Philomena Page #12

CHECK-IN OPERATOR (cont’d)

Did you pack your baggage yourself?

MARTIN:

Yes.

PHILOMENA:

No.

(They both look at her)

My daughter helped me.

CHECK-IN OPERATOR

(Moving on)

And has anybody asked you to carry

any items with you on board?

MARTIN:

No.

PHILOMENA:

No.

(Beat)

Well, yes.

The CHECK-IN OPERATOR looks up.

PHILOMENA (cont’d)

But the person who asked me is

known to me. And the items are

non... explosive.

MARTIN:

Has Jane given you some Custard

Creams?

She nods; MARTIN turns to the CHECK-IN OPERATOR.

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PHILOMENA - Final Shooting Script 52.

MARTIN (cont’d)

They’re just some biscuits from her

daughter.

The CHECK-IN OPERATOR starts to print off their tickets.

MARTIN speaks quietly to PHILOMENA.

MARTIN (cont’d)

There are certain key words in

airports that can be quite...

alarming. Erm, gun, bomb, hostage,

Allah Akbar. And... explosive, I

would say, is definitely one of

those words.

PHILOMENA:

Even if you say, ‘non explosive’?

MARTIN:

Even then.

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CUT TO:

55 INT. HESS HOUSE, ST LOUIS - DAY [SUPER 8 FOOTAGE] 55

NO SOUND. 1962. CLOSE-UP, blurry image, of a sparkler fizzing

away in the darkness; we see nothing else. The cake is

carried through to the dining table, ten candles being lit on

it as it is carried. The cake is put down on the table and

the camera re-positions itself until the cake is between it

and the (as yet) unseen little boy. He blows the candles out.

The light switch is flipped and now we see him. ANTHONY. He

has grown into a serious-faced, thoughtful ten-year-old.

There is something sad about his expression.

CUT TO:

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56 SCENE DELETED 56

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CUT TO:

57 INT. CORRIDOR, AIRPORT - DAY 57

PHILOMENA and MARTIN climb onto a mobility vehicle, complete

with flashing lights and warning beeps, to be driven by an

AIRPORT WORKER to their gate.

PHILOMENA:

Well I’m getting the royal

treatment here Martin. I feel like

the Pope.

They pass other PASSENGERS making the journey on foot, MARTIN

feeling slightly self-conscious.

MARTIN:

This’ll save your hip.

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PHILOMENA - Final Shooting Script 53.

She’s holding her book, a romantic novel entitled ‘The

Slipper And The Horseshoe’, in her hands. She sees him pull

his book - a weighty tome about Tsar Nicholas - out from his

shoulder bag.

PHILOMENA:

Is that an interesting book Martin -

I’ve just finished mine.

She brandishes ‘The Slipper And The Horseshoe’.

MARTIN:

It’s er... about Tsarist Russia and

the October revolution and... it’s

a bit dull you know, it’s all just

political horse-trading really...

PHILOMENA:

Mine was about horses too. It was

about this fella Robert and he’s

engaged to this duchess and he’s

the son of a doctor so he’s done

very well for himself but this

woman oh she’s terrible this

duchess is vain as you like and

forever looking in the mirror and

all the rest of it. And she thinks

he’s dull as ditch-water so he

takes up an interest in the horses

so he fits in with all the upper

classes and well of course he meets

the girl down the stables and she’s

not even a doctor’s daughter her

father’s just a farmhand and he

only has one foot but anyway of

course they fall in love, so the

duchess you’re thinking be careful

what you wish for and he’s now torn

between becoming a duke because

when he marries her he’ll become

lord of the manor and all that sort

of thing, and the stable girl who

he loves but hasn’t a penny to her

name her brothers have no shoes on

their feet.

MARTIN:

(Trying to cut in)

That sounds great.

CUT TO:

The vehicle rounds a corner; PHILOMENA is still in full flow,

MARTIN trapped next to her.

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PHILOMENA - Final Shooting Script 54.

PHILOMENA:

-so the big day’s coming, the

wedding and she, oh she’s a lovely,

lovely girl, she says Robert has to

do his duty and he’s spoken for and

of course he’s being measured up

for his suit but you can tell his

heart’s not in it he’s all the

while thinking about the horses and

the stable girl. And they’re all

there waiting for him in the

church, the hoi polloi, but the

thing is Martin this duchess she

just wants Robert to spite the

fella she’s really after but

towards the end the duchess finds

out that the stable girl has

designs on Robert and the father

without the foot dies but before he

does he says to Robert ‘follow your

heart’ and then the duchess gives

the stable girl her marching orders

and she packs her things - there’s

a pony and trap waiting for her

outside and when she climbs into it

she asks do you know where we’re

going? And the driver turns round

and if it isn’t yer man Robert. And

he says ‘I’m taking you to a place

where no-one can hurt you anymore’.

CUT TO:

WIDE SHOT:
the buggy sails on serenely towards the gate,

PHILOMENA and MARTIN getting smaller in frame as they get

further and further away.

PHILOMENA (cont’d)

Well, I didn’t see that coming

Martin, not in a million years.

MARTIN:

No... no it’s nice to have a

surprise. Sounds like a real page

turner.

PHILOMENA:

You can borrow it.

MARTIN:

Oh no really-

PHILOMENA:

Come on I’ve just finished it now.

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PHILOMENA - Final Shooting Script 55.

MARTIN:

(Weakly)

-I almost feel like I’ve read it.

CUT TO:

58 INT. CLUB WORLD CABIN - DAY 58

PHILOMENA and MARTIN sit together as PASSENGERS board all

around them. A HOSTESS offers them a tray of drinks.

HOSTESS:

Champagne or Buck’s Fizz?

MARTIN:

No thank you.

PHILOMENA:

(Following his lead)

No thank you.

The HOSTESS moves on. MARTIN tips PHILOMENA off:

MARTIN:

They’re free.

PHILOMENA:

(Immediately calls out)

I say! I’ll have a Buck’s Fizz!

The HOSTESS turns back to her and she takes a Buck’s Fizz.

PHILOMENA (cont’d)

Thank you.

(Takes a sip)

Oo, that’s lovely.

(To MARTIN, impressed)

You have to pay for everything on

Ryan Air.

ALEX:

Martin!

MARTIN looks up and sees he’s been spotted by ALEX, (smartlydressed

slightly younger than Martin), who’s standing in the

First Class Cabin putting something in the overhead locker.

He walks through to Club World to say hello.

MARTIN:

(Awkward)

Alex, how are you?

ALEX:

Not seen you since you... left the

department. I was gonna call you

actually...

ALEX’S eyes flick across to PHILOMENA, wondering who she is.

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PHILOMENA - Final Shooting Script 56.

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