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-{"scene_id": 1, "text": "THE FATHER\na film \nby\nFLORIAN  ZELLER\nscreenplay\nby\nFLORIAN  ZELLER\nand\nCHRISTOPHER HAMPTON\nFINAL SCRIPT\nA note on design :\nThe majority of the film is to be made in the studio, \non a set representing Anthony's flat.\nAs the film goes on, the appearance of the flat will \nevolve. This development is indicated in the script by \nnumbers 1 to 5, thus:\n1. Anthony's flat.\n2. Anne's flat.\netc. In every case, the space is identical. The décor is \nthe only indication that we might be in a different \nplace. The intended aim is to create uncertainty and the \nimpression of being simultaneously in the same location \nand somewhere different - ultimately, a hospital.\nPrincipal characters :\nANTHONY \nis about 80. He lives on his own in London. He was an \nengineer and has two daughters, ANNE and LUCY.\nANNE\nis ANTHONY's older daughter. She's a translator, working \nin London. In the absence of her sister, she looks after \nher father's daily needs; she's extremely attached to \nhim.\nPAUL \nis a banker who's worked in London for many years. He \nlives with ANNE.\nLAURA \nis a young carer of about 30. She glows with the \nfreshness of youth.\nTHE MAN \nis a stranger when he first appears. Eventually we learn \nhis name is BILL and that he works in a care home.\nTHE WOMAN \nis a stranger when she first appears. Eventually we learn \nher name is CATHERINE and that she works in a care home.ii.", "behaviors": [], "source": "The Father"}
-{"scene_id": 2, "text": "EXT.    STREET IN LONDON    DAY 1 1\nMusic. ANNE emerges from the entrance to a tube station into \na London street. She’s in a hurry, her expression serious.\nShe arrives, across from a familiar block of flats. She \ncrosses the street in such a rush, she’s almost hit by a \ntaxi. She steps into the building.", "behaviors": [], "source": "The Father"}
-{"scene_id": 3, "text": "INT.    STAIRS AND LANDING   DAY 2 2\nANNE climbs the stairs. She arrives on the second floor and \nrings a bell. Then, impatient, she fetches a bunch of keys \nout of her handbag and opens the door.\nANNE\nDad?", "behaviors": [], "source": "The Father"}
-{"scene_id": 4, "text": "INT.    ANTHONY’S FLAT    DAY 3 3\nANNE moves from one room to another, her anxiety mounting.\nANNE\nDad? It’s me... Are you there? Dad?\nNo answer. Tension rises. She steps into -", "behaviors": [], "source": "The Father"}
-{"scene_id": 5, "text": "INT.    OFFICE    DAY 4 4\n- ANTHONY’s office and finds him. He’s sitting in his \narmchair, listening to music on his headphones. \nANNE\nAh, there you are.\nHe’s surprised to see her. He takes off his  headphones  \nimmediately. The music we’ve been hearing  cuts out, as if \nit’s been coming  through ANTHONY’s headphones .\nANTHONY\nWhat are you doing  here?\nANNE\nWhat do you think? \nHe seems  irritated by his  daughter’s  unexpected  arrival .\nShe notices the curtains are closed and goes over to open \nthem. She turns  towards him.\nANNE (CONT’D)\nSo? What  happened ?\nHe turns off the music.THE FATHER - FINAL  1\nANTHONY\nNothing .\nANNE\nTell me.\nANTHONY\nI just did. Nothing  happened .\nANNE\nNothing  happened ?\nANTHONY looks at her as if to say: “Nothing at all.”\nANNE (CONT’D)\nI’ve just had her on the phone.\nANTHONY\nSo? What  does that prove ?\nANNE\nYou can’t go on behaving like this.\nANTHONY\nIt’s my flat, isn’t it? I mean, \nthis is incredible. You burst in on \nme as if... I’ve no idea who she \nis, this woman. I never  asked her \nfor anything .\nANNE\nShe’s here to help you.\nANTHONY\nTo help me do what? I don’t need  \nher. I don’t need  anyone.\nAbruptly, he decides to leave the room.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 6, "text": "INT.    LIVING ROOM    DAY 5 5\nANTHONY goes to the piano and starts playing a couple of \nnotes. \nHe turns  his back on her as she appears in the doorway .\nANNE\nShe told me you’d called her a \nlittle bitch. And I don’t know what  \nelse.\nANTHONY\nMe?\nHe shrugs  his shoulders .CONTINUED: 4 4THE FATHER - FINAL  2\nANTHONY (CONT’D)\nCould be. I don’t remember .\nANNE\nShe was in tears .\nANTHONY\nWhat, just because I called her \na...\nANNE\nNo. She told me you threatened her. \nPhysically .\nANTHONY stops playing the piano and turns back to her.\nANTHONY\nPhysically? Me? Obviously she has \nno idea  what she’s talking about. \nThis woman is raving mad, Anne. \nBest if she does  leave, believe me.\nANNE sighs. She looks desperate. ANTHONY becomes  aware of \nthis.\nANTHONY (CONT’D)\nEspecially as...\nANNE\nAs what ?\nANTHONY\nListen... I didn’t  want to tell \nyou... but if you must know, I \nsuspect she was...\nHe breaks off. ANNE looks at him as if to say: “She was  \nwhat?”\nANTHONY (CONT’D)\nShe was  stealing from me.\nANNE\nAngela? Of course not. What are you \ntalking about?\nANTHONY\nI’m telling you. She stole my \nwatch.\nANNE\nYour watch ?\nANTHONY\nYes.CONTINUED: 5 5THE FATHER - FINAL  3\nANNE\nIsn’t it more likely you just  lost \nit?\nANTHONY\nNo, no, no. I already  had my \nsuspicions. So I set a trap for \nher. I left my watch  somewhere, out \nin the open, to see if she’d pinch  \nit.\nHe illustrates this with a vague hand gesture .\nANNE\nWhere? Where did you leave it?\nANTHONY\nMm? Somewhere. Can’t remember. All \nI know is it’s nowhere to be found. \nThat girl stole it. I know she did.\nANNE sits down. She looks winded.\nANTHONY (CONT’D)\nWhat’s the matter?\nANNE\nI don’t know what to do.\nANTHONY looks at her as if to say: “What about?”\nANNE (CONT’D)\nWe have to talk, Dad.\nANTHONY\nThat’s what we’re doing, isn’t it?\nANNE\nI mean, seriously. This is the \nthird one you’ve...\nANTHONY\nI said, I don’t need her! I don’t \nneed her or anyone else! I can \nmanage very well on my own!\nObviously, ANNE isn’t listening; she continues pursuing her \nthread, which annoys ANTHONY.\nANNE\nShe wasn’t easy to find, you know. \nIt’s not that easy. I thought she \nwas really good. A lot of good \nqualities. She... and now she \ndoesn’t want to work here any more.CONTINUED: 5 5THE FATHER - FINAL  4\nANTHONY\nYou’re not listening to what I’m \ntelling you. This girl stole my \nwatch! I’m not going to live with a \nthief.\nANNE\nHave you looked in your bathroom \ncupboard?\nANTHONY\nWhat?\nANNE\nIn your bathroom cupboard. Behind \nthe boiler. Where you hide your \nvaluables.\nThis remark seems to stagger ANTHONY.\nANTHONY\nHow do you know?\nANNE\nI just know, that’s all.\nANTHONY\nHave you been in my cupboard? Anne, \ntell me the truth. \nANNE\nNo!\nANTHONY\nThen how do you know that... I \nmean... that I sometimes... with my \nvaluables...\nANNE\nI can’t remember. I must have \nopened it by accident.\nANTHONY looks appalled. He hurries off towards his bathroom.\nANNE (CONT’D)\nWhere are you going? I didn’t touch \nanything, Dad.\nHe leaves the room. ANNE sighs.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 7, "text": "INT.    ANTHONY’S BATHROOM    DAY 6A 6A\nANTHONY goes to his bathroom to look in his hiding-place. He \ncloses the door to make sure no one is watching him. CONTINUED: 5 5THE FATHER - FINAL  5\nHe reappears few seconds later, his watch on his wrist with \nobvious satisfaction. Then, he heads back towards the... \noffice.", "behaviors": [], "source": "The Father"}
-{"scene_id": 8, "text": "INT.    LIVING ROOM    DAY 6B 6B\nANNE is waiting for him in the living room. She sighs. She \nknows they can not go on like this... She hardly knows what \nto make of the situation.  \nShe sees the painting on the wall. This is her sister’s \npainting. Things would have been easier for her if LUCY were \nhere... \nShe sees ANTHONY step into the office. He turns on the T.V. \nHas he forgotten she’s there? \nHer father’s absurd behaviour almost makes her smile. \nShe gets up to go and join him -", "behaviors": [], "source": "The Father"}
-{"scene_id": 9, "text": "INT.    OFFICE    DAY 7 7\n- in the office. He’s sitting in his armchair, flicking \nthrough the channels on his T.V., until he reaches a Fred \nAstaire movie. He watches Fred tap-dancing, entranced.\nANNE appears in the doorway. She looks at him for a moment \nwithout saying anything.\nANNE\nYou found it.\nANTHONY\nWhat?\nANNE\nYour watch.\nANTHONY\nOh. Yes.\nANNE\nYou realise Angela had nothing to \ndo with it.\nANTHONY\nOnly because I hid it. Luckily. \nJust in time! Otherwise, I’d be \nsitting here talking to you with no \nmeans of knowing what time it was. \nIt’s five o’clock, if you’re \ninterested. Myself, I am \ninterested. Pardon me for \nbreathing.CONTINUED: 6A 6ATHE FATHER - FINAL  6\nANNE\nHave you taken your pills?\nANTHONY uses the remote to turn off the TV. \nANTHONY\nYes. But why are you...? You keep \nlooking at me as if there was \nsomething wrong. Everything’s fine, \nAnne. The world is turning. You’ve \nalways been that way. A worrier. \nLike your mother. Your mother was \nalways scared. Always looking for \nreasons to be scared. Whereas your \nsister has always been much more... \nAt least she doesn't keep badgering \nme.\nPause.\nANTHONY (CONT’D)\nWhere is she, by the way? Have you \nheard from her?\nNo answer from ANNE.\nANTHONY (CONT’D)\nI’m asking you a question...\nANNE\nI’m going to have to move, Dad .\nANTHONY looks at her, not understanding .\nANNE (CONT’D)\nI’m going to have to leave London.\nANTHONY\nReally? Why ?\nANNE\nWe talked about this. Do you \nremember ?\nBrief pause. ANTHONY doesn’t  seem to know what she’s talking  \nabout. \nANTHONY\nIs that why  you’re so keen on this \nnurse living with me? Well, \nobviously it is. The rats are \nleaving the ship .\nANNE\nI won’t be here, Dad. I won’t be \nable to come here everyday. You \nneed to understand that.CONTINUED: 7 7THE FATHER - FINAL  7\nANTHONY suddenly looks fragile.\nANTHONY\nYou’re leaving? When? I mean... \nwhy?\nANNE\nI’ve met someone.\nANTHONY\nYou?\nANNE\nYes.\nANTHONY\nYou mean... a man?\nANNE\nYes.\nANTHONY\nReally?\nANNE\nYou needn’t sound so surprised.\nANTHONY\nNo, it’s just that... since your... \nWhat was his name?\nANNE\nJames.\nANTHONY\nThat’s right. You have to admit, \nsince James, there  hasn’t been a \nlot of... What’s he do, anyway?\nANNE\nHe lives in Paris. I’m going to go \nand live there .\nANTHONY\nWhat, you? In Paris? You’re not \ngoing to do that, are you, Anne? I \nmean, wake up... They don’t even  \nspeak English.\nPause.\nANTHONY (CONT’D)\nDo I know him?\nANNE\nYes. You’ve met him.CONTINUED: 7 7THE FATHER - FINAL  8\nPause. He’s trying to remember. \nANTHONY\nSo, if I understand  correctly, \nyou’re leaving me. Is that it? \nYou’re abandoning me...\nANNE\nDad...\nHe suddenly looks really  anxious. \nANTHONY\nWhat’s going to become of me?\nShe approaches him, her expression tender.\nANNE\nYou know, it’s important to me. \nOtherwise, I wouldn’t be going. \nI... I really love him.\nPause. He says  nothing .\nANNE (CONT’D)\nI’ll come back and see you often. \nAt weekends. But I can’t leave you \nhere all on your own. It’s not \npossible. That’s why. If you refuse \nto have a carer, I’m going to have \nto...\nANTHONY\nTo what ?\nPause. She doesn’t  answer.\nANTHONY (CONT’D)\nTo what ?\nANNE\nYou have to understand, Dad .\nANTHONY\nYou’re going to have to what ?\nShe lowers her eyes. Pause.\nANTHONY (CONT’D)\nAnne... you’re  going to have to \nwhat?CONTINUED: 7 7THE FATHER - FINAL  9", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 10, "text": "INT./EXT.    BEDROOM    DAY 8 8\nANTHONY stands at his bedroom window. He’s watching  his \ndaughter cross the street and walk away from the block of \nflats. She doesn’t look back.\nHe can’t get over the fact that his  daughter - his own  \ndaughter - is capable of threatening him in this way.\nHe turns  away from the window. He sits on the bed. He thinks  \nfor a moment, his expression anxious .", "behaviors": [], "source": "The Father"}
