Yellow Rev. (mm/dd/yy) 26.

The father looks over at Kamilla by the fireplace.

Nora gives him a strange look - what does he mean by that?

Erik comes over to Agnes. He looks skeptical at his grandfather.

Erik gives him a stiff hug. They don’t know each other well.

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.

Nora looks at him questioningly.

Silence.

He touches her arm kindly; she finds it a bit unusual.

Silence. Gustav walks out with the two speakers.

With a speaker under each arm, he moves towards the exit. Nora stands and watches him leave.

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 sips her wine thoughtfully. Agnes takes a big gulp.

Agnes drinks more wine.

Agnes starts picking up coffee cups and empty bottles.

She opens the dishwasher. Steam billows out.

Pink Rev. (mm/dd/yy) 29.

They smile.

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.

They hug. It's more relaxed than at the reception.

She sits down.

She smiles. He waves the server over.

He smiles at the server, she smiles back and leaves. Nora is embarrassed by his flirting.

The waiter goes away.

Pink Rev. (mm/dd/yy) 30.

Nora appreciates his sensitivity but steers the conversation away.

The server comes with Nora's coffee.

Pink Rev. (mm/dd/yy) 31.

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 lays the envelope in front of her.

Silence. Gustav smiles with satisfaction.

Nora doesn't know what to say. She didn't see this coming.

Nora just looks at him.

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.

Gustav doesn't realize she's leading him on and he gets enthusiastic about this topic.

Nora sits and looks at him before she pushes the manuscript away.

Gustav doesn't understand.

Pink Rev. (mm/dd/yy) 33.

Gustav straightens up.

Nora stands up.

Gustav is taken aback.

Nora turns and walks towards the exit. Gustav follows her, he takes her by the arm and holds the envelope out to her.

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.

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 is slightly shocked. The DRIVER looks at him in the mirror.

He looks at Gustav in the mirror. Gustav doesn't understand what they're saying and smiles at the driver.

Gustav shrugs. He has no idea.

The driver doesn't quite understand. Gustav no longer listens, he looks thoughtfully out the window.

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.

They walk past a long, long line and towards some doors where they have started to let in the audience.

Through the open doors, one can see an ENORMOUS movie theatre.

Sounds of excitement spread. A young woman (RACHEL KEMP) is surrounded by fans from the line.

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.

Rachel and her entourage pass by and stop where they can be in peace.

NATHALIE, a charismatic and well-dressed woman around 50, comes towards them smiling.

She does the French cheek-kissing thing.

Nathalie spots the star standing further away.

Nathalie is already heading off.

Gustav and Christophe are left standing. Nathalie talks effusively with Rachel and the gang. They laugh.

Suddenly an older Latin American gentleman comes over, pats Gustav on the shoulder, and smiles - PEDRO MORALES.

Pedro points towards the hall (where he thinks Gustav's film will be shown) and smiles as he walks away.

Christophe and Gustav stand on stage, each with a microphone.

Gustav shrugs playfully - how would I know? - people in the audience laugh.

More laughter from the audience.

Most don't get the joke, only a couple of people laugh.

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.

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):

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.

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.

Gustav thinks. He is less cocky than before the film. Vulnerable.

Gustav still seems moved. Christophe sees it.

Reactions from the hall. Impressed. A PERSON FROM THE FESTIVAL signals to Christophe and points to his watch.

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.

Gustav is lost in thought and doesn't hear right away.

Gustav turns around. A sweaty Christophe has clearly run after him. He is out of breath.

Gustav is not in the mood, he doesn't feel like it.

Gustav suddenly becomes interested.

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.

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.

Rachel spots Gustav and lights up.

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's manager, SAM, a man in his 40s, smiles at Gustav. The festival director from earlier in the evening is also there:

Gustav sits down, pleased with the praise.

Gustav picks up the menu.

Blue Rev. (mm/dd/yy) 44.

Everyone around the table agrees: yes so great, so moving.

Rachel can’t help but smile.

Others agree. Gustav seems more concerned with the waiter.

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.

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 isn't listening. The waiter goes to check.

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: *

Rachel looks at him and smiles. *

RACHEL * (smiles) * Now? *

GUSTAV * (gets up) * We’re going to the beach. *

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: *

Rachel laughs. Nicky and Sam seem a bit nervous, but are in.

Nathalie and her assistant exchange a worried look. *

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.

Gustav pours for Rachel. They spill a lot and laugh.

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 gets the bodyguard to take off his shoes and walk barefoot in the sand. He enjoys it in a surprisingly childlike way. Rachel laughs.

