Philomena

PHILOMENA sits at a pew in a largely empty church - there aretwo other WORSHIPPERS dotted about; there is no service. She

is looking at a statue of Madonna and Child.

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A PRIEST passes PHILOMENA and stops to talk. He is dressed ina black sweater and dog collar rather than formal robes.

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PRIEST:

Hello Philomena, haven’t seen youfor a while?

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PHILOMENA:

I just came in to light a candle.

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PRIEST:

Someone special?

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Yes.

PHILOMENA *

*

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But she pointedly doesn’t elaborate any further. The PRIESTtries to continue the conversation:

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PRIEST:

How’s the new hip?

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PHILOMENA:

It’s very good. It’s Ti-tanium.

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PRIEST:

Oh, the bionic woman...

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She smiles, but he can see she’s not really in the mood fortalking.

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PRIEST (CONT’D)

Well, always nice to see you.

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He carries on. PHILOMENA returns her gaze to the Madonna andChild.

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CUT TO:
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B INT. MOTHER BARBARA’S STUDY - NIGHT

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B:

MOTHER BARBARA:

YOU ARE THE CAUSE OF YOUR SHAME.

YOU AND YOUR OWN INDECENCY.

ON YOUNG PHILOMENA’S FACE, PETRIFIED AND ASHAMED.

CUT TO:

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PHILOMENA - Final Shooting Script 2.

C INT. CHURCH - NIGHT C *

PHILOMENA stands before a row of dozens of little candles

burning in sockets. She puts a pound coin in a box, takes acandle and lights it. She plants it in a socket and stares atthe flame, emotional.

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We see her face through the flame, distorted by the heathaze, and on this we...

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D EXT. FUNFAIR - NIGHT D

YOUNG PHILOMENA LOOKING IN THE MIRRORS, FACE DISTORTED. WE

CUT THIS TIGHTER, SHARPER; WE BECOME AWARE OF THE YOUNG MAN

COMING UP BEHIND HER AND ONLY USE THE LINES:

JOHN:

I HAVEN’T SEEN YOUS ANY PLACE.

WHERE ARE YOU FROM. ARE YOU FROM

LIMERICK THEN?

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CUT TO:

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E INT. CHURCH - NIGHT

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E *

Before she leaves the church, PHILOMENA dips her fingers inHoly Water and blesses herself.

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CUT TO:
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F EXT. FUNFAIR - NIGHT

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F:

YOUNG PHILOMENA AND JOHN KISS PASSIONATELY BY THE CARAVAN. WE

SEE THE TOFFEE APPLE FALL TO THE GROUND.

CUT TO:

G EXT. JANE’S HOUSE - NIGHT

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G *

PHILOMENA is walking along a street at night, trafficswishing past her, lost in thoughts.

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H INT. MOTHER BARBARA’S STUDY - NIGHT

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H:

MOTHER BARBARA:

AND DID YOU ENJOY YOUR SIN?

SISTER HILDEGARD

HE GOT AN AWFUL LOT FOR HIS TOFFEE

APPLE...

CUT TO:

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PHILOMENA - Final Shooting Script 3.

I EXT. JANE’S HOUSE - NIGHT I *

PHILOMENA walks up to a front door and presses the bell. Onher face as she waits for it to be answered...

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J INT. ROSCREA - NIGHT J

A VIVID FLASH OF YOUNG PHILOMENA ENDURING THE AGONY OF

CHILDBIRTH.

SISTER ANUNCIATA

I don’t know how to do it!

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K INT. FRONT ROOM, JANE’S HOUSE - NIGHT K

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PHILOMENA sits in an armchair deep in thought. The TV is on,

but she isn’t listening. From her we...

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L INT. ROSCREA - NIGHT L

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WITH A FINAL SCREAM THE BABY IS BORN, HELD IN THE ARMS OF A

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NUN, HER CROSS VISIBLE.

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M INT. JANE’S HOUSE - NIGHT M

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JANE enters, we carry on as before.

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EXCEPT JANE TAKES THE PHOTO FROM PHILOMENA, RATHER THAN

PHILOMENA OFFERING IT TO HER.

BLACK.

Under the black screen we start to FADE UP a voice:

ROBERT (V.O.)

... blood glucose fine. Liver

function, kidney function,

normal...

CUT TO:

1 INT. DOCTOR’S SURGERY - DAY 1

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MARTIN SIXSMITH, mid-40s, sits listening to someone (as yet

unseen), as a series of test results are read out to him.

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PHILOMENA - Final Shooting Script 4.

ROBERT (OOV)

Platelet count normal, haemoglobin

levels normal, blood pressure, 131

over 92...

MARTIN:

(Pouncing on this)

Isn’t that high?

Now we see ROBERT, Martin’s doctor, mid-50s, chipper.

Caption:
London, 2002

ROBERT looks up from a folder of results he’s reading and,

familiar with Martin’s hypochondria, ignores the question.

ROBERT:

Weight fine... could do with losing

a centimetre or two off your waist.

Stool sample outstanding...

MARTIN finally perks up at this, raises his eyebrow, pleased

with himself. ROBERT notices this...

ROBERT (cont’d)

No, that means you haven’t provided

one yet.

MARTIN:

Oh right, yes. No, I’d remember.

ROBERT:

(As he shuts the file)

Did you think it didn’t stink or

something?

(Little smile from MARTIN)

There’s basically nothing wrong

with you Martin. Um... do you run?

MARTIN:

Well... I walk a lot.

ROBERT:

Try running.

MARTIN:

(Worried)

Do I need to?

ROBERT:

I do it. Good for your body and...

good for your head - Kate says you

think you’re mildly depressed?

MARTIN shrugs.

MARTIN:

I got fired. I’m unemployed.

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PHILOMENA - Final Shooting Script 5.

ROBERT:

But it wasn’t your fault, was it?

MARTIN:

That’s probably why I’m depressed -

I was sacked for saying something I

didn’t say!

Silence.

ROBERT:

Try running-

MARTIN:

I said the exact opposite of what I

was sacked for!

Another silence. ROBERT tries a different tack:

ROBERT:

What are you working on at the

moment?

MARTIN:

(Beat)

I was... thinking of writing a

book.

ROBERT:

That’s good. What about?

MARTIN:

Russian history.

ROBERT:

(Beat)

What makes you think it’s

depression and not just feeling

sorry for yourself?

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Silence.

MARTIN:

Doesn’t have to be Russian history -

could be something else...

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CUT TO:

2 EXT. FUNFAIR, LIMERICK - NIGHT 2

Nineteen year old PHILOMENA LEE, pretty, dark haired, wears a

lovely summer dress, that same crucifix glinting in the

sunshine. She picks her way wide-eyed, through the crowd;

bright lights, the air filled with noise and excitement.

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