-{"scene_id": 11, "text": "INT.    KITCHEN    DAY 9 9\nANTHONY switches on the radio. It’s a Verdi aria. He hums  \nalong with it.\nHe starts making tea.\nThere are shopping bags on the table. ANTHONY seems surprised  \nto see them. Who’s put them  there? \nHe inspects  their contents and decides to put the shopping \naway in the cupboard. He seems to be on top of the situation. \nThere’s a poster on a wall, some French landscape with a \nlake, perhaps .\nSuddenly, he hears a door  closing, within the flat. He \nlistens. He switches off the radio, listens  again. \nFootsteps. There’s  someone in the flat.\nHe hesitates for a moment, not sure how to proceed. To \nreassure  himself, he picks up a fork. \nHe leaves the kitchen.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 12, "text": "INT.   ENTRANCE HALLWAY   DAY 10 10\nHe approaches the sounds, moving  cautiously .\nANTHONY\nAnne?\nHe hears  another sound, this time from the living room.\nANTHONY (CONT’D)\nIs there  somebody there?THE FATHER - FINAL  10", "behaviors": [], "source": "The Father"}
-{"scene_id": 13, "text": "INT.    LIVING ROOM    DAY 11 11\nHe pushes open the door. In the middle of the room, reading  \nhis emails on his mobile, is a stranger, a tall, dark man of \nabout 50. The MAN glances up at him, no particular  reaction: \nthen resumes  reading  his smartphone.\nMAN\nEverything all right ?\nANTHONY\nWho are you?\nMAN\nSorry?\nANTHONY\nWhat are you doing  here? What are \nyou doing in my flat?\nThe MAN looks at him, astonished. \nMAN\nAnthony, it’s me... Paul.\nANTHONY\nWhat?\nMAN\nDon’t you recognise me? It’s me, \nPaul.\nThe MAN takes a step in ANTHONY’s direction, which causes him \nto back away. \nANTHONY\nWho? What are you doing here?\nMAN\nI live here.\nANTHONY\nYou?\nMAN\nYes.\nANTHONY\nYou live here?\nMAN\nYes.\nANTHONY\nYou live in my flat? That’s the \nbest yet. What is this nonsense?THE FATHER - FINAL  11\nMAN\nI... I’m going to phone Anne. \nSeeing ANTHONY’s apparent confusion, the MAN clarifies:\nMAN (CONT’D)\nYour daughter.\nANTHONY\nThank you, yes, I do know who Anne \nis! Do you know her? You a friend \nof hers?\nNo answer. The MAN is dialling a number.\nANTHONY (CONT’D)\nI’m speaking to you. Do you know \nAnne?\nMAN\nI’m her husband.\nANTHONY is caught off guard.\nANTHONY\nHer husband?\nMAN\nYes.\nANTHONY\nBut... since when?\nMAN\nComing up for ten years.\nANTHONY tries to conceal his dismay.\nANTHONY\nAh, yes. Of course. Yes, yes. \nObviously. Ten years already? Time \npasses at such a lick... But I \nthought... Didn’t you, aren’t you \nseparated?\nMAN\nWho? Anne and me?\nANTHONY\nYes. You aren’t?\nMAN\nNo.\nANTHONY\nAre you sure? I mean... I mean, are  \nyou sure ? CONTINUED: 11 11THE FATHER - FINAL  12\nMAN\nYes, Anthony.\nANTHONY\nBut this thing about France? Wasn’t \nshe supposed to be going to Paris \nto... wasn’t she?\nThe MAN is on the phone. \nMAN\nHello, darling. Yes, it’s me.", "behaviors": ["repetitive_questioning"], "source": "The Father"}
-{"scene_id": 14, "text": "INT.    INDIAN SHOP    DAY 11A 11A\nANNE is choosing a chicken from the cooler in a small \nsupermarket run by Indians. She speaks into the phone.\nANNE\nWhat’s the matter?... What?", "behaviors": [], "source": "The Father"}
-{"scene_id": 15, "text": "INT.    DINING ROOM    DAY 12 12\nThe MAN moves into the dining room in order not to be \noverheard by ANTHONY.\nMAN\nNo, it’s just your father isn’t \nfeeling very well. I think he’d \nlike to see you.\nANTHONY doesn’t know what to make of the situation. He \nrealises he still has a fork in his hand. He slips it \ndiscreetly into his pocket. \nMAN (CONT’D)\nFine, but don’t be too long.\nHe hangs up, turns to ANTHONY.\nMAN (CONT'D)\nShe’s just doing some shopping. \nShe’ll be up in a minute. \nANTHONY\nShe told me she was going to go and \nlive in Paris. She told me the \nother day.\nMAN\nParis?\nHe moves into the Living Room, takes the newspaper.CONTINUED: 11 11THE FATHER - FINAL  13\nANTHONY\nYes.\nMAN\nWhat was she going to do in Paris?\nANTHONY\nShe’s met a Frenchman.\nThe MAN frowns at him. He knows it isn’t true. \nMAN\nI don’t think so, Anthony.\nANTHONY\nYes, she has. She told me the other \nday. I’m not an idiot. She told me \nshe was moving. To go and live with \nhim. I even remember telling her it \nwas a stupid idea because, you \nknow, they don’t even speak \nEnglish. You don’t know about this?\nMAN\nNo.\nANTHONY\nOops.\nMAN\nWhat?\nANTHONY\nHave I put my foot in it?\nBrief pause. The MAN is amused. \nANTHONY (CONT’D)\nI’ve put my foot in it.\nMAN\nNo, no, don’t worry. She hasn’t  \nmentioned it to me, but I’m sure \nshe was  intending to...\nANTHONY\nYou didn’t know anything about the \nFrenchman ?\nMAN\nNo.\nANTHONY\nOops-a-daisy...\nPause. ANTHONY puts a hand on his shoulder.CONTINUED: 12 12THE FATHER - FINAL  14\nANTHONY (CONT’D)\nNever mind. Chin up. Anyway, they \nall end up leaving sooner or later. \nI speak from experience.\nBrief pause. The MAN heads towards the kitchen to get himself \na glass of wine.\nMAN\nYou want something to drink while \nwe’re waiting? Glass of water? \nFruit juice?\nANTHONY\nNo, but I mean... What was I going \nto say?", "behaviors": [], "source": "The Father"}
-{"scene_id": 16, "text": "INT.    KITCHEN    DAY 13A 13A\nThe MAN is opening a bottle of wine. ANTHONY joins him.\nANTHONY\nIt’s because of that girl... That \nnurse...\nMAN\nLaura?\nANTHONY\nI’ve forgotten her name. That girl \nyour wife insists on handing me \nover to. A nurse. You know about \nthis? As if I wasn’t able to manage \non my own...\nThe MAN heads back to the living room. ANTHONY follows him, \ncontinuing to talk to him in the entrance hallway.", "behaviors": [], "source": "The Father"}
-{"scene_id": 17, "text": "INT.    ENTRANCE HALLWAY    DAY 13B 13B\nANTHONY\nShe told me I needed the help of \nthis... When I can manage perfectly  \nwell on my own. Even if she does  \nhave to go abroad .", "behaviors": [], "source": "The Father"}
-{"scene_id": 18, "text": "INT.    LIVING ROOM    DAY 13C 13C\nANTHONY\nI don’t understand  why she persists  \nin... Look at me. Take a good look \nat me...CONTINUED: 12 12THE FATHER - FINAL  15\nHe’s trying to remember the name of the MAN, who’s installed  \nhimself in the armchair, resolved to read the newspaper and \nto drink his  glass of wine .\nMAN\nPaul.\nANTHONY\nThat’s right, Paul. Take a good \nlook at me. I can still manage on \nmy own. Don’t you think? I’m not \ncompletely...\nHe hunches over like an old man.\nANTHONY (CONT’D)\nYou agree? Of course you agree. But \nher? I don’t know where this stupid  \nobsession comes from. She’s always  \nbeen that way. Ever  since she was  \nlittle. Thing is, she’s not very  \nbright. Not very... you agree? Not \nvery intelligent. She gets that \nfrom her mother.\nMAN\nI think she tries to do the best \nshe can for you, Anthony.\nANTHONY\nThe best she can, the best she \ncan... I never asked her for \nanything. I don’t know what she’s \ncooking up against me. But she’s \ncooking something up. She’s cooking \nsomething up, that I do know. I \nsuspect she wants to put me in a \nhome for...\nHe pulls a face representing an old man.\nANTHONY (CONT’D)\nYes, I’ve seen the signs. But let \nme make something absolutely clear: \nI’m not leaving my flat! I’m not \nleaving it!\nTo underline his last sentence, he makes a strong gesture - \nalong the lines of a single firm hand to the table, as if to \nmark his territory. His force unintentionally sends the chess \npieces falling to the ground. \nThe MAN decides to put down his newspaper.\nMAN\nThis isn’t your flat, Anthony.CONTINUED: 13C 13CTHE FATHER - FINAL  16\nANTHONY\nSorry?\nThe MAN gets up from his chair.\nMAN\nIf you remember, you moved  here, I \nmean you moved to our place while \nyou were waiting for...\nANTHONY\nWhat?\nMAN\nFor a new carer. Because you \nquarrelled with the last one... \nWith Angela.\nANTHONY\nDid I?\nMAN\nYes. Don’t you remember? That’s why  \nyou’re staying in our place. While \nyou wait .\nPause. ANTHONY looks slightly  lost. He looks at the furniture  \naround him. It’s definitely  his flat.\nANTHONY\nSo, James...\nMAN\nPaul.\nANTHONY\nYes, Paul... So you’re  telling me, \nI’m in your place.\nMAN\nYes.\nANTHONY laughs and rolls  his eyes.\nANTHONY\nNow I’ve heard everything.\nSOUND of the front door  opening .\nANNE (O.S.)\nIt’s me.\nANTHONY\nAh, there she is... CONTINUED: 13C 13CTHE FATHER - FINAL  17", "behaviors": [], "source": "The Father"}
-{"scene_id": 19, "text": "INT.    CORRIDOR    DAY 14A 14A\nANTHONY steps  into the corridor, anxious to find out what’s  \ngoing on: but he’s confronted not by ANNE, but by a \ncompletely different WOMAN.\nWOMAN is taking off her coat .\nWOMAN\nWhat’s happening?\nThe MAN has appeared in the corridor behind ANTHONY.\nMAN\nNothing  much. Your father seemed a \nbit... confused .\nWOMAN\nSomething  wrong? Are you all right, \nDad?\nHe obviously  doesn’t  recognise her. \nWOMAN (CONT’D)\nDad?\nHe recoils as she approaches. He can’t understand  why she’s \ncalling him “dad”. To him, she’s a complete  stranger. \nANTHONY\nI... What is this nonsense ?\nWOMAN\nWhat are you talking about?\nANTHONY\nWhere’s Anne?\nThe WOMAN looks at the MAN. Now it’s she who seems  confused .\nWOMAN\nSorry?\nANTHONY\nAnne. Where is she?\nShe realises he doesn’t  recognise her. She glances  anxiously  \nat the MAN.\nWOMAN\nI’m here, Dad... I went  downstairs  \nto do some shopping. And now I’m \nback. \nANTHONY tries to conceal  his dismay.THE FATHER - FINAL  18\nANTHONY\nI... I see, but... What did you \nbuy?\nWOMAN\nA chicken. Sound good? Are you \nhungry?\nANTHONY\nWhy not?\nHe seems lost. And gloomy.\nMAN\nHere, let me have it. I’ll go and \nfix everything.\nWOMAN\nThanks.\nHe takes the bag and heads off towards the kitchen. They \nexchange a worried look. \nANTHONY wanders back into the living room, baffled.", "behaviors": ["confusion"], "source": "The Father"}
-{"scene_id": 20, "text": "INT.    LIVING ROOM    DAY 14B 14B\nANTHONY decides to pick up the chess pieces. \nThe WOMAN appears and approaches ANTHONY. She looks genuinely \nconcerned.\nWOMAN\nPaul said you weren’t feeling very \nwell.\nANTHONY\nI feel fine. Thank you.\nBut he looks gloomy.\nWOMAN\nYou look worried.\nANTHONY\nNo, it’s just...\nWOMAN\nJust what? Tell me... \nANTHONY\nI was in the kitchen... Making a \ncup of tea... I was alone in the \nflat... Suddenly, I heard a \nsound... So I came in here and \nthere was your husband...CONTINUED: 14A 14ATHE FATHER - FINAL  19\nThe WOMAN interrupts him.\nWOMAN\nWho?\nANTHONY\nYour husband.\nWOMAN\nWhat husband ?\nANTHONY\nWell, yours, my dear. Not mine.\nWOMAN\nJames?\nANTHONY\nYour husband .\nWOMAN\nDad, I’m not married .\nANTHONY\nSorry?\nWOMAN\nI got divorced more than  five years \nago. Have you forgotten ?\nANTHONY\nWhat? Well, then, who’s he?\nWOMAN\nWho?\nANTHONY\nAre you doing this on purpose? I’m \ntalking about... him. Who just  left \nwith the chicken.\nWOMAN\nThe chicken? What are you on about, \nDad?\nANTHONY\nRight here, just a minute ago. Did \nyou not hand over a chicken to \nsomeone?\nClearly, she doesn’t know what he’s talking about.\nANTHONY (CONT’D)\nThe chicken! A minute ago you were \nholding a chicken, were you not? A \nchicken. A CHICKEN!CONTINUED: 14B 14BTHE FATHER - FINAL  20\nWOMAN\nWhat chicken? What are you talking \nabout, Dad?\nRealising she doesn’t know what he’s talking about, he \nplunges off towards the kitchen in a panic.", "behaviors": [], "source": "The Father"}
-{"scene_id": 21, "text": "INT.    KITCHEN    DAY 15 15\nANTHONY arrives in the kitchen. It’s empty.\nANTHONY\nBut he was here just now!\nHe goes to look in the dining room.", "behaviors": [], "source": "The Father"}
-{"scene_id": 22, "text": "INT.    DINING ROOM    DAY 16 16\nStill nobody. The WOMAN appears on the threshold.\nWOMAN\nI think you’re mistaken, Dad. \nThere’s no one here.\nANTHONY\nHe’s vanished.\nThe WOMAN smiles.\nWOMAN\nWho? The man with the chicken?\nANTHONY\nYour husband. The man with the \nchicken. Why are you smiling? \nWOMAN\nNothing. Sorry.\nShe reaches out, trying to pacify him. He avoids her and \nheads for his bedroom.\nANTHONY\nAll this nonsense is driving me \ncrazy.", "behaviors": [], "source": "The Father"}
