Brooklyn Yellow Script - Logo Of The BBC
BROOKLYNbyNick HornbyYELLOW SCRIPT24th April 2014Adapted from the novel by Colm Toibin(c) 2014Finola Dwyer & Amanda PoseyWildgaze Films Ltd53 Greek StreetLondon W1D 3DRT: 44 (0)20 7734 7065F: 44 (0)20 7734 4250E: bennett@wildgaze.co.uk
1EXT. STREET. PRE-DAWN1A quiet, working-class residential street in Ireland, early1950s. It’s morning, but it’s still dark. One of the frontdoors opens, and out slips EILIS - early twenties, open-facedpretty without knowing it. She closes the door quietly behindher and walks quickly up the street.There is a hissed call from behind her. She turns, and hersister ROSE - thirty, attractive, slender, pale - is runningafter her, in nightdress and bare feet, holding out a pieceof bread and jam. Eilis takes it from her, makes a face toshow how grateful she is.EILIS(mouthing)Go back to bed.Rose nods, tiptoes back to the house.CREDITS2INT. CHURCH. DAY2It’s the early mass, and the church has only a smattering ofworshippers. Eilis is kneeling and praying with two otherwomen: MISS KELLY, fifties, thick glasses, a constant look ofdisapproval on her face, and MARY, the same age as Eilis, butlarge and simple-minded - her mouth is usually open,indicating her lack of comprehension at more or less anygiven moment. Eilis yawns. Miss Kelly shoots her a look.Chastened, Eilis stifles the yawn and looks fixedly ahead.3EXT. KELLY SHOP STREET. DAY3Finally, there is weak daylight. Mary and Eilis wait whileMiss Kelly finds her keys and opens the side-door to hershop. This is clearly not a normal morning for Eilis - shehas something on her mind. She watches Miss Kelly carefully,trying to judge the right moment to speak to her. The dooropens, Mary walks into the shop, leaving Miss Kelly and Eilisbringing up the rear.EILIS(suddenly)Miss Kelly, might I talk to youlater?MISS KELLYNot if what you’re going to saywill cause trouble for me in someway or another.End of conversation. Eilis closes her eyes for a moment,fearful of the confrontation to come.
'Brooklyn' YELLOW Script Dated 24th April 201442.INT. KELLY SHOP. DAY4Miss Kelly turns on the light, and we see the shop for thefirst time. It’s a well-stocked, and well-kept, grocerystore, but it almost certainly hasn’t changed since the1920s. Eilis walks to the back of the shop to collect thebread, which has obviously been there since the previous day,and places it on the counter. While Miss Kelly takes a pieceof long, yellow paper out of its packet, Mary places a laddercarefully under the old piece, which is stuck to the ceilingand covered with the bodies of dead flies.Later. A male customer is buying a single cigarette fromEilis. Miss Kelly is peering through the shop window from anangle.MISS KELLYThe nine o’clock mass is over,girls. Here they come.Later. The shop is packed - customers standing three or fourdeep at the counter. Eilis and Mary are coping as best theycan; Miss Kelly is directing them, in a way designed to causemaximum resentment. Miss Kelly spies a well-dressed womanstanding well back, and smiles at her.MISS KELLYMrs Brady, what would you like thismorning?MRS BRADYHalf-a-dozen rashers, please.MISS KELLYOf course. Eilis will get that foryou now.Eilis is about to serve a shabbier woman standing right infront of the counter. Eilis looks at her helplessly.SHABBY WOMAN(aggrieved)I was next.MISS KELLYAnd you still are. Mary, if youserve Mr O’Leary back there, willyou make a mess of it? I supposeyou will. Let’s see.Mary is stung by the barb. Miss Kelly doesn’t notice anddoesn’t care anyway.MARYMr O’Leary?(CONTINUED)
