Philomena Page #6

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PHILOMENA - Final Shooting Script 24.

PHILOMENA (V.O.)

We all knew what it meant when a

big car arrived. Kathleen was

inconsolable. She knew this time

they’d come for Mary.

*

*

YOUNG PHILOMENA looks around and sees that, temporarily,

YOUNG SISTER HILDEGARDE and one of the other nuns have

disappeared - there is only one NUN left, who has her back toher. YOUNG PHILOMENA abandons her duties and crosses to a

small basement window high up in the wall. Standing ontiptoes, she sees, beyond a hedge, a dreaded shiny blacklimousine drive past. KATHLEEN looks up at her piteously,

pleadingly. YOUNG PHILOMENA catches the eye of another GIRL,

who shakes her head -‘Don’t do it...’ -but ignores her and,

checking that the NUN is still distracted, quickly dartsthrough a back door.

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21B EXT. COURTYARD, ROSCREA - DAY (FORMERLY SCENE 17) 21B

YOUNG PHILOMENA emerges alone into a small courtyard, crossesto the far side and peers through some gates fencing her offfrom the outside world. Foliage half obscures some well-

heeled FIGURES getting out of the limousine - a thirtysomething

woman in a fur coat and a man in a Cashmere coatand Homburg hat.

PHILOMENA (V.O.)

As soon as I saw their lovelyclothes, and Mother Barbara so

happy and smiling, I knew all hope

was gone.

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*

*

*

She watches as they are greeted at the main entrance by a

fawning and uncharacteristically gregarious Mother BARBARA.

Then, from behind:

YOUNG SISTER HILDEGARDE (V.O.)

Come away from there!

She turns, scalded, and there is YOUNG SISTER HILDEGARDE.

YOUNG SISTER HILDEGARDE

What are you doing out here?

YOUNG PHILOMENA:

I... I had a stomach ache, Sister

Hidegarde. It’s my time of themonth.

YOUNG SISTER HILDEGARDE

Well... you’re not unique in thatregard. Put your mind to your workand it’ll pass.

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PHILOMENA - Final Shooting Script 25.

PHILOMENA retreats miserably to the laundry - she now knows

all hope has gone for Kathleen.

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SCENE DELETED (SCENE 22 NOW SCENE 15A)

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22 22

23 SCENE DELETED 23

24 INT. DORMITORY, ROSCREA - DAY 24

Later that afternoon. YOUNG PHILOMENA is buttoning up her

pinafore as she stands at a window.

PHILOMENA (V.O.)

Kathleen cried so hard they tookher to the sick bay and gave herbrandy. But her fate was sealed.

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*

YOUNG PHILOMENA looks down through the window and we...

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... her POV. From her vantage point she looks down across a

courtyard, through a window, into the nursery. She can see

little MARY but, because of the angle she is looking downfrom and the height of the window frame, she can only see thebottom halves of four adults who surround the little girl.

Mother BARBARA and YOUNG SISTER HILDEGARDE - identifiable

from their unflattering skirts and shoes -are presenting

MARY to the couple we saw earlier, the woman recognizable

from her fur coat and heels; the man from his pressedtrousers and polished shoes. MARY looks up at them wide-eyed,

frightened.

FRIEND (OOV)

Phil, it’s choir practice.

YOUNG PHILOMENA lingers on the scene below for a few moremoments, horribly fascinated.

FRIEND (OOV)

You’ll be in trouble if you don’t

go...

Reluctantly, YOUNG PHILOMENA turns and follows the FRIEND

out. But we STAY on the view and see what she misses: ANTHONY

runs into shot, holds MARY’S hand and looks up at the adults.

PHILOMENA (V.O.)

They’d only come for Mary. ButAnthony wouldn’t let her out of his

sight. They were inseparable, you

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*

*

see...

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PHILOMENA - Final Shooting Script 26.

The WOMAN crouches down to ANTHONY’S level and touches his

face tenderly. But, because she has her back to us, we still

don’t see her face. We don’t need to, she simply represents

money. A customer. The WOMAN takes the hands of both children

and leads them away. Over this we hear, incoming from the

next scene, the CHOIR SINGING...

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25 INT. CHAPEL, ROSCREA - DAY 25

YOUNG PHILOMENA sings in the chapel. She is with other

MAGDALEN GIRLS on one row of pews; the NUNS, strictly

segregated on another row, facing them.

PHILOMENA (V.O.)

Normally, I loved to sing -it was

one of the only things I enjoyed at

that place. But all I could think

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about was poor Kathleen.

We can see YOUNG PHILOMENA’S heart isn’t in it, her

expression far off, her mind elsewhere. She sees ANUNCIATA

enter the chapel and take her place with the NUNS. She

catches her friend’s eye and manages to throw her a smile.

But ANUNCIATA, hollow-eyed, is unable to return it. YOUNG

PHILOMENA sees tears in her friend’s eyes - she’s crying?

Assuming she must also be upset about Kathleen, YOUNG

PHILOMENA carries on as the hymn builds to a crescendo.

But now a MAGDALEN GIRL enters the chapel and hurries to join

the others. She pushes through until she’s next to YOUNG

PHILOMENA, then urgently whispers in her ear. The blood

drains from YOUNG PHILOMENA’S face; panic-stricken she pushes

her way to the end of the pew. ANUNCIATA watches her go,

agonized expression.

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25A EXT. CONVENT - DAY 25A

YOUNG PHILOMENA runs from the chapel along a curving wall.

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25B INT. CONVENT - DAY 25B

YOUNG PHILOMENA runs through a door and up two flights of

stairs as fast as she can, hyperventilating. She turns into a

room.

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PHILOMENA - Final Shooting Script 27.

25C INT. SMALL ROOM - DAY 25C

A window:
YOUNG PHILOMENA climbs up so she can see through

the clear glass.

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Her POV.

Outside the front door, ANTHONY and MARY are shepherded into

the big shiny car by Mother BARBARA. The MAN’S face is

obscured as he gets into the driver’s seat; the WOMAN, still

with her back to us, shakes hands with Mother BARBARA.

ANTHONY is wearing a smart, sky blue woollen coat and

clutches his tin aeroplane.

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