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Scene Map 53
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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1 EXT. STREET IN LONDON DAY 1 Music. ANNE emerges from the entrance to a tube station into a London street. She’s in a hurry, her expression serious. She arrives, across from a familiar block of flats. She crosses the street in such a rush, she’s almost hit by a
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4 INT. OFFICE DAY 4 - ANTHONY’s office and finds him. He’s sitting in his armchair, listening to music on his headphones. ANNE Ah, there you are.
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5 INT. LIVING ROOM DAY 5 ANTHONY goes to the piano and starts playing a couple of notes. He turns his back on her as she appears in the doorway. ANNE
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6B INT. LIVING ROOM DAY 6B ANNE is waiting for him in the living room. She sighs. She knows they can not go on like this... She hardly knows what to make of the situation. She sees the painting on the wall. This is her sister’s
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8 INT./EXT. BEDROOM DAY 8 ANTHONY stands at his bedroom window. He’s watching his daughter cross the street and walk away from the block of flats. She doesn’t look back. He can’t get over the fact that his daughter - his own
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11 INT. LIVING ROOM DAY 11 He pushes open the door. In the middle of the room, reading his emails on his mobile, is a stranger, a tall, dark man of about 50. The MAN glances up at him, no particular reaction: then resumes reading his smartphone.
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11A INT. INDIAN SHOP DAY 11A ANNE is choosing a chicken from the cooler in a small supermarket run by Indians. She speaks into the phone. ANNE What’s the matter?... What?
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13A INT. KITCHEN DAY 13A The MAN is opening a bottle of wine. ANTHONY joins him. ANTHONY It’s because of that girl... That nurse...
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13C INT. LIVING ROOM DAY 13C ANTHONY I don’t understand why she persists in... Look at me. Take a good look at me...
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14A INT. CORRIDOR DAY 14A ANTHONY steps into the corridor, anxious to find out what’s going on: but he’s confronted not by ANNE, but by a completely different WOMAN. WOMAN is taking off her coat.
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14B INT. LIVING ROOM DAY 14B ANTHONY decides to pick up the chess pieces. The WOMAN appears and approaches ANTHONY. She looks genuinely concerned. WOMAN
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15 INT. KITCHEN DAY 15 ANTHONY arrives in the kitchen. It’s empty. ANTHONY But he was here just now! He goes to look in the dining room.
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17 INT./EXT. BEDROOM 2 DAY - PT1 17 He arrives in the bedroom. It occupies the same space as his first bedroom, but some elements of the décor and furniture have changed - as if he was indeed in a different flat. He’s aware of this difference. He frowns. He goes to the
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18 INT. LIVING ROOM 2 DAY 18 For a moment, like a punctuation, the CAMERA CONTEMPLATES the empty room. It’s the same space as before, but it’s taken on the characteristics of ANNE and PAUL’s flat, far more light and modern than ANTHONY’s place.
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20 INT. HALLWAY 2 DAY 20 ANNE No, I’m expecting her any minute. Yes... THE FATHER - FINAL 24
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22 INT. BEDROOM 2 DAY 22 ANTHONY is stretched out on the bed, in his pyjamas. He’s holding a newspaper and a pencil and is concentrating on filling squares in the crossword. Suddenly, he stops. He stares into space. He looks anxious. He’s trying to
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24 INT. HALLWAY 2 DAY 24 She opens the door. It’s LAURA. ANNE Hello. LAURA
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25 INT. LIVING ROOM 2 DAY - PT1 25 The décor in the living room is as we saw it in Scene 18: in other words, not ANTHONY’s flat any more. ANNE My father’s in his room. Would you
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26 INT. ANTHONY’S BATHROOM 2 DAY 26 ANTHONY finds his watch. He checks himself in the mirror to make sure his hair is all right: just a moment of vanity. He sets off back to the living room, satisfied. THE FATHER - FINAL 28
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28 INT. KITCHEN 2 NIGHT 28 ANNE is alone in the kitchen. It’s late. She’s drinking herbal tea. She looks exhausted. When she’s completed her cup, she washes it in the sink. Then she starts drying it, but it slips out of her hands and shatters on the ground.
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30 INT. DINING ROOM 2 DAY 30 PAUL (O.S.) Well? ANNE starts. She’s daydreaming on her feet. She comes back to reality. She’s in the dining room laying the table. She turns
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31 INT. KITCHEN 2 DAY 31 ANNE opens the oven. The chicken is cooking. She burns herself. She looks jumpy. PAUL appears. PAUL What’s the matter with you? If it
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32 INT. LIVING ROOM 2 DAY 32 ANTHONY approaches the living room. He’s watching PAUL from a distance. PAUL is sitting in his armchair reading the newspaper and drinking a glass of wine. ANTHONY is having some trouble understanding what’s happening. PAUL becomes
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33 INT. DINING ROOM 2 DAY 33 ANTHONY Couldn’t you be more discreet? ANNE speaks more quietly. ANNE
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34 INT. LIVING ROOM 2 DAY 34 PAUL ignores him. He’s still reading his paper. ANTHONY wants to get his attention. ANTHONY Might you have the time?
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35A INT./EXT. BATHROOM 2 DAY 35A ANNE is rummaging in ANTHONY’s cupboard. She discovers a fork and wonders what it’s doing there. Then she sees the watch. ANNE Dad... I’ve found it...
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36 INT. LIVING ROOM 2 DAY 36 ANTHONY has resumed his conversation with PAUL. ANTHONY I don’t know why, we never really got on. Whereas her little sister,