4'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:3.4Mr O’Leary, like Mrs Brady, is well towards the back of thescrum. Miss Kelly’s favouritism seems designed to causeresentment and frustration, but the customers seem used toher arbitrary treatment of them, and there are no outwardsigns of dissent. Miss Kelly turns her attention to a timidlooking woman standing right in front of her.Yes?MISS KELLYTIMID WOMAN(quietly)I need some shoe polish.MISS KELLYShoe polish? Ah, but that’s notreally a Sunday item, now, is it?These people need things for theirdinner or their tea. Why couldn’tyou have remembered yesterday?Miss Kelly leans over the counter to stare at the timidwoman’s shoes. The timid woman stares at the counter,humiliated.MISS KELLYBecause it looks like you needed ityesterday.I’m sorry.TIMID WOMANMiss Kelly sighs deeply, shakes her head, and goes to findthe offending item.5INT. KELLY SHOP. LATE AFTERNOON5Miss Kelly locks the door of the shop behind the lastcustomer. Eilis stops tidying up and waits until the door islocked before speaking.EILISMiss Kelly.MISS KELLY(tetchy)I hadn’t forgotten. Spit it out,whatever it is.EILISI’m.I’m away to America.Miss Kelly likes to think she knows everything, but thisgives her pause. She soon recovers.(CONTINUED)
5'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:4.5MISS KELLY(scornful)Whose idea was that?EILISFather Flood in New York arrangedit. Rose used to play golf withhim, when he lived here. Hesponsored me. He. he found me ajob, and got me a visa, and.MISS KELLYWell, we won’t be needing you backhere.EILISI don’t sail for a month. I couldwork every Sunday until I go.MISS KELLYI shall want to train a new girl upstraight away.EILISBut I could help.MISS KELLYNo, thank you.She starts to turn her back on Eilis, but she has one lastthing to say.MISS KELLYYour poor sister.EILIS(surprised)My sister?MISS KELLYOh, mothers are always being leftbehind in this country. ButRose.That’s the end for her,isn’t it? She’ll be looking afteryour mother for the rest of herlife.This time she does turn her back and walk away.6EXT. NANCY’S HOUSE. NIGHT6Eilis is knocking at the door of a house not dissimilar toher own. She scarcely has time to complete a second knock,and the door flies open.(CONTINUED)
6'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:5.6Her friend NANCY, already wearing her coat, smiles at Eilis,pulls the door shut behind her, and starts walking off downthe street with Eilis trailing in her wake.7EXT. STREET. NIGHT7Nancy and Eilis walking arm-in-arm down the street. Now wecan get a chance to look at Nancy properly: she’sstaggeringly pretty, film-star pretty. It helps that she’sdressed up and made up to go out - Eilis looks a little wanby comparison, even though she’s made an effort too - buteven so, she’s a stunner.EILISYou look beautiful, Nancy.Thank you.NANCYEILISYou look so beautiful it makes medespair of this place.Nancy laughs.Why?NANCYEILISYou’re the prettiest girl in CountyWexford. You should be able tochoose any man you want. And we’rehoping that George Sheridan fromthe rugby club looks your way.The scornful way she emphasises the social institutionsuggests that she doesn’t think he’s much of a catch.NANCY(sufficiently excited tomiss the point)Do you think he might?EILISOf course he will. I know you likehim, Nancy, but he’s not GaryCooper, is he? And those boys, withtheir hair-oil and their blazers.She shudders her distaste.NANCYHe has beautiful eyes.(CONTINUED)
7'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:5A.7EILISAnd he’s going to come into abeautiful shop in the MarketSquare.NANCY(changing the subject)Why didn’t you wear your bluedress?Now it is Eilis’s turn to look a little discomfited.EILISAre you asking why I didn’t makemore of an effort?(CONTINUED)
7'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:6.7They have reached the small hall where the dance they areattending is taking place. They join a small queue to get in all girls.NANCYWhat if one of the boys from therugby club asked you to dance?Wouldn’t you like the pleasure oftelling him it’s too late?They laugh.8INT. DANCE HALL. NIGHT8Nancy and Eilis are leaning against the wall sippinglemonades. There aren’t many men this early in the evening,and the dance-floor is almost deserted. Suddenly there is abuzz from the girls scattered around the place. Eilis’s eyesare drawn to the same place as everyone else’s: to the door.A group of young men, dressed almost identically, and just asEilis described - blazers and hair-oil - are