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 finds this amusing. Sam - on a sun lounger with Nicky - is slightly shocked overhearing this.

Nicky sits with her nose in her phone and yawns.

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.

Gustav lets it sink in before responding.

Rachel glances over at Sam and Nicky.

Rachel looks over at Sam (still asleep) and laughs.

Silence.

Pink Rev. (mm/dd/yy) 49.

She nods slightly, pensive.

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.

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.

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.

Rachel lies there under several layers of jackets. Thoughtful.

This is a difficult subject for Rachel.

The water sparkles. The sun has risen above the horizon.

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.

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.

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.

A TV FILLS THE SCREEN, IT SHOWS GUSTAV'S DOCUMENTARY:

A beautiful blue-glistening frog is lying on a stone.

The blue frog is evidently the one Gustav calls Edvald. There are other frogs there, with completely different colors and patterns.

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.

Agnes and Even’s living room. Nora is visiting and watching her father's film with them on their big TV.

Agnes laughs. Even pours more wine. Their son Erik is also sitting on the sofa with his iPad, looking up now and then.

She takes a sip and continues watching the documentary.

Nora takes the remote and turns the volume down.

On the TV, we see silent images of the frog in the zoo mixed with beautifully composed jungle pictures.

On the TV, we see the frog lying on a white bench, completely still, only its faint breathing showing it's alive.

They stop talking - captivated by the images:

The last frog of its kind taking its very last breath.

Pink Rev. (mm/dd/yy) 54.

Agnes picks up the thread from earlier.

Agnes is slightly taken aback - of course, there is.

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.

A brief silence. They think the same thing:

They laugh more. Erik listens, not quite understanding, but he smiles too.

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.

Erik's room. He lies in bed with a small night light on.

Erik makes room for her in the narrow bed.

They lie there in silence. Erik seems very tired.

She smiles, but answers without making fun of him.

Pink Rev. (mm/dd/yy) 56.

Nora hugs him. They lie there quietly. Erik closes his eyes.

Even and Agnes are drinking wine in the living room. Nora comes in.

She pours herself a glass of wine.

She raises a toast. Agnes and Even laugh and toast back. Nora sits down.

Agnes has noticed that Nora has tears in her eyes.

Nora shakes her head, but starts to cry. Agnes goes to her.

Yellow Rev. (mm/dd/yy) 57.

She touches Nora's arm comfortingly, but Nora pulls away and stands up.

She nearly runs out of the living room. Agnes follows her.

In the hallway, Nora puts on her shoes and grabs her jacket.

Silence.

Agnes gets what he's hinting at.

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.

Nora walks down a street and enters the side entrance of the theatre.

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.

For some reason, this makes Nora smile a bit.

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.

Nora is surprised.

Nora nods seriously.

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.

Nora laughs. Jakob smiles.

Blue Rev. (mm/dd/yy) 59.

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. *

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. *

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.

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:

A man sits where the woman was just sitting - right by the fireplace.

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.

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.

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:

Someone laughs. We see that Jakob (whom she was in bed with) * is one of the actors. He smiles. *

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's voice from the rehearsal is drowned out by Agnes:

Nora thinks.

Pink Rev. (mm/dd/yy) 62.

Nora watches them.

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.

They kiss. She puts the helmet on his head and fastens it while they talk.

He kisses her goodbye and leaves with the helmet on.

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.

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.

Nora walks down the street, thoughtful. We hear her voice from the earlier conversation with Agnes.

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...

...then a WOMAN IN HER 30s pushing a red bike.

The woman with the bike moves on. She seems sad.

Scenes from Nora's single existence intermingle with scenes of other lonely women:

Nora (adult) sits alone in her bed, reading and making notes in her manuscript.

Nora jogs alone through the green cemetery. Intense.

Blue Rev. (mm/dd/yy) 64.

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.

The woman with the red bike sits down to lock her bike. She pauses. Tears are in her eyes.

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. *

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.

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.

Blue Rev. (mm/dd/yy) 65.

Agnes is a bit taken aback by Nora's reaction.

It's a nice, simple glass vase.

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.

A bound manuscript lies open on the kitchen table.

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.

Silence. Agnes turns and goes back into the dining room.

Nora walks towards her. Agnes struggles to say it outright.

Nora is taken aback.

Outside we hear car doors slamming. Agnes goes to the window.

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.

Nora doesn't see what Agnes sees.

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.

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.

On the other side of the house, Gustav opens the door for Rachel but then blocks the way for the agent and Nicky.

Sam is about to protest, but Gustav closes the door.

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?

Agnes shakes her head. She tries not to stare at Rachel.

They shake hands.

Agnes can't say a word but smiles kindly.