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37 INT. LIFT DAY 37 ANNE has a new hairdo. ANTHONY is looking at her, frowning. ANNE What is it? ANTHONY
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38 INT. SURGERY DAY 38 The entrance hall to the surgery has the same dimensions as the entrance hall of the flat, although it’s furnished differently. ANNE heads for the RECEPTIONIST. ANTHONY looks around, not
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39 INT. DOCTOR’S OFFICE DAY 39 The DOCTOR is scribbling a note; he looks up at ANTHONY and ANNE. DOCTOR So... Anthony, is it?
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39A INT. WAITING ROOM DAY 39A ANTHONY is sitting on one of the violently-coloured chairs in the waiting room. He’s watching ANNE and the DOCTOR talking in the distance. He seems worried about what they might be saying.
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40A INT. KITCHEN 2 DAY 40A ANNE is ironing. Then, she goes to ANTHONY’s bedroom with the laundry basket. 40B INT. ANTHONY'S BEDROOM 2 DAY 40B She puts one of ANTHONY's shirt in his dressing room. She
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41B EXT./INT. INDIAN SHOP DAY 41B She walks along the street and into the Indian shop. She is buying a chicken. Her phone rings. ANNE What’s the matter? What? All
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41F INT. CORRIDOR 2 / BEDROOM 2 DAY 41F The bedroom door is open and ANNE sees him at the far end of the room, struggling with his sweater. He is trying to put it on. He can’t manage it, keeps putting the wrong arm in the wrong sleeve.
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41H INT. BEDROOM 2 EVENING 41H ANTHONY is reading a book. He checks his watch. It is time to have dinner. He closes the book and gets up. 42 INT. CORRIDOR 2 EVENING 42 ANTHONY emerges from his bedroom and sets off down the
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43 INT. DINING ROOM 2 EVENING 43 ANTHONY appears in the doorway, unnoticed by ANNE and PAUL. PAUL Yes. You’re right. We’ll see. Maybe it’ll work very well with this
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44A INT. DINING ROOM 2 EVENING 44A LATER: ANTHONY is sitting down. The awkwardness is palpable. Nobody knows what to say. Did he hear them? PAUL attempts to restart the conversation. PAUL
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44B INT. KITCHEN 2 EVENING 44B - the kitchen. Once there, however, he can’t remember why he’s come. He stands there, frowning, puts his plate down so he can concentrate better. 44C INT. DINING ROOM 2 EVENING 44C
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45 INT. BEDROOM 2 NIGHT 45 ANNE sits on the edge of Anthony’s bed. He’s just gone to sleep. He looks peaceful. ANNE strokes his cheek tenderly. It’s like the strangling scene. But this time, she gets up and leaves the room, like a mother who’s just put her child
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48 INT. FLAT 3 MORNING 48 ESTABLISHING SHOT of the same space: but with less furniture. Dawn light. LUCY’s painting is no longer hanging on the wall. There are packing cases, which may explain why the flat is virtually empty.
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49B INT. CORRIDOR 3 MORNING 49B ANTHONY moves down the corridor in his pyjamas, heading for the kitchen. His attention is caught by the brightly-coloured chairs from the surgery, which are now in the hallway.
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50 INT. LIVING ROOM 3 MORNING - PT 1 & PT 2 (ANNE ONLY) 50 - the living room. He sees the packing cases. Is ANNE finally moving to Paris? ANTHONY looks at the wall. LUCY’s painting is no longer here. Once again we hear ANNE’s VOICE as she busies herself in the
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51 INT. KITCHEN 3 EVENING 51 ANNE is smoking her cigarette at the window (as we saw her in scene 35). We seem to be in the follow-on to that scene. Suddenly, she hears her father’s VOICE. ANTHONY (O.S.)
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53 INT. BATHROOM 3 EVENING 53 ANNE is in the bathroom, while PAUL is waiting for her in the bedroom. She is brushing her teeth in front of the mirror. Suddenly she stops... She looks exhausted and unhappy. Then, she steps
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55 INT. BEDROOM 3 NIGHT 55 ANTHONY is in bed. It’s the middle of the night. Suddenly, he hears VOICES. VOICE Dad? Dad, are you asleep?
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56A INT. CORRIDOR 3 NIGHT 56A The flat is in darkness. But he hears a SOUND, coming from a cupboard at the end of the corridor. He’s intrigued. He approaches and opens the cupboard: but the door leads him into another corridor, which ANTHONY seems to be seeing for
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58 INT. FLAT 4 MORNING 58 Same stationary empty SHOT. This time, there’s hardly any furniture at all. 59 INT. BATHROOM 4 MORNING 59 ANTHONY splashes water over his face and looks at himself in
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61 INT. KITCHEN 4 MORNING 61 ANNE is cooking breakfast. There’s coffee already by his place at the table. ANTHONY Morning, darling...
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62 INT. KITCHEN 4 DAY 62 He arranges himself behind the breakfast table, as far as possible so as not to be seen in his pyjamas. We can hear the WOMEN speaking in the hallway. ANNE (O.S.)
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63A INT. BEDROOM 5 DAY 63A Clearly a different bedroom. ANTHONY is sitting on the bed. He’s staring into space. He’s trying to understand what’s going on around him. Suddenly, there’s a knock at the door and ANNE appears.
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63B INT. HOSPITAL DAY 63B Same stationary empty SHOT. We are now clearly in a hospital. 63C EXT. HOSPITAL PARK DAY 63C ANNE comes out of the building. She walks away, leaving it behind.
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64 INT. HOSPITAL ROOM DAY 64 ANTHONY wakes peacefully from his siesta. It takes him some time to work out where he is. THE FATHER - FINAL 80 64 CONTINUED: 64
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66 INT./EXT. HOSPITAL ROOM DAY - PT 1 66 He goes back into his room. 66PT2 66PT2 Behind him, the WOMAN comes in. She’s wearing a white coat. WOMAN

