Philomena movie script

"Philomena" Movie Play

Text/[UK] Steve Coogan, Jeff Pope
Translation/Ji Xiaoqian

Interior Scene, Church, Philomena sits on the back bench in the church with the
night sky falling - There are two other believers sitting elsewhere; no Mass is taking place. She gazed at a statue of the Virgin and Child.
A priest came and stopped beside Philomena to talk to her. He was not wearing a formal black robe, only a black sweater with a Roman collar.
Father: Hello, Philomena, long time no see.
Philomena: I just come in and light a candle.
Priest: For someone special?
Philomena: Yes.
But she clearly had no intention of talking deeply. The priest changed the subject.
Father: How about that new hip?
Philomena: Very good. It is titanium alloy.
Priest: Oh, "Invincible Female King Kong"...
She smiled, but he could see that she was not in the mood to speak.
Priest: Well, nice to meet you.
He walked forward. Philomena turned her eyes back and continued to stare at the statue of the Virgin and Child.
(CUT TO)

DEAN BARBARA'S STUDY, NIGHT
Dean Barbara: You're humiliating yourself. You, and your lascivious behavior.
The camera is on the face of the young Philomena, her expression stiff and ashamed.
(CUT TO)

INT, CHURCH, NIGHT
Filomena stands before a row of dozens of small burning candles. She dropped a pound coin into a box and picked up a candle to light it. Insert a candle into a socket, stare at the flame, and think about it.
We looked at her face through the flame of the candle, her face contorted by the floating heat, when...
(cut to)

EXT. PLAY MARKET - YE
Young Philomena stares in the mirror with a distorted face. The lens cuts closer. Hearing the few words that followed, we understood what the young man behind her had in mind.
John: I haven't seen you before. where are you from? Are you a Limerick native?
(CUT TO)

INT, CHURCH, NIGHT
Filomena dips her finger in holy water and leaves the church.
(CUT TO) EXT. PLAY MARKET Young

Philomena
and John are kissing in front of the trailer. We saw a caramel apple (note 1) falling to the ground.
(CUT TO) EXT. JEAN'S HOME

, NIGHT
Filomena walks down the street. The car whizzed past her without her noticing, lost in her own thoughts.
(CUT TO)

DEAN BARBARA'S STUDY, NIGHT
Dean Barbara: Did you find joy in your sins?
Sister Hildegard: His caramel apple was a good deal.
(CUT TO)

EXT, JAN'S HOUSE, NIGHT
Philomena goes to the door and rings the bell. Wait for someone to answer the door. CAMERA ON HER FACE ...
(CUT TO)

INT, Rosecray, Philomena
is going through labor pains.
Sister Anon Hiada: I don't know what to do!
(CUT TO) JAN'S HOME, LIVING ROOM

- NIGHT
Filomena sits preoccupied in an armchair. The TV was on, but she turned a deaf ear. CAMERA FROM SHE ...
(CUT TO)

INT, Rosecray, Yeh
With her last scream, the baby is born. A nun holds her child in her arms, her cross clearly visible.
(CUT TO)

INT, Jane's house, Ye
Jane comes in.
Jane took a photo from Philomena's hand, which Philomena didn't give her on her own initiative.
Black screen.
Under the black screen, there is a crescendo -
ROBERT (V.O.): Good blood sugar. Liver function, kidney function, normal...
(CUT TO)

IN, DOCTOR'S OFFICE,
J. Martin Hicksmith, around 45, sitting and listening to someone (unseen) read out a series of test results to him.
Robert (outside): Normal platelet count; normal hemoglobin; blood pressure, high 131, low 92...
Martin (snapping at the sentence): Isn't blood pressure high?
Now we see Robert, Martin's doctor, around 55 years old, chattering.
Subtitle: London, 2002
Robert holding a folder and reading the examination results raised his head and glanced at Martin. He was aware of Martin's paranoia and directly ignored the question.
Robert: It's a good weight...you can lose another centimeter or two from your waist. The stool specimen analysis is excellent...
Hearing this, Martin finally cheered up, he raised his eyebrows, and was very satisfied with himself. Robert noticed this...
Robert: No, it means you haven't been sent for inspection.
Martin: Oh, yes, yes. No, I don't remember.
ROBERT (closes folder): You don't think poop stinks, do you? (Martin smiles) Overall, you're fine, Martin. uh... do you run?
Martin: Oh...I walk a lot.
Robert: Try to run.
Martin (starting to worry): Do I need to run?
Robert: I'm just jogging. Good for your body and...good for your mood - Kate says you feel a little depressed?
Martin shrugged.
Martin: I got fired. I lost my job.
Robert: But it's not really your fault, is it?
Martin: Maybe that's why I'm depressed - I got fired for misrepresentation, but I didn't say those things!
silence.
ROBERT: RUN RUN -
MARTIN: I said the exact opposite.
Silence again. Robert finds another topic.
Robert: What are you doing now?
MARTIN (pause): I'm... thinking about writing a book.
Robert: Good. what subject?
Martin: Russian History.
ROBERT (pause): Why do you think this is depression and not just grievances?
silence.
MARTIN: It doesn't have to be Russian history - other themes too...
(Cut to)

LOOK, Pleasure Fair, Limerick,
19-year-old Philomena Lee, young and beautiful with black hair , wearing a beautiful dress, the cross in the scene above gleaming in the light. With her eyes wide open, she found her way through the crowd; the lights were brilliant, and the air was full of noise and joy.
JOHN (VO): Are you looking for something?
The young Philomena turned to see John, in his early 20s, smiling at her by the beer tent with a group of friends.
Young Philomena: No.
She walks away and he follows.
John: I haven't seen you before. where are you from?
John, holding a beer mug, followed her through the dazzling array of stalls.
John: Are you native of Limerick?
Young Philomena stopped by the game of hoops. She was excited to be approached by someone, but tried her best to look at it—at least not so much.
John: Would you like a beer?
He brought the beer mug to her. She shook her head.
John: Drink up—what's the matter with you?
She gave in, took the cup, and took a gulp. She doesn't like the taste of beer.
John: I like your dress. Did you do it yourself?
Young Philomena (somewhat annoyed): No, I bought it at the store. Besides, my aunt wouldn't let me deal with a weird stranger like you.
John: Where am I to blame? Look at the man next to him...
He nods to a ruddy-looking man in his early twenties (named Declan) who is wearing suspenders tied with a string and is buying caramel from a stall Apple, he stared at it with a serious expression on his face.
John: Use the rope as a belt. He really should have put some jam on the tops of his shoes and brought tea to his pants.
Philomena giggled.
John: That's what your aunt was talking about.
Young Philomena: I'd rather take a bite of his caramel apple.
John: You want to eat caramel apples? (shouting loudly) Declan!
Declan looked this way, grinning happily.
John: Come here.
The simple-minded Declan dashed over.
John: Want a beer?
There was about half a pint of beer left in the glass. Declan nodded eagerly. John nodded to the caramel apple that had only been bitten.
John: I'll change with you.
(Cut to)

EXTERIOR, Pleasure Market, Limerick, Night
John and Philomena are in the gap between two stalls, avoiding everyone's eyes and kissing passionately. John's hand ran from her chest to her waist, then to her hips. The camera captures her hands; she moans softly off-screen...the caramel apple in her hand falls to the ground.
(CUT TO)