Pink Rev. (mm/dd/yy) 69.

It dawns on Rachel that Agnes played in the film she saw.

Agnes doesn’t know what to say. This is surreal.

Rachel takes a picture.

Pink Rev. (mm/dd/yy) 70.

Agnes smiles at the attempt.

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.

Pink Rev. (mm/dd/yy) 71.

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.

Rachel nods.

He goes into the room at the end of the hallway. He brings a stool and places it in the middle of the floor.

He walks a bit down the hallway.

Pink Rev. (mm/dd/yy) 72.

She might have a point. Gustav has to think for a moment. *

Gustav sees that this makes Rachel a bit nervous.

This makes an impression on her. She likes the challenge, but it scares her. Gustav continues with the scene.

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.

They go back into the room at the end of the hallway.

He points to a white-painted metal hook in the ceiling for hanging a lamp.

A brief silence. Gustav looks at her.

Rachel can't believe it.

She has to sit down on the stool by the door.

Rachel is taken aback. A devilish smile appears on Gustav's face, he points to the stool she's sitting on.

Rachel jumps up and looks at the stool in shock.

Rachel is taken aback.

Pink Rev. (mm/dd/yy) 74.

He walks back through the kitchen. Rachel follows.

Gustav smiles. Agnes gives him a strange look.

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.

Behind him are both extras in medieval armor and crew members in jeans and t-shirts. An ASSISTANT tries to interrupt.

Pink Rev. (mm/dd/yy) 75.

Gustav sits on the couch, trimming his toenails with Michael on speakerphone. Music from the band New Order plays from the stereo.

He concentrates on a toenail as Michael cheers.

Gustav smiles. He leans over and turns the volume up. *

BLACK SCREEN

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!"

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).

Pink Rev. (mm/dd/yy) 76.

Gustav helps attach the microphone to his shirt collar.

Michael sighs but sees that Gustav is determined.

Gustav is bored. He stifles a yawn.

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.

Michael intervenes from behind the camera.

Gustav looks at Michael strangely.

Nicky looks up from her phone, she doesn’t like this.

The journalist is fishing for a bigger reaction.

Rachel hides her unease. The CAMERAMAN zooms in on her. *

The camera eagerly pans over to Gustav, who is visibly upset.

Rachel looks at Gustav, grateful.

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.

Blue Rev. (mm/dd/yy) 78.

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)."

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.

Nora approaches the door to where Agnes lives, carrying a gift. She seems slightly nervous and rings the doorbell.

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.

Erik comes rushing over and hugs Nora.

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...

Pink Rev. (mm/dd/yy) 79.

Erik walks over and hugs his grandfather. Nora gets up from the couch but remains at a distance.

Gustav takes Therese in his arms, bends her down, and kisses her on each cheek. He is effusive and charming.

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.

Gustav looks over at Nora who observes from the living room. * Their eyes meet.

Even and Therese appear with wine glasses. Gustav notices that Erik is back with his iPad on the couch.

A beat. Agnes looks worried. Gustav chooses to interpret it humorously.

Gustav and Agnes laugh, relieved that Nora is joining in on the joke.

Gustav interrupts before Nora can answer.

Pink Rev. (mm/dd/yy) 81.

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.

Gustav looks over at Erik with the iPad (out of earshot).

Pink Rev. (mm/dd/yy) 82.

Gustav sees Even engrossed in his phone and smiles.

AGNES * And then what do you say? *

Erik goes through the movies. Except for "The Red Balloon", there are no movies suitable for a 9-year-old.

Gustav picks up "Irreversible" and holds it up to Erik.

Gustav looks at him oddly.

A silence. What did he mean by that?

Gustav laughs.

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.

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.

Nora laughs. The two of them have obviously bonded over making fun of Even. Agnes notices.

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.

He presses play, and a film starts playing on the TV.

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.

He enthusiastically puts his arm around Erik.

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.

Pink Rev. (mm/dd/yy) 86.

Erik smiles.

Gustav and Nora are standing on the balcony, smoking. The mood is light.

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.

Pink Rev. (mm/dd/yy) 87.

Silence. It's a terrible thing to say in front of Nora, but it's hard to know if he meant it that way.

Gustav laughs. Therese also chuckles at this.

Gustav turns towards Nora. He suddenly seems worried.

Nora is caught off guard by this turn.

He smiles - perhaps an invitation to make fun of Even, as they have been doing all evening. But Nora doesn't smile.

Nora is silent, her eyes vacant. Agnes feels like she should say something.

Gustav senses Nora's anger.

Pink Rev. (mm/dd/yy) 89.

