Philomena Page #7

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26 EXT. CONVENT FRONT DOOR - DAY 26

From down on the ground looking up, we hear YOUNG PHILOMENA’S

muffled scream:

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YOUNG PHILOMENA:

Anthony!

We see her banging on the window. ANTHONY looks round as if

he heard something, before climbing into the car.

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27 INT. CAR, OUTSIDE CONVENT FRONT DOOR - DAY 27

ANTHONY looks through the rear window of the car, his eyes

are scanning. He doesn’t see YOUNG PHILOMENA at the upper

floor window, banging and screaming inaudibly.

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28 INT. CORRIDORS/STAIRWELLS, ROSCREA - DAY 28

YOUNG PHILOMENA is now overtaken by animal instinct. She is a

lioness in headlong flight, determined to save her young. In

a frenetic, taut sequence she leaps down flights of stairs,

along a corridor and out through a door. Her focus absolute.

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29 EXT. COURTYARD - DAY 29

YOUNG PHILOMENA bursts into the courtyard only to see the

tail lights of the shiny car disappearing from sight over a

rise. She is too late. She stares after it, then sinks to her

knees on the gravel drive, weeping. Anthony is gone. She

cries out in utter anguish, a shriek from deep inside her.

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PHILOMENA - Final Shooting Script 28.

YOUNG SISTER HILDEGARDE, inside the Abbey, looks out upon

hearing this cry and see the distraught, broken YOUNG

PHILOMENA. The older woman digests the scene for a moment,

then callously moves on.

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YOUNG PHILOMENA sinks to her knees in the courtyard, sobbing

uncontrollably, surrounded by brightly coloured flower beds,

alone in her grief.

PHILOMENA (V.O.)

He was wearing a beautiful blue

duffel coat, that’s what I remember

most of all...

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29A SCENE DELETED 29A

29B SCENE DELETED 29B

29C SCENE DELETED 29C

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29D SCENE DELETED 29D

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30 INT. HARVESTER, ST ALBANS - DAY 30

MARTIN and JANE watch PHILOMENA, spellbound. MARTIN has a pad

open and has been making notes as they talk.

PHILOMENA:

I couldn’t have given him a coat

like that.

JANE:

I think what they did to you was

evil.

PHILOMENA:

No I don’t like that word.

MARTIN:

No - evil’s good.

(They stare at him)

Story wise.

He jots down more notes in his pad.

PHILOMENA:

Some of them were nice.

JANE:

It was a breech birth and they

wouldn’t even give her painkillers.

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PHILOMENA - Final Shooting Script 29.

MARTIN:

Great... Again - story wise.

(Trying to move on)

So can we go and talk to these

nuns?

JANE:

You can try, maybe you’ll have more

luck than mum’s had.

PHILOMENA:

I’ve been several times over the

years to ask where he was. They

were very helpful - it’s not like

it used to be. They said they’d try

and trace him for me.

MARTIN:

But they haven’t?

JANE:

No.

PHILOMENA:

Can you help me find him Martin?

MARTIN:

(Shutting his pad)

Well, it’s certainly an interesting

story.

JANE:

I’m taking mum to Ireland next week

for a few days - why don’t you come

along with us and you can visit

Roscrea with her?

PHILOMENA:

Oh yes there’s plenty of room -

it’s a Vauxhall Cavalier.

MARTIN:

Oh no, it’s no problem, I’ll...

I’ll fly over.

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Slightly embarrassed smile.

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31 EXT. CHICAGO AIRPORT - DAY [SUPER 8 FOOTAGE] 31

NO SOUND. December 1955. ANTHONY, 3, and little MARY, descend

the steps of a Pan Am Constellation aircraft. The jerky

images show them setting foot on the tarmac. ANTHONY is

wearing the blue coat and clutching his plane. He holds hands

with MARY, both of them looking forlorn.

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PHILOMENA - Final Shooting Script 30.

We are aware of them being lined up so that somebody (out of

shot) can take a photo of them.

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32 SCENE DELETED 32

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33 EXT. CO. TIPPERARY - DAY 33

The soft, rolling fields of the Irish countryside. A BMW 5series

speeds along a country road. In the distance, high

hills.

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34 INT. BMW, CO. TIPPERARY - DAY 34

MARTIN looks at the scenery with interest as it flashes past;

shiny modern bungalows interspersed with the occasional

abandoned stone cottage; the scars of Ireland’s past.

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35 INT. BMW/EXT. BIRR HIGH STREET - DAY 35

MARTIN negotiates a bend and enters the village of Birr. The

little High Street is typically Irish, the shop fronts

painted in bright blues, oranges, pinks and turquoises. At a

cross-roads beside Molloy’s Bar, obviously a prearranged

rendezvous point, stand PHILOMENA and JANE. He pulls up

alongside them and JANE opens the door.

PHILOMENA/JANE

Hello Martin.

MARTIN:

Hello, sorry I’m a little late.

JANE helps PHILOMENA into the passenger seat.

MARTIN (cont’d)

Bit of trouble with the hire car.

PHILOMENA:

(As she gets in)

Oh it’s lovely, isn’t it Jane. I

can see why you wouldn’t want to

squash up with us in the Cavalier.

MARTIN:

It wasn’t that it was just... had a

few things to do.

JANE:

Are you sure you don’t want me to

come with you mum?

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PHILOMENA - Final Shooting Script 31.

See MARTIN, slightly panic-stricken.

MARTIN:

You’re not coming?

PHILOMENA:

No - I told Jane we’ll be fine on

our own, just the two of us, isn’t

that right Martin.

MARTIN:

(Fixed smile)

Yes. Fine.

JANE:

I’ve put some things in your bag.

PHILOMENA starts to look through her bag, pulling out a

packet Custard Creams and a tube of Tunes.

JANE (cont’d)

Good luck, I’ll see you tonight.

(Smiles for MARTIN)

Thanks Martin.

MARTIN returns the smile, JANE shuts the door. He pulls away.

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35A EXT. TIPPERARY COUNTRYSIDE. DAY. 35A

PHILOMENA:

What kind of car is this?

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MARTIN:

It’s a BMW.

PHILOMENA:

That’s German.

(Beat, opens a packet)

Would you like a Tune Martin?

MARTIN:

(Trying to make a joke)

If I hum it, will you play it?

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