INTERIOR, JEAN'S FRONT ROOM, Twilight
CLOSE UP: Philomena Lee, an elderly Irish woman, is watching TV with blue light beating on her spectacles. Though absent-minded, she also noticed a deal reported on TV news, where Rubens' painting "The Massacre of the Innocents" sold for a whopping £4,955.
Her daughter Jane came in hastily. Jane is nearly 40 with black hair. She added a coat to the black skirt and white top suit (which looked like the uniform of the Soho Pavilion club hostess).
Jane: Go upstairs in half an hour and turn off their lights.
Philomena: She doesn't know you've got the right job?
Jane: I'm just doing her a favor tonight - she's got an odd job.
On the TV screen, Rubens' paintings flashed, depicting scenes of bloody slaughter in the Bible.
Philomena (distracted to the TV): Come to think of it, paying such a huge price for such a horrible thing? If I were, I'd rather take the big guys to Brent Cross and tell them, pick whatever you want, whatever you want—you can pick two.
Jane put the keys in her bag and was ready to go out.
Jane: I'll be back before midnight, okay?
Philomena didn't answer.
Jane: Mom?
Jane saw that her mother was staring down at the item in her hand.
Philomena: I'm going to get myself a new Nissan Miniature Automatic...
Jane: Mom?
She found Philomena holding a small old black-and-white photograph with lace trimmed around it. She was going to be late for work, but she sensed that things were not so simple.
Jane: What is that, Mom? What's wrong?
Philomena looked up at Jane with tears in her eyes. Jane nods for the photo.
Jane: What is that?
Philomena's hands began to tremble, and she slowly held up the picture.
Philomena (voice barely audible): Today is his birthday. He should be 50 today...
Jane (pause): Who?
(CUT TO)

IM, LABORING ROOM, ROSECRE, NIGHT
Young Philomena screaming in pain, sweating, face contorted. She was lying on her back in bed with her legs fastened to stirrup-shaped braces, and the delivery room was makeshift, just above the chapel. She had a dystocia during childbirth.
The two older nuns watched, wringing their hands, bewildered. A younger nun, only a few years older than her, was taking care of her. This is Sister Anon Hiada, pale and terrified. She stared at the forceps in a metal bowl, knowing that it was time for her to use it - but the forceps looked so weird, like a medieval instrument. Another wave of convulsions struck, and Philomena grabbed Anon Hiada's hand.
Young Philomena: Don't let them bury the child in the ground. It's cold... dark...
Anon Hiada wrenches her hand away and hurries away from the bed, leaving Philomena in a panic, almost frantic...
(CUT TO)

INT, Dormitory, Rosk Ray,
the other occupants of Night Rosecray, like Philomena, were young girls who were "indecent", two or three of whom were apparently pregnant. They were kneeling before the bed and praying. They were supervised by Sister Barbara. Sister Barbara, about fifty-five years old, looked mellow, and was the oldest nun in Rosecray. Philomena's screams came from upstairs; we could see how terrified the girls were, and some were already in tears.
Aunt Barbara (in a soothing tone): Pray, girls. Pray for this misguided girl.
They whispered their prayers, and Anon Hiada rushed into the dormitory and charged at Sister Barbara.
Anon Hiada: Dear Mammy, please - we must get a doctor. The fetal position is incorrect, it is a breech position.
Mother Barbara knew that the girls were listening with bated breath, and replied in the same soothing tone—
Mother Barbara: Leave her to God.
Now we see her hard heart, the darkness in her eyes.
Sister Barbara: Pain is a punishment for her, and it can help her atone for her sins.
(cut to)

MIRRORING ROOM - ROSECRE - YE
Young Philomena is struggling desperately, she is delirious. The older nun was helpless except to put a wet towel on her forehead. Anon Hiada rushed in, looked at Philomena, who was excruciatingly painful, and then looked at the forceps beside him, and shouted in despair—
Anon Hiada: I don’t know how to use this thing!
Mammy Barbara's words thumped in her head..."Give her to God"...but she couldn't do it - she couldn't just watch the girl die. She picked up the forceps and inserted it between Filomena's legs. With the girl's screams...
(CUT TO)

INT. Aunt Barbara's study, Rosecray, the sun
jumps back to two months ago. Young Philomena stood before Mother Barbara and Sister Hildegard. Sister Hildegard was Mother Barbara's deputy, with thin cheeks and in her early 40s. Philomena was so embarrassed by her pregnant belly that she couldn't look them in the eye.
Sister Hildegard: Did you allow him to touch your body?
Young Philomena (pause, humiliating): Yes, nun.
Mother Barbara: Are you enjoying all this? Do you enjoy your sins?
Philomena did not answer.
Sister Hildegard: Did you take off your panties?
Young Philomena looked at the two older women, their eyes piercing her. She froze in place, speechless.
Mother Barbara: To answer Sister Hildegard - have you taken off your panties?
Young Philomena (with tears in her eyes): Yes.
Sister Hildegard sat back in her chair and turned stiffly towards Mother Barbara.
Sister Hildegard: His caramel apple was a good deal.
Young Philomena: Oh dear mammy, the nuns at the school never told us about the child or . . .
Aunt Barbara: Didn't your mother tell you?
Sister Hildegard: Her mother died ten years ago.
Mother Barbara: Oh, God bless her... (sudden outburst of malice) But how dare you criticize the nuns! You are humiliating yourself. You, and your lascivious behavior!
(CUT TO)

INT, LABORING ROOM, ROSECRE, NIGHT
CUT back to the labor scene. With forceps and powerful fingers, Anon Hiada turned the fetus inside Philomena. Philomena lay there, sweating through her clothes, moaning in pain. Finally, a light red liquid sprayed onto the white sheets, and at the same time, Anon Hiada pulled out the head of the fetus, bringing a new life into the world of God. The baby fell to the ground, and Anon Hiada couldn't help but carry the newborn baby to his mother.
Anon Hiada: It's a boy.
She handed the child to young Philomena, who took it into her arms.
Young Philomena: I know.
Caption: Rosecray, 1952
The door to the maternity ward opens. Mother Barbara stood in the doorway, and the scene of Philomena holding the baby fell into her eyes. She drew a cross.
Sister Barbara: Thank the Lord.
Anon Hiada was conscious of the cold eyes of Mother Barbara, and although she resented her hypocrisy, she had to follow it with a cross.
(CUT TO)