Therese and Even don't know how to react. Agnes feels the awkward tension and tries to smooth things over.

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.

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.

Nora looks up at Agnes, reproachful. Agnes looks down.

Nora walks pensively through the streets. It's deserted.

Blue Rev. (mm/dd/yy) 90.

A lone car passes by and disappears.

Gustav walks alone on the road, looking troubled.

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.

Nora arrives home, she switches on the hallway light.

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.

Nora sits on the tram, looking tired.

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.

Gustav sits in a car. Outside, we see vast landscapes and fields. It reminds us of the landscape in his film "ANNA." *

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.

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 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.

He lifts up the script.

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.

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.

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.

Gustav sits at the kitchen table. He watches Peter pour whiskey into two glasses - are his hands shaking as well?

Peter sits down next to Gustav.

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.

Silence. Gustav finds this hard to say.

Peter realizes the implication.

Gustav nods, sadly.

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.

He notices that the frame is full of dates and names - the heights of Nora and Agnes measured and marked over the years.

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.

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 is tired. His eyes flutter.

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.

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.

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.

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.

Rachel flips through her script - Ingrid notices it's full of post-it notes and annotations, someone has been working hard.

Gustav stands up energetically and pushes a chair over.

Ingrid sits down next to Rachel.

She reads with more emotion, smiling at herself, embarrassed.

Blue Rev. (mm/dd/yy) 97.

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.

They have moved out to the garden for a short break. The assistant serves coffee on the terrace.

Pink Rev. (mm/dd/yy) 98.

Gustav thinks. She might have a point.

This makes an impression on Rachel. Gustav empties his coffee cup, but Rachel is not entirely done with this subject.

Gustav looks at her.

Rachel is confused. *

Pink Rev. (mm/dd/yy) 99.

Rachel has just arrived at Agnes's home. They walk through the apartment, Rachel has a lot on her mind.

A beat.

Agnes feels she doesn't have good answers.

Rachel moves towards the dining table and sits down.

Pink Rev. (mm/dd/yy) 100.

Agnes follows and sits down.

Silence. Agnes feels that Rachel is uncertain.

Rachel is comforted to hear that he is always like this.

Pink Rev. (mm/dd/yy) 101.

Rachel puts on her shoes.

Agnes doesn’t notice Rachel’s surprise.

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. *

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.

Nora stands on the ferry deck with director Olivia, Jakob, and four other actor colleagues from the new play.

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.

Nora is surprised - she hasn't heard about this. Jakob looks at her - their eyes meet before he looks up at Olivia again.

Jakob smiles at Olivia.

LATER

Nora and Jakob are alone on the picnic blanket, talking seriously.

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 touches his arm comfortingly. He smiles at her.

Pink Rev. (mm/dd/yy) 103.

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.

Jakob observes Nora as she speaks.

Nora pretends to search her phone as if she's really going to play it. Laughter. Jakob looks skeptical.

Jakob holds out a bottle and diverts Nora. She forgets her phone and lets him fill her glass.

Nora nods, thoughtful. She looks at Jakob.

It feels sore. Silence. Nora becomes self-conscious, she raises her glass and smiles.

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.

She tries to kiss him again, but he won't.

Nora looks at him, hurt. Jakob avoids her gaze.

He turns and follows the others.

Nora is left standing, rejected.

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.

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.

Rachel listens intently, clearly nervous.

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.

Gustav and Ingrid lie in bed in Ingrid's large hotel room. They've obviously just had sex and lie catching their breath.

Pink Rev. (mm/dd/yy) 106.

Gustav laughs heartily.

Ingrid puts her feet on the floor and picks up a T-shirt.

Gustav lifts the duvet and shows her his 70-year-old body.

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 sits down.

Pink Rev. (mm/dd/yy) 107.

Ingrid sits down.

Gustav stretches his arm out towards her water glass.

He takes a sip and hands the glass back to her.

Ingrid puts the glass down and sits closer to him:

Gustav looks at her, he is surprised by this.

Silence. Are his eyes a bit blank?

Ingrid doesn't answer. Gustav thinks about what she said.

Pink Rev. (mm/dd/yy) 108.

Gustav is silent. He suddenly becomes very emotional.

Ingrid wraps her arms around him comfortingly.

A functionalist building from the 70s on the outskirts of Oslo near the forest.

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.

Agnes enters the large main door.

Agnes enters the end of the building and goes up a staircase.

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.

The archivist points to a very thick folder.

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.

Agnes sits at home with Even on the sofa. The TV is on.

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.

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.

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.

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. *

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. *

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. *

They look at Erik who is filming something with his phone. *

Gustav looks over at Erik. *

Agnes is caught off guard.

