1 EXT. STREET. PRE-DAWN EXT. STREET. PRE-DAWN 1
A quiet, working-class residential street in Ireland, early
1950s. It’s morning, but it’s still dark. One of the front
doors opens, and out slips EILIS - early twenties, open-faced
pretty without knowing it. She closes the door quietly behind
her and walks quickly up the street.
There is a hissed call from behind her. She turns, and her
sister ROSE - thirty, attractive, slender, pale - is running
after her, in nightdress and bare feet, holding out a piece
of bread and jam. Eilis takes it from her, makes a face to
show how grateful she is.
Go back to bed.
Rose nods, tiptoes back to the house.
2 INT. CHURCH. DAY 2
It’s the early mass, and the church has only a smattering of
worshippers. Eilis is kneeling and praying with two other
MISS KELLY, fifties, thick glasses, a constant look of
disapproval on her face, and MARY, the same age as Eilis, but
large and simple-minded - her mouth is usually open,
indicating her lack of comprehension at more or less any
given moment. Eilis yawns. Miss Kelly shoots her a look.
Chastened, Eilis stifles the yawn and looks fixedly ahead.
3 EXT. KELLY SHOP STREET. DAY 3
Finally, there is weak daylight. Mary and Eilis wait while
Miss Kelly finds her keys and opens the side-door to her
shop. This is clearly not a normal morning for Eilis - she
has something on her mind. She watches Miss Kelly carefully,
trying to judge the right moment to speak to her. The door
opens, Mary walks into the shop, leaving Miss Kelly and Eilis
bringing up the rear.
Miss Kelly, might I talk to you
Not if what you’re going to say
will cause trouble for me in some
way or another.
End of conversation. Eilis closes her eyes for a moment,
fearful of the confrontation to come.
'Brooklyn' YELLOW Script Dated 24th April 2014 2.
4 INT. KELLY SHOP. DAY 4
Miss Kelly turns on the light, and we see the shop for the
first time. It’s a well-stocked, and well-kept, grocery
store, but it almost certainly hasn’t changed since the
1920s. Eilis walks to the back of the shop to collect the
bread, which has obviously been there since the previous day,
and places it on the counter. While Miss Kelly takes a piece
of long, yellow paper out of its packet, Mary places a ladder
carefully under the old piece, which is stuck to the ceiling
and covered with the bodies of dead flies.
Later. A male customer is buying a single cigarette from
Eilis. Miss Kelly is peering through the shop window from an
The nine o’clock mass is over,
girls. Here they come.
Later. The shop is packed - customers standing three or four
deep at the counter. Eilis and Mary are coping as best they
can; Miss Kelly is directing them, in a way designed to cause
maximum resentment. Miss Kelly spies a well-dressed woman
standing well back, and smiles at her.
Mrs Brady, what would you like this
Half-a-dozen rashers, please.
Of course. Eilis will get that for
Eilis is about to serve a shabbier woman standing right in
front of the counter. Eilis looks at her helplessly.
I was next.
And you still are. Mary, if you
serve Mr O’Leary back there, will
you make a mess of it? I suppose
you will. Let’s see.
Mary is stung by the barb. Miss Kelly doesn’t notice and
doesn’t care anyway.
'Brooklyn' YELLOW Script Dated 24th April 2014 3.