EXTERNAL, Marion's house, at night
in a central London townhouse, there is a cocktail party, an informal gathering of journalists and members of the New Labour Party. The waitress brought drinks to the guests.
Preoccupied Jane is serving an appetizer (or walking around the room with a glass-covered bottle). Now, we find Martin standing right behind her, looking uncomfortable and wishing he hadn't been here. David, an old friend of his age, is chatting with Keith, who is in her 50s, and is joined by a woman in her 40s (Sally Mitchell), who has a serious face.
David: Martin!
Martin forced a smile and joined their conversation.
DAVID (gestures to Keith) This is Keith, you know it. (then gestures to Sally) Sally Mitchell. This is Martin Hicksmith, formerly of the BBC, based in Moscow.
Martin: And Washington.
David: Then worked as a media advisor to the government until that government collapsed. Is this a fair concluding statement?
David wasn't drunk yet, but apparently had a few drinks.
Jane, who was serving food, listened with perverted ears.
Martin: Yes, almost. Always walk by the river, how can you not get wet shoes.
They smiled politely in return.
David: Yeah, but you've got your head wet - how did you do it?
Their laughter grew louder—Martin included.
Martin: Yes, um. You have to have a sense of humor about this kind of thing.
David: What are your plans at the moment?
Martin: I'm thinking about writing a book. About Russian history ...
they looked at him and no one answered. Embarrassing moment.
Martin: ...or something else. Maybe going back to being a journalist...
Sally: I remember! You're the one who sends the dreaded emails, saying --
Martin: No, I didn't. Pure misunderstanding.
Sally (line overlaps with his argument): Saying 9/11 was a good day to bury bad news...is that you?
Martin: It's not me, it's someone else. What I did was, a year later, on the day of Princess Margaret's funeral, emailed and said, let's make sure that what we're "burying" today—insert a comma—is just Princess Margaret.
David: It seems a little different.
Martin: It's very different. But the paper claims it's another email about burying bad news, the government has no one to defend me, and...I was sold by a bunch of spineless bastards who only looked out for their own interests.
Sally (sarcastically): You bring this up with a little sense of humor.
MARTIN (to tit for tat): Exactly.
David: Well, if you want to go back to the press, you might as well talk to Sally.
Sally: Oh, I just publish, you know, the wailing stories, the human reports—not your cup of tea.
Martin looked at her with some embarrassment. It wasn't, but he didn't want to say it wasn't.
Sally: However, if you have any thoughts on my path, I'd be happy to ask.
Martin: Yes...please.
In order to escape the embarrassing scene, he walked towards Jane who was standing nearby.
Martin: I'd like a...Pinot Gris, okay?
Jane obviously had no intention of being polite to him.
Jane: Only Pinot Red or Pinot Blanc.
Martin: Oh yes, sorry. That's Pinot Blanc.
But as she poured, a hazy feeling of deja vu flashed. She was sure she had seen Martin before.
Jane: I want to ask, I hope you don't mind. Are you a former reporter for Ten O'Clock News?
Martin: Uh, yes, I used to be a correspondent for the BBC in Moscow and Washington.
Jane: I know a woman who had a baby in her teens and who kept it a secret for 50 years - we just found out today. The nuns took the child away, forcing her to agree to adoption. She's been silent... (pause) She's my mother.
Martin: Well, I guessed it.
Jane: Are you interested in her? Or are you interested in this kind of thing?
Martin: Well, I'm currently busy writing a book.
Jane: About what?
MARTIN: Russian history... (finds her unresponsive) - It's actually an interesting subject. You're telling human stories, I don't write that kind of stories.
Jane: Why not?
On the other side of the kitchen, he saw Sally Mitchell, David, and Keith talking and laughing with the other guests.
Martin: Because human stories tend to feature vulnerable, cowardly, ignorant people, and they fill the pages of newspapers for vulnerable, cowardly, ignorant people to read. (suddenly realizes how unpleasant this is) I'm not saying you're that kind of person, and, uh, I hope you can find him...
He walks away with his glass, taking a sip as he goes. Jane was at a loss for a moment.
(CUT TO)

EXT.
NOTTING HILL - Dawn Martin listens to the doctor and starts jogging down a sparsely populated street at dawn. He was wearing a faded "Spartan Moscow" jersey and shorts (still from his time in Moscow) and new white sneakers.
(CUT TO)

INT. Westminster Abbey, Night
Concert. The congregation watched the choir sing John Taverner's "Mother of God"; the music reverberated inside the palatial church. Martin sat side by side with his wife Kate, a petite and pretty Scotsman. Sitting next to her was Martin's doctor, Robert, and Robert's wife. While everyone else seemed to be enjoying the music, Martin was restless and distracted, unable to find comfort or pleasure in the music.
(CUT TO)

EXTERNAL, WESTMINSTER ABYTE, NIGHT
SPECIAL EFFECTS: THE MUSIC CONTINUES.
Martin was outside now; the silhouette of a pensive Martin, his breath white in the cold air.

- BEDROOM - MARTIN'S - NIGHT
Martin sits by the bed in a T-shirt and boxer shorts. Behind him, his wife Kate put on hand lotion, took off her dressing gown, and went to bed. At the same time, we kept our eyes on Martin, who was competing with us. Kate lay down on the bed and found Martin as motionless as if frozen.
Martin (finally): I don't believe in God anymore. I don't know when I started not believing.
Pause. Sensing her husband's upset, Kate moved to his side. She hugged her husband from behind and reassured him.
Martin: And I don't know if I'm bothered by this... Should I write a personal story?
(CUT TO)

INT, HARVEST'S RESTAURANT, ST ALBANZ, DAY CLOSE-UP
: A fat cell phone salesman is picking ribs. Other customers who came for lunch were probably not interested in Russian history either. But among this group, we found Martin. He stood in the reception area, watching the cell phone salesman lick his fingers with slight disgust. Martin looked out the door, his face reflected in the glass. He looked at his watch and wondered why he was here, and he began to suspect that it was a bad idea. He glanced towards the door again...this time he saw her. Philomena came towards him across the parking lot, Jane by her side. For a moment, his ghostly shadow on the glass was overlaid on her...
He was curious, energized, and wanted to take a closer look - but a few cars pulled out of the parking lot and passed in front of them. , so he only glanced intermittently. He noticed that she was well-dressed—presumably for the sake of meeting him—but she was nervous. She stepped into the restaurant and he smiled and walked up to meet her.
Martin: Hello, I'm Martin, you must be Philomena, right?
Philomena: Hello, Martin.
They shook hands; he noticed the cross on her neck. As he greeted Jane, Philomena also looked at him secretly.
MARTIN (to Jane) Hello, see you again.
He gestured to the restaurant.
Martin: The table is over there...
He leads them to the set table.
MARTIN (to Jane): I was a little rude that night, sorry for the bad timing...
Jane: I'm glad you took the trouble to come to me. Hope you don't mind meeting here, but it's my mom's favorite restaurant.
Martin: Oh, no, it's... nice.
They take their seats.
Martin: Well, Philomena, how are you doing?
Philomena: I'm fine, I got a new hip last year, and it's much better than my own bone. It's titanium, which is a metal that doesn't rust.
Martin: Oh, if it gets rusted, you have to oil it, like the Tin Woodman, don't you?
Philomena: Oh, is that true?
Martin: No, no—I mean, like The Wizard of Oz.
Philomena turned to Jane.
Philomena: What does he mean?
Jane: He's joking, Mom.
Martin: Just a joke. Actually my mother has severe arthritis in both knees.
Philomena laughed. Jane realized that Martin's last sentence was no joke - and changed the subject.
Jane: Shall we have some salad?
(CUT TO)

INT. Harvester's Restaurant, St. Albenz, Day
Martin and Philomena at one end of the salad bar, Jane at the other.
Philomena: Jane is the smart guy in our family. She was an adult student by the time she went to college—you know, an older student. Where did you go to college - Oxbridge I guess.
Martin: Well, Cambridge.
Philomena: I can see that you are not a fool.
MARTIN (taking some salad): I came to the Harvest and seemed like a fool.
Philomena: Don't they have one in London?
Martin: No, I always go to a small local restaurant not far from where I live.
Philomena: Where is that?
Martin: Knightsbridge.
Philomena: Oh, the houses there are expensive.
She sprinkled some crumbled bacon and croutons on her salad.
Philomena: I like to add little croutons... (pause) Are you married, Martin?
Martin: Yes, it's over. My wife's name is Kate.
Philomena: Well, fine. Great...
Suddenly, Philomena reached out and put her hand on his.
FILOMENA: I really love him, you know...
(CUT TO)