Agnes isn't sure what to say, but it's clear she isn't fond of the idea. Gustav doesn't seem to notice.

Pink Rev. (mm/dd/yy) 114.

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. *

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.

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.

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.

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.

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.

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.

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.

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 leans closer to her sister.

Nora looks at her, puzzled.

Nora looks away. Agnes feels something is off with her.

Nora is about to answer, but someone else comes to congratulate her and she turns away.

Nora sits alone in her dressing room.

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.

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.

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.

Nora sits at the kitchen table with her back turned. She talks on the phone - her voice sounds flat. Drained of energy.

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.

Agnes stands at the kitchen counter. Thoughtful. The light changes here too.

Agnes is angry at him.

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.

Agnes has actually already made up her mind.

Pink Rev. (mm/dd/yy) 119.

She sits down.

Silence. He takes her hand.

Gustav talks and talks without noticing that Agnes isn't listening - something is building up in her.

Suddenly, Agnes withdraws her hand. She is upset.

Gustav has never seen her like this.

Pink Rev. (mm/dd/yy) 120.

Gustav is taken aback.

Agnes just looks at him.

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.

Gustav is clearly shaken by everything Agnes says, as a last argument he touches the script lying on the table.

Gustav tries to get a word in, but she talks over him.

Silence. Gustav is devastated.

SOUND of the front door.

Soon, Erik comes running in and hugs his grandfather.

She gives Gustav a stern look. He gets up slowly. He looks much older than usual.

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.

Agnes sits on the toilet, reading her father's script. Clearly captivated.

Agnes reads in the nightstand light. Even sleeps beside her.

She finishes and puts the script away. Thoughtful.

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.

Nora opens the door and lets in Agnes.

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.

Nora nods, but avoids looking at her.

Nora nods again.

Nora shrugs.

Agnes goes over and shuts the laptop. Silence.

She goes over to Nora with her father's script in hand.

Nora doesn't understand, but she sees that this is important for Agnes.

Pink Rev. (mm/dd/yy) 123.

Nora doesn't quite understand. Agnes calms down.

She finds something in the script and gives it to Nora.

Nora looks at it.

Nora looks at it, she begins to read internally.

Nora reads the monologue we know from when Rachel read it, * but now we hear it in Norwegian. *

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.

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 is silent. She is clearly affected by what she has read.

Agnes places her hand on her arm. Nora is thoughtful.

Silence.

Nora looks down at the script.

Agnes nods.

Pink Rev. (mm/dd/yy) 125.

Nora is moved. But she's still sad.

Agnes hugs her.

A new day. Nora enters the theatre through the side entrance.

Nora in her dressing room. NOISE and conversations outside.

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.

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.

They move through the backstage towards the stage.

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.

They sit in the auditorium among the empty seats.

Silence. Rachel gets to the point:

Pink Rev. (mm/dd/yy) 127.

A beat.

Silence.

Rachel sighs.

Nora understands where this is heading.

Nora waits for her to continue.

A beat.

Pink Rev. (mm/dd/yy) 128.

Silence.

Silence. A STAGEHAND crosses the stage far up ahead. He seems to be looking for something before he disappears off stage. *

Rachel looks at her, surprised.

This makes an impression on Rachel.

The two friends Michael and Gustav sit together in armchairs in the living room, drinking. MUSIC plays from a stereo.

Michael looks at him, it’s clear something is bothering his friend.

Pink Rev. (mm/dd/yy) 129.

Michael takes him seriously, he becomes thoughtful too.

Gustav notices his friend’s seriousness and listens.

This makes an impression on Gustav.

LATER *

Michael gets ready to leave.

Michael seems nervous.

Pink Rev. (mm/dd/yy) 130.

They hug.

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 opens the veranda door for her.

Gustav puts the kettle on the stove.

A beat. He's right.

Gustav nods. He pours water into a cup with a tea bag.

He hands her the cup.

Rachel is suddenly moved. Gustav sees it.

Rachel starts to cry. Gustav slides his chair closer and holds her in a comforting, fatherly way.

Gustav holds her.

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.

She walks towards the door. Before she leaves, he says:

Rachel smiles. She leaves.

Gustav is left alone.

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:

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.

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.

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.

Nora walks through some corridors, she seems stressed.

LATER

Nora and Agnes stand in a hospital corridor. Agnes tries to reassure.

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.

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.

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.

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.

She brings a glass with a straw over to him.

Nora and Agnes are embarrassed by their father's flirting, but they have to smile.

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.

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 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 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. *

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 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.)

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:

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.