The father

A man struggling with dementia battles to maintain his independence and identity as his daughter tries to find the best way to care for him.

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Overview

Poster
Unique Selling Point

What sets 'The Father' apart is its immersive portrayal of dementia from the perspective of the afflicted, allowing the audience to experience the confusion and fear alongside Anthony. This unique narrative approach, combined with rich character development and poignant dialogue, makes it a compelling story that resonates with anyone who has faced the challenges of aging and loss within a family context.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

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Claude
 Recommend
Gemini
 Highly Recommend
GPT4
 Highly Recommend
Story Facts
Genres:
Drama 75% Thriller 25%

Setting: Contemporary, London, primarily in residential flats and a hospital

Themes: The Emotional Toll of Alzheimer's Disease, Denial and the Struggle for Independence, Family Dynamics and the Burden of Caregiving, The Process of Aging and Loss of Identity

Conflict & Stakes: The primary conflict revolves around Anthony's deteriorating mental state and Anne's struggle to care for him while managing her own life, with the stakes being Anthony's well-being and their relationship.

Mood: Melancholic and introspective, with moments of tenderness and tension.

Standout Features:

  • Unique Hook: The exploration of memory loss from the perspective of both the caregiver and the person affected, providing a dual narrative.
  • Emotional Depth: The screenplay delves deeply into the emotional struggles of caregiving, making it relatable and poignant.
  • Character Dynamics: The complex relationships between Anthony, Anne, and Paul highlight the challenges of family dynamics in caregiving.

Comparable Scripts: The Father, Still Alice, The Notebook, A Long Way Down, The Savages, The Farewell, The Lion in Winter, The Curious Case of Benjamin Button, The Hours

Script Level Analysis

Writer Exec

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

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Overall Score: 7.85
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
Analysis of the themes of the screenplay and how well they’re expressed.
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Scene Analysis

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Other Analyses

Writer Exec

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

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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Correlations
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Loglines
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