INT. INFANT DORM,
LONG LINES OF CHILDREN IN CRIBS. Two nuns are looking after them.
Philomena (V.O.): I disappeared from this world. My family doesn't come to visit me. My father was ashamed of me and told everyone that I was dead. After you have a child, you must spend four years in a monastery, completely isolated from the world. In order to repay the kindness of the nuns for sheltering you, you must work hard.
The staggering numbers of children, the cribs lined up like military camps, debunk the essence of Rosecrae: a trading place for babies and toddlers.
(CUT TO)

INT. Laundry Room, Rosecray, Laundry Room of
the Abbey; whirling steam, clanging sound. Under the supervision of Hildegard and two other nuns, the "immoral" girls poured their clothes and bedding into boiling water basins, or stuffed wet clothes into roller compactors and draped them over their heads. Dry on a rope.
Philomena (voice-over): The hardest work was in the laundry room, and they sent me there. I worked there seven days a week and stayed there all day. They collect clothes from miles around to wash them, and then charge a fee. We can't get a penny. I worked there with my best friend Kathleen.
We see young Philomena in the crowd, in an ugly apron, busy in front of the steaming tub. Beside her was Kathleen, a pale girl about her age.
This is hard and strenuous physical work. Young Philomena and Kathleen, exhausted though they were, cheered each other up with encouraging smiles.

ROTHCREE, THE YOUNG PHILOMENA, KATHLEEN, and THREE OTHER GIRLS WORKING IN THE LAUNDRY HAVE RUNNING DOWN THE CORNER AFTER TURNING THEIR TURN
. They met Sister Barbara head-on.
Philomena (voice-over): We can only watch the kids for an hour a day, that's all.
Sister Barbara: Walk, don't run!
The girls immediately slowed down and walked around the corner.
(CUT TO)

INT, DAY NURSING ROOM, ROSCORE, DAY
girls enter the nursery and come towards the camera. They smiled brightly, crouched down and stretched out their arms. We watched them from behind the camera. Five children between the ages of two and three passed us and threw themselves into their mother's arms. We recognize young Philomena...her little boy, Anthony, dark-haired, 3 years old - as old as the picture - rushes into her arms. She hugged him tightly, held him in circles, immersed in motherly love.
(CUT TO)

INTERIOR, DAY NURSING ROOM, ROSECRE, MOMENTS FOLLOWING Twilight
. Philomena sat with Kathleen. They watched as Anthony held the hand of Kathleen's two-year-old daughter, Mary, as the two children walked around together. The little girl reached for Anthony's toy plane, which he offered without complaint. She threw the plane into the air, imitating what he had just played.
Philomena (voice-over): Anthony is best friends with Kathleen's daughter Mary - he even lets her play with his toy airplane. This is true love! The two of them are inseparable.
Sitting on the sidelines, Anon Hiada and another nun watched over the mothers and children. Philomena and Anon Hiada exchange a secret smile - but with another nun present, she cannot speak to Anon Hiada, which is forbidden.
Young Philomena (to Kathleen) Look, he wouldn't let her out of his sight.
Kathleen didn't answer. Philomena sensed that she was worried.
Young Philomena: What's the matter?
Kathleen (in a panicky tone): Oh, Phil, the girls in the kitchen said that Mammy Barbara asked Mary to visit her today—what did you say she saw Mary for?
Philomena thought to herself, but there was a look of comfort on her face.
Young Philomena: I'm sure there's nothing to worry about, Kath.
Philomena (voice-over): We live our lives with such fear every day. Whose child will be taken next?
Philomena saw the other nun leave the room and seized the opportunity to speak to Anon Hiada.
Young Philomena (to Kathleen): I'll come as I go.
She went to Anon Hiada, sat down beside her, and whispered—
young Philomena: Kathleen is going to worry to death. She felt that they were going to take Mary away from her. I said if they were going to do that, they would definitely tell her first...
Anon Hiada was in a dilemma. She herself was a young girl who did not know how to deal with evil, and she knew that this would be the fate of the vast majority of girls in the monastery. So she clumsily tried to change the subject, pulling something out of her robe.
Anon Hiada (lowering his voice): I made something for your Phil, you can't tell anyone.
She handed Philomena a small black and white picture. Philomena takes a breath: Anthony is pictured, clutching a toy plane, shyly looking at the camera.
Anon Hiada: He grows so fast.
Young Philomena: Oh, thank you...
Anon Hiada: I dare say his father must be a handsome boy.
Young Philomena: Indeed. How did you... (meaning "getting this picture")
Anon Hiada (pause): I borrowed a brownie box camera and took the picture when the Dean was not paying attention this picture.
(CUT TO) INT, HARVEST'S RESTAURANT, SAINT ALBANZ, JFILOMENA SITTING AT THE DINING TABLE WITH MARTIN AND JEAN

, COLDING THIS PICTURE, ON THE NIGHT THAT SHE FINALLY PUT OUT EVERYTHING,
Jane saw the photo she was holding tightly. The photo was put in a small wallet, and Philomena handed it to Martin, who looked at it carefully.
Philomena: Whenever I see this photo, I miss Anthony and say a few prayers for Anon Hiada. When I gave birth, it was Anon Hiada who saved his life. She passed away a long time ago...if she hadn't taken this photo, I'd have nothing.
Martin: So...are you stuck there?
Philomena: The only way to get out of there is to pay them a hundred pounds. But how do I go about getting this money? Where can I go?
The camera is on Philomena.
(CUT TO)

LAUNDRY ROOM - ROSECRE -
Young Philomena is back at work in the laundry room.
Philomena (voice-over): It happened about a week later, and I will never forget that day.
She lifted a heavy laundry bag over the tub when she heard tires crushing stones outside. Hearing this voice, girls, you look at me, I look at you, and the feeling of impending disaster covers them. Kathleen shivered.
Philomena (voice-over): We all know what it means to have a car. Kathleen was heartbroken. She knew they were here for Mary this time.
Philomena looked around and saw that Sister Hildegard and the other sister were temporarily missing - only one of them remained, with her back to her. She dropped her work and ran to a small window, which was high on the wall because it was a basement. She stood on tiptoe, and over the hedge saw a monstrous shiny black limousine driving by. Kathleen looked at her pitifully, her eyes pleading. Philomena received another look from another girl, who shook her head—"Don't do that..."—but Philomena ignored it and glanced at the nun, seeing that she still hadn't noticed. He quickly rushed out through a back door.
(CUT TO)

EXTERNAL, YARD, ROSECRE, DAY
Young Philomena slips into the courtyard alone, traverses the other side, peeking at the door that separates her from the outside world Come. Half-covered by the leaves, several well-dressed people emerged from the limousine—a woman in her 30s in a fur coat, and a man in a cashmere coat and a hamburger hat.
Philomena (voice-over): As soon as I saw their beautiful clothes, and Mother Barbara's radiant expression, I knew that all hope was lost.
She watched Aunt Barbara, who was courteous and attentive. At this moment, a voice came from behind—
Sister Hildegard (V): Get off!
Philomena turned around as if scalded by fire. In front of her is Sister Hildegard.
Sister Hildegard: What are you doing here?
Young Philomena: I... my stomach hurts, Sister Hildegard. I have my period.
Sister Hildegard: Well...you're not the only one who comes to have your period. Concentrate on your work and you won't feel pain.
Philomena went back to the laundry with a heavy heart—she knew Kathleen had no hope.
(CUT TO)