coming in. Oneof them is JIM, who we will meet much later.These young men exude a confidence bordering on arrogance they’re hard to like en masse - and consequently the uniformlooks slightly sinister. They ignore everyone in the room andmake their way to the soft drinks bar. Eilis rolls her eyes.Nancy is blushing.Later. Nancy and Eilis are still waiting. Eilis is watchingthe rugby club boys, Nancy is looking anywhere but. Thecamera picks out George, who is tall, confident, as oily ashis friends - and no Gary Cooper.EILISHe’s looked over here twicealready.He hasn’t!NANCYEILISHe’s walking over here now.NANCY(still looking the otherway)He’s not!He is. We see him. Nancy, however, still has her back to him.EILIS(impatient)Why would I keep lying to you aboutwhat George Sheridan’s doing?(CONTINUED)
8'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:7.8George arrives. He nods at Nancy.GEORGEWould you like to dance?Nancy is almost too nervous to nod her head.Moments later. George and Nancy on the dance floor. Overtheir shoulders the camera picks up Eilis, making her waytowards the door, holding her coat. A couple of the rugbyclubbers whisper and snigger as they watch her leave.9INT. DINING ROOM, EILIS’S HOUSE. EVENING9It’s Eilis’s last night at home. Eilis, her mother MARY andher sister Rose, are eating, initially in silence. The soundof cutlery hitting crockery only serves to emphasise thetension and the sadness of the evening. Eilis keeps sneakingglances at the rest of her family, trying to gauge howunhappy they are.There’s no outward trace. Rose and her mother are bothconcentrating on their food, determined to give nothing away.Eventually Eilis has to say what is on her mind.EILIS(quietly)I wish I had written to FatherFlood about you, Rose.ROSEMe? I have a job. You had a coupleof hours on a Sunday working forNettles Kelly.MARY(mildly disapproving)You shouldn’t call her that.ROSEI think it’s quite a kind name.Considering she’s actually aterrible old witch.Mary makes a scandalised face.EILISI don’t want to spend my lastevening talking about her.Good.ROSEBut nobody knows what they do want to talk about.(CONTINUED)
9'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:8.9MARYThey say it’s hotter there in thesummer, and colder in the winter.Mary puts her knife and fork down despairingly.MARY(with deep but clearlydisplaced anxiety)What in Heaven’s name will she doabout clothes?ROSEShe’ll buy them, mother.MARYShe doesn’t want to be wasting hermoney on clothes.ROSEShe won’t have much choice. She’llbe there.She stops herself from finishing the sentence. An even deeperand unhappier silence falls on the table.10INT. EILIS’S BEDROOM. NIGHT10Close on an old and very large suitcase. It’s about twothirds full of Eilis’s things. Pull back to show Rose andEilis peering into it.EILIS(wry)There. It wasn’t so hard to decideafter all.ROSEIs that really everything you own?Oh, Eilis. I should have lookedafter you better. I should havetaken you shopping twice a year,summer and winter.EILISYou’ve bought most of the clothesin this case. That’s one of thereasons I’m going, because I can’tbuy my own.If iteveryBut Ican’tneed.ROSEwas just that, I’d spendpenny I had on you, gladly.can’t buy you a future. Ibuy you the kind of life you(CONTINUED)
10'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:9.10EILIS(whispers)I know. (Beat) But you’ll come tosee me there one day?Yes.ROSEEILISAnd you’ll look after yourself?ROSEYou don’t have to worry about me.EILISAnd I’ll come home to visit, won’tI? Because I couldn’t bear it if.Rose has to stop this, because she can’t bear it either.ROSEYou haven’t packed your shoes yet.They’ll take up a bit of room.11EXT. LINER. DAY11Eilis is wedged at the deck-rail of a large passenger liner,along with a lot of other emigres, her large suitcase infront of her. Among the crowd on the dock below her are Roseand Mary. There are a lot of tears, from passengers and thepeople they are leaving behind. Rose and Mary, however, likeEilis, are keeping everything in. The ship blasts its horn toannounce