Philomena Page #15

MARTIN:

Nice.

KATE (V.O.)

What are you doing?

MARTIN:

Lying on the bed going through the

movie menu.

KATE (V.O.)

Anything worth watching?

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PHILOMENA - Final Shooting Script 66.

MARTIN:

There’s one called ‘Naughty

Habits’. ‘Forbidden pleasures of

the flesh from behind convent

walls’.

KATE (V.O.)

Do they look like the nuns at

Roscrea?

MARTIN:

No. I think these ones are a little

more... charitable.

CUT TO:

The still of the slutty nuns on screen.

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CUT TO:

68 INT. PHILOMENA’S ROOM, WASHINGTON DC HOTEL - NIGHT 68

PHILOMENA comes out of the bathroom in her full length

nightie, kneels by the bed and says her prayers, then gets in

bed and turns the light out.

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CUT TO:

69 INT. WHITE HOUSE, WASHINGTON D.C. - NIGHT 69

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(Previously Sc 66)

1982. Poor quality, taped VHS of news footage of a photo

opportunity at the White House; President REAGAN is

surrounded by ADVISORS. He turns to shake hands with the aide

to his right; we see that it’s MICHAEL, smiling nervously but

undeniably thrilled to be amongst such illustrious company.

We now see he is a man with what appears to be a stellar

career in the making. But his appearance - conservative

career-man - is totally at odds with the night-clubber we saw

in scene 66.

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FADE TO BLACK.

FADE TO:

70 INT. MARTIN’S ROOM, WASHINGTON DC HOTEL - NIGHT 70

MARTIN has fallen asleep on his bed still fully clothed.

Woken by his door buzzer, he rouses himself and answers it.

He looks through the spyhole and sees PHILOMENA outside in

her dressing gown. He steels himself and opens the door.

MARTIN:

Hello.

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PHILOMENA - Final Shooting Script 67.

PHILOMENA:

Martin I wanted to tell you

something earlier but it slipped my

mind, and I was going to tell you

on the phone but I forgot the

number, so I thought I’d come and

tell you in person what with you

only being along the corridor.

MARTIN:

Okay.

PHILOMENA:

What I wanted to say was, thank you

Martin, for helping me to look for

my son. I know you got the sack

from your job - not News At Ten -

the other one. And I just want to

say, that their loss is my gain.

MARTIN:

(Stunned for a moment)

Thank you.

PHILOMENA:

Good night Martin.

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MARTIN:

Good night.

She walks off. He shuts the door, not sure how to react.

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CUT TO:

70A EXT. WASHINGTON TIDAL BASIN - DAWN 70A

Another of his morning constitutional jogs, to shake out the

jetlag. But there’s an unwelcome addition to the routine here

- other JOGGERS apparently much fitter than he. He chugs away

gamely.

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CUT TO:

71 INT. BREAKFAST AREA, WASHINGTON DC HOTEL - DAY 71

MARTIN is sitting at a table, working at his laptop, sipping

from a black coffee. The breakfast area is busy, and in front

of him PHILOMENA is enjoying herself investigating what is on

offer at the hot buffet.

CLOSE UP:
the computer screen. MARTIN is working through a

long list of files; we see pictures of different males of

varying ages, all named ‘Anthony’ or ‘Tony’ Lee. Some

Christian names are spelt with a ‘h’, some without; some

surnames spelt ‘Leigh’ or ‘Lea’. Each file is different, some

have a military appearance, some civil, some even appear to

be criminal records.

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PHILOMENA - Final Shooting Script 68.

MARTIN looks up and sees PHILOMENA chatting with the CHEF at

the omelette station and overhears a snatch of conversation.

PHILOMENA:

-we don’t really have Mexicans in

England, we have the Indians

instead, and everybody loves curry.

He returns to his laptop. He is checking the photos attached

to the records; one is a cutting showing a blonde businessman

shaking hands with somebody; another is a young black boy,

another is a man in a marines uniform. MARTIN dwells on some,

but quickly rejects others. He dials a number on his mobile;

waits impatiently for it to go through:

MARTIN:

Hi Caroline it’s Martin Sixsmith.

Hi...

(Listens)

Yes, I’m not getting any joy, but I

just wanted to check - you know the

file with the immigration cuttings?

(Listens)

I know you’ve checked, but could

you send me a link anyway?

(Listens)

Thanks.

He hangs up as PHILOMENA comes back over to the table,

glancing briefly at the screen.

MARTIN (cont’d)

Morning.

PHILOMENA:

Martin they’ve got pancakes over

there, and waffles and omelettes -

any filling - and cereals and bacon

and sausage and-

MARTIN:

Yeh I know what’s over there.

PHILOMENA:

-anything you like. The breakfast

is included isn’t it?

MARTIN:

Yes, yes - I’m just not hungry. My

stomach hasn’t woken up yet.

PHILOMENA:

Mine wakes up before I do. I’m

having a ham and Swiss cheese

omelette - shall I get you one?

MARTIN:

No thank you.

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PHILOMENA - Final Shooting Script 69.

PHILOMENA:

Why don’t you have some

blueberries?

MARTIN:

(Anything to stop the

relentless barrage)

Okay, yes. Great.

Now a WAITRESS approaches their table.

WAITRESS:

Coffee?

MARTIN:

No thanks.

WAITRESS:

Okay if you want to help yourself

to breakfast over there we have a

hot and cold buffet, fresh fruit

and cereal, muffins, omelettes with

a choice of-

MARTIN:

I know-

WAITRESS:

-fillings.

MARTIN:

-I know exactly what is available

for breakfast. So. Thank you.

WAITRESS:

(Trying to tempt him)

We also have fresh pancakes?

MARTIN:

(Sharply)

No. Thank you. I’m trying to have a

private conversation here.

WAITRESS:

My apologies sir.

The WAITRESS leaves.

PHILOMENA:

There’s no need to be rude. He’s a

very kind man, Antonio.

MARTIN:

Yes, I’m sure he’s one in a million

-well one in a hundred thousand.

PHILOMENA:

What do you mean?

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PHILOMENA - Final Shooting Script 70.

MARTIN:

You’ve said that to at least ten

people now - so that’s just maths.

PHILOMENA:

You should be nice to people on the

way up because you might meet them

again on the way down. I’d have

thought you of all people would

understand that.

This stings, though maybe she didn’t mean it to. And then

again, maybe she did?

PHILOMENA (cont’d)

I’d rather you were rude to me than

the nice people who work here.

MARTIN:

I’m trying to help you find your

son, that’s why we’re here. Okay?

So, please

(Gestures to laptop)

-just for now, can I have some

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quiet time?

PHILOMENA looks at him, her nose defiantly up in the air. She

goes to say something but stops herself.

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