INTERIOR, Dormitory, Rosecray,
late afternoon of the day. Young Philomena stood by the window buttoning her apron.
Philomena: Kathleen cried so hard they took her to the sick room and gave her some brandy. But her fate has been irreversible.
Philomena looked down through the window. The camera...
(Cut to)

Philomena's point of view.
From her vantage point, she could look through the window, across the yard, and into the nursery. She saw little Mary, but, limited by the angle of looking down and the height of the window frame, she could only see the legs and feet of four adults. The four around the little girl, Mother Barbara and Sister Hildegard—the two of them, from the stodgy dresses and shoes—are bringing Mary as a gift to what we have seen before. in front of the couple. The woman was recognized by the fur coat and heels; the man was recognized by the ironed trousers and the polished shoes. Mary looked at them timidly with wide eyes.
FLEND (V.O.): Phil, it's time for choir practice.
Philomena, who was watching this scene intently, paused for a moment.
Flender (voice-over): If you don't go, you'll be in trouble...
Philomena had no choice but to turn around and leave with Flender. But we're still stuck at this point of view, and we see a scene she's missing: Anthony bursts into the camera, grabs Mary's hand, and looks up at the adults.
Philomena (voice-over): They came for Mary. But Anthony would not let Mary out of his sight. They were inseparable, you know...
The woman crouched down, eye level with Anthony, and stroked his cheek tenderly. However, because she had her back to us, we still couldn't see her face. Nor do we need to see that she is nothing but money incarnate. is a customer. The woman took the two children by the hand and led them away. Just then, we hear, from the next scene, the choir singing...
(CUT TO)

INT, CHAPTER, ROSECRE, YOUNG Philomena
sings in the chapel, with the rest of the "indecent" The" girls lined up in a row; the nuns, distinct from them, took another row, facing them.
Philomena (voice-over): Normally, I love singing — it's the only thing I enjoy doing in that place. But all I could think about was poor Kathleen.
We can see that Philomena's mind is not on singing, her expression is far away, her thoughts are elsewhere. She saw Anon Hiada enter the church and join the procession of the nuns. She met her friend's eyes and smiled secretly at her. But Anon Hiada's eyes were blank and he didn't respond. Philomena saw tears in her friend's eyes - was she crying? Philomena felt she was grieving for Kathleen too. The hymn reached its climax, and she sang along.
At this moment, however, a "disrespectful" girl trotted into the chapel and rushed towards their line. She pushed the crowd away, squeezed to Filomena's side, and whispered a few words to Filomena hastily. Philomena's face suddenly turned pale, and she squeezed to the end of the line in despair. Anon Hiada watched her leave with a pained expression.
(CUT TO)

EXTERNAL,
CONVENANT, DAY Young Philomena runs out of the chapel along a curved wall.
(CUT TO) INTERNATIONAL CONCRETE - Jfilomena, with all her might, runs through a door and rushes up two flights of stairs, breathless

.
She turned and rushed into a room.

interior, small room, day
A window: Philomena climbs up and looks out through the glass.
(Cut to)

Her perspective.
Outside the front door, Mammy Barbara was sending Anthony and Mary into the car, the big gleaming limousine. The man's face could not be seen clearly, and he got into the driver's seat; the woman, still with her back to us, waved goodbye to Sister Barbara. Anthony was wearing a nice sky blue wool coat and clutching his little tin plane tightly.
(Cut to)

EXTERIOR, Front Door of the Convent, Sun
Shot Upward. We hear Philomena's cries, blocked by the window -
young Philomena: Anthony!
We saw her pounding against the glass windows. Anthony looked around before getting in the car, as if he heard something.
(CUT TO)

INTERIOR, CAR, OUTSIDE THE FRONT DOOR OF THE CONCRETE, J.
Anthony looks out the rear window, his eyes sweeping. He did not see Philomena, who was silently banging on the window and shouting from the upstairs window.
(CUT TO)

INTERNAL SCREEN, CORROSION/STAIRWAY, ROSECRE, JFILOMENA ARE NOW CONTROLLED BY ANIMAL INSTITUTIONS
. She ran desperately like a lioness, determined to rescue her cubs. In frantic, heart-to-mouth passages, she jumps down the stairs, runs down the hallway, and out the door. Her goal is unwavering.
(CUT TO)

EXTERNAL, YARD,
Jfilomena rushes into the yard, only to see the luxury car driving up the hill, the taillights disappearing from view. She is late. She stared at the car, kneeling on her knees on the gravel drive. Anthony is gone. She cried bitterly, and a scream burst out from the bottom of her heart.
(Cut to)
Sister Hildegard in the monastery heard the scream, looked out, and saw Philomena in a trance and in pain. The older woman pondered the scene for a moment, then went her own way indifferently.
(cut to)
Philomena sat on her knees in the yard, sobbing uncontrollably, beside the blossoming garden, and grieved alone and alone.
Philomena (V.O.): He's wearing a nice blue duffel coat, that's the best I remember...
(CUT TO)

INT, HARVEST'S RESTAURANT, ST ALBANZ, J.
Martin and Jane watching For the sake of fascinated Philomena. Martin had a notebook spread out in front of him, recording their conversation.
Philomena: I can't afford to give him a coat like that.
Jane: I think what they do to you is like the devil.
Philomena: No, I don't like hearing that from you.
Martin: No—the devil is a good man. (They stare at him.) From a story perspective.
He jotted down a few more sentences in his notebook.
Philomena: Some people are not bad.
Jane: They didn't even give her painkillers when she gave birth in a breech position.
MARTIN: That's fine... too -- from a story perspective. (trying to push things down) Can we go talk to these nuns?
Jane: You can try, maybe you will be luckier than mom.
Philomena: I've asked him where he is many times over the years. They were also willing to help - the situation was not the same as before. They said they would try their best to help me track down his whereabouts.
Martin: But they didn't?
Jane: No.
Philomena: Can you help me find him, Martin?
MARTIN (closes notebook): Well, that's an interesting story.
Jane: I'm taking my mother to Ireland for a few days next week - why don't you come with us? That way you can also see Rosecrae with her.
Philomena: Oh yes, there's plenty of room in the car - it's a Vauxhall Knight.
Martin: Oh, no trouble. No problem, I'll... I'll fly over.
A slightly embarrassed smile.
(CUT TO)

EXTERIOR, CHICAGO AIRPORT, DAY (Super 8mm Expansion)
No sound. December 1955. 3-year-old Anthony and little Mary stepped off a Pan Am flight. Shaking footage showed them stepping on the tarmac. Anthony was wearing his blue jacket, clutching his plane. He and Mary held hands, and they both looked lonely. We realized they were intentionally lined up so that someone (off-camera) could take a picture of them.
(CUT TO) EXT. Soft, rolling fields in the Irish countryside

, County Tipperary, Japan .
A BMW 5 Series gallops down a country road. In the distance are towering mountains.
(CUT TO)

INT, BMW, County Tipperary, D.
Martin admiring the view flashing through the car window with interest, the bright modern bungalows occasionally dotted with abandoned stone cottages; scars of Ireland's past.
(CUT TO)