its imminent departure; everyone jumps and laughsnervously, and the waving becomes more frantic. Rose andMary, however, suddenly turn away from the boat and pushthrough the crowd. Rose looks back helplessly and blows Eilisa kiss. Eilis watches the backs of the two of them until theydisappear out of sight.12INT. STAIRCASE, LINER. DAY12Eilis bumps her case down the narrow steps deep in the bowelsof the boat. She reaches a corridor and examines the sign onthe wall directing passengers to their berths. She has todescend still deeper into the boat.13INT. CABIN. DAY13Eilis’s cabin is tiny and windowless, and she has to share itwith someone: there are two bunk beds. She wedges hersuitcase into an available space.She opens the bathroom door. The bathroom is tiny. Itcontains a toilet and a sink.(CONTINUED)
13'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:10.13There is another door, apparently leading into the nextcabin. A sign on the door says ‘UNLOCK WHEN NOT IN USE’.Eilis pushes it open and sees two middle-aged womenunpacking.Sorry.EILISShe shuts it again quickly. She doesn’t know what to do, solies down on the bottom bunk with her hands behind her head,staring. She closes her eyes, but suddenly the cabin doorbursts open and a glamorous blonde, late thirties, bustles into the room with a large trunk. This is GEORGINA, her cabinmate.Off!GEORGINAEilis sits up and stares at her, uncomprehending. Georginawaves a ticket at her.GEORGINA (CONT’D)Number one. Bottom bunk. That’smine. You’re on the top.Eilis scrambles up the ladder to her bed. She can’t sit up the ceiling is too low - so she has to lie down, and istherefore unable to make eye-contact with Georgina throughoutthe scene.GEORGINAThis is hell. Never again.EILIS(trying to be friendly)Never again to America?GEORGINAThe mistake was coming home fromAmerica in the first place. I’d doanything to get out of thishorrible cabin, and I meananything. Let’s go for a smoke.I don’t.EILISGeorgina rolls her eyes.GEORGINASuit yourself. I’ll see you later.Unless I find a nice man in Firstto smoke with.She bustles out.
'Brooklyn' YELLOW Script Dated 24th April 201414INT. DINING ROOM. NIGHT10A.14Eilis is on her own in the Third Class dining room. She iseating a plate of very brown and very unappetising-lookingmutton stew. She eats as much as she can, although a lot ofthe meat is gristle, which she has to extract from her mouthwith a napkin, as discreetly as possible.(CONTINUED)
14'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:11.14She finishes, dabs her mouth with the napkin. The underemployed waiter comes over immediately to clear away herplate.WAITERIt’s good to see that noteverybody’s put off their dinner bythe weather forecast.Eilis looks at him blankly.WAITER (CONT’D)(cheerful)It’s supposed to be a rough onetonight, so none of the otherpassengers are eating. A fewspoonfuls of soup, maybe, but notthe mutton stew.Comprehension dawns. Eilis looks stricken.15INT. CABIN. NIGHT15Eilis is standing in her nightgown, clutching her toothbrushand toothpaste. She is waiting outside the locked bathroom.She taps on the door. Nothing. She waits a few moments. Sheputs her ear to the door, but the only noise comes from theships engines - in Third Class, a loud, deep constant. Shegrimaces suddenly, and closes her eyes. She’s sweating. Sheknocks on the bathroom door again.EILIS(to the door)Oh, please unlock it.She can’t wait any longer. She stumbles out into the corridorlooking for a toilet.16INT. CORRIDOR. NIGHT16.Nothing. She tries to go upstairs to the Second Classcabins, but the door at the bottom of the stairs is locked.She’s desperate now. In an alcove of the corridor, she sees amop and bucket. She picks up the bucket, ready to throw up init - but as soon as she does so, she realises that herproblems are at the other end. She puts the bucket on thefloor, squats over it. She looks around desperately forsomething to wipe herself with, but there is only the mop.She hates herself, and everything that has led to her beinghere. She starts to throw up.