-{"scene_id": 23, "text": "INT./EXT.    BEDROOM 2    DAY - PT1 17 17\nHe arrives in the bedroom. It occupies the same space as his \nfirst bedroom, but some elements of the décor and furniture \nhave changed - as if he was indeed in a different flat.\nHe’s aware of this difference. He frowns. He goes to the \nwindow. He draws the curtain. CONTINUED: 14B 14BTHE FATHER - FINAL  21\nIt’s the same view as before, easily recognisable as the \nLondon street we saw a little earlier. So as far as he’s \nconcerned, he’s obviously still in his flat. \nThe WOMAN appears. 17PT2 17PT2\nWOMAN\nWhat’s the matter, Dad?\nANTHONY\nThere’s something funny going on. \nBelieve me, Anne, there’s something \nfunny going on!\nWOMAN\nCome and sit down. Come on...\nHe goes and sits on his bed. He’s upset. The WOMAN smiles at \nhim and rests a hand on his.\nWOMAN (CONT’D)\nNow don’t worry. Everything’ll sort \nitself out. Mm?\nANTHONY\nI don’t know.\nWOMAN\nYes, it will. Don’t worry. Have you \ntaken your medication?\nANTHONY\nWhat’s that got to do with \nanything?\nWOMAN\nLet’s give you your medication. The \nevening dose. Then you’ll feel \nbetter.\nShe shakes some pills out of a bottle by the bed. Anthony \nstares out into space. He speaks to her as if confiding a \nsecret.\nANTHONY\nIt’s been going on for some time. \nStrange things going on around us. \nHaven’t you noticed? There was this \nman claiming this wasn’t my flat. A \nreally unsympathetic-looking man. A \nbit like your husband. Only worse. \nIn my flat, you understand what I’m \nsaying? It’s the best yet. Don’t \nyou think? In my flat. He told \nme... \nANTHONY is suddenly seized by a doubt. CONTINUED: 17 17THE FATHER - FINAL  22\nANTHONY (CONT’D)\nBut... this is my flat, isn’t it? \nMm? Anne... This is my flat?\nShe smiles at him without answering. She prepares his \nmedication.\nANTHONY (CONT’D)\nIsn’t it?\nBrief pause.  \nANTHONY (CONT’D)\nTell me, Anne, this really is my \nflat, isn’t it?\nShe hands him his medication. In silence. He takes it. He \nlooks like a lost child.\nShe smiles at him.", "behaviors": ["agitation"], "source": "The Father"}
-{"scene_id": 24, "text": "INT.    LIVING ROOM 2    DAY 18 18\nFor a moment, like a punctuation, the CAMERA CONTEMPLATES the \nempty room. It’s the same space as before, but it’s taken on \nthe characteristics of ANNE and PAUL’s flat, far more light \nand modern than ANTHONY’s place.", "behaviors": [], "source": "The Father"}
-{"scene_id": 25, "text": "INT.    HALLWAY AND KITCHEN 2    DAY 19 19\nANNE comes back with the shopping. She’s on the phone, \njuggling with shopping bags.\nANNE\nYes, I know... I know... No. You \ncan’t imagine how difficult it is \nsometimes... The other day, he \ndidn’t even recognise me... I \nknow...\nShe puts the bags in the kitchen. They land in the exact \nposition ANTHONY found them in Scene 9.\nStill on the phone, ANNE steps back into the hallway to hang \nup her coat, leaving the bags in the kitchen to be dealt with \nlater.", "behaviors": [], "source": "The Father"}
-{"scene_id": 26, "text": "INT.    HALLWAY 2    DAY 20 20\nANNE\nNo, I’m expecting her any minute. \nYes...CONTINUED: 17 17THE FATHER - FINAL  23\nShe hangs up her coat. Then she picks up the letters and \nopens them as she goes into the office.", "behaviors": [], "source": "The Father"}
-{"scene_id": 27, "text": "INT.    OFFICE 2    DAY 21 21\nThis really seems like her office. It’s not the same office \nas in Scene 5. It covers the same space, but the décor is \ndifferent. It’s where ANNE, who’s a translator, works.\nANNE\nRight, right. I’ll call you back. \nLots of love. Thanks...\nShe hangs up and sits at her desk.", "behaviors": [], "source": "The Father"}
-{"scene_id": 28, "text": "INT.    BEDROOM 2    DAY 22 22\nANTHONY is stretched out on the bed, in his pyjamas. He’s \nholding a newspaper and a pencil and is concentrating on \nfilling squares in the crossword. Suddenly, he stops. \nHe stares  into space. He looks anxious. He’s trying to \nunderstand  what’s going on. He looks around. Why  does he have \nthe feeling he’s no longer in his  own flat?", "behaviors": [], "source": "The Father"}
-{"scene_id": 29, "text": "INT.    OFFICE 2    DAY 23 23\nANNE has opened her computer and begun  working .\nThe bell rings. She closes her computer at once and heads for \nthe front door, somewhat  apprehensive .", "behaviors": [], "source": "The Father"}
-{"scene_id": 30, "text": "INT.    HALLWAY 2    DAY 24 24\nShe opens the door. It’s LAURA.\nANNE\nHello.\nLAURA\nHello. Not too  early, am I?\nANNE\nNo, no. Not at all. Come in. Come  \nin.\nLAURA comes in.\nLAURA\nThanks.\nANNE\nCome in. Thanks for coming round.CONTINUED: 20 20THE FATHER - FINAL  24\nLAURA\nThat’s OK.", "behaviors": [], "source": "The Father"}
-{"scene_id": 31, "text": "INT.    LIVING ROOM 2    DAY - PT1 25 25\nThe décor in the living room is as we saw it in Scene 18: in \nother words, not ANTHONY’s flat any more. \nANNE\nMy father’s in his room. Would you \nlike something to drink?\nLAURA\nNo, thanks.\nANNE\nMake yourself  comfortable. \nShe sits down.\nANNE (CONT’D)\nI...\nANNE indicates her father’s room. She sets off in that \ndirection, as if to fetch him. Then she moves back towards  \nLAURA to explain the situation to her. \nANNE (CONT’D)\nSo, yes, as I was  telling you, I... \nHe’s a bit upset by the whole  idea \nof...\nLAURA\nThat’s OK.\nANNE\nYes. And that can cause him to... \nAnyway, I think he’s a bit annoyed  \nwith me. I’m telling you this just  \nto warn you he’s capable of \nreacting... unexpectedly .\nLAURA\nHas he lived on his  own up to now ?\nANNE\nYes. In a flat, not too far from \nhere. It worked. I was able to look \nin on him practically  every day. \nBut eventually, we’ve  had to come  \nto another arrangement. It wasn’t  \nviable any more.\nLAURA\nI understand .CONTINUED: 24 24THE FATHER - FINAL  25\nANNE\nHe’s had  several  carers one after  \nthe other. But he’s had  difficulty  \ngetting on with them. He has his  \nways... That’s why I moved him \nhere, in with me. But I can’t \nmanage him on my own. It’s too  much \nfor me. I have to work and... \nThat’s why I... \nANNE is trying to master her emotions. \nANNE (CONT’D)\nWell, that’s why I need  someone to \nhelp me.\nANTHONY 25PT2 25PT2\nDid I hear the bell ?\nANTHONY appears. He’s in his pyjamas and a dressing gown .\nANNE\nYou did... Dad, I’d like you to \nmeet Laura.\nLAURA\nHow do you do, sir.\nANNE\nI explained to you that Laura was  \ngoing to come by today so you could  \nmeet.\nANTHONY\nHello.\nLAURA\nHello.\nANTHONY\nYou’re... gorgeous.\nLAURA\nThank you.\nANTHONY\nBut I... Don’t we know each other?\nLAURA\nNo, I don’t think so.\nANTHONY\nAre you sure? I’ve a definite \nimpression I’ve seen you before...\nHe moves closer to her, fascinated by her face. ANNE tries to \nbring him back to the subject at hand.CONTINUED: 25 25THE FATHER - FINAL  26\nANNE\nWell. So, Laura’s come by to see us \nto get a bit of an idea of how you \nlive and to see to what extent she \nmight be able to help you.\nANTHONY\nI know, dear, I know that. You’ve \nalready told me a hundred times.\nHe turns to LAURA.\nANTHONY (CONT’D)\nMy daughter has a tendency to \nrepeat herself. You know what it’s \nlike... it’s an age thing... \nLAURA smiles at what she takes to be a joke .\nANTHONY (CONT’D)\nWould you like something to drink?\nLAURA\nYou’re very kind, but no thanks.\nANTHONY\nSure? An aperitif? Must be about \ntime for an aperitif, isn’t it? \nWhat time is it? It’s...\nHe realises he doesn’t have his  watch.\nANTHONY (CONT’D)\nHang on, I’ll be right back.\nHe heads off in the direction of his bathroom.\nANNE\nHe’s gone to look for his  watch.\nPause.\nLAURA\nI must say, he’s charming.\nANNE\nYes. Not always.", "behaviors": ["repetitive_questioning", "agitation"], "source": "The Father"}
-{"scene_id": 32, "text": "INT.    ANTHONY’S BATHROOM 2    DAY 26 26\nANTHONY finds his watch. He checks himself in the mirror to \nmake sure his hair is all right: just a moment of vanity. He \nsets off back to the living room, satisfied.CONTINUED: 25 25THE FATHER - FINAL  27", "behaviors": [], "source": "The Father"}
-{"scene_id": 33, "text": "INT.    LIVING ROOM 2    DAY 27 27 \nANTHONY arrives with a big smile, resolved to make an effort 27PT1 27PT1\nto charm LAURA.\nANTHONY\nJust as I thought, time for an \naperitif. I have two watches. I’ve \nalways had two. One on my wrist and \nthe other in my head. It’s always \nbeen that way. Now, would you like \nsomething, young lady?\nANNE\nDad...\nANNE’s interruption irritates ANTHONY.\nANTHONY\nWhat? I’m allowed to offer our \nguest something, aren’t I?\nHe turns to LAURA, his smile back in place.\nANTHONY (CONT’D)\nWhat would you like?\nLAURA\nWhat are you going to have?\nANTHONY\nA small whisky.\nLAURA\nThen I’ll have the same.\nANTHONY\nExcellent.\nHe speaks to ANNE as if she’s a waitress.\nANTHONY (CONT’D)\nSo, two whiskies. Two! \nANNE goes to look for two glasses of whisky. 27PT2 27PT2\nANTHONY (CONT’D)\nI’m not offering you one, Anne.\nHe turns back to LAURA.\nANTHONY (CONT’D)\nShe never drinks alcohol. Never.\nANNE\nIt’s true.THE FATHER - FINAL  28\nANTHONY\nNever. Not a drop. That’s why she \nseems so...\nANNE\nSo what?\nANTHONY\nSober. Her mother was the same. Her \nmother was the... soberest woman \nI’ve ever met. Whereas her little  \nsister... That was  quite another  \nstory.\nLAURA\nYou have two daughters ?\nANTHONY\nThat’s right. Even  though I hardly  \never hear from the other one. Lucy. \nAll the same, she was  always my \nfavorite.\nANNE’s expression: she’s hurt .\nANTHONY (CONT’D)\nDo you ever  hear from her? I don’t \nunderstand  why she never  gets in \ntouch. Never. Dazzling girl. A \npainter. Look. Beautiful, isn’t it?\nHe indicates a painting on the wall. It’s rather a haunting  \nimage of a park, a big tree and a couple of small figures \nwalking hand-in-hand in the shadow of the tree. CLOSE-UP of \nthe painting .\nLAURA\nYes, it is... \nANTHONY\nYour whisky.\nLAURA\nThank you.\nANTHONY\nCheers.\nThey clink  glasses and drink.\nANTHONY (CONT’D) 27PT3 27PT3\nI’d give everything I own for a \nglass of whisky. Don’t you agree ?\nLAURA\nWell, I don’t own all that much...CONTINUED: 27 27 THE FATHER - FINAL  29\nANTHONY\nDon’t you? What do you do for a \nliving?\nLAURA glances uncertainly at ANNE, not sure how to respond.\nLAURA\nWell, I... I look after... other \npeople.\nANTHONY\nOther people?\nLAURA\nYes. My job is to help people who \nneed help.\nANTHONY\nSounds like one of those girls \nyou’re always trying to dump off on \nme.\nHe turns back to LAURA.\nANTHONY (CONT’D)\nMust be a difficult job, isn’t it? \nSpending all day with some...\nHe makes a face signifying an invalid.\nANTHONY (CONT’D)\nAm I right? I couldn’t stand it.\nLAURA\nWhat about you, what did you do for \na living?\nANTHONY\nI was a dancer.\nLAURA\nWere you?\nANTHONY\nYes.\nANNE\nDad...\nANTHONY\nWhat?\nANNE\nYou were an engineer.\nANTHONY\nWhat do you know about it?CONTINUED: 27 27 THE FATHER - FINAL  30\nHe turns back to LAURA.\nANTHONY (CONT’D)\nTap dancing was my speciality.\nLAURA\nReally!\nANTHONY\nYou seem surprised.\nLAURA starts laughing. \nLAURA\nYes, a little bit.\nANTHONY\nWhy? Can’t you imagine me as a tap \ndancer?\nLAURA\nOf course. It’s just... I’ve always \nloved tap dancing.\nANNE is watching them. She looks happy to see they’re getting \non so well. \nANTHONY\nYou as well? I’m still great at it. \nI’ll show you...\nHe gets up, takes a few hopeless steps. LAURA is shaking with 27PT4 27PT4\nlaughter. He stops.\nANTHONY (CONT’D)\nWhy are you laughing?\nLAURA can’t stop laughing.\nLAURA\nIt’s nothing. Sorry. Sorry. It’s \njust... the whisky.\nANTHONY\nThat’s it, I know. I know who you \nremind me of.\nANNE\nWho?\nANTHONY\nLucy. Lucy, when she was her age.\nLAURA\nLucy?CONTINUED: 27 27 THE FATHER - FINAL  31\nANTHONY\nMy other daughter. Don’t you agree?\nANNE\nI don’t know.\nANTHONY\nYes. There’s a resemblance.\nANNE\nMaybe.\nLAURA’s still laughing. He comes closer.\nANTHONY\nHer unbearable habit of laughing \ninanely.\nEveryone stops laughing. Embarrassed pause.\nANTHONY (CONT’D)\nI had you there, didn’t I? Ha ha.\nBrief pause. ANTHONY suddenly becomes serious and sombre, as \nif he’d been playing a part all along.