INT, BMW/EXT, Beale Street, Day
Martin turns a corner into Beale Village. The small high street is quintessentially Irish, with the shop fronts painted bright blues, oranges, pinks and turquoises. At the crossroads next to Molloy's bar - apparently a pre-determined meeting point - stood Philomena and Jane. He stopped beside them. Jane opened the door.
Philomena/Jane: Hello, Martin.
Martin: Hello. Sorry, I'm a little late.
Jane helped Philomena into the back seat.
Martin: There's something wrong with this rental car.
Philomena (speaking as she gets into the car): Oh, it's a nice car, isn't it, Jane? I see why you don't want to squeeze in that cyclist with us.
Martin: I didn't mean that. I just...something has to be arranged.
Jane: Are you sure you don't want me to go with you, Mom?
When the camera shoots Martin, he panics.
Martin: Aren't you coming?
Philomena: No—I told Jane, we'll just go by ourselves, just the two of us, isn't it, Martin?
Martin (smiles stiffly): Yes, you can.
Jane: I put something in your bag.
Filomena began to rummage through the bag and found a packet of sandwich biscuits.
Jane: Good luck to you. see you tonight. (smiles at Martin) Thank you, Martin.
Martin smiled back. Jane closed the door. He starts the car.
(CUT TO)

EXT. COUNTRY TIPPERERY,
REGIONA: What kind of car is this?
Martin: It's a BMW.
Philomena took a picture of Saint Christopher from her bag and hung it above the dashboard. Martin watched as she tapped the portrait.
Philomena: To pray for good luck.
Martin: He's my favorite saint, Christopher. (smiling slightly) Resist the temptation of the two beauties who came here on orders.
Philomena: Do you believe in God, Martin?
Martin: Well, how do you say it. That's a tough question to answer, isn't it... uh... do you believe it?
Philomena: Letter.
(CUT TO)

INT, BMW, Rosscre Abbey, the Japanese
car drives into Rosscre, the Abbey is getting closer. Martin took a peek at Philomena, but she didn't seem particularly anxious. The car pulls into the driveway.
(CUT TO)

EXTERNAL, ROTHCREY, ABYTE, DAY
BMW parked on the side of the monastery building, Martin Fufilomena gets off. They looked up: the monastery looked a little cleaner, but more dead—but it was still the oppressive, pebble-plastered behemoth that sat on acres of land.
Martin: Are you all right?
Philomena: I'm fine.
Philomena led the way to the front door. She stopped outside the door.
Philomena: I'm lucky, Martin. Some mothers and babies don't even make it past childbirth.
We see, this sentence hit Martin's heart. Philomena rang the doorbell. Moments later, a young African nun — dressed in a blue sweater and white shirt, more casually than the nuns of the 1950s — opened the door.
Young nun: Can I help you?
Philomena: I'm Philomena Lee. I have made an appointment.
Young nun: Oh yes, come in, Philomena.
Philomena: This is my friend, Martin Thicksmith of Ten News.
Young nun: Oh, hello.
MARTIN (as they enter the door): It's actually "BBC News," but that's okay.
(CUT TO)

INTERNATIONAL ROOM, ROSECRE, DAY
They come to a formal room, dedicated to Sister Claire's important meeting, with a low table and chairs. Several icons hang prominently on the walls, including a painting of the Virgin and a wooden cross with a brightly painted image of Jesus, a red loincloth, blood flowing from the stigmata and the sword wound on the side.
Young Sister: Sister Claire will be here soon. Would you like some tea?
Martin: Oh, okay, please.
Philomena: All right, please. May I use the restroom?
Young nun: Just down the stairs -
Philomena: I know where.
Philomena went away. Martin looked around and saw everything—he was intrigued by some of the framed pictures in an area of ​​the wall of the monastery, both past and present.
(CUT TO) INT, WINDOW

,
Zfilomena traces her footsteps, climbs a few flights of stairs, and stands at the window, where she took her last look at the child 50 years ago.
(CUT TO)

INTERIOR, PAYING ROOM, ROSECRE, DAY
Martin scrutinizes the pictures on the wall...a half-length photograph of Mother Barbara and Hildegard on the steps of the abbey, early 1960s, starched nun's turban, cross around her neck; a nun holding a child ; two nuns tending the rows of cots.
(CUT TO)

EXT, YARD, ROSCORE, DAY CLOSE-UP
: Philomena, staring straight ahead. The camera stopped on her for a moment, and she looked solemn and immersed in her thoughts. And then the camera...
(cut to)
...what she sees: her view from the yard 50 years ago. In her mind, it all seemed like yesterday: the car carrying Anthony, driving up the top of the hill, disappeared from view.
(CUT TO)

INTERIOR, PAYING ROOM, JIMARTIN,
still looking at the photo, moves his gaze to a promotional photo of Hollywood movie star Jane Russell. She was high-chested and charming, and she looked incongruous in the faded old photos of nuns and children. The photo read: "Full of love". The camera shoots Martin, confused.
(CUT TO)

INTERIOR, LAUNDRY ROOM -
Jfilomena is standing looking out over the room that used to be the laundry room. Behind her, she climbed up and looked out the window of the luxury car.
(CUT TO)

INTERIOR, PAYING ROOM, ROSECRE, J.
Martin continues to look around curiously. He stood in front of a bay window, and through a window across the courtyard, he saw a dying nun in the corridor on the other side of the courtyard they overlooked. She stood there on two crutches, staring at him fixedly. (Actually, this is Hildegard - we just don't know it yet).
SISTER CLAIR (V.O.): Hello, I'm Sister Claire.
Startled, he turned around. Sister Claire was around forty-five years old, with a genial appearance. Her smile is cheerful. His eyes swept across the cross she was wearing.
Martin: Oh, hello...
he gestured to the picture on the wall, not wanting her to find out what he was looking at.
Martin: Just enjoyed your photo of Jane Mansfield here.
Sister Claire: No, that's Jane Russell. Jane Mansfield is a blonde.
Martin: Oh yes, of course, I mean they're big -- I mean these two, big guys. their business.
He involuntarily glanced at Sister Claire's chest.
Martin: Which one died in the car accident?
Sister Claire: Jane Mansfield, yes.
Martin: A different head, isn't it?
Sister Claire: I don't know the details. Can only be sure that it was tragic.
Martin: Why put a picture of Jane Russell on the wall?
Sister Claire: I'm sorry, but I don't know what you're called yet?
Martin: Martin Thicksmith.
Philomena entered.
Philomena (pleasantly): He's Martin Thicksmith, of "The Ten O'Clock."
Martin: Actually "BBC News". But I don't do it for them now.
Sister Claire: Hello Philomena, nice to meet you—ah, here comes the tea.
The young nun put the tea set and a plate of fruit bread in front of them and went out. As Sister Claire placed the cups and plates, Martin leaned deftly toward the bay window and glanced furtively to see that the old nun (Hildegard) was still there.
Sister Claire: I tried to find the record of your last visit in the archives.
Philomena: You weren't here yet. Mother Barbara was dead at the time, and I spoke to Sister Hildegard on the phone—but when I came, she was too ill to see me.
Sister Claire: She's still here, with us, but very weak.
She put the saucer in front of Philomena and Martin.
Philomena: Oh, look, Martin, there's butter and fruit bread. try it.
Martin picked up a slice of bread and took a bite.
Martin: It's delicious. Kind of like pandolce (note 2), isn't it?
They looked at him inexplicably.
Philomena: It's fruit bread, Martin.
Martin: Yes, no, yes... yes, it's delicious.
Sister Claire: Well—Philomena, I don’t know if they told you last time, but almost all records about you were destroyed by fire—
Martin: Fire?
Sister Claire: — also before I came. So I'm afraid we're in a bind right now.
Philomena: Oh...
Sister Claire: I don't have any new clues either. Sorry for not being able to help you.
We can see how hard it was for Philomena, and she held on to it with all her might.
Philomena: Yes, yes... the
room was dead silent. Martin watched Philomena speak, at first calm, but gradually agitated.
Philomena: I also go to Mass...I don't want to make trouble, blame anyone, or blame the church. I just want to know he's all right - I don't even have to see him once. Sometimes he's in my imagination, he's homeless, nobody loves him...
Sister Claire (holding Philomena's hand) Philomena, we can't ease your pain. But we can hold hands and accompany you through the pain.
Martin: What about the older nuns? Maybe they can remember some details?
Sister Claire: Most of them passed away.
Martin: What about the ones still alive?
Sister Claire: Well, I don't think you'll gain much.
Martin: How about I give it a try?
He glanced again and saw that the curtains were drawn in front of Hildegard, and he could no longer see into the room.
Sister Claire: I don't think that's possible.
Martin: Why?
Sister Claire: I'd be happy to answer any questions Philomena has.
Martin: I'm just asking the question.
Sister Claire: You are a journalist.
Martin: It used to be. That's right.
Philomena: Martin is Catholic.
Martin: Yeah...well, it used to be.
Sister Claire: I'd be more comfortable if I could talk to Philomena in private.
Martin enjoyed - for a brief moment - the feeling of going back to being a journalist. But, catching Philomena's worried look—she didn't like confrontation in person—he held back. Pause, then, politely--
MARTIN: Of course.
He got up and went out.
(CUT TO)