'Brooklyn' YELLOW Script Dated 24th April 201417INT. CABIN. NIGHT12.17Eilis comes back in, holding the mop and the bucket. Sheknocks on the bathroom door again. No answer, but this timeshe hears the sound of retching. She pukes into the bucket.For a moment there is a little contrapuntal symphony ofretching.18INT. CABIN. DAY18Eilis is asleep on the bottom bunk. Close on her face - greentinged, sweaty. A hand touches her face, and Eilis opens hereyes. It’s Georgina.EILISI’m so sorry about the smell. Andthe bucket.GEORGINA(gently)Oh, don’t worry. The whole boatstinks. Even First Class. I’ve justbeen thrown out of there, by theway, so you’ll have me throwing upin here too.EILISThe bathroom door was locked allnight.GEORGINA(angry on Eilis’s behalf)Oh, those bastards. That’s whatpeople do. They keep the bathroomfor themselves on rough nights.We’ll fix them.She fishes in a handbag and finds a nail-file. Deftly, sheunlocks the bathroom door. There’s nobody in there. Quickly,she pulls her trunk into the bathroom and jams it against thedoor on the other side. There is now no room in front of thetoilet.GEORGINAIt won’t be very comfortable. Butat least it’s ours now.They smile at each other. Almost immediately there is afurious knocking on the bathroom door. Georgina hurls herselfagainst the door with a fury.GEORGINAFuck off! Do you hear me? Fuck off!If you’d been nice last night, wewould have played fair.(MORE)(CONTINUED)
18'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:GEORGINA (CONT'D)But now you’ve got no toilet forfive days, you bastards.13.18Eilis laughs, and then winces.GEORGINAGo on, you can use it. I’m going toget us some water. That’s allyou’re allowed. You’ll bring it allup again, but you won’t feel sobad. And you’ll be right as rainafter a night’s sleep.19INT. CABIN. DAY19Georgina comes into the cabin. Eilis emerges from the shower,drying herself. She’s looking better.GEORGINA(mock-dramatic)We have a peace treaty.EILISWith next door?GEORGINAYes. They have given their solemnword never to lock the bathroomdoor when they’re not using it.They know they’re out of theirdepth with me.The women smile at each other.GEORGINA (CONT’D)Are you going to America to live?Yes.EILISGEORGINAYou have papers and everything?EILISYes. And a job.GEORGINAYou have family there?No.EILISA beat.(CONTINUED)
19'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:14.19GEORGINAWell. You’ll make friends easyenough. Where will you be staying?EILISIn Brooklyn. New York.Georgina smiles wrily.Ah. Well,sometimeswho don’tevery now20GEORGINAtry and remember thatit’s nice to meet peopleknow your auntie. Justand again.EXT. DECK. DAY20Eilis and Georgina are leaning on the rails of the thirdclass deck, looking out to sea.EILISI haven’t been sick for hours.GEORGINAIt’s nice, isn’t it?EILISI’m very hungry.GEORGINAThat’s why you haven’t been sickfor hours. We can eat soon. Maybetomorrow.21INT. CANTEEN. NIGHT21Georgina and Eilis eating in the canteen. The journey isnearly over, so there are more diners now. Both women looktired and pale. Georgina studies Eilis.GEORGINAOh, dear. We’ll have to dosomething with you. They’ll put youin quarantine or something if youtry to enter the country lookinglike that.22INT. CABIN. NIGHT22Georgina is pulling clothes out of Eilis’s case.GEORGINANothing fancy. You mustn’t looklike a tart.(CONTINUED)
22'Brooklyn' YELLOW Script Dated 24th April 2014CONTINUED:15.22She carries on pulling the plain-looking clothes out of thecase.GEORGINA (CONT’D)Oh. Well. Looking like a tart isn’tgoing to be a problem.She finds a white dress with a red floral pattern.GEORGINA (CONT’D)That’s not too bad.EILISMy sister gave me that.GEORGINAWear it with t
You look beautiful, Nancy. NANCY Thank you. EILIS You look so beautiful it makes me despair of this place. Nancy laughs. NANCY Why? EILIS You’re the prettiest girl in County Wexford. You should be able to choose any man you want. And we’re hoping that George Sheridan from the rugby club looks your way.
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2020–2021 STUDENT HANDBOOK 8 BROOKLYN COLLEGE II. Brooklyn College of the City University of New York History of Brooklyn College Founded in 1930, Brooklyn College wa