\nANTHONY (CONT’D) 27PT5 27PT5\nYou see, the situation’s very \nsimple. I’ve been living in this \nflat... oh, for a long time now. \nI’m extremely attached to it. I \nbought it more than thirty years \nago. Can you imagine? You weren’t \neven born. It’s a big flat. And my \ndaughter is very interested in it.\nANNE\nWhat are you talking about?\nANTHONY\nLet me explain. My daughter is of \nthe opinion that I can’t manage on \nmy own. So she’s moved in with me. \nOstensibly to help me. With this \nman she met not long ago, just \nafter her divorce, who has a very \nbad influence on her, I have to \ntell you.\nANNE\nLook, what are you talking about, \nDad?\nANTHONY\nAnd now she’d like to convince me \nthat I can’t manage on my own. CONTINUED: 27 27 \n(MORE)THE FATHER - FINAL  32\nThe next stage will be to send me \naway I don’t know where... \nObviously, it’ll be a much more \nefficient way of getting hold of my \nflat.\nANNE\nDad...\nANTHONY\nBut it’s not going to happen that \nway. I may as well tell you. I have \nno intention of leaving any time \nsoon. No, you heard me. I intend to \noutlive you. Both of you. Yes. \nWell, I don’t know about you... But \nmy daughter, yes. I shall make a \npoint of it. I’m going to inherit \nfrom her. Not the other way round. \nThe day of her funeral, I shall \ngive a little speech to remind \neveryone how heartless and \nmanipulative she was.\nANNE\nI’m very sorry about this.\nANTHONY\nWhy? She understands  completely. \nYou’re the one who doesn’t  \nunderstand .\nHe turns to LAURA.\nANTHONY (CONT’D)\nI’ve been trying to explain to her \nfor months that I can manage very \nwell on my own. But she refuses to \nlisten. I don’t need any help from \nanyone and I will not leave my \nflat. All I want is for everyone to \nbugger off!\nHe empties his glass, fetches a banknote out of his pocket \nand throws it down on the table, as if he’s paying the bill.\nANTHONY (CONT’D)\nHaving said that, it was a great \npleasure, I’ll be leaving you.\nHe leaves the room. He clearly has no idea, for the moment, 27PT6 27PT6\nthat he’s living with his daughter. He may even think she’s \nmoved in with him.\nLAURA\nWhen you said he had his ways, you \nweren’t kidding...CONTINUED: 27 27 \nANTHONY (CONT'D)THE FATHER - FINAL  33\nANNE\nI’m very sorry.\nShe seems particularly upset.\nLAURA\nDon’t be. That sort of reaction is \nquite normal.\nANNE\nNo, I am very sorry.\nShe has tears in her eyes, clearly affected by the obvious \ndeterioration of her father and by how violently he’s \nexpressed himself.\nLAURA tries to be reassuring. \nLAURA\nIt’ll all turn out fine. \nANNE\nYou think so?\nLAURA drinks a mouthful of whisky, without answering the \nquestion.", "behaviors": ["wandering", "agitation"], "source": "The Father"}
-{"scene_id": 34, "text": "INT.    KITCHEN 2    NIGHT 28 28\nANNE is alone in the kitchen. It’s late. She’s drinking  \nherbal tea. She looks exhausted. When she’s completed her \ncup, she washes it in the sink. Then she starts  drying it, \nbut it slips out of her hands and shatters on the ground .\nShe goes to pick up the pieces and, unexpectedly, something  \nin her cracks and she starts  crying. This only  lasts for a \nminute. Very  quickly, she pulls herself  together. She puts  \nthe bits of porcelain in the dustbin and leaves the kitchen.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 35, "text": "INT.    CORRIDOR 2    NIGHT 29A 29A\nShe moves down the corridor. As she passes, she switches off \nthe lights in the dining room, as if she was going to bed. \nShe steps into her father’s room. She wants to check he’s \nasleep, as one would with a child. The light is still on.", "behaviors": [], "source": "The Father"}
-{"scene_id": 36, "text": "INT.    BEDROOM 2    NIGHT 29B 29B\nOddly, she sits on the edge of the bed. ANTHONY is peacefully \nasleep. She smiles, touched by him. She puts a hand on his \ncheek, as if to caress him. Her hand moves down to his \nthroat. She seems very emotional. Suddenly, she starts \nsqueezing her father’s throat.CONTINUED: 27 27 THE FATHER - FINAL  34\nThe CAMERA observes the scene in LONG SHOT. We watch her \nstrangling her father. For some time.", "behaviors": [], "source": "The Father"}
-{"scene_id": 37, "text": "INT.    DINING ROOM 2    DAY 30 30\nPAUL (O.S.)\nWell?\nANNE starts. She’s daydreaming on her feet. She comes back to \nreality. She’s in the dining room laying the table. She turns  \ntowards PAUL, who has his back to her and has just  asked her \na question.\nANNE\nWhat?\nPAUL\nDid it go well?\nPAUL’s a man of about 50. Unlike the MAN, there  seems nothing  \nhostile about him. On the contrary, he seems sensitive and \nattentive. He’s obviously at home in the flat, which he \nshares with ANNE.\nANNE\nMm? Yes, yes... I think  so. She \nsaid she’d start  tomorrow .\nPAUL\nHere?\nANNE\nYes.\nPAUL\nGood.\nANNE\nYes. Then  we’ll see how the first \nday goes. I was  so afraid it wasn’t  \ngoing to work. But in the end it \nwas fine. He was  charming .\nPAUL\nThere you are, you see .\nANNE has finished  setting out the plates.\nANNE\nHe turned on the charm for her... \nYou should have seen it... He told  \nher he’d been a dancer. A tap  \ndancer.\nPAUL smiles.CONTINUED: 29B 29BTHE FATHER - FINAL  35\nPAUL\nNo...\nANNE\nYes. She started to laugh. Not in a \nmean way, you understand. There was \nsomething kind about her. I was \nrelieved. I don’t know how to \ndescribe it to you. As if she was \ngoing to be able to... Well, as if \nthe two of them were going to get \non really well...\nBrief pause. ANNE is trying to control her feelings.\nANNE (CONT’D)\nHe said she reminded him of Lucy.\nPAUL\nOh, yes? How old is she?\nANNE\nI don’t know. Thirty. Something \nlike that.\nPAUL\nIs she pretty ?\nANNE\nWhy? Are you interested ?\nPAUL can’t understand  why she’s reacted like that. ANNE steps  \ninto the kitchen to check the oven .", "behaviors": [], "source": "The Father"}
-{"scene_id": 38, "text": "INT.    KITCHEN 2    DAY 31 31\nANNE opens the oven. The chicken is cooking. She burns  \nherself. She looks jumpy. PAUL appears .\nPAUL\nWhat’s the matter with you? If it \nwent well, that’s good news, isn’t  \nit?\nANNE\nYes, yes.\nPAUL\nSo? What’s the matter with you? \nTell me.\nANNE\nIt’s just...\nPAUL\nWhat?CONTINUED: 30 30THE FATHER - FINAL  36\nANNE\nJust now... When I came back with \nthe dinner... He didn’t recognise \nme... I... I don’t know. It did \nsomething to me.\nPAUL\nI understand.\nANNE\nI’m finding it so hard.\nPAUL\nCome. Let me give you a hug.\nANNE\nI saw it in his eyes. He didn’t \nrecognise me. Not at all. I was \nlike a stranger to him.\nPAUL\nYou have to get used to it.\nANNE\nI can’t manage to.\nPAUL\nI think you can, I think you’re \nmanaging very well. Come here...\nHe presses her against him. Suddenly, ANTHONY appears. ANNE \ndraws back from PAUL.\nANNE\nAh, Dad! Dinner’ll be ready in five \nminutes. That suit you?\nANTHONY\nVery good, dear. Suits me fine. \nSuits me... But... Hello.\nPAUL smiles at him, distractedly. And goes back to the living \nroom, with the bottle of wine, leaving the two of them  \ntogether. \nANTHONY has no idea who PAUL is. As far as he knows, this is \nthe first time they’ve met.\nANNE\nYou hungry, Dad ?\nANTHONY\nYes, yes. But... we have guests  \nthis evening?\nANNE\nNo. Why ?CONTINUED: 31 31THE FATHER - FINAL  37\nANTHONY\nNothing, nothing...\nANTHONY doesn’t  want ANNE to be aware of his confusion. \nHe leaves the kitchen.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 39, "text": "INT.    LIVING ROOM 2   DAY 32 32\nANTHONY approaches the living room. He’s watching PAUL from a \ndistance. PAUL is sitting in his armchair reading the \nnewspaper and drinking a glass of wine. ANTHONY is having \nsome trouble understanding what’s happening. PAUL becomes \naware that he’s watching.\nPAUL\nEverything all right? Had a good \nday?\nANTHONY shrugs his shoulders. He doesn’t seem quite with it. \nANNE appears.\nANNE\nVery good. Laura came by. Didn’t \nshe, Dad? Laura came to see us just \nnow.\nANTHONY\nWho?\nANTHONY has noticed Paul’s watch. He seems fascinated. He’s \nwondering if it might be his.\nANNE\nLaura.\nANTHONY\nMm?\nANNE\nThe young woman who came to see us \njust now.\nANTHONY\nOh, yes.\nANNE\nAnd we went to see the doctor... \nPAUL\nAnd? What did he say?\nANTHONY\nHas anybody seen my watch? Can’t \nseem to find it.CONTINUED: 31 31THE FATHER - FINAL  38\nANNE\nAgain?\nANTHONY\nI’ve been looking for it for some \ntime.\nANNE\nYou must have put it in your \ncupboard. Don’t you think? In your \nhiding-place...\nANTHONY starts, afraid that PAUL has heard the word \n‘cupboard’ and will discover his hiding-place.\nANTHONY\nWhat are you talking about, Anne? I \nreally don’t know what you’re \ntalking about. What cupboard? Mm? \nThere’s no cupboard. No cupboard.\nHe takes ANNE aside .", "behaviors": ["repetitive_questioning"], "source": "The Father"}
-{"scene_id": 40, "text": "INT.    DINING ROOM 2    DAY 33 33\nANTHONY\nCouldn’t you be more discreet ?\nANNE speaks more quietly .\nANNE\nHave you looked in your cupboard ?\nANTHONY\nI’ve just come from there. It’s not \nthere. I must have lost it \nsomewhere. Or else it’s been \nstolen.\nANNE\nNo, it hasn’t .\nANTHONY is getting  annoyed .\nANTHONY\nWhat do you mean, “No, it hasn’t”? \nThe watch must be somewhere! It \ncan’t have flown  away!\nANNE\nYou want me to go and look?\nANTHONY\nVery much so. If it’s not a bother. \nBecause it’s a worry. I’m worried. CONTINUED: 32 32\n(MORE)THE FATHER - FINAL  39\nI am losing all my things, \neveryone’s just helping themselves. \nIf this goes on much longer, I’ll \nbe stark naked. And I won’t even \nknow what time it is. \nANNE smiles at him and makes her way to the bathroom. ANTHONY \ndecides to head back to the living room.", "behaviors": [], "source": "The Father"}
-{"scene_id": 41, "text": "INT.    LIVING ROOM 2    DAY 34 34\nPAUL ignores him. He’s still reading his paper. ANTHONY wants \nto get his attention.\nANTHONY\nMight you have the time?\nPAUL\nYes.\nANTHONY\nAh, thanks.\nBrief pause. PAUL continues to read the paper.\nANTHONY (CONT’D)\nSo what time is it? Exactly.\nPAUL looks at his watch.\nPAUL\nAlmost seven.\nANTHONY\nThat late? Shouldn’t we be sitting \ndown to dinner?\nPAUL\nYes. As soon as the chicken’s \nready. In five minutes.\nANTHONY\nWe’re having chicken this evening?\nPAUL\nYes. The one Anne just bought.\nANTHONY flashes him a charming smile. He sits down right next \nto him. \nANTHONY\nIt’s pretty, your watch. It’s... \nIt’s pretty. It’s... Is it yours? I \nmean, is it yours?CONTINUED: 33 33\nANTHONY (CONT'D)THE FATHER - FINAL  40\nPAUL\nMm? Yes.\nANTHONY\nMay I see it.\nPAUL looks up from his  paper.\nPAUL\nSo. Apparently it went  very well.\nANTHONY\nYes, very well. What ?\nPAUL\nWell, your meeting with... the \ncarer.\nANTHONY\nOh? Yes. Very well. Very well.\nHe returns  his attention to the watch .\nANTHONY (CONT’D)\nIt’s very...\nPAUL\nApparently she looks like Lucy.\nANTHONY\nIs that right ?\nPAUL\nI’ve no idea, I’ve never  seen her.\nANTHONY is still  obsessed with the watch .\nANTHONY\nNo, it... It  went well. Anne seemed  \npleased. You know, it’s mainly for \nher. I don’t really  need... I mean, \nit’s mainly for Anne. Might I have \na look at it? Your watch...\nPAUL\nYou’re right, it’s important for \nher that this works out. She’s been \nworried about you, you know. It \nmakes her very  unhappy  when you \nfall out with... What is it about \nmy watch ?\nANTHONY\nNothing. I was  just looking... I \nwant to check if... It’s pretty. \nVery pretty. Did you buy it?CONTINUED: 34 34THE FATHER - FINAL  41\nPAUL\nSorry?\nANTHONY\nNo, I mean... Was it a present or \ndid you buy it?\nPAUL\nI bought it. Why ?\nANTHONY\nI don’t suppose you kept the \nreceipt...\nPAUL\nWhat are you talking about?\nANTHONY\nFor your watch .\nPAUL\nI was talking about Anne.\nANTHONY\nAnne?\nPAUL\nYes. Anne... \nPAUL looks at him. He looks confused. Has he really  forgotten  \nwho ANNE is? \nA glint of malice in ANTHONY’s eyes. \nANTHONY\nI know who Anne is.", "behaviors": ["confusion"], "source": "The Father"}