INT. GIFT AREA,
JIM MARTIN backhands the door. Sister Claire's confusion annoyed him greatly. He strolled to the gift counter, fiddling with a small plastic Jesus statue—but he had other plans. After making sure that no one was staring at him, he walked to a double door, peered in through the crack of the door, and saw the old nun (Hildegard), who was leaning on crutches, and the light from the open door behind her shone Light up her figure. Her eyes seemed to meet his; her expression was unfathomable. Martin smiled slightly. He reached for the door. At this point, a voice came from the stairs behind him -
young nun (off screen): Hi - are you alright?
Martin spun around to find the young nun.
Martin: I'm sorry, I'm just, uh...
young nun: What are you looking for?
He turned around, just in time to see the door closed; Sister Hildegard was gone, and the lights in the room were gone. Opportunities are fleeting.
MARTIN (pointing to the door) That's, uh...?
Young nun: That's a private area.
Martin: Oh. (Pause) I'm going outside to wait...
(Cut to)

EXT. Wall with crosses at Rosecray Abbey, Sun
Martin stood in a neat little cemetery lined with iron crosses. He looked at it in turn, and found from the inscriptions (Mother Teresa, Sister Margaret) that the nuns of the monastery were buried here. Driven by curiosity, he kept walking until he found Aunt Barbara's grave, where she died on July 20, 1990.
(CUT TO)

EXT. Rosecray Abbey -
Young nuns deliver a pale-faced Philomena to the front door. Philomena held a manila envelope in her hand.
Philomena: Thank you, and please thank Sister Claire once again on my behalf.
Young nun: Goodbye, Philomena.
The young nun disappeared into the courtyard, closing the door behind her, leaving only Philomena herself.
(CUT TO)

EXTERNAL, BROKEN AREAS OF ROTHCREAY ABYTE, JIMARTIN gets a boost, jumps
over a low fence into a small enclosed area adjacent to the nun's cemetery, where weeds, bushes and thorns vines grow. He crouched down, peered in through the tangled twigs, and identified a headstone. Using both hands and feet, he removed the wild plants around it until he could read the inscription: "Maria Gidney," a young girl who died in 1962 at the age of 16, with the words: "Mother and son both Died in childbirth"...
(jump cut to)
He picks up a stick, removes a fern from another tombstone, and sees: "Aislyn Devlin", died in 1957, at the age of 14 . The following is still written: "Mother and child died in childbirth". He stood up and glanced over the smoky cemetery and the adjacent nun's cemetery, and a thought struck him: "Why is the nun's cemetery so well tended, while these mothers and children's cemeteries are left deserted, weeds Where's the clumps?"
(CUT TO)

EXT. ROTHCRAY ABYTE, J.
Martin walks back to the parking lot, where Philomena is waiting for him.
Martin: I'm sorry, I just wandered around and looked... (notices her look) How are you?
Philomena, clearly heartbroken, did not answer; she just wanted to get in the car as soon as possible.
(CUT TO)

INT, BMW, Rosecray, Jfilomena
in the car, looking straight ahead. Martin didn't start the car.
Martin: What did she say to you?
Philomena (long pause): She said, you're a journalist, you're trying to manipulate me, and I should be careful what I say to you.
She opened the bag, took out the envelope, and handed it to Martin.
Philomena: She gave me this.
Martin: Do you want me to open it?
She didn't answer. He opened the envelope and pulled out a piece of paper—a copy, apparently. He glanced.
Martin: It's a contract...you signed it, 1955. (Looks at the contract) They emphasize a few of the words... (reads) "I hereby give up my child forever—"
Philomena took over, reciting word by word from memory.
Philomena (reciting): "My child, Anthony Lee, and promise never to attempt to meet, interfere with, or demand from that child..."
Silence.
Philomena: I can't find him anymore.
Martin: If they force you to sign this contract in any way, we can rely on the law against them.
Philomena (heavy) No one forced me, Martin. I signed it voluntarily.
(CUT TO)

EXTERNAL, Garden St. Louis, Day (Super 8mm Expansion)
No sound. A summer day in 1960. Anthony is growing. Now eight years old, he no longer recognizes him as Philomena's little boy. He has a home and several brothers. He was in the back garden with them - they were playing with each other with a hose. Anthony held a bat; a baseball was thrown and he slammed it and missed.
(cut to)

exterior, countryside, dusk
The BMW stopped beside a dry stone wall; Martin and Philomena walked across the field to the car. Gently rolling countryside and green fields lead to high mountains.
Martin: Isn't it funny that the papers that could help you get burned to nothing. But guess what? The document that was meant to stop you from finding him is well preserved. It was God of infinite wisdom who decided to keep that piece of paper from the flames?
Philomena: I signed because I believe I have committed a heinous crime, Martin, and I deserve to be punished. And... even worse, I do enjoy it.
Martin: What?
Philomena: Sex.
He turned to look at her.
Philomena: Oh, how wonderful. I felt like I was floating. He's so handsome, he's got me in his arms, and—well, I didn't even know I had a clitoris, Martin.
Martin: Really?
Philomena: Ever since I had sex, I thought anything that made me feel cute must be wrong.
MARTIN (mumbles): Fuck his Catholic. (sniffs) I'm sorry.
She smiles.
Philomena: I've been a nurse for 30 years, and I've heard worse things.
Martin: Just, if God wants us to resist desire, why would he give us sexuality? Did he invent this strange little game because he was all-knowing and omnipotent and bored? It really doesn't make sense...I thought I was pretty smart.
They were silent for a moment; she looked out at the scenery.
Philomena: Well, maybe you're not smart enough.
He looked at her; smiled to himself, realizing that she was actually quite perceptive.
(CUT TO)