-{"scene_id": 42, "text": "INT./EXT.     BATHROOM 2    DAY 35A 35A\nANNE is rummaging in ANTHONY’s cupboard. She discovers a fork  \nand wonders  what it’s doing  there. Then she sees the watch .\nANNE\nDad... I’ve  found it...", "behaviors": [], "source": "The Father"}
-{"scene_id": 43, "text": "INT./EXT.     KITCHEN 2    DAY 35B 35B\nANNE checks the progress of the chicken in the oven. \nThen, she moves over to the window and opens it. She lights a \ncigarette and looks out of the window for a moment.\nIn an apartment opposite, there’s a COUPLE both roaring with \nlaughter.CONTINUED: 34 34THE FATHER - FINAL  42\nANNE sighs unhappily.", "behaviors": [], "source": "The Father"}
-{"scene_id": 44, "text": "INT.    LIVING ROOM 2    DAY 36 36\nANTHONY has resumed his conversation with PAUL. \nANTHONY\nI don’t know why, we never really \ngot on. Whereas her little sister, \nthat was quite another story... Do \nyou know her? My other daughter? \nNow she, she’s marvellous. I \nhaven’t seen her for months. I \ncan’t blame her. She’s traveling \nround the world, I think. She’s a \npainter. \nHe indicates her painting on the wall. \nPAUL seems impatient with this speech, which he knows by \nheart, slips away into the dining room to get another glass \nof wine.\nANTHONY (CONT’D)\nBut I’d be so happy if she came to \nsee me one day. I’d take her in my \narms and we’d be glued to one \nanother for hours on end, like we \nused to be a long time ago, when  \nshe was  little and she still used \nto call me “little  daddy”, “little \ndaddy”. That’s what she used to \ncall me. Nice, isn’t it, “little  \ndaddy”?\nPAUL reappears. He swallows a mouthful, pressed back against  \nthe wall, his expression strange .\nPAUL\nNow, I’d like to ask you something .\nANTHONY\nYes?\nPAUL moves  closer to him. There’s  something  threatening about \nhis approach .\nPAUL\nBut I want an honest  answer. \nNothing  fancy... Can you do that \nfor me?\nANTHONY is caught off guard.CONTINUED: 35B 35BTHE FATHER - FINAL  43\nANTHONY\nYes.\nPAUL\nWell, then...\nBrief pause.\nPAUL (CONT’D)\nHow much longer do you intend to \nhang around getting on everybody’s \ntits?", "behaviors": [], "source": "The Father"}
-{"scene_id": 45, "text": "INT.    LIFT    DAY 37 37\nANNE has a new hairdo. ANTHONY is looking at her, frowning. \nANNE\nWhat is it? \nANTHONY\nHave you done something to your \nhair? \nANNE\nNo. Why?\nANTHONY\nNothing. You’re looking good...\nShe smiles. The lift door opens.", "behaviors": [], "source": "The Father"}
-{"scene_id": 46, "text": "INT.    STAIRS AND LANDING    DAY 37A 37A\nANTHONY and ANNE step out of a lift. It looks like the \nlanding outside ANTHONY’s flat (seen in scene 2). ANTHONY \n(and we) assume that they’re outside his flat. But ANNE rings \nthe bell.\nANTHONY\nHave you lost your keys? \nANNE doesn’t answer. He’s starting to search his pockets for \nhis own keys, when the buzzer goes. ANNE pushes open the door \nand steps into the surgery.", "behaviors": [], "source": "The Father"}
-{"scene_id": 47, "text": "INT.    SURGERY    DAY 38 38\nThe entrance hall to the surgery has the same dimensions as \nthe entrance hall of the flat, although it’s furnished \ndifferently. \nANNE heads for the RECEPTIONIST. ANTHONY looks around, not \nunderstanding where they are. He seems disorientated. CONTINUED: 36 36THE FATHER - FINAL  44\nThere’s a row of seats in startling colours, as you sometimes \nsee in hospitals.\nANNE comes over to take ANTHONY’s arm.\nANNE\nCome on, this way.", "behaviors": [], "source": "The Father"}
-{"scene_id": 48, "text": "INT.    DOCTOR’S OFFICE    DAY 39 39\nThe DOCTOR is scribbling a note; he looks up at ANTHONY and \nANNE.\nDOCTOR\nSo... Anthony, is it?\nANTHONY\nYes.\nHe looks quite unhappy.\nDOCTOR\nDate of birth? \nANTHONY\n31st December, 1937. Why?\nDOCTOR\nYou’re living with your daughter at \nthe moment, is that right? \nANTHONY\nYes. Until she goes to live in \nParis. \nANNE\nNo, Dad, why do you keep going on \nabout Paris? \nANTHONY\nWhat?\nANNE\nI’m staying in London.\nANTHONY\nYou keep changing your mind. How do \nyou expect people to keep up? \nANNE\nBut there was never any question of \ngoing to Paris, Dad.\nANTHONY\nYes, there was. You told me.CONTINUED: 38 38THE FATHER - FINAL  45\nANNE\nI didn’t...\nANTHONY\nI’m sorry, Anne. You told me the \nother day. Have you forgotten?\nPause. ANNE looks anxiously at the DOCTOR. ANTHONY, unaware \nof this, carries on blithely. \nANTHONY (CONT’D)\nShe’s forgotten. Listen, Anne, I \nthink you’re starting to suffer \nfrom memory loss. I should have a \nword with the doctor, if I were \nyou...   \nANNE\nIn any event, I’m not going to \nParis. \nANTHONY\nWell, good. I mean, Paris, they \ndon’t even speak English.\nThe DOCTOR makes a note.", "behaviors": [], "source": "The Father"}
-{"scene_id": 49, "text": "INT.    WAITING ROOM    DAY 39A 39A\nANTHONY is sitting on one of the violently-coloured chairs in \nthe waiting room. He’s watching ANNE and the DOCTOR talking \nin the distance. He seems worried about what they might be \nsaying. \nThe DOCTOR gives ANNE his card, which she slips into her \npocket. \nShe catches ANTHONY’s eye and immediately smiles at him, as \nif she was trying to conceal something from him. He looks \nworried and suspicious.", "behaviors": [], "source": "The Father"}
-{"scene_id": 50, "text": "INT.    TAXI    DAY 39B 39B\nANNE\nDad? \nNo response. She reaches for his hand, but he takes it away \nfrom her. Music.\nANTHONY turns away from ANNE, staring out of the window of \nthe moving taxi.CONTINUED: 39 39THE FATHER - FINAL  46", "behaviors": [], "source": "The Father"}
-{"scene_id": 51, "text": "INT. KITCHEN 2  DAY 40A 40A\nANNE is ironing. \nThen, she goes to ANTHONY’s bedroom with the laundry basket.", "behaviors": [], "source": "The Father"}
-{"scene_id": 52, "text": "INT. ANTHONY'S BEDROOM 2    DAY 40B 40B\nShe puts one of ANTHONY's shirt in his dressing room. She \npauses for a moment in front of her father's dark suits. She \ntouches them, as an attempt to penetrate his mystery. Then \nshe catches sight of his well polished shoes. This suddenly \nreminds her of the man he used to be. \nANNE sits on ANTHONY’s bed, next to her laundry basket. She \nlooks unsettled. What is she going to do with her father?\nHer eyes meet a photo on ANTHONY's bedside table. It shows \nher father, younger, surrounded with his two daughters.\nDELETED 40C 40C\nDELETED 41A 41A", "behaviors": [], "source": "The Father"}
-{"scene_id": 53, "text": "EXT./INT. INDIAN SHOP    DAY 41B 41B\nShe walks along the street and into the Indian shop. She is \nbuying a chicken. Her phone rings. \nANNE\nWhat’s the matter? What? All \nright... I’ll be up in a minute.\nDELETED 41Ba 41Ba", "behaviors": [], "source": "The Father"}
-{"scene_id": 54, "text": "INT.    HALLWAY 2    DAY 41C 41C\nANNE comes into the flat, carrying bags. PAUL comes from the \nliving room. \nANNE\nWhat’s happening? \nPAUL\nNothing much... Your father... I \nthink he’d like to see you...\nANNE\nWhere is he ? THE FATHER - FINAL  47\nPAUL\nIn his room... \nANNE goes towards her father’s bedroom.\nDELETED 41D 41D\nDELETED 41E 41E", "behaviors": [], "source": "The Father"}
-{"scene_id": 55, "text": "INT.    CORRIDOR 2 / BEDROOM 2    DAY 41F 41F\nThe bedroom door is open and ANNE sees him at the far end of \nthe room, struggling with his sweater. He is trying to put it \non. He can’t manage it, keeps putting the wrong arm in the \nwrong sleeve. \nInstead of going to help him, ANNE watches him for a minute \nfrom the corridor. He looks completely helpless. Then, \nflooded with compassion, she crosses over to help him.\nANNE\nLet me...\nANTHONY allows her to help him. He looks at her with great \nbenevolence, as if he’s completely forgotten their recent \ncontretemps. \nHe notices she looks somewhat agitated.\nANTHONY\nWhat’s the matter? \nANNE\nNothing. \nShe makes a loving  gesture. \nANNE (CONT’D)\nRight. I’ll go and get the dinner  \nready... \nShe’s almost out of the room, when ANTHONY calls out to her. \nANTHONY\nAnne? \nShe turns back. \nANNE\nWhat?\nANTHONY\nThanks for everything. CONTINUED: 41C 41CTHE FATHER - FINAL  48\nShe smiles at him and leaves the room.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 56, "text": "INT.    KITCHEN 2    EVENING 41G 41G\nANNE prepares the chicken for the dinner .", "behaviors": [], "source": "The Father"}
-{"scene_id": 57, "text": "INT.    BEDROOM 2    EVENING 41H 41H\nANTHONY is reading a book. He checks his  watch. It is time to \nhave dinner. He closes the book and gets up.", "behaviors": [], "source": "The Father"}
-{"scene_id": 58, "text": "INT.    CORRIDOR 2    EVENING 42 42\nANTHONY emerges from his bedroom and sets off down the \ncorridor towards the dining-room. ANNE and PAUL are talking; \nand ANTHONY slows down to listen, as the voices  become \nintelligible.\nPAUL (O.S.)\nWe have to find another  \narrangement.\nANNE (O.S.)\nSuch as?\nPAUL (O.S.)\nPutting him in an institution.\nANNE (O.S.)\nA home?\nPAUL (O.S.)\nYes, a nursing home.\nPause.\nPAUL (O.S.) (CONT’D)\nIt’d be better for him.\nANNE (O.S.)\nWhy are you saying this to me \ntoday? I mean, when  tomorrow  \nmorning... there’s this girl \nstarting and...", "behaviors": [], "source": "The Father"}
-{"scene_id": 59, "text": "INT.    DINING ROOM 2    EVENING 43 43\nANTHONY appears in the doorway, unnoticed by ANNE and PAUL.\nPAUL\nYes. You’re  right. We’ll  see. Maybe \nit’ll work very well with this \ngirl. You seem to think she’s good. CONTINUED: 41F 41F\n(MORE)THE FATHER - FINAL  49\nBut, believe me, the doctor is \nright, the moment will  come when... \nHowever good she is... He’s ill , \nAnne. He’s ill.\nANNE and PAUL simultaneously  realise that ANTHONY is in the \nroom. They start. Feeling of awkwardness .\nANNE\nDad. What are you doing, standing \nthere? Come and sit down. Come on.\nHe doesn’t respond. Who are they talking about? Him?\nANNE (CONT’D)\nDad...\nPause.\nANNE (CONT’D)\nCome on, Dad.\nPause. ANNE gets up and leads him to the table.\nANNE (CONT’D)\nCome and sit down.", "behaviors": [], "source": "The Father"}
-{"scene_id": 60, "text": "INT.    DINING ROOM 2    EVENING 44A 44A\nLATER: ANTHONY is sitting down. The awkwardness is palpable. \nNobody knows what to say. Did he hear them? PAUL attempts to \nrestart the conversation.\nPAUL\nSo, it went well?\nForced cheerfulness from ANNE.\nANNE\nYes. It went very well. Don’t you \nagree, Dad?\nANTHONY\nWhat?\nANNE\nYou made her laugh a lot.\nANTHONY\nDid I?\nANNE\nYes. She told me she thought you \nwere charming. That you had your \nways, but that you were charming. CONTINUED: 43 43\nPAUL (CONT'D)\n(MORE)THE FATHER - FINAL  50\nShe’s coming back tomorrow morning. \nTo start working here.\nBrief pause.\nANNE (CONT’D)\nLike a bit more?\nANTHONY\nI would. It’s good, this chicken. \nDon’t you think? Where’d you buy \nit?\nANNE\nDownstairs. Why?\nANTHONY\nNo reason. It’s good.\nANNE\nPaul?\nPAUL\nNo, thanks.\nHe pours himself another glass of wine.\nPAUL (CONT’D)\nIs she doing full days? I mean...\nANNE\nYes. Till six.\nPAUL\nAnd then?\nANNE\nWhat d’you mean?\nPAUL\nAfter six?\nANNE\nI’ll be here .\nPause. PAUL addresses ANTHONY: it’s like a criticism .\nPAUL\nAre you satisfied ?\nANTHONY\nWhat about?\nPAUL\nYou have a daughter who looks after  \nyou properly. Don’t you? You’re  \nlucky.CONTINUED: 44A 44A\nANNE (CONT'D)THE FATHER - FINAL  51\nANTHONY\nYou’re lucky too.\nPAUL\nYou think  so?\nIrritated by Paul’s insinuations, ANNE gets up and takes the \nchicken back to the kitchen.\nANTHONY\nWhat’s the matter with her?\nPAUL\nAnne? She’s tired. Needs a bit of \nsun.\nANTHONY\nYou need to look after her, old \nman. Why don’t you go away  \nsomewhere ?\nPAUL\nWhy? You want me to tell you why ?\nBrief pause.\nPAUL (CONT’D)\nSometimes I wonder if you’re  doing \nit on purpose .\nANTHONY\nDoing what?\nPAUL\nNothing .\nHe pours  himself  another  glass.\nPAUL (CONT’D)\nWe had planned to go to Italy ten  \ndays ago.\nANTHONY\nOh?\nPAUL\nYes. But we had to cancel it at the \nlast minute. You know why ?\nANTHONY\nNo.\nPAUL\nBecause of your row with Angela.\nANTHONY doesn’t  seem to know who he’s talking about.CONTINUED: 44A 44ATHE FATHER - FINAL  52\nPAUL (CONT’D)\nThe woman who was  looking  after \nyou. Before Laura. Have you \nforgotten ?\nBrief pause.\nPAUL (CONT’D)\nWe weren’t able to go and leave you \non your own. We had to cancel our \nholiday and bring you over here. \nAnd now it seems you’re going to \nstay here. For good. If I \nunderstand correctly... \nANNE has returned; he turns to her.\nPAUL (CONT’D)\nHe’s forgotten... Amazing.\nANNE\nStop it.\nPAUL\nWhat?\nANNE\nYou’re being a bit...\nPAUL\nA bit what?\nANNE\nSarcastic.\nPAUL\nNot at all, Anne. I think I’m being \nvery patient. Very patient. Believe \nme.\nANNE\nWhat are you trying to say?\nPAUL\nNothing.\nANNE\nYes, you are, tell me. Why are you \ntelling me how patient you are?\nPAUL\nI think anyone but me...\nANNE\nYes?\nThe tension between them is rising. CONTINUED: 44A 44ATHE FATHER - FINAL  53\nPAUL\nAnyone else would have pressured \nyou to...\nANNE\nTo what?\nPAUL\nTo do what the situation calls for. \nANNE\nAnd that is?\nPAUL\nYou know very well!\nANTHONY\nWhere’s the chicken? Did you take \nthe chicken away?\nANNE\nYes. Did you want some more?\nANTHONY\nYes. Is it in the kitchen?\nANNE\nI’ll go and fetch it for you.\nANTHONY\nNo, it’s all right, I’ll go.\nHe gets up with his plate and steps into -", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 61, "text": "INT.    KITCHEN 2    EVENING 44B 44B\n- the kitchen. Once there, however, he can’t remember  why \nhe’s come. He stands there, frowning, puts  his plate down so  \nhe can concentrate  better.", "behaviors": [], "source": "The Father"}
-{"scene_id": 62, "text": "INT.    DINING ROOM 2    EVENING 44C 44C\nPAUL is pouring  himself  another  glass of wine .\nANNE\nWhy do you say things like that in \nfront of him?\nPAUL\nWhat did I say ?\nPause.\nPAUL (CONT’D)\nAnyway, he forgets everything.CONTINUED: 44A 44ATHE FATHER - FINAL  54\nANNE\nThat’s no excuse.\nPause.\nPAUL\nListen... I totally  understand your \nfeelings .\nANNE\nNo, you don’t understand .\nPAUL\nI do... What I don’t understand  \nis... I mean, you do so  much for \nhim. I respect you for that. You \ntook the decision to bring him \nhere. And why not? But... How can I \nput this? I honestly  think you \nought to come up with a different \nsolution... He’s completely  lost \nit, Anne.\nANNE\nDon’t talk like that.\nPAUL\nHow do you want me to talk? \nHe gets up from the table, annoyed. \nPAUL (CONT’D)\nI’m telling the truth. We have to \nfind another arrangement.\nANNE\nSuch as?\nPAUL\nPutting him in an institution.\nANNE\nA home?\nPAUL\nYes, a nursing home.\nPause.\nPAUL (CONT’D)\nIt’d be better for him.\nANNE\nWhy are you saying this to me \ntoday? I mean, when tomorrow \nmorning... there’s this girl \nstarting and...CONTINUED: 44C 44CTHE FATHER - FINAL  55\nPAUL makes a gesture of appeasement to ANNE. \nPAUL\nYes, you’re right. We’ll see. Maybe \nit’ll work very well with this \ngirl. You seem to think she’s good.\nANNE pushes him away. \nANTHONY appears in the doorway with his chicken. He’s \nlistening to the conversation. But neither of them has \nnoticed him.\nPAUL (CONT’D)\nBut, believe me, the doctor is \nright, the moment will come when... \nHowever good she is... He’s ill , \nAnne. He’s ill.\nANNE and PAUL simultaneously realise that ANTHONY is in the \nroom. They start. Feeling of awkwardness. A reprise. \nANNE\nDad. What are you doing, standing \nthere? Come and sit down. Come on.\nHe doesn’t respond.\nANNE (CONT’D)\nDad...\nPause.\nANNE (CONT’D)\nCome on, Dad .\nPause.\nANNE (CONT’D)\nCome and sit down.\nHe looks lost and terrified by what he’s just  heard. Who is \nill? ANNE gets up, but this time, ANTHONY doesn’t  allow \nhimself to be led to the table. He leaves the room without  \nsaying anything and heads  towards  his bedroom. \nANNE and PAUL look at one another, very  embarrassed .", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 63, "text": "INT.    BEDROOM 2    NIGHT 45 45\nANNE sits on the edge of Anthony’s bed. He’s just  gone to \nsleep. He looks peaceful. ANNE strokes  his cheek tenderly. \nIt’s like the strangling  scene. But this time, she gets up \nand leaves the room, like a mother who’s just put her child  \nto bed.CONTINUED: 44C 44CTHE FATHER - FINAL  56\nDELETED 46 46", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 64, "text": "INT.    OFFICE 2    DAY 47 47\nAnne is sitting at her desk, lost in thought. She holds the \nDOCTOR’s card in her hand and considers it carefully.\nA long hesitation. She sits, turning the card around, \npensive.\nFinally, she decides to dial a number.\nOn the other end of the line, we hear the muzak from the \nwaiting room. She’s holding the receiver away from her ear. \nShe stares into space. Then her attention is attracted to the \nlight reflections on the wall. There’s a crystal pyramid \nplaced on her desk, and the light going through it reflects \non the opposite wall as a luminous constellation. She takes \nthe pyramid in her hands and plays with the reflections, \nwhich now show on her thoughtful and worried face.", "behaviors": [], "source": "The Father"}
-{"scene_id": 65, "text": "INT.    FLAT 3    MORNING 48 48\nESTABLISHING SHOT of the same space: but with less furniture. \nDawn light. LUCY’s painting is no longer hanging on the wall.\nThere are packing cases, which  may explain  why the flat is \nvirtually  empty. \nThe muzak from the previous  scene runs over these SHOTS. \nIt stops abruptly as the DOCTOR’s VOICE comes over the line, \nsaying: “Doctor Odgers  speaking...:\nThen, when  there’s no answer, he goes on: “Hello? Hello?”", "behaviors": [], "source": "The Father"}
-{"scene_id": 66, "text": "INT.    BEDROOM 3    MORNING 49A 49A\nANTHONY opens his bedroom curtains. It’s morning. \nHe looks out at the street. What he sees is the same quiet \nLondon street as before. This seems to reassure him.\nOutside, a CHILD is playing with a plastic bag. He watches  \nhim attentively, as fascinated as if he were  trying to \nuncover  some mystery... He smiles at this vision. But then  \nhis smile brutally  disappears. THE FATHER - FINAL  57", "behaviors": [], "source": "The Father"}
-{"scene_id": 67, "text": "INT.    CORRIDOR 3    MORNING 49B 49B\nANTHONY moves down the corridor in his pyjamas, heading for \nthe kitchen.\nHis attention is caught by the brightly-coloured chairs from \nthe surgery, which are now in the hallway.\nANTHONY\nWhere are these from? \nANNE’s VOICE is heard, calling him in the corridor.\nANNE (V.O.)\nDad? Are you up already? Did you \nsleep well?\nBut he doesn’t  answer. Something about the flat is different. \nPuzzled, he moves on to inspect -", "behaviors": [], "source": "The Father"}
-{"scene_id": 68, "text": "INT.   LIVING ROOM 3    MORNING - PT 1 & PT 2 (ANNE ONLY) 50 50\n- the living room. He sees the packing cases. Is ANNE finally  \nmoving to Paris?\nANTHONY looks at the wall. LUCY’s painting is no longer here.  \nOnce again we hear ANNE’s VOICE as she busies  herself in the \nkitchen, preparing breakfast prior to the meeting with LAURA.\nANNE (V.O.)\nShall I get you some  coffee before \nshe arrives?\nANTHONY \nWhere’s the painting ?\nANNE (V.O.)\nWhat painting ?\nANTHONY\nLucy’s. \nANNE (V.O.)\nYou’re mixing this up with your \nflat. There’s never been a painting  \nhere. Come and have your breakfast.\nANTHONY peers at the wall. There  seems to be a slightly  \nlighter rectangle and marks perhaps made by a picture-frame .\nANTHONY\nSee, look, Anne... there .\nHe turns  around, but she’s not here .THE FATHER - FINAL  58\nANTHONY (CONT’D)\nAnne?\nLAURA emerges from the kitchen. She’s carrying a cup of  50PT3 50PT3\ncoffee.\nLAURA\nHere’s your coffee...\nANTHONY is startled to see her.\nANTHONY\nWhat?\nLAURA\nDon’t let it get  cold...\nANTHONY\nWhere’s Anne?\nLAURA\nShe went out.\nANTHONY\nReally? Already ?\nLAURA\nYes.\nANTHONY\nWhat time is it?\nLAURA\nShe’ll be back soon. At the end of \nthe day. I’m going to look for your \nmedication.\nANTHONY\nNo. Wait .\nLAURA\nI’ll be back. I’m just  going to \nlook for your medication .\nShe leaves. He seems  troubled. He realises he doesn’t have \nhis watch.\nANTHONY\nShit. Honestly .\nHe suddenly  becomes  aware he’s in his pyjamas. He tries to \narrange himself a bit before she gets back.\nHe gets  his armchair and moves it and sits in it, pretending  \nto be comfortable with this uncomfortable situation.\nShe comes in with a glass of water and his  medication. 50PT4 50PT4CONTINUED: 50 50THE FATHER - FINAL  59\nANTHONY (CONT’D)\nWhat time is it?\nLAURA\nTime for your medication. Here we \nare. Best to take  them now. Then  \nit’s done. Don’t you think? There  \nare three today. This little  blue \none... \nIt’s as if she’s speaking to a child, which  irritates  \nANTHONY.\nLAURA (CONT’D)\nThat’s the one you like. Your \nlittle blue pill. Look, it’s a \npretty colour, isn’t it?\nANTHONY\nCan I ask you a question?\nLAURA\nYes.\nANTHONY\nAre you a nun ?\nLAURA\nNo.\nANTHONY\nThen why are you speaking to me as \nif I were  retarded ?\nLAURA\nMe?\nANTHONY\nYes.\nLAURA\nBut I’m not...\nANTHONY\n“Your little blue pill.” “Your \nlittle blue pill.”\nLAURA\nI’m sorry. I didn’t think you...\nANTHONY\nIt’s really unpleasant. You’ll see \nwhen you get to my age. Which’ll  \nhappen sooner than you think, by \nthe way. CONTINUED: 50 50THE FATHER - FINAL  60\nLAURA\nI apologise. I... It won’t happen \nagain.\nANTHONY mimics her.\nANTHONY\n“Your little  blue pill.”\nShe hands him the glass of water.\nANTHONY (CONT’D)\nHave you noticed  anything ?\nLAURA\nWhat about?\nANTHONY\nWhat do you think? About my flat!\nLAURA\nNo. What about it?\nANTHONY\nIt’s changed .\nLAURA\nYou think  so?\nANTHONY\nYes. These chairs, for instance. \nThere. Who put them  there?\nHe’s referring to the brightly-coloured chairs in the \ncorridor. \nLAURA\nI don’t know. Your daughter, I \nimagine.\nANTHONY\nObviously. My daughter... \nObviously... All the same, it’s \nextraordinary! Not even to ask my \nopinion. I... Do you know what’s  \nbeing planned? For this flat?\nLAURA\nNo.\nANTHONY\nWell, I do. I keep my eyes open. I \nknow everything.\nPause.CONTINUED: 50 50THE FATHER - FINAL  61\nANTHONY (CONT’D)\nBy the way, I wanted to apologise  \nif I was a little... Last time we \nmet...\nLAURA\nNo problem. Your daughter  warned \nme. She told me you had your ways .\nShe gives him a dazzling  smile. He watches her, fascinated .\nANTHONY\nIt’s amazing how like Lucy you \nlook. My other  daughter. Not Anne, \nno. The other one. The one I love.\nLAURA\nAnne told me what  happened to her. \nI’m sorry. I didn’t know.\nANTHONY\nDidn’t know what ?\nLAURA\nAbout her accident.\nANTHONY\nWhat accident?\nLAURA\nWhat?\nANTHONY\nWhat are you talking about?\nLAURA\nNothing...\nPause. LAURA realises ANTHONY’s forgotten  his daughter is \ngone. She tries to change the subject .\nLAURA (CONT’D)\nAre you taking your medication? \nThen we’ll go and get dressed.\nANTHONY\nYou see ?\nLAURA\nWhat?\nANTHONY\nYou’re speaking to me as if I were \nretarded.\nLAURA\nNo, I’m not.CONTINUED: 50 50THE FATHER - FINAL  62\nANTHONY\nYou are!\nLAURA\nI’m not, I...\nANTHONY\n“And then  we’ll go and get  \ndressed...” “Your little  blue \npill.”\nPause.\nANTHONY (CONT’D)\nThing is, I’m very intelligent. You \nneed to bear that in mind, d’you \nunderstand ?\nLAURA\nYes, I’ll... bear it in mind .\nANTHONY\nThank you.\nPause.\nANTHONY (CONT’D)\nIt’s true. I’m very intelligent... \nSometimes, I even surprise myself. \nMemory like an elephant .\nANTHONY wants to make himself  absolutely  clear.\nANTHONY (CONT’D)\nYou know, the animal.\nLAURA\nYes, yes.\nHe drinks his  glass of water without  taking his medication .\nLAURA (CONT’D)\nYou’ve forgotten your pills !\nHe looks at them in the hollow of his hand.\nANTHONY\nOh, yes, so I did... What are they  \ndoing there?\nLAURA\nI’ll go and get you another  glass \nof water.CONTINUED: 50 50THE FATHER - FINAL  63\nANTHONY\nNo, no. Don’t bother. I’ll swallow  \nthem with... You’ll  see. With the \ncoffee.\nLAURA\nAre you sure?\nANTHONY\nPositive. Look. Here .