INTERNATIONAL BAR HOTEL, YEJAN
enters the door, walks to the bar, and joins Martin and Philomena sitting on the bar stools, who look a little sullen. In front of Philomena was a glass of sherry, and he had a pint of Guinness—both were almost finished.
Jane: How is the situation?
Martin: What, what do you mean from those grim nuns?
Jane (laughs): That is to say, only got tea and cake. They only gave their mother these things.
Philomena: It's not their fault, Jane, they got caught in a fire and lost their files.
The bartender brought Philomena another glass of sherry.
Jane: No thanks - it's past your bedtime.
Martin: There should be other ways.
Philomena picked up the sherry.
Jane: Mom!
Philomena: He has already poured the wine.
Jane rolled her eyes; Philomena drank in two gulps.
Philomena: Good night, Martin.
Martin: Good night, Philomena. Good night, Jane.
They smiled at each other. The mother and daughter leave. Martin thought for a moment. The bartender in his early 40s brought him another pint of Guinness. Martin's fingers slipped off the side of the glass.
Bartender: Going to the monastery?
Martin: Yeah, um, it's obviously changed a lot. The nuns there have also changed, and they are not the same group as the "immoral" girls when they were there.
A voice came from behind.
Waiter's mother (off-screen): They're all dead now!
Martin glanced in the direction of the voice, but the bartender turned a deaf ear.
Bartender: We've had a few guests who came here to find their son or daughter. Few get good news from there.
Martin: I think it's because of the fire? That fire reduced everything to ashes.
Bartender: Indeed.
Martin: How did the fire happen -- you know?
Bartender: I think they struck a match themselves.
Martin: Who?
Bartender: Nun. There was indeed a fire in the back ground.
Martin: So...the building wasn't affected?
Bartender: They set a damn bonfire to burn all the files. Thousands of records.
Martin: Why?
Bartender: That was a few years ago. I think it's because they sold all their children to America and felt ashamed themselves.
The voice came from behind again:
Waiter mother: They don't want to leave people a message.
Bartender: That's my mom.
Martin: You just said the children were sold to America?
Bartender: A lot of Yanks come to Ireland to find children. Only they can afford it.
Waiter's mother (voice-over): One thousand pounds.
The mother appeared from behind; she was about 65 years old and stocky.
Waiter mother: Jane Russell bought a child. Bought from Delhi, 1952.
Martin: It's unbelievable...Selling children?
Waiter mother: They said she came here for a bourbon, but they didn't, so they gave her a patty. But I'm not someone who likes to chew my tongue.
Martin: No, no... I can see that.
While listening to her, Martin's eyes were fixed on a painting of "The Virgin and Child" from above the lens.
Martin: How do they decide who to give the child to?
Waiter mother: If you're a Catholic and you have a thousand pounds, you can buy a child. Jane Russell just bought one and took it home. But I've got to be tight-lipped about this...
(CUT TO)

INT, MARTIN'S ROOM, HOTEL,
Dawn at the computer.
(cut to)

exterior, countryside, dawn
Martin was jogging, jogging along the dry stone wall and fields with hills in the distance that had appeared earlier. He seemed energetic this morning, bouncing like a spring lamb.
(CUT TO)

INT, MARTIN'S ROOM, THE HOTEL,
Dawn on his cell phone in his cheap little room.
Martin: …yes, um, Sally, you said I would call you if I found something, and now I've actually found something.
He sat on the edge of the fake four-poster bed and got caught up in the burgundy fringes hanging from the bed frame.
MARTIN: Hope it's not too late, but I'm so furious - I think I've got some interesting subject matter, people tracking down their families... The whole Irish nation's separation...
(CUT TO)

INT, Sally's Office,
Risa Leigh Mitchell has a glass-walled office that faces a high-tech open-plan newsroom, which is sparsely populated by reporters, not working the night shift. Sally poured herself coffee from a percolating coffee pot as she spoke to Martin; it was a busy day, judging by the papers and memos strewn about her desk.
Sally: Don't use words like discrete, Martin. I can't spell the word, and people don't understand what it means.
(The camera cuts between the two scenes)
MARTIN: Oh, it means -
Sally: No, no - I don't really care what it means.
She added two packets of sugar to the coffee.
Sally: Who are the good guys and who are the bad guys?
Her straight-forward way of talking caught him off guard.
Martin: Uh... well. The protagonist of this case is a little old Irish lady, a retired nurse, who wants to find the youngest son who was taken away from birth...the one who took the child is...(suddenly a flash of inspiration)...diabolical nuns.
Sally looked around for a coffee-stirring utensil, but couldn't find it, so she used her fingers.
Sally: How did this end? (without waiting for him to answer)—either great joy or great sorrow. I don't want all that tepid bullshit, understand?
Martin: Well...I think it should be an emotional reunion. Airfare and hotels cost a bit, but we certainly didn't lose money. We might find out that he's the president of IBM, or a bum—cheering or crying—it doesn't matter. "When 50 years of silence is broken by two simple words: 'Hello, Mom.' All these years seem to have gone with the wind." I can write now.
Sally: I really didn't know you were so cynical.
Martin: I'm honing myself.
Sally (pauses, takes a sip of coffee): Okay, let's do it.
Martin (can't believe it's going so well): Really?
Sally: My assistant will be calling tomorrow to make some arrangements - no reimbursement for the bar bill.
Martin: Thanks, Sally, I really appreciate it...
he realizes she's hung up. But he smiled to himself.
(CUT TO)

INTERIOR - HOTEL BREAKFAST
ROOM, JFILOMENA, MARTIN AND JAN SIT AT THE TABLE FOR BREAKFAST. Martin is now a full-fledged journalist, with his laptop open, occasionally referring to an A4 notebook full of scribbled notes.
Martin: - I'm almost certain that Anthony was taken to America after he was adopted. The monastery seemed to do business exclusively with American customers.
Jane: Customers? What does this mean?
MARTIN (takes a sip of tea): Only they can afford it.
She was still confused, so Martin explained.
Martin: Anthony was sold.
Jane (furious): But...it's just appalling.
Philomena: They wanted to give him a better life.
Jane: They are taking him to make money!
A moment; they were all silent for a moment. Martin took a bite of the soda bread.
Martin: I first contacted the Sacred Heart Adoption Society in Cork this morning, but they just sent me to the Irish Adoption Council, which in turn sent me to the Sacred Heart Adoption Society.
Jane: Just walking you around in circles!
Martin: Yes - but I spoke to a few of my connections in Washington last night, and there are clues there to dig. The biggest obstacle, of course, is that I, as your representative, can only go so far, Philomena. However, since you are his mother, they are obligated to provide you with information.
silence. Philomena and Jane thought for a moment.
Jane: Are you suggesting my mother go to Washington with you?
Martin (nervous, but trying to sound "easy"): If she wants to go. My editor has agreed to pay for the airfare and accommodation for both of us.
JAN (turning to Philomena) What do you think, whether to go to America?
Philomena: I don't know.
View more about Philomena reviews