\nHe begins  what seems to him the equivalent of a magic trick.\nANTHONY (CONT’D)\nYou’ll see. Are you watching? Watch \ncarefully. I stick them in my gob. \nWatch, there  they go, hey presto, \nthey’re in my mouth. Did you see? \nDid you see? Did you see ?\nLAURA\nYes, yes. I... I’m watching .\nANTHONY\nGood. And now, the coffee. Watch \ncarefully... Hey presto.\nHe swallows the pills .\nANTHONY (CONT’D)\nThe job is done .\nLAURA\nBravo.\nANTHONY\nI worked in the circus a bit when I \nwas young.\nLAURA\nDid you?\nANTHONY\nYes. I was  quite talented. \nEspecially at conjuring tricks. \nWould you like me to show you a \nlittle magic?\nLAURA\nLet’s get dressed first.\nANTHONY\nNow?\nLAURA\nYes.CONTINUED: 50 50THE FATHER - FINAL  64\nANTHONY\nOh, no, not now...\nHe’s spoken like a child .\nLAURA\nYes.\nANTHONY\nOh, no.\nLAURA\nYes.\nANTHONY\nWhat’s the point? I’ll only have to \nput my pyjamas back on tonight, \nwon’t I? Might as well save some  \ntime.\nLAURA\nI see what you mean. But if you \nstay in your pyjamas, we won’t be \nable to go out.\nANTHONY\nWhere d’you want to go?\nLAURA\nThe park. It’s a nice day.\nSuddenly, the MAN walks in.  He also has a cup of coffee in 50PT5 50PT5\nhis hand.\nMAN\nEverything all right ?\nThe MAN’s sudden appearance has unnerved ANTHONY.\nLAURA\nFine. We were  going to get dressed.\nANTHONY\nBut...\nLAURA\nAre you coming with me?\nANTHONY can’t understand  what this MAN is doing in his flat. \nHe thought ANNE was living with PAUL. The MAN has an air of \nmenace.\nMAN\nEverything all right, Anthony?\nANTHONY is rooted to the spot. He doesn’t  answer.CONTINUED: 50 50THE FATHER - FINAL  65\nMAN (CONT’D)\nSomething the matter ?\nANTHONY\nNo, no...\nMAN\nI just wanted a word with you. In \nfact.\nANTHONY\nWith me?\nMAN\nYes.\nLAURA\nIn that case, I’ll... I’ll go and \nget your things ready.\nANTHONY is alarmed .\nANTHONY\nNo, wait a minute...\nLAURA\nI’ll be back.\nANTHONY\nDon’t leave me on my own .\nLAURA\nI’ll be in the next room. I’ll be \nright back.\nShe leaves the room. We can see ANTHONY is intimidated, as if \nthis stranger’s  presence  frightened him.\nMAN 50PT6 50PT6\nCan I ask you a question?\nANTHONY\nYes.\nThe MAN moves  closer to him. There’s  something  threatening  \nabout his  approach .\nMAN\nBut I want an honest  answer. \nNothing  fancy... Can you do that \nfor me?\nANTHONY\nYes.CONTINUED: 50 50THE FATHER - FINAL  66\nMAN\nWell, then... how much longer do \nyou intend to hang  around getting  \non everybody’s  tits?\nANTHONY\nMe?\nMAN\nYes, you. I’d like to know your \nopinion.\nBrief pause.\nMAN (CONT’D)\nI mean, do you intend to go on \nruining your daughter’s  life? Or is \nit too much to hope that you’ll  \nbehave reasonably in the \nforeseeable future?\nANTHONY\nBut... What are you talking about?\nMAN\nAbout you, Anthony. About you. Your \nattitude.\nHe gives him a little  slap.\nANTHONY\nWhat are you doing? I can’t allow  \nthis.\nMAN\nYou can’t allow it?\nANTHONY\nNo.\nMAN\nSuppose I do it again, then  what \nwill you do?\nANTHONY\nI’ll...\nMAN\nYes?\nANTHONY\nYou’ll have to take me on. \nPhysically .CONTINUED: 50 50THE FATHER - FINAL  67\nMAN\nAre you saying that to tempt me? \nSee, me as well, there’s  something  \nI can’t allow. Getting on \neverybody’s  tits. Past a certain \nage.\nThe MAN smiles and gives him a second little  slap.\nANTHONY\nStop it! Do you hear me? Stop this \nat once.\nThe MAN still has a broad, menacing  smile on his face. \nANTHONY, in front of him, looks helpless .\nMAN\nYes. I won’t put up with that. I \nfind that totally  inappropriate .\nHe gives him a third  little slap.\nANTHONY\nStop that! I told you to stop it!\nANTHONY covers  his face. For a moment, he’s in this \nhumiliating  defensive position. The MAN continues to smile .", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 69, "text": "INT.    KITCHEN 3    EVENING 51 51\nANNE is smoking her cigarette at the window (as we saw her in \nscene 35). We seem to be in the follow-on to that scene. \nSuddenly, she hears her father’s VOICE.\nANTHONY (O.S.)\nAnne!\nShe hurries  into the living room.", "behaviors": [], "source": "The Father"}
-{"scene_id": 70, "text": "INT.    LIVING ROOM 3    EVENING 52 52\nANTHONY is in the same  defensive position, hunched over. In \nfront of him is PAUL, rather  than the MAN, looking at him \nuncomprehendingly. \nANNE\nDad? Dad, what’s the matter ?\nNo answer. ANNE turns to PAUL.\nANNE (CONT’D)\nWhat’s the matter with him?CONTINUED: 50 50THE FATHER - FINAL  68\nPAUL\nI don’t know.\nShe approaches her father, who maintains the same position, \nas if afraid of being  slapped .\nANNE\nIs it because of your watch? Dad, \nis that the reason? I found it, \nlook! Shush. Come on, don’t cry .\nAs she speaks, she’s holding him in her arms and stroking  his \nhair. She looks at PAUL with a concerned expression.\nANNE (CONT’D)\nYou’ll be all right  now. Mm? Shush. \nYou’ll be all right. You’ll be all \nright. Let’s eat our chicken. Shall  \nwe? You like chicken, don’t you?\nANTHONY\nBut what time is it?\nANNE\nIt’s seven  o’clock. Time to eat .\nANTHONY\nSeven o’clock in the evening?\nANNE\nYes, Dad .\nANTHONY\nBut I thought it was morning. I’ve  \nonly just got up. Look, I’m still  \nin my pyjamas.\nANNE\nNo, it’s evening and I’ve  cooked \nyou a chicken. Come on, let’s eat. \nCome on. Little daddy. Little \ndaddy.\nHe seems  very lost. She tries to console him. Then, she looks \nat PAUL.", "behaviors": [], "source": "The Father"}
-{"scene_id": 71, "text": "INT.    BATHROOM 3    EVENING 53 53\nANNE is in the bathroom, while PAUL is waiting for her in the \nbedroom. \nShe is brushing her teeth in front of the mirror. Suddenly  \nshe stops... She looks exhausted and unhappy. Then, she steps  \nback into the bedroom.CONTINUED: 52 52THE FATHER - FINAL  69", "behaviors": [], "source": "The Father"}
-{"scene_id": 72, "text": "INT.    MAIN BEDROOM 3    EVENING 54 54\nPAUL is there, already in bed. ANNE goes to sit on the bed.", "behaviors": [], "source": "The Father"}
-{"scene_id": 73, "text": "INT.    BEDROOM 3    NIGHT 55 55\nANTHONY is in bed. It’s the middle of the night. Suddenly, he \nhears VOICES.\nVOICE\nDad? Dad, are you asleep ?\nHe sits up and turns on the light. There’s no one there .\nANTHONY\nAnne?\nVOICE\nNo, Dad, it’s me. \nANTHONY\nLucy?\nHe gets up, puts on his  dressing-gown and leaves the room.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 74, "text": "INT.    CORRIDOR 3    NIGHT 56A 56A\nThe flat is in darkness. But he hears a SOUND, coming from a \ncupboard at the end of the corridor. He’s intrigued. He \napproaches and opens the cupboard: but the door  leads him \ninto another corridor, which ANTHONY seems to be seeing for \nthe first time. It’s a hospital corridor.", "behaviors": [], "source": "The Father"}
-{"scene_id": 75, "text": "INT.    HOSPITAL CORRIDOR   NIGHT 56B 56B\nHe looks up and down the corridor, bewildered. All the sounds  \nand sights of a hospital at night make it undeniable that \nhe’s in hospital. He looks to and fro, rooted to the spot.\nVOICE\nDad? \nANTHONY\nLucy? Are you there ?\nHe moves  slowly down the corridor. Then, through a half-open  \ndoor, he sees a young woman stretched out on a bed. The young  \nwoman turns her head and looks at him. It’s LUCY.\nLUCY\nDad...THE FATHER - FINAL  70\nDELETED 57A 57A\nDELETED 57B 57B", "behaviors": [], "source": "The Father"}
-{"scene_id": 76, "text": "INT.    FLAT 4    MORNING 58 58\nSame stationary  empty SHOT. This time, there’s  hardly any \nfurniture at all.", "behaviors": [], "source": "The Father"}
-{"scene_id": 77, "text": "INT.    BATHROOM 4    MORNING 59 59\nANTHONY splashes water over his face and looks at himself in \nthe mirror. He uses the water to tidy  his hair. He remembers  \nhis dream and decides to investigate the cupboard .", "behaviors": [], "source": "The Father"}
-{"scene_id": 78, "text": "INT.    CORRIDOR 4    MORNING 60 60\nHe approaches the cupboard he dreamed about. He’s reluctant  \nto open it. Then he decides to do it. It’s a broom  cupboard .\nANNE (O.S.)\nAh, you’re up...", "behaviors": [], "source": "The Father"}
-{"scene_id": 79, "text": "INT.    KITCHEN 4    MORNING 61 61\nANNE is cooking breakfast. There’s  coffee already by his  \nplace at the table.\nANTHONY\nMorning, darling...\nANNE\nSit down. It’s all ready. Are you \nhungry? \nANNE puts a plate of toast and eggs in front of him.\nANNE (CONT’D)\nYou have a visitor today. Remember ?\nAnthony starts  eating his breakfast. He looks baffled .\nANNE (CONT’D)\nDad, you do remember ?\nANTHONY\nHow could I forget? You never stop \ntalking about it.\nANNE\nShe shouldn’t be long.THE FATHER - FINAL  71\nANTHONY\nThis early ?\nANNE\nYes. \nANTHONY\nI dreamt about her last night.\nANNE\nLaura?\nANTHONY\nYes. Well, I think I did. I can see  \nher face.\nANNE smiles at him.\nANTHONY (CONT’D)\nYou know, she really  reminded me of \nyour sister...\nANNE\nLaura? Yes. That’s what you said  \nyesterday .\nShe sits in front of him.\nANNE (CONT’D)\nAnyway, if you like her, I’m happy. \nShe seems  really nice. I mean, \nsweet. And efficient. She’ll look \nafter you well.\nANTHONY\nYes. I like her.\nANNE\nGood. We’d better  get you dressed \nbefore she arrives, don’t you \nthink?\nANTHONY\nWho?\nANNE\nLaura. Your new carer. The one you \nlike.\nANTHONY\nAh, yes, yes, yes...\nANNE\nBetter to have a jacket on when she \narrives.CONTINUED: 61 61THE FATHER - FINAL  72\nANTHONY\nAnd trousers .\nThey laugh. \nANNE\nShe very  much enjoyed meeting you \nyesterday, you know. I must say you \ndid quite a little  number on her.\nANTHONY\nI did?\nANNE\nYes. You convinced her you knew how \nto dance. That you were good at tap  \ndancing.\nANTHONY\nMe?\nANNE\nYes.\nANNE’s laughing  again; ANTHONY has a childlike  smile.\nANTHONY\nAnd what did she say ?\nANNE\nShe said she hoped you’d give her a \ndemonstration. One day.\nANTHONY\nFunny. I didn’t  even know I knew \nhow to tap  dance. Did you?\nANNE\nNo.\nANTHONY\nHidden talents.\nANNE\nApparently, yes.\nHe laughs. The bell rings. She stands.\nANNE (CONT’D)\nAh.\nANTHONY\nIs that her?\nANNE\nI expect  so.CONTINUED: 61 61THE FATHER - FINAL  73\nANTHONY\nBut... so  soon? I’m not ready. I’m \nnot dressed.\nANNE\nNever mind. You can get dressed \nlater.\nANTHONY\nNo. I... I have to put some  \ntrousers on, Anne. Anne, I’m not \nproperly dressed.\nANNE\nIt doesn’t  matter.\nShe’s heading for the door .\nANTHONY\nYes, it does  matter.\nANNE\nShe’s outside the door .\nANTHONY\nAnne.\nANNE\nWhat?\nANTHONY\nDon’t leave me like this. What’s  \nshe going to think of me? I have to \nget dressed. Where are my clothes ?\nANNE\nDad. Why do you always make \neverything so  difficult? You can \nget dressed later. There’s  nothing  \nto worry about.\nANTHONY\nI’ll be mortified...\nANNE\nNo, you won’t...\nANTHONY\nI will. Look, I’m in my pyjamas. I \nhave to put my trousers on.\nThe doorbell rings again. ANNE goes to open the door. CONTINUED: 61 61THE FATHER - FINAL  74", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 80, "text": "INT.    KITCHEN 4    DAY 62 62\nHe arranges himself  behind the breakfast table, as far as \npossible so as not to be seen in his pyjamas. \nWe can hear the WOMEN speaking in the hallway.\nANNE (O.S.)\nHello.\nLAURA (O.S.)\nHello. Not too  late, am I?\nANNE (O.S.)\nNo, no. Not at all. Come in. Come  \nin.\nLAURA (O.S.)\nThank you.\nThey step  into the kitchen, but to ANTHONY’s amazement, it’s \nnot LAURA, it’s the WOMAN.\nANTHONY\nBut... who’s this?\nANNE\nHere we are. We’re  just getting  \ndressed...\nWOMAN\nHello, Anthony.\nANTHONY\nBut, Anne... it’s not her.\nANNE\nDad.\nShe turns to the WOMAN.\nANNE (CONT’D)\nWould you like something to drink? \nCoffee?\nWOMAN\nNo, thanks.\nANNE\nHave you had breakfast? I...\nANTHONY\nI don’t want her. Where’s the one I \nlike? Where is she?THE FATHER - FINAL  75\nANNE\nBut, Dad... what are you talking  \nabout? Say hello to Laura.\nANTHONY\nThere’s  something that doesn’t make \nsense about this. It doesn’t make \nsense!\nHe’s terrified by the illogicality of the situation.\nWOMAN\nDo you remember me? We met \nyesterday .\nPause.\nWOMAN (CONT’D)\nWe were  starting to get to know one \nanother...\nPause. ANTHONY seems  panicked. He takes a step  backwards .\nWOMAN (CONT’D)\nAnd I told you I’d come back... \nJust to see the way you did things \nand whether I could help you.\nPause.\nWOMAN (CONT’D)\nDo you remember ?\nPause. He obviously  doesn’t  understand  what’s going on. \nPanicked, he leaves the room and plunges  into his bedroom. \nANNE looks sadly and apologetically at the WOMAN.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 81, "text": "INT.    BEDROOM 5    DAY 63A 63A\nClearly a different bedroom. \nANTHONY is sitting on the bed. He’s staring  into space. He’s \ntrying to understand  what’s going on around him.\nSuddenly, there’s a knock at the door and ANNE appears. \nOddly, she’s wearing a coat. \nANNE\nDad? Can I talk to you ? \nShe comes  into the room. Behind her is the WOMAN, who also  \ncomes into ANTHONY’s room. \nANNE sits down on the bed  beside ANTHONY.CONTINUED: 62 62THE FATHER - FINAL  76\nANNE (CONT’D)\nHow shall I put this?\nANTHONY has no idea who she’s talking about. \nANNE (CONT’D)\nYou remember at first, when you \ncame to our place, it was... I \nmean, it was... a stop gap. Because \nyou’d fallen out with Angela. \nBut... I’m wondering if it wouldn’t  \nbe... better to... \nEmotion prevents her from finishing her sentence. She \nsearches for some less direct way of approaching the subject .\nANNE (CONT’D)\nWhat do you think of this room? \nIt’s rather nice, isn’t it?\nShe stands.\nWOMAN\nIt looks on to the park.\nANNE\nDoes it?\nANNE opens the curtains. You can see out on to a park. \nANNE (CONT’D)\nIt’s very nice. It’s like being in \na hotel? Don’t you think ?\nWOMAN\nThat’s what all the residents  say.\nANNE turns to her father and takes her courage in both  hands.\nANNE\nI think you might be better off \nhere.\nANTHONY looks completely  lost.\nANTHONY\nWhere?\nShe sits next to him. \nANNE\nHere. I was  wondering if it \nwouldn’t be more reassuring... \nnicer for you if we came to a joint \ndecision that you should  move in \nhere.CONTINUED: 63A 63ATHE FATHER - FINAL  77\nBrief pause.\nANNE (CONT’D)\nWhat do you think ?\nANTHONY\nWhat about you? What are you going  \nto do? Where are you going to \nsleep? Which room?\nANNE\nIf you remember, I’m going to go \nand live in Paris.\nANTHONY\nNo, you’re not.\nANNE\nI am. Remember? I told you about \nit... Remember ?\nANTHONY\nBut you said... Are you sure?\nANNE\nYes.\nANTHONY has tears in his  eyes.\nANTHONY\nYou told me you were  staying  \nhere... with me...\nANNE\nNo, I have to go. It’s important. I \nalready  explained it to you. But \nI’ll come and see you. Occasional  \nweekends.\nANTHONY\nWhat about me?\nANNE\nYou’ll stay here. In London.\nANTHONY is like a lost  child.\nANTHONY\nAll on my own ?\nPause. ANNE’s choked up, unable to speak .\nANTHONY (CONT’D)\nWhat about your sister? Where’s  \nshe?CONTINUED: 63A 63ATHE FATHER - FINAL  78\nANNE\nDad...\nHe’s having  difficulty holding back a sob. \nANTHONY\nWhat?\nPause.\nANTHONY (CONT’D)\nIf you knew how much I missed  \nher...\nANNE\nI do too, Dad, I miss her too. We \nall miss her.\nANTHONY realises that ANNE is moved. Immediately, he \nrediscovers  his role as a father: he strokes her cheek, as if \nhe wanted to console her. ANNE smiles. She closes her eyes  \nand presses her father’s hand against her cheek .", "behaviors": [], "source": "The Father"}
-{"scene_id": 82, "text": "INT.    HOSPITAL    DAY 63B 63B\nSame stationary  empty SHOT. We are now  clearly in a hospital.", "behaviors": [], "source": "The Father"}
-{"scene_id": 83, "text": "EXT.    HOSPITAL PARK    DAY 63C 63C\nANNE comes out of the building. She walks  away, leaving it \nbehind.", "behaviors": [], "source": "The Father"}
-{"scene_id": 84, "text": "EXT.    STREET OUTSIDE HOSPITAL    DAY 63D 63D\nLeaving the gates, ANNE hails a taxi which stops in front of \nher. \nAs she gets in, she takes a last look back at the hospital.", "behaviors": [], "source": "The Father"}
-{"scene_id": 85, "text": "INT.    TAXI    DAY 63E 63E\nThe taxi leaves. \nANNE settles  into the taxi. She’s fighting back tears. \nDELETED 63F 63F", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 86, "text": "INT.    HOSPITAL ROOM    DAY 64 64\nANTHONY wakes  peacefully from his  siesta. It takes him some  \ntime to work out where he is.CONTINUED: 63A 63ATHE FATHER - FINAL  79\nThere are medications on the bedside table. His  watch is not \nthere. His hand goes to his  wrist. He’s lost it again... He \nfumes.\nHe gets up.\nANTHONY\nAnne?\nHe’s wanting to leave  his bedroom to go to the kitchen.", "behaviors": ["wandering"], "source": "The Father"}
-{"scene_id": 87, "text": "INT.    HOSPITAL CORRIDOR    DAY 65 65\nHe pushes open the door and comes  upon the hospital corridor \nhe saw in his  nightmare.", "behaviors": [], "source": "The Father"}
-{"scene_id": 88, "text": "INT./EXT.    HOSPITAL ROOM    DAY - PT 1 66 66\nHe goes back into  his room.\nBehind him, the WOMAN comes in. She’s wearing a white  coat. 66PT2 66PT2\nWOMAN\nDid you sleep well?\nANTHONY\nWhat am I doing  here?\nWOMAN\nIt’s time.\nANTHONY\nI didn’t  ask about the time. I \nasked you what I was  doing here. \nWhere’s Anne?\nWOMAN\nLook, I’ve  brought you your \nmedication .\nANTHONY\nWhy don’t you just fuck off with \nyour medication? What are you, a \nnurse?\nWOMAN\nYes.\nANTHONY looks at her and realizes she has all the indications \nof being a nurse.\nANTHONY\nOh, you are... Oh, so that’s it... \nOh, I see. You are a nurse.CONTINUED: 64 64THE FATHER - FINAL  80\nWOMAN\nYes.\nANTHONY\nOh, I see. That’s what I was  \nthinking. You’re the type. Typical  \nnurse. So what are you doing  here?\nWOMAN\nSorry?\nANTHONY\nWhat are you doing  here?\nWOMAN\nLooking  after you.\nANTHONY\nYou don’t say! Looking  after me? \nFirst I’ve  heard of it. Since  when?\nWOMAN\nFor quite a few  weeks now.\nANTHONY\nFor quite a few  weeks? I’m happy to \nhear it. Amazing! Nobody tells me \nanything in this house. But I \nthought we were  getting a new one.\nWOMAN\nA new what ?\nANTHONY\nNurse. A new nurse.\nPause.\nANTHONY (CONT’D)\nThe one who looks a bit like Lucy. \nMy other  daughter .\nBrief pause.\nANTHONY (CONT’D)\nI met her the other day. She came \nhere... didn’t she?\nWOMAN\nWill you take your medication ?\nANTHONY\nShe was  supposed to start this \nmorning. Laura. Wasn’t she?CONTINUED: 66 66THE FATHER - FINAL  81\nWOMAN\nI think  you’re getting  mixed up, \nAnthony.\nANTHONY\nThe one who reminded me of Lucy...\nThe WOMAN is getting impatient.\nWOMAN\nRight.\nANTHONY\nYes, all right, fine. Let’s take  \nthis medication. It’s not timed to \nthe minute, is it?\nHe takes a look at his  wrist and realises he’s not wearing  \nhis watch. \nANTHONY (CONT’D)\nWhere is Anne? \nWOMAN\nYour daughter  isn’t here, Anthony.\nANTHONY\nOh? Where is she? Has she gone out?\nWOMAN\nIf you remember, she lives in \nParis.\nANTHONY\nWhat? No, no, she thought about \ngoing. But in the end, it didn’t  \nhappen.\nWOMAN\nShe’s been living there for several  \nmonths.\nANTHONY\nMy daughter? In Paris? No, listen, \nthey don’t even  speak English.\nThe WOMAN shows him a postcard, which is on the bedside  \ntable.\nWOMAN\nLook, yesterday, this postcard she \nsent you. We read it together. \nDon’t you remember ?\nANTHONY\nWhat is this nonsense ?CONTINUED: 66 66THE FATHER - FINAL  82\nWOMAN\nLook.\nHe reads it. Then he turns it over and recognises the French \nposter we first saw in his kitchen.\nWOMAN (CONT’D)\nI tell you this every day. She \nlives in Paris because she met a \nman called Paul, who she now lives \nwith. But she comes to see you \nsometimes .\nANTHONY\nAnne?\nWOMAN\nYes. Occasionally she comes for the \nweekend. She comes  here. You go for \na walk in the park. She tells you \nabout her new life, what she’s up \nto. The other day, she brought you \nsome tea. Because you like tea.\nANTHONY\nMe? I detest tea. I only drink \ncoffee.\nThe MAN comes in. He’s also dressed in white. ANTHONY is  66PT3 66PT3\nfrightened when he sees him.\nMAN\nEverything all right?\nWOMAN\nFine. We were just going to get \ndressed.\nMAN\nEverything all right?\nANTHONY doesn’t answer. The MAN hands a document to the \nWOMAN, which she signs and hands back to him.\nWOMAN\nThere you are.\nMAN\nThanks. Have a nice day.\nWOMAN\nSee you later.\nHe leaves .\nANTHONY 66PT4 66PT4\nHim, that one... Who’s he?CONTINUED: 66 66THE FATHER - FINAL  83\nWOMAN\nWho?\nANTHONY\nHim... Who just  left.\nWOMAN\nThat’s Bill.\nANTHONY\nBill?\nWOMAN\nYes.\nANTHONY\nAre you sure?\nWOMAN\nYes. Why ?\nANTHONY\nNo reason. But... how shall I put \nthis? What’s he doing  here? I \nmean... in my flat. Do I know him?\nWOMAN\nYes. He’s Bill. You see him every  \nday.\nANTHONY\nDo I? And you...\nWOMAN\nWhat?\nANTHONY\nSorry to ask this, but... I mean, \nyou... you... Who are you, exactly?\nWOMAN\nI’m Catherine.\nANTHONY\nCatherine. That’s right. Yes, yes, \nyes. Catherine. And he’s Bill.\nWOMAN\nYes.\nANTHONY\nRight. Right. And... What about me?\nShe looks at him, not sure she’s understood.\nANTHONY (CONT’D)\nMe... Who exactly am I?CONTINUED: 66 66THE FATHER - FINAL  84\nShe smiles tenderly at him.\nWOMAN\nYou? You’re Anthony.\nANTHONY\nAnthony?\nWOMAN\nYes.\nANTHONY\nAre you sure?\nWOMAN\nYes.\nANTHONY\nAnthony? Nice name, Anthony... \nDon’t you think ?\nWOMAN\nIt’s a very nice name.\nANTHONY\nMy mother gave it to me. I imagine. \nDid you know her?\nWOMAN\nWho?\nANTHONY\nMy mother.\nWOMAN\nNo.\nANTHONY 66PT5 66PT5\nShe was so... She had very big \neyes. It was... I can see her face \nnow. I hope she’ll come and see me \nsometimes. Mummy. Do you think? You \nwere saying she might come \noccasionally for the weekend...\nWOMAN\nYour daughter?\nHe’s crushed by sudden grief.\nANTHONY\nNo, Mummy. I... I want my mummy. I \nwant my mummy. I want... I want to \nget out of here. Have someone come \nand fetch me.CONTINUED: 66 66THE FATHER - FINAL  85\nWOMAN\nNow. Shush...\nANTHONY\nI want my mummy. I want her to come \nand fetch me. I want to go back \nhome.\nANTHONY starts sobbing. The WOMAN is surprised: she hadn’t in \nany way anticipated this grief.\nWOMAN\nWhat’s the matter with you? \nAnthony... Come here. Come to me. \nTell me what the matter is...\nANTHONY\nI...\nWOMAN\nYes?\nANTHONY\nI feel as if... I feel as if I’m \nlosing all my leaves, one after  \nanother .\nWOMAN\nYour leaves? What are you talking  \nabout?\nANTHONY\nThe branches! And the wind... I \ndon’t understand  what’s happening \nany more. Do you understand  what’s \nhappening? All this business about \nthe flat? You don’t know where you \ncan put your head down. I know \nwhere my watch is. On my wrist. \nThat I do know. For the journey. If \nnot, I wouldn’t know when I might  \nhave to...\nWOMAN\nFirst we’ll  get dressed, shall we?\nANTHONY\nYes.\nWOMAN\nWe’ll get dressed and then we’ll go \nfor a walk in the park, shall we?\nANTHONY\nYes.CONTINUED: 66 66THE FATHER - FINAL  86\nWOMAN\nGood. All the trees. And the \nleaves. And then  we’ll come back \nhere and have something to eat. \nThen you’ll have a siesta. All \nright? And if you’re on form, we’ll  \ntake another  little walk. In the \npark. Just the two of us. Because \nit’s a nice day. Isn’t it?\nANTHONY\nYes.\nWOMAN\nThe sun’s out. We have to make the \nmost of it. It doesn’t  happen every \nday. It never  lasts very long when  \nthe weather’s as good as this, does  \nit? So let’s get dressed, is that \nall right ?\nHe clings to her.\nANTHONY\nNo.\nWOMAN\nNow. Don’t be a baby. Come on. Come \nwith me. All right? Come on. Easy. \nEasy. Shush. Shush. You’ll be all \nright in a minute. You’ll be all \nright. Shush...\nHe calms down, buried in her arms. She rocks him gently. He \nlooks like a child in its mother’s arms.\nThe CAMERA PANS ROUND to the window.", "behaviors": ["repetitive_questioning", "wandering"], "source": "The Father"}
-{"scene_id": 89, "text": "EXT. HOSPITAL PARK    DAY 66A 66A\nThe park. \nThe wind blows through the trees, rustling the leaves. The \nimage HOLDS for some time.CONTINUED: 66 66THE FATHER - FINAL  87", "behaviors": ["wandering"], "source": "The Father"}